2: Music, the first temporal language.
3. The elements of music: instruments, staff, artistic forms.
4: The mimic age. From visual to verbal languages. The Neo-Paleolithic.
5: The temporal dimension of words makes man a Top predator.
6. The Social will of words; evolution through languages: Ethics
7. The Evolution of logic and literature.
8. Dramatic thought, theater and Tribal religions: The animetal cultures.
9. Aristotelian thought, novel and the Scientific Method: The Industrial cultures.
10. Analogic thought, poetry and Biology: the maturity of human thought.
11. The 3 ages of the mind, from the Paleolithic to the Neopaleolithic.
I. MUSIC – A TEMPORAL LANGUAGE
As Schopenhauer noticed, music is of all the arts and languages of the ‘humind’ the closest to a full abstract development in intuitive terms of the essence of the Universal game of dual ‘space-time’, ‘entropy & information’ which structures all systems of the Universe.
Because it avoids the semantics of the game, as Taoist did in earlier philosophies, or the philosophy of science of this blog does, it goes directly to the core syntax of languages as mirror of the Universal space-entropy: bass vs. time-treble-information duality.
Its syntax thus reflects in the most synoptic manner the syntax of the Universe, and so we shall find a DIRECT correspondence between all the elements of music and those of the ‘Generator equation’ of fractal space-time systems. Music could in that sense used to write ‘pure philosophical symphonies’ that represent pure ‘ideal systems’ of reality; and in fact back in my 20s, when I found the ‘fractal syntax’ of the 5D generator of space-time, I started to write the first equations of I-logic with musical notation, but then abandoned it as I develop the proper notation of I-logic.
So what are the essential elements of music and its correspondence with the language of the generator of space-time that creates reality?
As all languages, which are mirrors of the whole, mirrors of creation, Music has the basic dual and ternary symmetries and ‘scales’ of the fifth dimension to express the existence of a system in space and time, but as music lacks a direct semantic, ‘spatial reference’, it is best as the expression of a ‘time world cycle’, a ‘flow of time’ in terms of its existential d=evolution. And as it is closely related to the verbal/sound/temporal language of man, it directly plugs into the subconscious level of the humind perception of time.
How it does so is easy to see, when we realize its fundamental ‘duality’ is that between bass and treble, and how bass and treble were on the original mind of sounds of all animal systems related to a ‘Doppler effect’:
The Doppler effect means that a sound becomes a high frequency treble when a system approaches, in earlier jungle life, a predator, so it produces an unease, ‘suffering’ but at the same time, the frequency increases the number of bits received and so it produces an acute sense of information. On the other hand a long wavelength, a bass sound comes as a system goes away and the menace disappears, producing a relaxing effect.
It is then clear that Music has the basic paradoxical duality of the Universe between ‘entropy and information’, pain and pleasure, and the ultimate duality of sensations produced by time motions, which we dim in 5D philosophy of science the ultimate layer of reality and its programs of life and death and existence. Hence our quote of Schopenhauer that starts this post: MUSIC is THE essence of the game.
This is further proved when we move to the next ‘scale’ of syntax in the language of music as a reflection of the Game of existence, and its <≈> a(nti)symmetries; that is on how the ‘fog’ of a mess of reality becomes ordered into positive symmetric and negative antisymmetric destructive arrows.
In the Universe the generator equation, brings together into a complementary being, or into a destructive darwinian events the ‘two polar’ fields of reality, the yin and the yang, the wave and the particle, the woman and the man; creating a TERNARY element that fusions them in positive manner, or ‘destroying each other’ in a darwinian event that erases information and leaves only ONE standing.
In music this means that the bass and treble ‘interval’ must become harmonized in a ternary chord=symmetry. And this I the first wonder of music, as a mirror of the ‘language of all languages, the I-logic of the fractal generator’: as each of the chords and perfect intervals of music is a reflection of one of the ‘harmony basis’ of systems that are stable in the I-logic language of the Universe.
