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Tri-Axium Writings excerpt - Vol. 1: World Music


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#1 Lazaro Vega

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Posted 30 January 2007 - 08:31 PM

From Franz Fuchs via Anthony_BRAXTON@yahoogroups.com:

I did the proofing of the OCR of this excerpt as conscientously as possible.
For example, "affinity alignment" and its alternate spelling
"affinity-alignment" occur exactly as in the original text. Except for two
passages ("trying" p. 6, "stabilizing" p. 34) I didn't correct typographical
errors. The brackets of "dynamics" on page 6 are probably another typo, but
I'm not sure.

To make this citable, I included page numbers between square
brackets.

Other versions (jpegs, html) of the text will follow.

Many thanks to Mr. Braxton for allowing this digitization!

Length of the excerpt: ca. 12 000 words

---
Anthony Braxton: Tri-Axium Writings Vol. 1

I. Underlying Philosophical Bases

(Level One) WORLD MUSIC

[1] If we are ever to awaken to the realness of creativity as a life giving
factor, then the seriousness of this subject must be re-examined from every
viewpoint and context. For the most basic understanding of creativity
perpetuated in this time zone seeks to accent the entertainment or spectical
value of a given projection, rather than what that same projection might
mean in its cosmic vibrational sense (as pertaining to either its mystical,
spiritual or positive functional value). In other words, the present reality
of western information dynamics is geared to focus more on the surface of a
given focus, as opposed to 'what is most true' about that focus, and this
phenomenon has come to profoundly distort our perception of everything -
including creativity. The end result of this cultural attitude sheds light
on the times we now live in, for, to many people, the meta-reality of a
given creative projection is a subject not worthy of serious thought. And,
as the progressional expansion of technology continues to reshape every
aspect of our lives, this gradual unconcern about composite information
(and/or philosophical content) that is now taking place in our culture will
pose even greater complexities for generations to come. Every day the
realness of creativity becomes less and less clear - and this is true on
many different levels.

On the physical universe level this phenomenon could be understood by
dealing with the rapidity surrounding the progressional shifting of
information by the controlling forces dictating western culture. Every week
there is a new spectical on display, and all of us are constantly bombarded
with what music to buy, what art is 'in' - what fashions are correct - what
music is the best, etc., etc. In the time zone of a given year many of us
would be shocked to discover how many specticals we have gone through -
either with regards to creativity; or more important, how the controlling
forces of American culture would have us perceive creativity. We are constan
tly forced to keep up with both the changing social jargon [2] related to
how given creative thrusts are perceived as well as the effect of what that
jargon helps create in vibrationaltory terms - with regards to actual
physical universe life. It does not matter whether the spectical involves
'op-art' or the emergence of what is now called 'funky' music, because in
the final analysis the thrust continuum of creativity is constantly
changing, and it would be to our advantage to have some understanding of
what this means.

The realness of the changes taking place in creativity must be viewed from
many different viewpoints because in this subject we are not discussing a
mono-dimensional thrust projection, but rather a multi-dynamic continuance
that touches on every aspect of life on this planet - regardless of culture.
Moreover it would not be correct to simply imply that all of the changes
reshaping creativity in this time zone are based on manipulation from big
business, because while this is true for some areas of creativity, it
certainly does not apply to the composite thrust of world culture. Instead
we are talking of a subject much too complex to generalize, and much too
diverse to lump together. The composite actualness of creativity transcends
any single category. This is a subject related to the realness of life
itself, for the seeds underlying what a given creative projection really is
touches on more areas then many of us might imagine. The scope of creativity
is not limited to either the doing or experiencing of a given creative
thrust, rather the totalness of given thrust sheds light on the culture
itself - both in terms of what that culture is and also in terms of what
that culture could be (with the implications having to do with 'what that
culture was and what is what'). The dynamic realness of creativity is a
subject too important to ignore any longer, for our ability to participate
in the next time cycle is directly related to what knowledge we secure in
this cycle - and nothing is more important than the vibrational and cosmic
forces surrounding the creativity that permeates this planet (for now). Nor
have I meant to imply that only certain creative thrusts are significant, as
opposed to the composite actualness of creativity, because this is not what
I [3] believe. Many of the separations we have made between various strains
of creativity are alien to the real actualness of this subject. In other
words, there is no real separation between what we have come to call dance,
music, sculpture or art in the real sense of what these projections are.
Nor, in the cosmic sense of the word, is there any separation between any of
the various cultural and racial thrust projections that exist on this
planet - having to do with either creativity or any other consideration. All
of these categories have to do with many other factors and it is the purpose
of this book to begin laying basis to deal with the composite actualness of
earth creativity.

To investigate the realness of earth creativity is to recognize the dynamic
realness of culture on this planet. For the implications of this subject
cannot be restricted to any one area - in other words, every cultural thrust
is related to a cross-section of creative thrusts. From AIpine Mountain
music in Switzerland to Salsa music from Cuba, what we see is the spectrum
of how creativity is manifested on this planet, and what we also see is the
ingenuity and imagination of the composite whole of humanity. I am not
writing of a consideration relevant to only one time zone but rather a
subject manifested in every cycle of recorded history. The progressional
thrust of earth creativity parallels progressional continuity of earth
culture, and this is important to remember. So many forms have been
developed and lost that it would be practically impossible to trace every
projection to its original beginning. To understand and view the composite
actualness of earth creativity is to transcend both the consideration of
time, as well as the superficial boundaries that all of us at some point
have erected. For the dynamic continuum of earth creativity is not dependent
on one area of the planet, or one racial or cultural group - but rather,
everyone and every culture group has helped bring us to the junction we are
in at present. Thus to experience the realness of earth creativity is to be
open to the dynamic implications of what this subject means - both in actual
terms as well as cosmic terms. It is important to understand that creativity
represents a vibrational [4] picture of what a given culture thrust means in
cosmic terms. That is, it is no more possible to change a person's (or
culture's) basic creative vibrational thrust, then it is to change one's
fingerprints. In other words, the thrust continuum of creativity can tell us
much about the progressional actualness of earth culture as well as the
vibrational implications of principle thrust alignments. This information is
essential if we are to establish some basis for transformation, for it is my
belief that the challenge of the next cycle is directly related to what we
are able to understand about the composite realness of earth knowledge -
regardless of time zone. The investigation of world creativity is also
related to what this means, for the seeds underlying how given cultures
move - in physical universe or vibrational terms - sheds light on every
aspect of that culture (whether we are referring to either a culture's
vibration or spiritual reality).

It is necessary to examine the total vibrational arena that underlines how
we have come to view creativity if we are to arrive at some basis for
dealing with the uniqueness of this subject. For the creativity happening in
this time zone did not simply come from nowhere but rather is the
progressional extension of what happened before it. To examine the essence
implications of creativity would imply that some effort is put forth to
establish the widest possible context for examination. For to deal with the
realness of this subject would imply some awareness of the progressional
expansion of given vibrational projections, as well as some understanding of
the basis which solidified what those projections are. With a composite
perspective we are able to view the dynamic implications surrounding how
given creative thrusts expand as well as how that expansion has affected the
present realness of earth culture. The information we gain from this
viewpoint can better prepare us to deal with the underlying philosophical
and vibrational factors that dictate the nature and actualness of this
subject. For the philosophical consideration defines both the significance
of what a given projection is, as well as what the inherent potential of
that projection could be if extended. Thus for [5] the purpose of
investigation - everything, in terms of meaning, is relative to its
philosophical or vibrational basis, because this factor functions as
'center'.

For investigational purposes I have found it necessary to dismantle many of
the considerations related to how we have come to view creativity. This is
so because there is a need to re-examine every aspect of this subject in a
new light -both for what it could mean with regards to the present
actualness of culture (what is happening at present) as well as for what
this type of investigation could mean towards further expansion. The
seriousness of creativity demands this type of investigation, if we are to
truly have some awareness of our real position on the planet in this cycle.
For if many of the problems we are dealing with in this time zone directly
relate to the inability of western culture to provide the proper ethical and
spiritual dictates necessary for culture, then the restoration of creativity
can be viewed as the first step towards re-establishing positive change.
Moreover, if the realness of the present time zone exceeds the limitations
of any one given culture, then the actualness of creativity can also give us
some insight into what this state means with regards to both functional
change and vibrational change. Whatever, the dynamics of creativity is a
subject that must be dealt with on some level, for there are many questions
related to this subject that could directly shed light on the progressional
expansion of earth culture as well as those vibrational factors that
underline how physical universe change (i.e.transition and/or
transformation) is actualized. The progressional actualness of a given
creative thrust could give us insight into the question of spirituality as
well as culture - and in its ultimate state this information should reveal
something about the realness of existence (whatever level). The seriousness
of the time period we are living in seems to imply that some of these
questions be examined. And while I do not pretend my awareness is so
advanced that I am qualified to deal with this subject, at the same time - a
collected viewpoint concerning creativity and its related meta-reality
implications must come from a dynamic spectrum of quarters: including both
philosophers, scien- [6] tists and yes, creative people. My attempts to
comment on the composite realness of creativity is offered in the same
spirit of positive investigation that characterizes those who are t[r]ying
to understand anything.

