Consciously Evolving Language – Workshop 4 - 22 Dec 2020

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This Week

Perspective taking.

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:fist_right: Bump :fist_left:

As invoked in our conversation
hyperobject extraordinaire, grokked in fleshly
intuited & perceived
moved & felt
beyond grasp, the saxophone unfolds
w/ thumping bass and pulsing drums and chanty piano keys
a prayer on vibrating air
digitally reconceived, reborn in your
third ear


Coltrane’s collaborator, Miles Davis, called what they were doing Social Music. These great musicians embody a coherent ‘we’ space, in which the unique voice is heard/felt with great care for each other. These cats knew how to catch each others rhythm.

Some of that Social Music was happening in Lisa’s workshop yesterday.

I am feminine. I am masculine. I am both feminine and masculine. I am neither feminine nor masculine.

And from the middle of nowhere, barefoot and pregnant once again, having somatized the richness of all perspectives and multiple waveshapes, we re-enter the social space, having created conditions for more emergent knowledge. I am fire and air, my other elements I give away to baser life.

Neither fish nor fowl, I am an Ontological Amphibian, mutating the future in the instant. And Social Somatics and the Center of Language Innovation are dynamic reference points that are mapping out a new territory, from the liminal zones, and soon you will hear the forces of ecstasy trying to knock down the fortress that you have built against the one eyed Stranger. And when you gaze into the mirror, at the one eyed Stranger, you hear a voice that comes out of the whirlwind. Give up form.

But you must give birth to your images.

And so the Meta-Dance recommences, in a pitch black room, having a dementia for the panspermia of the the transparent flip that happened, as we slipped through the crack in that Cosmic Kiss, and turned over through new prep-verbs, getting down and getting brown, unto your warm, wet Body noun grokking.


@brian.george51 reports and riffs on the Coltrane quartet’s recording of A Love Supreme in an essay that explores how historical forces in 1950s American (perhaps similar to the pressures being built up today?) combined with various greater and lesser methods of consciousness alteration and deep personal drives to create a new kind of art—perhaps, to evolve the language of art?

I think this is a great example of Social Music for Ontological Amphibians…

On December 9th, 1964, when Coltrane entered the Van Gelder Recording Studio in New Jersey to begin work on A Love Supreme , he asked that all of the lights be turned down. It was assumed by some of those present that this was meant to imitate the dimly-lighted intimacy of a club in the late hours. Listening to the album, I would not necessarily have guessed at these arrangements, but the story is certainly in keeping with the nocturnal coloration of this essay. Before this, Coltrane had disappeared for five days to contemplate the project, and he emerged on the day of the recording with a four-movement concerto-like blueprint, which was clear in its structure but much less so in its goals. McCoy Tyner, who plays piano on the album, reports that Coltrane gave very few instructions; at the same time, there was a deep sense of unspoken communication from the beginning to the end of the sessions. Even before they met at the studio the first evening, the members of the quintet could sense some positive disturbance in the field, and they knew that something big was going on.

For years, they had conducted even their most daring of musical experiments on stage, in front of thousands of eyes, and the time had come to condense and edit the results.

“You see,” says Tyner, “we had reached a level where you could move the music around. John had a very wonderful way of being flexible with the music, flexing it, stretching it. He gave us the freedom to do that. We thought of something, ‘Oh, then we’ll play it,’ you know? And he said, ‘Yeah, I have a feeling’—you know? And all that freedom just came together when we did that record.”(24)

The full essay is well worth the time for any fans of jazz, or anyone interested in deep, receptive writing about music and art from an aficionado.


I’m not sure if that is relevant to the discussion (didn’t follow so far your sessions, except a short segment) but was wondering if Goethe’s way of seeing could suggest something? He didn’t propose a new language but a new way of seeing Nature and phenomena from a holistic perspective which seizes the archetype in the polar appearances beyond the purely sensorial experience. A way of seeing that integrates the part and the whole, the multiplicity into unity. In this regards I found Bortoft’s book quite helpful.