Finally we have the ‘scales’ of music, which represent the co-existing ‘planes’ of a superorganism, (cells, organisms, worlds, atoms-thermodynamic ensembles-gravitation)…
And so with all the elements of a complete syntactic mirror of reality, we can ‘start’ to write musical compositions, which will be time-dominant and so will develop ‘word cycles’≈melodies, with a cyclical recurrent tone, bit by note, moving along s=t go and stop fast and slow beats, mirror motions of the ‘existence of time’ of a Universal system…
I have then as the reader might imagine have a kin interest for Music theory for decades, and wrote many notebooks on music, even wrote some symphonies on my youth, as I explored all arts as mirrors of the Generator equation of all languages of the Universe. Unfortunately as all my work, I have not been very good at keeping it ordered and easily available after wondering the planet for so long. My interest of music though peaked in NYC back in the 90s, when I was also exploring in depth the ‘language of painting’. So whenever I get back there and open the last of my deposits of notebooks, paintings and personal trash, I am pretty sure I can put a few hundred pages of musical theory in this blog. For the time being I just might write here some isolated thoughts on music, also on the different posts on the 3 ages of artistic civilizations, which obviously correspond to musics. I.e. western classic music, would have a:
1st age of ‘Italian’ polyphonic music, which culminated with Bach (wrongly called a baroque musician, as Music matured latter as all time languages do in the human consciousness. But we have used the terminology of the painting ages which were as the spatial language, ‘first to come’. So the baroque of painting corresponds to the youth of western music)
2nd age. Then a mature ‘classic’ age starting with Mozart and ending with the French impressionists. And…
3rd age. The truly baroque 3rd age of deconstructionism of melody and ‘proper world cycles’, starting with Wagner, and followed by the modern age of deconstructionism, from Jazz to Pop to rap.
Music then can be studied at many levels, the basic one, translating its codes from the universal syntactic code of ∆@s≈t.
But also considering its role in civilisations as its subconscious collective, since Art is the i+1 scale of the humind, which also go through 3 ages – and so does art in all cultures. Hence a temporal analysis of music within history will help us to understand those civilisations.
NOTES ON NOTES OF MUSIC
As we explained this is NOT the treatise on musical theory as reflection of the time languages of the Universe we intend to do sometime, if I ever get back my NY notes; just putting some notes I find in other files referred to music…
“… to notice that Music tends to be more of a time art coded with its 5D than a temporal art; as bits of information, cyclical rhythms, ternary symmetries and ratios and scales, all ‘temporal qualities’ of ‘numbers’, more than spatial simultaneity, dominate the discipline.
So the properties of Music are closer to those of ‘time theory in mathematics’ and of ‘verbal actions’ in words, closer to the ‘blue notes’ than the ‘red colours of space’ and so on. Indeed, we talk of ‘blues’ not of ‘reds’ as a type of music; bass is dominated by treble; higher pitch preferred as it carries more information, beat dominates texture and ternary ‘time elements’ those of perfect duality symmetry.
I.e: Music is written in a minor-major diatonic scale of 10 Intervals repeated in 3 i±1 scales of higher frequencies – the 3 scales of music.
The ternary time symmetry is then the defining language of musical tones, and so it is the cyclical recurrence, as it ‘transits through those 3 scales that are equivalent to the ‘3 co-existing planes of an organism’. And so as all the elements of an organic whole appear in music, we can then treat a composition as an organism, whose elements are the instruments, whose world cycle is the partiture, whose acts are its ages and whose purpose is to narrate a well-behaved story in its bare basic 5D structure as the super organism (the parts of the orchestra) transits through that world cycle (the partiture) that narrates an ‘existential trip’, encoded in the up and downs through trebles vs. bass, ternary scales, 3-chords and emotions suggested by the treble-informative-painful vs. bass-sedative-energetic/entropic duality.
As we progress in this section we shall then describe the ‘super organisms and worldcycles’ of music as they evolved to reach its classic zenith in instrumental music at the turn of the XX c. entering then, as we progress into the age of metal-minds into a decadence, where the human creator and life-instruments were degraded in quality and tone by mechanical instruments and computer composers.