This section of the book is concerned with viewing the meta-reality of world
creativity - both as a means to draw new light on this subject, and also as
a necessary route for re-examining creativity in this time zone. However,
the dynamic realness of this subject must be approached very sensitively,
for the actualness of world creativity does not necessarily correspond to
the thrust alignment of western language - that is, the vibrational
significance of world creativity, in its most basic state, transcends the
parameters of western language as an accurate descriptive tool. Thus if this
section is to be of any value - and related to true information - I am
forced to be as careful in my use of language as possible. Because the
actualness of a given word might mean one thing in the west, but when
applied universally mean something else entirely. In short, there are
reasons why given languages can't comment on certain factors outside of its
natural affinity projection and this must be respected. I have chosen to
write on the underlying philosophical and vibrational realness of world
creativity only as a means to establish basis for observation. Moreover,
because of the nature of this subject, I am forced to also utilize
separation as a tool for showing the distinguishing features of world
creativity - as opposed to lumping this consideration with aesthetics that
aren't compatible. For the multi-complexual implications of this subject
necessitates some level of separation as a means to comment on the
(dynamics) of given culture groups. This is true for unique particulars
subject matter as well as for the structure of this inquiry. By world music
in this section of the book, I am referring to the creativity 'ised' from
all of the world's cultures with the exception of western art music and
creative music from the black aesthetic - which was also 'ised' in America -
(both of these thrusts are discussed separately in the next section of this
book) . It is not the purpose of this book to deal with any particular group

as a means to totally understand what that group [7] is about. That is the
purpose of historians, anthropologists or musicologists - I am interested in
looking at world creativity as a means to draw light on certain inherent
factors regarding the meta and functional realness of the creative process
that has always been apparent to the world group. My reasons for taking this
approach is to establish basis for understanding world creativity and how
given culture groups function from this information.

The limitations of western language as an accurate descriptive tool for
inquiring into world creativity can become apparent by dealing with the
essence foundation underlying how world creativity is perceived. For the
nature of creativity in world terms is perceived quite differently from that
of western culture - especially in this time period. Perhaps the most
distinguishing factor manifested in world creativity is the unification of
all aspects of postulation to the degree that the creative process and the
very reality of the culture group are intertwined. In other words, not only
is the creative process indistinguishable as a separate entity in the world
group's viewpoint, but in many cases the creative process is not even looked
at in terms of being a creative process. In other words, the idea of
creativity is not even dealt with by many culture groups from the world
community. It is difficult then to make systematic references or
relationships on world creativity as a means to establish one criteria for
investigation - because the study of world creativity is not only about
creativity.

In 1968 I had an opportunity to meet a young African flutist whose musical
ability impressed me enormously. The meeting I was to have with this
musician helped me to view the uniqueness of world creativity as a factor
perceived quite differently from western creativity, and as a consideration
that reflected on the dynamic implications of culture in ways very new to
me. The basis of our meeting had to do with me asking the African musician
whether or not he was a professional musician, for I was quite impressed
with his musical ability and would have liked to experience more of his work
in performances if possible. His reply was that he was not a professional
musician and [8] I was quite surprised to hear that this musician was not a
professional (musician) - in the sense of how the word is used in the west -
for I found his musical ability to be on the highest level with regards to
both invention (creativity) and discipline (technique). Moreover I do not
mean to imply that his response to my question required an understanding of
complicated concepts or advanced algebra, because in fact the simplicity of
his viewpoint would really be the factor that accented my interest. For I
was not prepared for this young musician's response (to my question), and
the basis of our conversation would make a deep impression on my total
understanding of creativity. His response was simply that when he was
growing up he always wanted to play the flute - so he played the flute. The
idea of becoming a professional musician had no meaning to him because in
his country not only would there be no one to play for - and make a living
from - as such, but also in his tribe everyone played the flute as well as
he did - if not better. He went on to say that it was only in coming to
Europe where he began to see other considerations concerning creativity - as
a professional spectical factor, and while he grew to understand this
viewpoint it was outside of his basic vibrational and historical alignment
with creativity. For me, this meant in his tribe there was no such thing as
creativity separated from the culture to the degree it became an entity unto
itself. Thus to deal with world creativity is to understand what this
alignment really means. For if creativity as an actualization is not dealt
with by the world group, then what does this imply - and how is it
perceived? To understand these questions is to deal with establishing some
criteria for viewing the realness of this subject. I say this because
whether or not the young African saw himself as potentially being a
professional flutist is not the point. The fact he played the flute is what
I am focusing on.

To deal with the realness of world creativity is to be confronted with the
dynamic scope of how it is manifested. And while the surface particulars of
a given culture group differs - in terms of identity alignment - every
culture utilizes in its own way the total dynamic spectrum of [9]
creativity. In other words the projectional realness of music, dance,
sculpture, theatre, etc. is an integral part of the basic creative arena of
world creativity - but it goes even deeper then that. The fact is, all of
these various projections (i.e., dance, music, etc.) were actualized in the
progressional continuum of world culture and as such are not merely
adaptations or recent developments, but factors conceived from the basic
thrust expansion of world creativity. Moreover, the surface realness
underlying how a given projection is viewed cannot be separated from the
composite meta-reality of its culture group. That being, to deal with world
creativity is not to analyze the surface actualness of a given creative
projection but rather to understand the vibrational and cultural base which
actualized it. The realness of this approach can help us understand both the
uniqueness of a given culture group as well as the concept of 'affinity
alignment'. Our attention must be directed to the essence foundation of
world culture - not necessarily with regards to any particular function or
group - as a means to observe the nature of this concept. For obviously the
progressional development of Scottish bagpipe music is different from that
of Pigmy music - yet the essence foundation of world creativity can be
viewed as reflecting one essential attitude - or affinity alignment (and
this is especially true for non-western cultures - because the underlying
vibrational and philosophical realness of western creativity - and culture -
in many ways represents its own separate affinity balance). The essence
realness of a given projection in world culture terms must finally be viewed
in its composite context. For the particulars of a given focus in this
context share a common vibrational affinity denominator - and this is true
for the whole of world culture - with the one exception being western
culture, and in particular western art music. This difference can especially
be understood if the concept of affinity alignment is viewed as related to
the 'reality of principle information' and/or affinity dynamics in world
terms (i.e., the concept of race in particular) - yet I have not presented
this concept as a means to proclaim any notions of superiority or
inferiority because this is not my belief (nor does this route of
investigation really interest me - not [10] to mention the basic vibrational
categories I am referring to do not necessarily break down into our present
concepts concerning 'race' in any real sense, because this concept is only
one criteria among many others of equal importance).

[Figures 1 & 2]

[11] To examine the essence foundation of world creativity is to be made
aware of the relationship of this subject to how given culture groups
perceive of life. This relationship is the 'stuff' that solidifies the
realness of world creativity as a composite affinity thrust, for I am
writing of an attitude that transcends both regional and tribal
considerations - commenting instead on a particular way of perceiving
things. To understand the affinity alignment of world culture is to observe
the nature of this relationship, for there are many aspects of this question
that can be commented on. The most basic of which is that creativity 'ised'
from the world consideration can be looked at as a ritualization of the
total understanding of its given culture group (with regards to that group's
affinity and vibrational alignment to either spiritual or cosmic matters).
In other words, creativity in this context functions in the position of
re-enforcing the essence foundation of its culture group's meta-reality
position, and this is done by the nature of its relationship to essence -
through ritualism. Moreover, in every case, creativity 'ised' from the
composite affinity alignment of world creativity can be viewed as functional
as opposed to an aspect conceived only for viewing. By functional I mean
'conceived to be about something', affecting both the actualness of
particular situations (in the natural life thrust of a given community) as
well as a factor attached to the vibrational lining - and thus secrets and
science - of its culture as well. Thus I am writing of a consideration which
means nothing in itself but is instead a manifestation (i.e., ritualization
or affirmation) of the basic life force (essence foundation) of its culture
group. The problem for this section then is to find a way to communicate
about this basic life force without talking about 'a given life force' - for
in focusing on world creativity we are touching on a subject much too
complex for any one level of investigation. The realness of viewing totality
as a fact can present many problems for the western analytical position, for
this observation context is outside of the basic affinity alignment of
western functionalism (i.e., science). Yet this is exactly what must happen
if we are to deal with the realness of world creativity. Because any attempt
to [12] isolate a given aspect of world culture will invariably lead to some
type of distortion - because the meta-reality underlying how this
consideration (i.e., creativity) is viewed has nothing to do with separation
as perceived in the annals of western thought. To deal with the actualness
of a given creative projection from the world's community is to have some
awareness of that projection's 'real' purpose.

