Tutti i Forum  Cybersofia  Musica  Rythm

Nota: Devi essere registrato per poter inserire un messaggio.
Per registrarti, clicca qui. La Registrazione è semplice e gratuita!

Larghezza finestra: 640 x 480 800 x 600 1024 x 768 1280 x 1024 Nome Utente: Password: Modo: Base  Aiuto  Finestra  Formato: Carattere Andale Mono Arial Arial Black Book Antiqua Century Gothic Comic Sans MS Courier New Georgia Impact Lucida Console Script MT Bold Stencil Tahoma Times New Roman Trebuchet MS Verdana   Grandezza 1 2 3 4 5 6   Colore Nero Rosso Giallo Rosa Verde Arancione Viola Blu Beige Bordò Verde Oliva Blu Marino Marrone Verde Limone Icona Messaggio:                             Messaggio:   * Il codice HTML è OFF * Il Codice Forum è ON Faccine Seleziona altre faccine [quote]Messaggio di nuit [br]Rhythm is the natural motion of matter. What exists presented to our by our sense organs. Though, the very understanding of just what sense organs exist, is still only primitively partial. Physically, for instance, cannot be defined simply as a known paradigm, if we understand dialectical materialism. The contrasting motions of matter, the continuous development as change, understood, perceived, by us, (any-thing-Consciously) cannot limit what actually exists. Our knowledge limits us, not what exists. Our approach to truth is always partial, advancing in stages (some regards as ‘Gaps’). Motion is and isn’t what moving. Yet the oneness of matter exists because of its twoness, which Is motion. A thing is it and not it at the same time (i.e., it is what it is and what it is becoming) as a property of motion. The present is a connector of the past and the future. Yet it is more transient than either, but always remains what exists. What exists as ‘truth’ is also matter in motion and also a reflection of that Being (process) where ever it is expressed, as what it means. African Religion sought to discover the human relationship to what exist always by ‘tuning’ in to it, and becoming, at whatever level, at one, cogniscent, conscious, ‘with knowing’, be possessed, by it, as the direct expression of the whole, and as a direct experience. This is the ‘holiness’ (whole/ness, at/one) the revelation. The joy that animates The African, ‘the laughter at the bottom of the world’, because Ecstasy is the motion, the livingness of the motion. Jazz is literally I AM! (JA IS!). The IS NESS of AM. 1, I, Aye, Eye, Si, IS- ING (I SING). Conscious Come! Creating The Semen of Consciousness, JISM’S mind. The G, sensuous life. With the circle, existence as motion, energy. GO. To be it must be dialectical as well, which is its expression as Dimension. GO –OD. Like BE –AT , it is expressed as rhythm-matter in motion. What is ‘dead’, non-existent, the lie, delusion, is irrational. Reality cannot ‘die’ –What R(AM)I. Consciousness is degree, stage, motion, speed, intensity. So rhythm , from the meaning of the alphabet signs themselves, Exist –Develop (Build/Bild –Ger.=Picture, image)-Split (Quest, mitosis or Elegba, the cross roads) –Rests at –Builds –Moves. The composite rhythm of everything is everywhere. The whole life (Time, Place & Condition) shapes the rhythm, the where you be at (Bloods say). And it is a physical/mental construct. Finally it is deeper, because it goes deeper. Will grow deeper, i.e., the perception of the finest (?) particular (of a ) rhythm accesses properties in the perceiver (or confirms them). Rhythm’s infinite ‘circles’ of transformation, in modes and forms and directions we do not even know exist. The whole of what we, as matter in motion, are, in whatever degree of particularity, are connected as part of ‘Nature’s’ rhythm. It is entirely possible to ‘trace’ all the whatevers af whatever as specific (compound complex) network of sense, at whatever level, able to be understood by its rhythm (or its sound, smell, &c.). What the physical, social, &c reality of the world is, we are part of, not only as matter but as rhythm. Our closeness, our distance, our awareness –the heart speeds up, in relation to what? Color is the same reference. Number, Letter, Sign, Symbol, or Cymbal. The actuality of our total objective relationship to whatever forms of motion and mode (of) matter we are and in and part of, is us. Africans used rhythm to speak and sing, to dance –to communicate over long distances with each other and to the forces of the universe. This ancient gasp of rhythm’s relationship to everything is a feature of the ‘Primitive Communist’ (Engels) social organization of that epoch. The Call & Response, Preacher to the Congregation forms call spirit through rhythm, enforced as dance and song, as music, the drum, the voices, the flutes and whistles, rattles, balaphones, choruses, athletes, poets, actors, calls the spirit and form the place of our regular selves we are moved, until we rise to ‘frenzy’ Du Bois called it (Souls of Black Folk). We rise like the Black Bird (BS, the Phoenix, The Soul). We reach for intuitive meaning and understanding of Existence, of what exists forever! Which is the ultimate Goodness. Like a temperature rising, the possession by and as the spirit (that hot breath…lives ‘before’ with ‘after’ us as us us in us whatever form ‘continues’. (Who thinks this in 1996 is The-Johnny-Come-Lately of Civilization). The ‘Going Out’, the Trance, Trans, Cross into another consciousness. Go inside the Known outside the seen. This is the spiritual form. To know the Beyond! ‘Divine’ means to know the future, not ‘GOD’. The degeneration of the ancient religion into Deism, reaches its extreme with Egypt and the Pharaohs becoming ‘God’, though not apparently Good. The creation of God must coincide with the ending of the communal societies and the emergence of slavery. Awareness, i.e., the degree of Consciousness, is a sensitivity to what exists. The rhythms of Africa are so deep a human characteristic, as history and presence and one aspect of the Black aesthetic any-where. Five hundred years of African slavery, yet their rhythms dominate