In that sense, as we said, the spatial elements of music are its parts, human and instruments, which also can be divided in 3 Sub-dimensions and symmetric ages of evolution of the complexity of music as a time(space) mirror, each played by a type of instrument:
-T-simpler pure frequency ‘numbers= rhythms’ dominate, played with percussion instruments the 1st age of music.
-S≈T-melody=worldycle dominates its 2nd age, played with aerophones. whereas bass-energy /treble-information are its ExI action modulated duality.
-∆§ð-harmony dominates in the full realisation of all the elements of music. It is the 3rd age of classic music, played with strings, reversed as the Age of machines substitutes and atrophies humanity back into an age of entropy=mental death.
-1: So we arrive to post-II world war pop musics, where the harmony is broken back to melody (jazz) and even down further back to the original rhythm music, where the ‘beat’ is just all what is left (pop & rock and roll) to finally make those beats so simple with electronic music and instruments alien to the human life-ears, hence with a limited range of complexity available to the listener.
Music thus connects with culture and History and its 3 ages as all artistic languages do, through its evolution. It connect with the whole Universe, as a mirror of its symmetries. And it connects directly with the humind as a reflective mirror that also orders reality, through the composition of its geniuses.
Our interest in that sense is dual regarding music, as a language-mirror of ∆st, which reached its zenith in the age of symphonies, and as a component of the collective subconscious minds of mankind, which is not in ‘death-entropy state’.
Both themes obviously are connected. Let us put an example:
Time permitted we shall then consider classic music and its mirror-images, consider the little known fact that we western people use only a ‘mode’ of the 3 available to relate a world cycle of music with an artificial ‘upbeat ending’, when death is a ‘downbeat’ process – which essentially means we have ‘forgotten’ fully the other greek modes of 3 ternary possible musical ‘narrations’ (Phrygian symphonies, being the most balanced mirror, with its languishing end).
And this has a cultural reason: death in the myths of abrahamic religions is just a door to an exceptionalist lineal upgrading not as it is, into insects of arguably higher chemical consciousness but into a paradise-like communion with the whole. So we end always with those germanic, lineal brass and trumpets; instead of the decadent falling on the Phrygian mode, i used in my youth when I was advancing all arts with ‘conceptual , expressionist cubism’ (the last complex evolution of painting), and Greek mode symphonies…
We shall then time permitted use some of my scores to illustrate the ‘road less taken’ and the fact that all languages indeed are mirrors of reality, not a
lways fully developed by huminds, despite their arrogant belief, they know it all.
There are indeed fractal planets in which instead of the polyphonic church evolution of music, the Dorian manly, platonic style or the Phrygian, Aristotelian one had its Beethoven and allowed Chopin to achieve its never reached best in this planet of falsehoods and metal over flesh…
Music as primary colours evolves from a 3rd to a 5th and 7th age symmetry structure of more complex time-space symmetries/dimensions
We can then consider a violate informative pure mind color/note and a magenta/entropic death one, and start to play with the scales of dualities and ternary green energetic combinations.
2: Music, the first temporal language.
The first language proper of man was music. Music is an evolutionary stage between the sounds of animals, and the sounds of the civilized man, for one thing: it transports more information than animal sounds do, in a more harmonic manner; but less information than human verbal languages, which displaced music so long ago into its ‘3rd age, or age of fiction’, that we hardly remember when music was sacred, magic, as pictorial images were in the Paleolithic caves.
The 3 ages of languages: music and visual images
The first of human, sound-based temporal languages was music and whistling, clicking sounds as those of primitive South-African languages. Most linguists believe that those primitive Bushman sounds, half way between musical whistling and words, were the transitional state of music towards words. In that sense we can talk of 3 ages of music as it evolves and becomes displaced by words (Oedipus paradox by which the son abuses and extinguishes the father form).
– The age of sacred music, when music was a top predator language that carried information.
– The age of evolutionary music, when clicking sounds and whistling evolved into words.
– The age of fiction music, when words become the top predator language that carried survival information among men, and music degrades into fiction, acquiring paradoxically in that free state, its highest informative complexity.
Youth: The age of sacred music.