To examine the particulars underlining the composite realness of world
culture is to take into account the spectrum of earth creativity in all of
its various strains. For when I wrote that there is a difference in how
given culture groups manifest their creativity, we should understand what
this means with regards to an actual creative projection. Because in the
final analysis, a given creative projection from world culture might relate
to many factors not normally associated with creativity in the west - and
this is important. The clearest example of the multi-implicational realness
of creativity could be found viewing the progressional realness of Indian
creativity, where certain sounds imply a multitude of considerations -
having to do with what we call music as well as the total life experience.
In short, where the western interpretation of the Pythagorean junction had
to do with the search for acoustically correct intervals as a means to view
the universe in one-dimensional systematic terms; the Indian mantra on the
other hand dealt not only with the science of a given sound in functional
terms but also with the total meta-reality of that sound - with regards to
both its physical and aesthetic position in Indian culture. Nor is this
total understanding of sound by Indian culture unique in world culture
terms, for this example corresponds directly to the nature of affinity
alignment in world culture. My point is that the meta reality of world
culture must be viewed in dynamic terms, for a given creative manifestation
is not limited to one strata but rather has multi-complexual implications.
This can be better understood by dealing with the consideration of
functionalism, for the composite thrust of world culture - no matter what
culture group - has long insisted that a given aspect has much wider
implications than [13] merely the empirical science which defined how it
worked. To deal with the realness of creativity as a healing factor is but
one example of the multi-complexual position of given creative strains in
world culture. The use of certain creative projections for given parts of
the day (or night) has long characterized the meta-reality of creativity
from the world group - and the realness of what this use implies should not
be taken lightly. To really understand the meta-reality implications of
world creativity is to be aware that creativity is not separated from the
realness of the culture itself. The nature of its affinity alignment can be
viewed with regards to the realness of functionalism as well as aesthetics.
We are thus viewing a relationship that transcends basic categories, for the
progressional continuance of world creativity does not have a real
separation between its creativity and science, or its creativity and
religion - or its creativity and its community. To deal with the
meta-reality of world creativity is then to examine the nature of this
relationship as a means to better understand the multi-complexual
implications of what creativity really is - or can be.

[Figure 3]

[14] [Figures 4 + 5]

[15] [Figure 6]

In actual terms it is possible to view the solidification of dynastic Egypt
as a basic point to begin examining the particulars of world methodology -
and/or meta-reality high purpose. For to view the solidification - of the
Nile Valley Mystery System - that being, the emergence of a composite
information and spiritual system for culture dynamics - is to begin
understanding the reality nature and spiritual purpose of creativity - as
viewed in world culture terms. Creativity in that context was viewed as a
discipline not separate from composite spiritual dynamics - having to do
with what forces it activated and/or participated in, and this information
was dynamically intertwined throughout the whole of Egyptian culture.
Hopefully the next cycle will see attempts to re-understand this phenomenon,
for the African Nile Valley Mystery System information complex (and
spiritual platform) remains one of the more amazing information blockages in
this time cycle. Sooner or later this information must assume its rightful
place in world information dynamics - especially since its tenets and focus
spectrum have provided the foundation for present day western culture
dynamics. It is important that the reality particulars of creativity are
viewed with respect to its greater implications.

[16] One needs only to lightly examine the composite thrust of world culture
and immediately certain relationships are revealed concerning the
multi-dynamic realness of world creativity. Moreover I am not simply
referring to one aspect of creativity, but rather the composite
solidification of this subject - whether we are discussing painting, music,
dance, etc. - for all of these areas functioned as one basic thrust
alignment with regards to culture. In the consideration that we refer to as
astrology, the very realness of a given sound (note) has definite
implications engulfing the totalness of how existence is viewed - even to
the point of how birth and death are viewed. The significance of this one
area of composite aesthetic gives insight and awareness that western culture
has not even begun to deal with. It cannot be lightly dismissed that a
person, depending on his or her birthdate, is born into a vibrational realm
that in the world position is not only understood but also prepared for. To
understand this consideration is to have some idea of the multi-complexual
realness of world creativity as a dynamic factor permeating the whole of its
given culture group. We are thus dealing with a consideration that engulfs
the total spectrum of perceived existence, as well as a consideration that
has maintained both concern and awareness about composite life matters -
even extending to one's entry into this planet. For the realness of what we
call astrology is a multi-dynamic consideration in itself, having to do with
the solidification of information that can be used in a positive way to deal
with the actualness of life on a spectrum of levels. The dynamic realness of
this consideration is most profound - but this is only the beginning. For
however the science realness of astrology was arrived at, it was not the
result of a mono-dimensional probe, but instead the natural result of a
basic affinity thrust that relates to the whole of its given culture. I am
commenting on a vibrational thrust projection that can be viewed as a
synthesis between empirical flows - in terms of perception of events on the
planet and the functional science that grew from that perception - and
aesthetic vibrational flows - having to do with the realness of both
affinity alignment (and the affinity insight principle) as well as
spiritualism. To view the dynamic [17] actualization of astrology and its
utilization from world culture is to have some understanding of the
multicomplexual factors that determine how given projections are conceived
through world culture. Because if the actualness of world culture can be
viewed with regards to the concept of affinity-alignment, then a given
culture's utilization of creativity can better be understood by viewing the
linkage implications underlining its perception nature. This is so because
the creative process is not viewed as a separate factor from the total life
of the culture in world music terms. The linkage implications of a given
actualization in world culture only outlines the dynamic realness of what
that actualization really is - in its total sense - and in doing so, gives
the correct definition to both the creative process and the realness of its
culture. Nor have I meant to over-emphasize the actualness of astrology as a
multi-dynamic example of creative linkage, because this is only one example
among many. The concept of music for meditation - where through sound a
person is able to deal with certain realizations concerning his or her
life - is an integral part of the multi-dynamic implications surrounding how
the meta-reality of world creativity is perceived. This then is another
example of what we are dealing with in trying to understand the underlying
vibrational and philosophical realness of world creativity.

One of the most basic factors that serves to distort the actualness of this
subject is present day misinformation and prejudice. It is important to
understand that the composite realness of world creativity is viewed as
primitive by western culture (primitive in the sense that when measured
against the western philosophical and creative position, world creativity is
somehow lacking or even retarded). We have been led to believe that when
compared to the music of Iannis Xenakis for example - who purportedly has
evolved structural techniques with architecture - Pigmy music is less
advanced. Any attempt to deal with the realness of world creativity would
necessitate that some effort is made to deal with this attitude. For if the
dynamic realness of this subject can be checked in practically every library
in the country then it must be [18] assumed that the disregard for world
creativity by western culture is based on something other than the actual
music.

Without doubt, the strongest factor that has served to distort the subject
of world creativity is the realness of cultural racism as well as
misdocumentation. The disregard of world creativity can be directly linked
to how Europeans have come to see themselves and what this viewpoint has
necessitated in terms of functional position. The many notions concerning
white superiority in this time zone are directly connected to how the
expansion of western culture has come to be viewed by white people - that
being: the rise of western civilization and the progressional decline of
non-western civilization (as a controlling force) can be viewed as
sufficient basis to proclaim an inherent superiority of the white race. Thus
whether applied to creativity or anything else, western culture has come to
view outside initiations in a somewhat distorted manner (and yet to write
this without also commenting that the natural affinity make-up of every
culture and racial group can be viewed in this same manner would be grossly
unfair). The fact is, every cultural and racial group seems to have problems
experiencing outside initiations. My reasons for focusing on western culture
in this section has only to do with the dynamics of this time period - which
is to say, no matter how prejudiced given culture groups are, or can be,
only western culture is in the economic and political position to influence
how the composite progressional continuance of information is to be
perceived and transmitted - that is, on any real influential level, for even
the realness of creativity is affected by the political realities of a given

time zone. It is this semantical and vibrational subjugating of world
creativity that is actually transmitted when most people speak of what they
have come to call 'primitive' music. However, we are slowly coming to a
period where the realness of this subject must again be dealt with; for now,
more than ever, there is a need for having a sound understanding of world
creativity. This is because the actualness of the next cycle will
necessitate that creativity play an important role - either with regards to
particulars or real transformation. Before this can happen [19] there are
many factors that must be re-clarified, because the natural thrust
progression of western culture has been detrimental to the realness of
creativity - outside of its ability to function with regards to economics
and spectical. The study of world creativity can only help put the the
totalness of this subject in better focus - which is to say, a more
realistic and accurate appraisal of world creativity could help everyone
view the creative process in its purest sense (what it really is - or could
be).

