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Page history last edited by PBworks 13 years, 9 months ago


"Once you become aware of this force for unity in life, you can't ever forget it. It becomes part of everything you do. In that respect, Meditations is an extension of A Love Supreme since my conception of that force keeps changing shape." –John Coltrane


During 1965, John Coltrane's musician collectives reguarly and seemingly summarily summoned a spectacular resonance. Any recorded performance testifies to this, pick any one, dial zero, and listen. For example, listen to the performances of \"Nature Boy\" transduced to tape during recording sessions that took place on February 17th and 18th, 1965, where Elvin Jones runs through tom-tom sequences, while simultaneously bringing a splash of cymbal in a different "laya" with McCoy Tyner's halting/lurching piano vamps, vamps that in turn seem to lead Jones' kick drum, meanwhile, bassists Jimmy Garrison and Art Davis play tag on bass, runing busy circularities around each other in the higher registers of their heaviest strings and the lower registers of the lightest strings, peeling openings for Coltrane's sax to weave through, disappear, reappear, and radiate.


When Coltrane's ensembles sampled from Eastern sacred traditions, they remixed the jazz ensemble playback format, troping it towards one of the oldest genres of  information compression, the mantra. A Love Supreme, "Evolution," "Cosmos," Om, and Meditations are at once information compression algorithms and, at the same time, a sequence of sonic snapshots that regulate and transduce Coltrane's cosmic " force of unity," which, nevertheless, like Shiva's dance, always changes--a force that sacred and shamanistic practices of rhythm have always emerged to manage and make share-able.


The rich harmonics and affective penumbra produced by mantric formula such as OM opens up more than....well, more than words can say, semantically speaking. This "irrational" quality provokes our deepest feelings and makes it necessary and possible to resonate with others: it solicits sonic intelligences into being, and calls for rhythm. Coltrane's technoshamanistic ensembles continue to provide a model for diverse media ecologies moving from communciation to commons-formation, and as such, can help us tune in on the role of rhythm in diverse aspects of technocultural production. Jazz has always mixed idioms; increasingly, the discontinuities of digital culture facilitate asignifying mixtures of sacred, secular, and profane technologies. At the same time, Coltrane's sonic science, AfroFuturism, and other evolutionary discourses anticipate and emerge in digital attention economies to describe the evolutionary dynamics of these very rhythms of commons-formation and "becoming transducer."


A Love Supreme,


Om, recorded that same year,


In class, SudukoScott brought the image of "Newton's Grocer" to class the day we were orbiting around the very idea of invention in postnormal science. At first, the follow-up wiki thread showed no trace of Scott's work-a-day metaphor, which crystalized the image the class was painting of today's scientists and technicians: anonymous, individuated. SlowButSpeeding reintroduced Scott's trope: "Back then' these discoveries seemed to be more qualitative. 'The earth moves around the sun'. That I can understand. Now go to something like JAMA or Pubmed and just read some of the article titles. I can't even get through a lot of those without backtracking a few times. So maybe it is a more fair comparison to say Newton's grocer, or to give ourselves just a little more respect, his neighbor chemical engineer or clinical psychologist.:purple: ~ SlowButSpeeding Early in a wiki itinerary, when the weaving has just begun and the wiki's resonance is just beginning to register in the spheres of perception, students present a wide range of responses. Students write in response to each other as well toward problem solving endeavors. Unlike the apriori scripting and writing for judgment by instructors, students write in response to each other, modeling likely workplace writing. But there's more. Very quickly, one intertwingling hits a certain threshold, the response gets tuned towards the uncanny wiki; responding to wiki resonance feels more like responding to the resonance summoned by the performance of \"Offering.\" When students make this a daily practice, they make rediscover again and again that the resonance is the composer, and these discoveries are akin to what Philip K. Dick, in the Cryptica Scriptura tractates appended to Valis, calls \"salvation through gnosis\" (238).

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