This 3-temporal ages of languages repeats once and again with all languages of the Universe. In as much as we live in the age of fiction music, it is difficult to understand how it was the first age of sacred music, when men did not speak and musical sounds were able to tell us about survival and extinction.
Yet 3 phenomena still persist today that can make us understand that first age:
– The use of sacred music in the most evolved religions of human thought.
– The existence of codes of survival in animal sounds related to the treble and bass sounds of music.
– The devolution of humanity in its age of extinction, that degrades our informative languages, towards a new Neo-Paleolithic age, that has made of music, the most primitive of human languages, again fundamental to the most devolved human beings (our children that worship modern music, and extract beliefs and ideas from the simplistic messages of pop artists.)
The Doppler effect: survival music.
In any symphony you can observe that use of scales that move towards treble sounds when we want to express fear, storms, tragedies, and move towards bass sounds, when the composer wants to express pleasure, happiness, a friendly environment.
Music is indeed the most simple of all informative sound statements, a dramatic level of sound perception, regulated by the physical laws of sounds.
Maturity: Music as a language of information.
Mimic gestures and sounds based in the dual properties of energy-information.
Musical sounds accompanied by dramatic mimic gestures,, are the beginning of communication in man. We can observe those linguistic codes in closely-related animals such as the chimpanzee. Those mimic gestures are Universal codes that imitate the pure forms of energy (destructive, aggressive gestures imply open gestures, fast races, open mouths, and the display of energy elements such as teeth, all properties of energy), or the forms of information (opening in cyclical manner the eyes, opening in a big 0 the mouth, circling around the other ape you want to communicate, etc.)
Mimic sounds based in energy-information properties
The same natural process of creation and differentiation of communicative events according to the properties and morphology of energy and information, happens with the sounds produced to accompany those ape gestures:
– Aggressive sounds are high pitch, treble, high energy sounds.
-While low, bass sounds are sounds of information, communication and love.
From that duality, by differentiation, of treble and bass sounds in further tones, the tonal scales of music are born. The most simple scale is a 3-scale of bass, harmonic and treble sounds. We have with those 3 elements the possibility to create ‘functional systems’, as in any other organic system of the Universe. Languages are not exception to the Law of 3 creations.
The chord, the first ternary system of music.
Still today when we try to play any instrument we learn first the ‘basic unit of music’, the chord, which is created by playing 3 sounds together. The most harmonic of those simple chords are those which play a bass, treble and middle sound…
Ternary systems to talk with music.
Man connects in his first age simple sounds of treble or bass nature. Communication slowly becomes more complex than the Animal world of sounds proper of the tropical environment of the first men…
Now consider how that simple 3-sound vocabulary can be used to communicate. We have a prove in modern Paleolithic cultures: the tam-tam of African cultures. They can express complex ideas with very few sounds. A basic 2-creation system with an energy drum and an information drum able to produce treble-bass sounds, and simple sentences of 2 or 3 different beats allow a tam-tam player to talk to far away people.
The same conversations are established in Bushmen tribes and old Camite groups (‘Guanches’ in Canary islands) to communicate through deserts, and mountainous regions.
The scale evolves.
We find still in the most primitive musical forms of mankind a 3-tonal scale, that soon as vowels did (see chapter 5) differentiated into 5 basic sounds, 2 Energy bass forms, 1 balanced forms, and 2 informative sounds.
Then there is a growth in musical complexity, in which musical tonal scales grow in complexity till reaching the 8-tone scale, which will be the basis of music as art in the most complex western cultures.
In more simple musical systems some cultures will maintain a 5 tonal scale, as in simple verbal languages there is a five vowel scale (Basques)…
In as much as men are sound species, whose higher information comes through sounds, religions of man, make of sounds the center of our soul, the image of God on Earth. So Saint John says ‘the word became man and inhabited among us’. To accompany that word, the law of social evolution makes music, another sound form, a natural parallel informative event to accompany words. So the sacred role of music appears again – long past its first age – now in association with the new top predator language of words. It is the old adagio – if you cannot defeat him, join. So music joins with the new language of words, and during the Middle ages, it becomes both in Christian and Muslim religion (Gregorian chant, Muezzin), a sacred form to come closer to the Informative network-God of mankind, the pure word, the invocation of the names of God.