The study of world creativity is a necessary factor that must be dealt with
because of a multitude of reasons. For I believe there are basic vibrational
laws that dictate how creativity is to function in any culture - and the
basic underlying 'stuff' of these laws has nothing to do with the dynamic
particulars concerning how a given form functions in itself (i.e., whether a
form is more or less when compared to other forms). The distortions
surrounding how world creativity is understood in this time zone are
directly related to the flaws which permeate western culture - in its
progressional and functional sense. I do not mean to imply there is a
conscious attempt to manipulate how world creativity is understood from any
given wing of western culture, nor have I meant to imply that there is a
concerted conspiracy in the west to undermine world creativity because this
is not what I believe. Rather, the vibrational lack of respect of world
creativity that exists in present day western culture is related to what I
call the collected forces of western culture - that is, the compilation of
many different factors taking place in western culture seeks to promote a
special type of affinity alignment (and this alignment is not conducive to
experiencing world creativity among other things). Certainly I have not
meant to imply that any particular form of creativity is better than any
other form - because this has nothing to do with anything - my point instead
is this: if there are universal laws having to do with what creativity is
actually about, then any attempt to negate those laws would risk
establishing important flaws in the actual aesthetic lining of that given
culture group. It is not a question of one culture being more advanced than
another culture as much as [20] what is the end result of this deviation if
any. The study of world creativity can supply the proper basis to deal with
the realness of what is happening in this time zone. By examining the thrust
continuum of this subject, it is possible that we might better understand
what creativity really is, for the realness of world creativity transcends
any one time period. This subject corresponds to the progressional continuum
of our total beingness on earth (yet I do not mean to imply that creativity
is about earth). The study of world creativity can shed light on the whole
of creativity both with regards to the past, present, and future.

If cultural racism is the motivating factor that has provided impetus for
the distortions surrounding how world creativity is presently perceived,
then the effect of this phenomenon cannot be separated from the
reinterpretations which have historically underlined what this subject
really means. For many contributions from world culture have simply not been
acknowledged or recognized - even though the science that supports western
culture would not be possible without these contributions - and in most
cases the composite actualness of this phenomenon is distorted only as a
means to apply gradualism. Nor have I meant to imply that only certain
aspects of world creativity are distorted, because this is not necessarily
true. In actual fact, the misdocumentation that surrounds how world
creativity is understood in this time period extends from both given
particulars to the essence realness underlying the meta and vibrational
foundation of this subject (and without a proper understanding of the
essence foundation of world culture, it is impossible to deal with the
realness of its creativity) . The extent of this misdocumentation cannot be
separated from any real attempt to deal with world creativity - for the
distortions that surround this subject permeate every level of available
information in this period. Given this situation, it remains for our
generation to initiate the reconstruction of both the history of world
creativity and what the true nature of the vibrational and philosophical
(and functional) implications of this subject really imply. Only by having a
clear (and correct) idea of world [21] creativity will we have basis for
establishing what role creativity today can have for future generations.

[Figure 7]

The study of world creativity must be approached both in its composite
realness AND individual brilliance, because all of this information is
essential if we are to have some real basis for perceiving the dynamic scope
of this subject. With regards to investigation it is necessary to examine
the actualness of this subject in both composite and separate terms. For the
composite realness of world creativity can help us better see the dynamics
of this subject in broad universal terms (while separate investigation of
given focuses can give us some idea of the particulars related to how these
universal considerations were actualized on the physical universe level).
For example, the realness of African creativity has much to offer this
period in time if it can be reassessed with regards to what is happening
with the music, rather then the people analyzing the music. A more accurate
understanding of African creativity could give profound insight about the
realness of composite creative music today in America, regardless of level,
because of position of black creativity in western culture. This is so
because the vibrational realness of black creativity [22] has not really
changed in terms of affinity-alignment and/ or affinity dynamics. Any real
attempt to understand the significance of American creativity would imply
that the affinity-alignment implications of black creativity be dealt with
on many different levels.

It is also clear that the study of world creativity cannot be undertaken in
conventional terms, for the 'particular reality' surrounding the state of
various culture groups vary depending on what time zone is being examined
(and it must be remembered that the time perimeter encasing this subject can
be traced back thousands of years before the Christian era). Moreover, in
the case of African creativity there are many other variables that must be
dealt with as well, for the thrust continuum of African creativity cannot be
separated from how the systematic destruction of black culture was achieved
and maintained. For the time zone which saw the decline of black
civilization was also the same period that saw the functional and
meta-reality of African creativity subjected to 'vibrationaltransfer'
(another way of saying this is 'stolen'). Given the present situation in
Africa it will be extremely difficult to piece together the historical
references related to how this dissolution was brought about in a complete
sense - for in dealing with Africa, we are talking of a continent that has
experienced a succession of wars on a time scale that boggles the mind.
Historians - who are only too aware of the progression surrounding the
decline of black civilization - have been able to use the succession of
transitions in Africa as a means to redefine what actually happened (i.e.,
in the use of racially motivated speculation without basis). The end result
of this situation is that the historical community would have us believe
black Africa has never developed advanced cultures (or creativity) - and
this position, while interesting, has nothing to do with the truth.

It is not the purpose of this book to detail the factors that dictated the
historical progressions surrounding African civilization, because this is a
task for more qualified writers (i.e., Chancellor Williams or writers like
Yosef Ben Jochannon). But as the real truth about [23] this subject slowly
emerges, it will be possible to gain some idea of the essence foundation
that dictated how African creativity was to be understood and utilized. This
information will better enable us to deal with the actualness of world
creativity - regardless of culture. Because whatever we learn about the
essence realness of African creativity should also shed light on the
resultant physical universe state that world creativity is now in. For while
the systematic distortion of African culture pertains to only one community
of world culture, it would be a great mistake to assume that only Africa
will suffer in the long run from distorted interpretations. The realness of
world creativity is directly related to our ability to gain true information
with regards to all of the various culture groups that make it up. For the
basis of the distortions surrounding the realness of African creativity
cannot be separated from the thrust expansion of composite world
creativity - and this is important, because the reality of cultural
documentation effects the composite implications of world creativity. In
other words, western historians would have us believe that the many
different tribal groups in Africa today can be viewed as proof that (1)
there was never a unified African aesthetic (center) and as such, there was
never an 'advanced' African culture, (2) the creativity 'ised' from these
various tribal communities has never changed (and as such doesn't expand),
and (3) the essence foundation underlying how given tribal groups see their
activity has no relation to any kind of principal African viewpoint (or no
value in the search for a unified aesthetic). The seriousness of these
charges cannot be lightly dismissed for the net effect of this viewpoint
seeks to undermine the progressional spread (and expansion) of world
culture. Only in this time period have specialists begun to objectively
examine the realness of African civilization (and for the most part this is
because of the work of black historians who are dealing with the challenge
of this most important area) .

Rather than pointing out surface differences in world creativity as a means
for dis-unification, historians and musicologists could better serve
humanity by using these [24] differences to trace back to the underlying
source that 'ised' the world aesthetic in its pure sense. For with the
destruction of the historical records, and the natural limitations of oral
history, it is possible honest research in world creativity could prove most
valuable in helping to recover information on particular culture groups
(this would not only pertain to the progressional-continuance of African
creativity, but to every projection that has experienced blockage regardless
of level). Whatever, the work being done in Africa and India towards tracing
the historical and progressional development of given culture groups,
represents a new field of research - in many cases the solidification of
this kind of research has been developing for the last fifty years and
some - and there will be much relevant information for us to deal with in
the coming cycles. We are now in a time period where there is a need for
true information about world culture - regardless of racial or vibrational
category. For example, only recently have we been able to learn about the
realness of early Chinese creativity - or Dogon culture. Slowly, but surely,
it is becoming increasingly clear that all notions of cultural superiority
or national superiority must be re-examined, for the composite realness of
world creativity has no room for prejudice. In this period, the notion of
western creativity being superior to other cultures is finally shown to be
only a cultural tool for suppression, and this must be understood, for not
only is creativity not about being superior in that sense, but every
culture is a superior example of its own natural thrust alignment. There are
really no examples of developments in creativity, with the possible
exception of the emergence of electronic music, that cannot be traced back
to the composite dynamics of world culture. Everyone has had a hand in
making earth creativity what it is in this period because the multitude of
forms utilized on this planet are all interrelated. Whatever, the realness
of world creativity is included in this book because of several reasons -
(1) to better establish groundwork for the expansion of this series of
books, (2) to rectify one of the most suppressed areas of our present day
information scan - with regard to supplying motivation to help establish a
total musical environment based on [25] respect for all of the creativity on
this planet, (3) to use what we are able to understand about world
creativity as a factor to assist in decoding what options are available to
the creative person today, (4) and finally to establish the realness that
world creativity is related to the next transformation cycle.