most of the world, even while its creators are in chains. One reason, because the ancient drum so basically replicates our hearts and the changes everything is, goes through. Day Night –Good Bad –Wet Dry –Past Present Future, the endless beat of breath and life. Using rhythm and vocal verbal tonal expressions, as MUSIC (you could DANCE!), but as technology of communication! So the political opposition to the drum in the US and western slave kingdoms. It was Seized! Censored! So is the European minimalization of the drum political or aesthetic? The communication of the drum was political and musical. By its conception. So the aesthetic functionalism as emotional expression of consciousness. Djali (Griot). History as Poetry –Music. The rhythms of the African are alive, living as part of the world. Not removed as ‘ART’ in the burgeois Western sense, though Art certainly is. But not alienated from the pulse of the greater mass world. Not exclusive, now abstract, biosubjective arbitrariness of ‘The Pose’ of distance, from real life! What is expressed of the theatre outline as geography and aesthetic, The South & The North, the Woman & The Man, HotCold, ValleyMountain, SmileFrown. One noted Greek philosopher spoke of his disgust with the constantly ‘smiling Africans’. They laugh too much. So in slavery, this feature is turned into an expression of ignorance. So too, the dancing and singing that have registered the history of the human world. The geoclimatic character of Africa, it’s natural richness, was especially suited to support the ‘natural economy’ of the early Communist cultures. The communal nature of the southern culture, as a result of the relative ease with which the natural economy supplied most needs, could be maintained for a long period. This is in sharp contrast to the frozen inhospitable unproductive north, which likewise put an indelible stamp on the cultures that came out of there. The Afro American use of African rhythm is obvious, but finally more ‘integrated’ with European musical conventions than most of the other African based musics of the world. (Except the creation of Rock & Roll, the ‘slavemaster’ of Black White social Slave/Master relations!) The Afro American drum is a machine, ‘The Set’. It is an industial product, as reflection of U.S. industrial capitalist culture. ‘The Set’ is descended, says Max Roach, from the ‘One Man Bands’ that arose after the Civil War. The singer performer covered with a snarl of instruments, some of his own invention –bells, cymbals, whistles, horns, drums, wood blocks, might have a harmonica in a hookup on a bass drum, sumpin might have wheels on it… The reintroduction of the world into the very body of the music will come again. It is the very levels of the advanced corporate imperialist social economic technology that are and will be absorbed into the speech and rhythm of the Afro American use and response to the rhythm of time, place and condition. Rhythm is in the essence of what exists and we are expression of rhythm as are described by our lives. The Afro American flows from Africa to cross where and become themselves or that experience dissociated form the African past. Yet that passage is an historic documented rhythm. The speech of real life expressed like the heart does, from the live the heart keeps alive. All life is rhythm in that sense and expressed, registered as such. Afro American rhythm is African West as slave and victim, as pre and post US; American and to that extent individualistic, yet Eastern and Collective, Communistic. Existential as Improvised and Spontaneous. Experimental and deeply Traditional. It is the speech of those who have not become what their words know is absolutely real. The Drum is real, like the heart of a living being. The soul is the heat and birth and ejaculation –to express the Material Life Force (‘God’s’ i.e., ‘The Creators’ obvious residence). I AM is what ‘God’, the creature created by a slave culture (when nothing can say that always but what will always exists) says. JA,the Hebrew G., Shango’s twin lightning bolts. JAZZ! AM (the motion of the ‘I’= Eye, Sun, Son &c). But it is everything real which is the real exclaimer, and we respond, like the music, screaming YEH! YEH! JA! (RA) ZZ! The communal improvised Blues (blending light) history, memory, feeling, vision &c are old and visible as the seasons. Which rhythm we are part of as much as sea and moon. Or the schedule of the radio station-History’s self portrait as human feeling and communication. Whereform, within, we make the self-centering arc of reflection as it is as live report we register with our senses (on up to Use). Where we are as to the newspapers’ description of ‘where we’re at,’ is a song and a story, a dance, part of the whole music of the Here. Even as style and who digs it! Rhythm, on the other hand, does have the truth of science. Even to explain why we are where we are (physically or mentally). Monk or the Osmonds? TV Commercials. The Catholic Church offices are connected to us as part of what we are receiving and broadcasting as the world. Death is a rhythm and terror, Fascism, just as Beauty or Ugly as objective descriptions of who is describing. The social life of the rhythm’s ‘other’ visibility, remarks culture, class even nationality, perhaps gender, philosophy, &c. What Black Rhythm (ridm, ritm) world wide and historically is, is ‘The Call Of The Living’ and as such it describes and fuels a real world ‘other than’ itself to exist. Communication includes Desire. Even Hope –Expectation, Confirmation, Identification, History. The rhythm connects nature to itself as material self consciousness and expression. We create the feeling we can feel and what we think is therefore matter’s. Reality’s Self Confirmation. And it draws to it what it expresses and sends out what it is. Amiri Baraka www.amiribaraka.com ciao, Ottavia [/quote]    Allega file   Clicca qui per inserire la tua firma nel messaggio. Clicca qui per sottoscrivere questa Discussione.