[Figure 8]

[26]

[Figure 9]

To examine the realness of world creativity in positive terms is to approach
this subject in a universal context. What is the point of examining the
meta-reality of world creativity unless that examination relates to the
total scheme of what creativity is about in both cosmic and functional
terms? In itself this type of research means very little unless we are
enlightened to move towards a universal love of all various forms of
creativity. This is what I am interested in. For too long the study of world
creativity has been used as a political or ethnic tool at the expense of the
actual creativity. The end result of this mis-use of eth[n]o-musicology (and
history) has helped to make this period in time very interesting - for what
we do not know, rather than what we know. The composite realness of world
creativity has nothing to do with the attitude many people have brought to
this subject, and as such we are all losing. For if the significance and
realness of a given culture group is distorted, what is the end effect of
that distortion? It must be understood that not only are we the effects of
what we do not know, but our ignorance about multi-information also will
determine how we flow (involving what options we will have in the future).
In short, we are slowly coming to the junction where we cannot afford the
luxury of not dealing with what we could know. For a better understanding of
[27] earth creativity can help us on many different levels. There is no
aesthetic or vibrational flow happening on this planet that we can afford to
not know about. Because if a given projection is indeed related to a
multitude of factors it would be to our advantage to understand what this
means - both with regards to the multitude of information that corresponds
to what each projection really signifies, as well as what information means
with regards to the spiritual factor related to how it is approached. As we
move towards the next transformation, we cannot afford to disregard the
realness of world culture.

[Figure 10]

There are many reasons for writing about the underlying philosophical
questions that determine how creativity is to be perceived. For the
meta-reality of a given projection transcends any one aspect of creativity
and, in fact, permeates the realness of existence. Moreover, the science of
a given aesthetic is directly related to the meta-reality base of its
aesthetic. Thus any attempt to deal with the functional actualness of a
given projection would also reveal some aspect of what world creativity
really is. In other words, the underlying philosophical arena of a given
thrust alignment determines the aesthetic and functional realness of its
given projections. It is important to understand what this means, for at
present [28] there is much misinformation surrounding how many avenues of
world creativity are perceived. For example, the inability of the western
methodological and vibrational alignment to properly deal with the
meta-realness of world creativity can be clearly viewed in the many analysis
which have been made on African music that are completely outside of the
'base-aesthetic' consideration of African culture. For example, the reducing
of African music to scales without a clear understanding of what that scale
means on a vibrational-spiritual level; or the research practiced on African
rhythm which ignored that rhythms place on the vibrational-ritual level of
African culture (where a given rhythm gets its significance) but instead
focused only on how that rhythm works in one-dimensional terms in the music.
All of these factors might be of interest of western analysis, but this type
of activity should not be confused with African music. Not to mention that
because of the limitations of language it is probably impossible to write on
what a given element really means in the actual sense of what is happening
in a given creative functionalism - as it happens in that moment. For all of
these meanings are connected to factors that are much more profound than a
physical universe sound (or appearance) being executed in a given time zone.

[Figure 11]

[29] My point is this: the progressional actualness of a given creative
manifestation transends the particulars of any one empirical criteria and as
such the whole subject of musicology has to be dealt with very delicately.
For while I do not mean to negate an entire area of research - certainly
many important factors have emerged in musicology - it is essential to
maintain an overview about the spectrum of extended creativity. For the base
of any real inquiry into a given thrust alignment must respect the affinity
alignment of that thrust if it is to be meaningful. With few exceptions
(i.e., Allen Lomax) this is never done - especially if the form under
scrutiny is of or related to black culture. Moreover, I am not saying that
empirical investigation in itself is not useful - because this would not be
a true statement either. Instead, I have focused on the spirit factor
underlining how western culture deals with the study of world creativity, as
a means to say that we know very little about this subject. We know very
little about the realness of world creativity because the criterion that
substantiates how western culture perceives phenomenon is not universal.

It is understood that the concepts and tools of a given culture group are
perceived in accordance with how that group sees itself. If this is true,
then not only should certain allowances be made when a given culture group
attempts understanding another culture group, but the vibrational
implications of 'affinitytransfer' must also be dealt with. This is
especially true if we are to understand the realness of world creativity.
For the factors which underline how the composite thrust of western culture
sees itself is directly in accordance to its own alignment - with regards to
what it views as rational. Yet this same alignment, when formented into
functional and intellectual concepts, can serve as a factor for
misinformation when applied to certain sectors of the world's community -
especially again, African music. This is so because the western affinity to
what it would call 'logical' can become a strait jacket for comprehending
world creativity (or culture). Thus, it comes as no surprise that many
western historians have little or no respect for many areas of world
creativity. Concepts like 'advanced' [30] or 'retarded' have nothing to do
with world culture's basic vibrational thrust alignment (or at least these
concepts are viewed in completely different terms from western
observation) - yet it would be wrong to assume that the progressional
realness of world creativity has no standards. Understanding world
creativity involves dealing with projections whose ultimate actualness has
nothing to do with many of our notions concerning either creativity or life.
And as such these areas of information must be approached very sensitively.

To view the initiations of a given culture from world creativity is to deal
with many factors, for the realness of a given projection is related to the
time junction it is in (as well as the time junction it is perceived from).
All of these factors are related to the position of a given culture in its
own cycle (with regards to the aspect being examined) - and where that
culture is at, in present time terms. In other words, a culture like India
cannot be viewed in the same context as Africa - because the major
differences would have to do with the destruction of practically all of the
historical records related to the essence expansion of black creativity (in
its most high state - the solidification of its empire-culture), while
India - even in its decline from its former position - does have its
historical records. Thus, it is possible to study the vibrational and
conceptional identity of Indian culture - and how it relates to the
creativity - and gain some understanding of the meta-realness of Indian
culture (on the surface). Yet if the essence alignment of world creativity
is based on the synthesis of concept and spiritualism, it would also imply
that any attempt to understand the reality of a given projection would
necessitate that same synthesis. Certainly this fact in itself is not
profound, but what it implies is rarely dealt with. For while there has
always been a need in every culture to examine and seek new realities - and
of course this is as it should be (what else can I say?) - the realness of
how outside initiations are viewed is rarely put in proper perspective. My
point is that it is one thing to learn something - but quite another to
realize that while you are learning, it has nothing to do with what is
actually [31] happening (or at least the relationship between what you learn
and 'what is' is wide enough so that one should not confuse the two).

[Figure 12]

On the physical universe level, the actuality of a given performance of
music and dance reveals the extent of how different the basic aesthetic of
world creativity is from western culture. For while it is clear that the
dynamics of world creativity function from another sensibility with regard
to its meta and vibrational presence, nowhere can the realness of what this
means be better understood/ experienced than by focusing on the actualness
of a given performance in ceremony. Nowhere can the source presence that
determines the meta-reality actualness of a given thrust projection be
better viewed than by experiencing how music and dance function in actual
context. In every way, a given performance underlines the realness of
vibrational interaction (the particulars of which depend on the alignment
nature of the culture itself) and in its natural state this phenomenon also
reveals the realness of its own discipline - with regards to the particulars
of the actual moment (through improvisation). Yet just as it is impossible
to separate the music from a given projection in world creativity (as a
means to understand what it really is) it is also impossible to view any
component of world creativity in that manner.

Edited by Lazaro Vega, 30 January 2007 - 08:35 PM.


#2 Lazaro Vega

Lazaro Vega

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Posted 30 January 2007 - 08:34 PM

[32] For all of the different creative areas in world creativity must be
viewed in terms of the composite hierarchy (culture) that determines what
role a given individual can function in - with regards to the composite
actualness of a given manifestation (or ceremony). It is not a question of
musicians performing while the majority of people - after paying their
tickets - experience the performance. The meta-realness of world creativity
functions as an integral part of how life itself is understood/felt. In
other words the vibrational alignment that determines the nature of how
given culture groups relate to the 'is', also dictates the natural affinity
reality that gives meaning as to how the total hierarchy of creative
dynamics is to be utilized in a given ceremony. With this in mind, a given
ceremonial occasion would have musicians functioning in accordance to the
vibrational and physical universe principles which defined the nature of the
occasion - the dancers would also function in relationship to these same
coordinates, as well as the 'moment-actualness' of the music being created -
the scripters would have already created masks or other ornaments relevant
to the occasion, in accordance to the ritual that underlines the ceremony,
etc., etc. (In other words, a multitude of factors are at work in a given
creative manifestation in world creativity.) Moreover, the composite lining
of world creativity is manifested from a principle unification factor,
embracing both ritual and symbolic meaning. The end result of creativity
from this type of alignment can be viewed on many different levels. For the
projectional thrust of world creativity moves towards the unification of
culture, and the actualness of ceremony, as designed through the annals of
world culture, moves towards 'maintaining the community'. The nature of this
interrelationship is outside of anything present day western culture has
been able to come up with. Only by examining the essence realness of world
creativity can western culture establish basis for perceiving what is really
happening with this subject.

Thus it is when the totalness of a given creative thrust is experienced that
we are better able to have basis for attempting to understand world culture.
For the realness of creativity from the world group encompasses [33] more
factors than what we have come to realize. There are many other
considerations in world creativity that must also be dealt with if we are to
have even an elementary grasp of given creative flows. For while the
realness of any particular creative manifestation in world music utilizes
many different levels - either in terms of essence factor or what a given
physical universe event is at any given moment - it should be remembered
that the very arena which defined the events of a particular creative
manifestation are also directly related to the meta-reality of the culture
itself. In other words, the form of a particular creativity actuality is
also part of the ritual of that creativity. But where this idea can be seen
utilized later in contemporary German functional composition concepts (the
technique of Klangfarben's melody can be looked at in relationship to this
most basic African idea) the major differences in the use of this technique
relates to the spiritual-essence factor in world creativity. The nature then
of African creativity in its normal flow dictates a more profound
understanding of the concept of form.

If improvisation is the most universal element to be found in world culture,
it would also be to our advantage if this consideration were refocused on
and better understood. I say this because, in this time zone, there seems to
be some disagreement as to (1) the underlying essence-factor which
determines how we have come to view improvisation, (2) and the functional
nature underlying how improvisation has to be utilized before it is valid.
There are many factors in African music that must be understood if we are to
have a more realistic view of what is implied in the concept of
'composite-aesthetic' creativity. The most basic of these factors would be
the understanding of form and the underlying tools which have always been
properties in a given creative actualization in world music. I have already
stated that a given manifestation of African music utilizes a composite
identity on a level I believe to be the most sophisticated that is
documented in this period. But it is also necessary to reiterate that all of
this activity (in a given creative manifestation) - that being, the use of
particular elements (i.e., mask - [34] headdress) and the use of certain
rhythms for certain occasions - can be looked at in relation to the form of
the creativity (I do not mean, however, to imply that this is the only use
of form). If this is true then what we have is an extended understanding of
form - and this is only the first level.

My reasons for attempting to understand what constitutes form in African
music (world music) is to hopefully gain a better understanding of what is
really happening in in world creativity. For, if my previous observations
are meaningful on any level, there is another level of world creativity that
is of even more importance. That level would be the significance of the
concept of form in the world music aesthetic.

I have already stated that the basic underlying vibrational thrust in world
music can be viewed as activity which moves towards ritual. But what does
this mean? Well, it is my opinion that the consideration of form as ritual
completes the total meta-reality cycle that dictates how a person
participates in a composite creative manifestation (as far as what that
participation really means). Form viewed as ritual can be understood not
only as functional unification in the creative act but also in regards to
what it means for the society. Ritual then is the alignment which serves to
keep the participating individuals in accord with the meta-reality of the
culture as well as a factor that substantiates the essence factor of the
culture itself. Form as ritual is also the most important factor in the
stab[i]lizing of a given culture's relationship to its spiritual essence
foundation. With this understood, the implications of a
'composite-aesthetic' reality can become clear; and if my understanding is
correct., the functionalism which dictates how world creativity is perceived
(from the people - or culture groups themselves) can be looked at as an
example of the highest form of creative alignment. For the totalness of a
vibrational approach - encompassing the elements used in a particular
manifestation - is also the form. Thus, a given creative manifestation in
world music is a profound example of a living, breathing culture, rather
[35] than a factor that can be separated and studied by itself. The end
result of this phenomenon is that world creativity sustains the agreed
reality of its culture's lining in extended spiritual terms.

It is necessary to search even further into the functional reality of world
music if we are to understand the vibrational position of each participant
in the actual creative process. For the factors that determine the composite
reality of a given form in the world group is also manifested in the
individual reality of the participating musicians, dancers, etc., in that
same form. In other words, while all of the factors which determine a given
reality of form are operative throughout the total gamut of creativity in
world culture - the nature of what this phenomenon means embraces other
factors as well (that being, with regards to the participating individual -
while he or she is functioning in the creative act). It would be to our
advantage if these factors are examined on as many levels as possible.

The consideration that most interests me is the reality of the creative
person with respect to how a given form is executed. In other words, I have
already written that any given form dictates the nature of what elements it
is to utilize - as well as how that utilization is to take place. But since
the functional realness of form in in world culture is not constructed on
any one-dimensional empirical system, we are forced to examine what this
utilization means. This is so because there is another factor that must be
looked at - a factor whose importance carried multi-complexual implications
with regards to the question of form in world creativity. In other words, to
deal with the realness of form in world creativity would also imply some
understanding of the consideration we call 'improvisation'. We are thus
forced to examine what this consideration really means, for the actualness
of improvisation permeates every level of world creativity and how it is
manifested - regardless of form or time period. The realness of
improvisation is the single most apparent factor that separates how world
creativity is perceived, as compared to western art music (at least in
physical universe [36] terms). Thus an examination of improvisation could
help establish some criterior for the whole of the book (affecting how
creativity is perceived on every level regardless of culture or category).
Moreover, an investigation of this subject can also help establish the
nature of how functionalism is perceived in world creativity - either with
regards to the actualness of a given functional alignment, or the
meta-implications underlying what that alignment means - in both actual or
conceptual terms (even applying to documentation).

Improvisation - as it is 'ised' in the world group aesthetic - has to do
with the ability to function in a given context in accordance to each
individuals own vibrational flow. In the functional context of African
creativity where the form is ritual - each individual while utilizing the
language content of the occasion, is in the position of interpreting the
nature of what that given reality means subjectively, objectively (or
bi-jectively). The totalness of this relationship can be viewed as
individuals creating in 'actual time' from a composite essence alignment
that also affirms the meta-reality of the culture in the 'doing' (creating).
The realness of this condition thus affects the individual, communal and
spiritual well-being of the culture. This then is the actual 'isness' of
improvisation as conceived and offered to us from the progressional
continuance of world culture - as opposed to present day concepts which view
this subject as an end in itself (or as a factor that promotes a kind of
freedom alien to its base aesthetic). It is important that this factor is
understood if we are to view the realness of world creativity as a potential
transformational tool. This is so because there are now attempts in this
time zone from certain circles in western culture (i.e., the Post-Cage
School or the emerging improvisational movements) to declare that
improvisation is a form that can function only in certain contexts (and any
other use of this consideration constitutes another functional approach) -
but this is not true. The actualness of improvisation, as it has been
defined through the progressional continuance of world culture, transcends
any one approach or application. I am writing of a discipline that really
[37] shows the proper relationship between given functional approaches and
aesthetic agreements, as well as a consideration that reveals the functional
dynamics related to its own utilization.

Moreover, I am not focusing on the consideration of improvisation and its
relationship to functionalism in world creativity as a means to declare
innovation. Rather, the use of improvisation can be traced to culture groups
thousands of years before the Christian era. It would be more realistic to
view the use of improvisation in world creativity as the culmination of what
has been learned/experienced throughout the progressional actualness of life




on this planet (and beyond - relating to the realness of the 'is' - or
original knowledge, etc.) rather than the product of isolated innovation -
as the word is now used in this time zone. This information is important to
understand, because the realness of improvisation promises to be the next
sourcetransfer factor in the western documentation cycle. It should also be
noted that the utilization of improvisation in world creativity was
dynamic - extending throughout the total spectrum of creativity. There are
as many different forms of improvisations as there are cultures (not to
mention that every culture necessarily found many other ways to deal with
this consideration in their own way of being creative). Add to this the
natural realignment of functional process that takes place in the course of
time and one might have some understanding of the dynamic realness of
improvisation and how it has been utilized in the composite thrust continuum
of world culture. Any attempt to negate this most obvious fact is ridiculous
for the progressional use of improvisation is documented for all to see (yet
we will probably have to deal with this very subject in the next time
cycle).

I believe the study of world culture is very important especially in this
time zone. We, as earth people, are in the position where great tasks await
us in practically every area. The importance of the historical progressions
leading to this time zone can shed light on how we can develop in the
future. This section of my book is [38] primarily concerned with
re-establishing the underlying principles which define the personification
of the world group aesthetic - nothing more. The real research has yet to be
completed, for without doubt, there is much more for us to learn about world
creativity.
---

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#3 Chuck Nessa

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Posted 30 January 2007 - 08:37 PM

Yup.

#4 ep1str0phy

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Posted 30 January 2007 - 10:05 PM

I've been trying to get a copy of the writings for a while...

#5 bertrand

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Posted 30 January 2007 - 10:52 PM

Lou Donaldson has some interesting things to say on the very same subject.

Bertrand.

#6 Tom Storer

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Posted 31 January 2007 - 08:14 AM

Lou Donaldson has some interesting things to say on the very same subject.


:lol:

I would love to eavesdrop on a conversation between Braxton and Ornette Coleman.

#7 Alexander Hawkins

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Posted 31 January 2007 - 09:12 AM

I've been trying to get a copy of the writings for a while...


Have you tried here?

#8 WD45

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Posted 31 January 2007 - 09:44 AM

I read portions of the writings for some research while in college.

I was confused by his use of the word "vibrational" in a number of different contexts. I even emailed him at his address at Wesleyan. Should have asked him in person when we met at a concert some time ago. He used the word a whole bunch, IIRC.

#9 Tom Storer

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Posted 31 January 2007 - 12:21 PM

I remember seeing a Braxton concert with Holland, Lewis and Altschul in Schenectady back in the day. It was a college crowd, and after the concert Braxton came out to do a question-and-answer session. He talked just like the excerpts above, really fast, and totally excited. He illustrated his remarks by singing some of his compositions of the period. People's jaws were dropping in bemusement and awe.

#10 Werf

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Posted 31 January 2007 - 02:46 PM

I read portions of the writings for some research while in college.

I was confused by his use of the word "vibrational" in a number of different contexts. I even emailed him at his address at Wesleyan. Should have asked him in person when we met at a concert some time ago. He used the word a whole bunch, IIRC.


Did he reply to your email? I was told (by a very reliable source) that he doesn't know how to access his email account. :g

#11 jasonguthartz

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Posted 31 January 2007 - 03:15 PM

[quote name='Werf' date='Jan 31 2007, 03:46 PM' post='610571']
[quote name='WD45' post='610431' date='Jan 31 2007, 09:44 AM']
I was told (by a very reliable source) that he doesn't know how to access his email account.
[/quote]
Was your source Ahmad Chalabi?
(i.e., that claim is false)

#12 ep1str0phy

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Posted 31 January 2007 - 04:00 PM


I've been trying to get a copy of the writings for a while...


Have you tried here?


Thanks (now for the cash...)

As far as online Braxtonia is concerned, I've been told that one can contact Graham Lock (but, even for personal research, I haven't had to go that far--yet...).

#13 Alexander Hawkins

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Posted 31 January 2007 - 04:33 PM

(now for the cash...)


:g

#14 WD45

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Posted 31 January 2007 - 04:37 PM


I read portions of the writings for some research while in college.

I was confused by his use of the word "vibrational" in a number of different contexts. I even emailed him at his address at Wesleyan. Should have asked him in person when we met at a concert some time ago. He used the word a whole bunch, IIRC.


Did he reply to your email? I was told (by a very reliable source) that he doesn't know how to access his email account. :g


no, he did not. :g

#15 AllenLowe

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Posted 31 January 2007 - 05:25 PM

I like Braxton very much personally, but he does not return phone calls, emails, or messages left with third parties -

#16 Werf

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Posted 01 February 2007 - 12:18 PM

[quote name='jasonguthartz' date='Jan 31 2007, 03:15 PM' post='610580']
[quote name='Werf' date='Jan 31 2007, 03:46 PM' post='610571']
[quote name='WD45' post='610431' date='Jan 31 2007, 09:44 AM']
I was told (by a very reliable source) that he doesn't know how to access his email account.
[/quote]
Was your source Ahmad Chalabi?
(i.e., that claim is false)
[/quote]

'twas one of his beloved students, who was also a close friend of Braxton's assistant, and this person adores the Brax Master.

I emailed Anthony with a question about one of his compositions and never got a reply, which is where my train of thought figures into this. No reply? No biggie, for me, 'cause I LOVE Braxton. I'd eagerly sit down and share a platter of Wimpie burgers with him, and talk the music.

#17 Epithet

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Posted 01 February 2007 - 03:06 PM

Has anyone tried to translate it from the German?

#18 JSngry

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Posted 01 February 2007 - 08:48 PM

To better digest the jargon, I've been reading this a paragraph at a sitting, and it makes perfect sense to me.

Braxton understands.

#19 Chuck Nessa

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Posted 01 February 2007 - 08:50 PM

It's been that way for 40 years. Tony's ok.

#20 danasgoodstuff

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Posted 02 February 2007 - 02:32 PM

Say what you will about WB, at least he didn't write like this...

#21 The Magnificent Goldberg

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Posted 02 February 2007 - 06:41 PM

I've never heard Braxton play. And I haven't finished this yet. But I think it's one of the most brilliant bits of writing I've ever come across.

Not to say it isn't wthout flaws.

Rather, the vibrational lack of respect of world creativity that exists in present day western culture is related to what I call the collected forces of western culture - that is, the compilation of many different factors taking place in western culture seeks to promote a special type of affinity alignment (and this alignment is not conducive to experiencing world creativity among other things).


What I think he means by "western culture" is US culture. He had already noted that western culture includes many different creative affinities, such as Scottish bagpipe music and Alpine music, which are lumped in with "World Music". I think you have to understand that generally what Braxton means when he talks about western culture is US culture (and its overseas extensions).

On page 23, there is what looks to me like a fairly serious display of illogic.

In other words, western historians would have us believe that the many different tribal groups in Africa today can be viewed as proof that (1) there was never a unified African aesthetic (center) and as such, there was never an 'advanced' African culture, (2) the creativity 'ised' from these various tribal communities has never changed (and as such doesn't expand), and (3) the essence foundation underlying how given tribal groups see their activity has no relation to any kind of principal African viewpoint (or no value in the search for a unified aesthetic).


I've not come across a historian of African matters who has made argument (1). Nonetheless, there may be some. However, there is no evidence that there ever was "a unified African aesthetic (center)". But whether there was or not has no bearing on whether there was (or is) "an 'advanced' African culture". Braxton clearly states elsewhere, and I agree 100%, that in this matter, the question of advanced or not is irrelevant. Cultures are what they are now and they were what they were then and they will be what they will be whenever.

Argument (2) does not follow from the general proposition anyway. Once more, I've never seen anyone try to make this argument. They'd make themselves a laughing stock I'm sure. And argument (3) does not follow from argument (2) - again, I can't imagine anyone seriously pretending that it did.

However, despite the illogicalities of this section, I understand very well what Braxton is trying to say. And I agree with it.

I found it very interesting that Braxton's encounter with African music in 1968 led him to these realisations. My own first in depth encounter with African music (different music, I strongly suspect) in 1967 led me to the same ones - though I haven't expressed them in the way Braxton does. :D (It is awfully HARD - as he says - to find words to deal with this issue.) But one of the big problems I do have with this - and with my own ideas, which must necessarily be tentative as a result, is that it all seems too large a task. Braxton notes this himself.

What he is trying to do is to derive a basic cultural aesthetic, valid for humanity as a whole, much as linguistic historians derive proto-languages from an analysis of contemporary language families. If this is even possible, it must be carried through by reference to some kind of representative sample of different cultures. This gives rise to two immense questions. The first is, how can anyone REALLY grasp some other culture? The second is, that Braxton's sample - like mine - focuses on Africa and its diaspora. I KNOW that's as biased a sample as one focusing solely on US culture.

But how to go further? I don't know; I think Braxon has set an impossible task, because the world is too big to grasp. Each of us can only understand a bit of what we can grasp. And furthermore, cultural aesthetic thrusts are not like words that can be written down in dictionaries and compared; or even grammatical concepts. I'll read some more of this tomorrow, but I don't think Braxton is the Noam Chomsky of cultural aesthetics. I seriously doubt whether there CAN be one.

For me, personally, the answer has got to be to grasp what you can; to try to understand what you can; to realise that Aretha Franklin is no less "foreign" or strange than Ganda Fadiga; and neither better nor worse.

MG

#22 JSngry

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Posted 02 February 2007 - 07:33 PM

What I take away from this writing is that music is spirit, not product, and that nearly all of us have been conditioned to view the spirit throught the lens of product, whether we do it consciously or not. Of course, there is music that is created solely as product, but that itself is a certain kind of spirit at play, no?

I think he's telling us that no matter where we turn, we're confronted with "foreign" sounds, whether it be a Brooklynite hearing Merle Haggard, a jazz fan getting smacked by some hip-hop, an American hearing a Bollywood soundtrack, a raga master composer hearing samba, etc., etc., etc. Our perceptions have been so shaped by the "controlling forces" of our individual societies that it's all but impossible to not hear these "new" sounds as something/anything than the expressions of spirit (and "spirit" is not necessarily a benevolent thing...). Our first instinct is to contextualize them relative to what we "know", which, let's face it, is something that is almost always things we've been "taught" rather than things we've "leaarned" (cf Monday Michiru's opening line to "Mysteries Of Life" - The kind of life I've learned is better than the one I was taught).

Well hey - life is short, time is tight, and if I hear some "strange" sounds coming from someplace in the world that I've never even heard of, much less have a chance in hell of ever even visiting, I can be forgiven for thinkng of it as "exoctic", filing it away and moving on, right?

Yeah, but...

I think Braxton's overriding point to all this is that the same mindset that leads me/us to do that also has an effect on how we process musical information much closer to home, and that does lead to some "problems", doesn't it? Pretty soon, we can find ourselves just hearing all music but "ours" as a "representation" of "somebody else", and that leads us to the unpleasant possibility that maybe what we're hearing/feeling as "ours" is essentially what we've been conditioned to believe is ours. In other words, we've let others define for us who we are, who we should be, and by extension, what our "place" is in this life/world. The implications of that from an economic and spiritual angle are immense, and not a little overwhelming, but there they are nevertheless.

As always, Braxton is talking about macro-social/economic/spiritiual issues in terms of music, and to think that he's making a case for only "higher" forms of music would be a mistake, I believe. Not to in any way diminsh of degrade the notions of "taste", "discernment", etc., but if these forces lead to only an "appreciation" of perceived "sophistication" and a dismissal (or token respect) of "simpler" things, then that again is an incomplete processing of all the information, and creates an eual opportunity for the "highbrow" to be every bit as manipulated/exploited as the "common". It's my belief (and over the years, Braxton has played a huge role in my coming to this belief) that the only true freedom comes in realizing that it is "all good", even if not all "good" is good, if you know what I mean (and if you don't then let me put it this way - there is no such thing as "one side". It's impossible. One side can't exist without another, and it's all part of the whole, which is really all we have, attempts to cherry-pick not withstanding).

Anything less than that sets up a dynamic where we become more concerned about who we "aren't" than who we "are". The literally endless opportunities for manipulation/exploitation that then result should be obvious, and if you look around you, they will be. Braxton's challenging us to not believe the hype, the "knowledge", or anything other than the simple truth that peoples is peoples no matter where they are, not matter what they do, and no matter how they do it. When/if we can get there (and it's by no means easy, even when you want to), then, and only then, will we, all of us, be free to experience life as the eternal vibrational Dance Of One that it is. Until then, we're going to be looking for a way to be "apart", and ultimately, there is no such place.

But there's plenty of people who are more than happy to let you think otherwise...

#23 JSngry

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Posted 02 February 2007 - 08:02 PM

Of course, the conundrum/challenge is this - how do we realize that we're all part of the whole & function as such w/o relinquishing the individuality that defines us as such?

Well, that's life for ya'!

#24 danasgoodstuff

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Posted 02 February 2007 - 10:02 PM

For what it's worth, I think Jsngry, clem & MG are all better writers (words) than Braxton whose scribbling I think is atrocious, I do like his playing however...

Edited by danasgoodstuff, 02 February 2007 - 10:03 PM.


#25 Lazaro Vega

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Posted 02 February 2007 - 10:06 PM

Yet Braxton's ideas.....

#26 JSngry

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Posted 02 February 2007 - 11:05 PM

Yep.

#27 Epithet

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Posted 02 February 2007 - 11:58 PM

Turns out Markov was Russian.

#28 JSngry

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Posted 03 February 2007 - 08:35 AM

For what it's worth, I think Jsngry, clem & MG are all better writers (words) than Braxton whose scribbling I think is atrocious...


Thanks, but I gotta disagree. Braxton's talking about stuff that cuts to the core of existence, and he's talking about it in such a way that necessitates looking at it "objectively". That's the point of all the jargon, I think, to remove reality/macroreality (as he sees it anyway, which is a way of seeing it that I find impossible to disagree with when all is said and done) from all the "contexts" that have been constructed to manipulate it to various benevolent/malevolent ends over centuries. In doing so, he creates his own context (and I'm sure he sees the irony, probably even the humor in that), but it's his context, and it forces you to either confront what he's dealing with free of all the presuppositions that inevitably come with traditional terminology (terminology which has sprung up around the very interpretations he's refuting), or else just dismiss it as the ramblings of a madman.

In other words, it's Reality Remixed! :g

Edited by JSngry, 03 February 2007 - 11:25 AM.


#29 The Magnificent Goldberg

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Posted 03 February 2007 - 05:10 PM


For what it's worth, I think Jsngry, clem & MG are all better writers (words) than Braxton whose scribbling I think is atrocious...


Thanks, but I gotta disagree. Braxton's talking about stuff that cuts to the core of existence, and he's talking about it in such a way that necessitates looking at it "objectively". That's the point of all the jargon, I think, to remove reality/macroreality (as he sees it anyway, which is a way of seeing it that I find impossible to disagree with when all is said and done) from all the "contexts" that have been constructed to manipulate it to various benevolent/malevolent ends over centuries. In doing so, he creates his own context (and I'm sure he sees the irony, probably even the humor in that), but it's his context, and it forces you to either confront what he's dealing with free of all the presuppositions that inevitably come with traditional terminology (terminology which has sprung up around the very interpretations he's refuting), or else just dismiss it as the ramblings of a madman.

In other words, it's Reality Remixed! :g


Absolutely right Jim. I don't LIKE reading that stuff, but it IS necessary in order to take you out of your normal routine and try to make you see things in a different way. And what he's saying is not really revolutionary; it's a musical/cultural equivalent of Noam Chomsky's work of identifying from thousands of languages the basic elements of grammar which he reckons are hard wired into human beings - every one of us, irrespective of what culture we come from. But the thing is, what Chomsky did is easier than what Braxton is trying to do - or more probably, set up the framework for someone else to do. It's easier because you can actually tabulate these linguistic elements, look at them in families and statisticians have worked out methods of comparing them objectively and quantitatively.

Now anyone can say, "well, I knew we were all human; you didn't need to go to all that trouble to tell me what I already knew, Noam. It's just another example of academics making work for themselves." And you can say the same thing about Braxton's ideas. And OK, if you knew that already, you can say it. But there's lots of people who DON'T know it - not down in their guts - and these are by far the majority, I believe. And not just in the west, as you pointed out. But I think the west may have the prime responsibility for needling this issue out: first because it has proportionately a lot more resource available to devote to needling; second because it has, over the last several hundred years, systematically developed a mindset that downgrades every other cultural/racial/linguistic/geographical group ("World Music" in itself is a profound illustration of this, in defining something that "we" don't need to concern ourselves with other than as a product); and third because the west has systematically inflicted its views on the rest of the world - because it could.

Anyway, if my wife doesn't hog the computer tomorrow (she's trying to book herself and some friends a holiday in Africa, and it's hard work), I'll try to read the rest of Braxton's piece; and hope that in the latter part of it, he attempts to set out a possible framework for understanding - or even cataloguing - the underlying "grammar" of cultural aesthetic thrusts.

MG

#30 Epithet

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Posted 03 February 2007 - 08:07 PM

clementine's right: if it was written Tractatus-style maybe he could clean up the definitions and sound less confused by himself, because otherwise I'm going to think 'vibrational' more properly characterises my response to the average Penthouse pictorial (whence one description of his endeavour springs to mind). But I'm probably better off having you lot explain it for me. (By the way, not quite sure why you treat the 'illogical' excerpt as a chain of consequence and not a conjuction, The Magnificent Goldberg.)



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