As the Muezzin still sings the name of God, accompanies by the musical tones of his verbal chords, we understand what is ultimately our voice, the particular music of the Human Organism, God of History, God of Man.
Third age of Music, fiction
The age of sacred music however declined as words with its higher complexity and capacity to carry more information appears. With 24 basic sounds, we can consider words as a 3-system of musical 8-tone scales. Hence its higher power. It is like the tri-glycerid molecule, king of lipids, which has 3 times more lipids that the simple lineal molecule. So the body prefers it to store energy.
Indeed we have 7-8 open consonants, 7-8 closed consonants and 7-8 vowels. While we have only 8 tones in music.
Of course we can repeat with a higher pitch those 7-8 musical intervals as we do in piano (with different keys), but the differentiation between those scales are very difficult to achieve, by human brains, which can easily recognize the differentiation between the scale of open consonants, closed consonants, and vowels. So it is clear that words imposed themselves over music, because of the easiness by which we recognize their 3 scales.
This converted music into a fictional language, without ‘truthness’, what paradoxically allowed ‘total freedom of creation’, as an ‘aesthetic language’, disconnected from reality. It is the age of fiction music that has lasted for most of history. Only today with the arrival of the Neo-Paleolithic and the degradation of verbal thought also into fiction by digital languages, music acquires again a sacred status, among youngsters, highly devolved in verbal thought, that further lower their rational capacity with drugs, to acquire that primitive animal state, needed to feel music essential to your understanding of the Universe… We will study that final age of music when we consider in the last part of this book the neo-Paleolithic.
Neopaleolithic: Difference between first and third age in a language
It is important to notice though that a third age is similar to a first age, in as much as the old man, the old form, behaves in similar form to the young child, the young form, but the difference ends there. It is closer to consider the parallelism as a form put upside down, or a real form and its left to right changed image in a mirror. The third age is the upside down, false mirror image of youth, in as much as what we do in this third age is false as the mirror image, is fiction, is unreal, and has no usefulness for the species.
So as we are not an image of a mirror, a fictional language is not important, even if we believe on its reality. This is something clear when we consider the first age of music (as a language of survival in animals and the first human tribes) and the present age of music. In the first age of music, sounds helped animals to escape predators, and humans to communicate important information through long distances. In the third age of music, sacred sounds of music have a negative effect to our survival, destroying the capacity of humans to care for important problems, such as the extinction of life by company-mothers. No wonder that company-mothers promote today music as the perfect way to stunt youngsters, and make them waste their life, watching TV, MTV, concerts, and sports. In the fictional age of music, music becomes a weapon to control humans, by making them belief in the importance of musical information. In this manner they waste their scarce time in fiction music, and forget verbal thought, and the real universe, that advances towards human extinction.
An old man that behaves like a child also is jeopardizing his survival. Unlike the child that is learning basic informative skills, old men with childish behavior, with senile dementia, with Alzheimer, are putting their lives at risk. We fear them. So do youngsters that think to listen Pink Floyd, or take drugs, stun themselves and go to a concert is an intelligent manner of rebelling. It is just another way to become slaves of the digital systems of power established by company-mothers, another way of consuming and evolving me(n)tal machines, radios, computers, TVs… The very few youngsters that can escape that trap do demonstrate against World organizations. Unfortunately in the Neopaleolithic the control of the human mind by the metal-mind is absolute and so most youngsters care only to escape the ugly reality as old men close to death do: behaving like children and thinking the world is wonderful because some egotistic asshole with a leather coat sings I love you with the help of a computer synthesizer.
3. The elements of music: instruments, staff, artistic forms.
So the wave of existence of music as all species in the Universe goes through 3 ages, the energy-young age, the mature age and the extinctive age. In the first age, music is simple, based in simple beats and chords, with instruments that imitate animal phonic systems.
As music is displaced by words, it tries to survive first in association with other informative shapes. So in earlier civilizations we observe that music is used to accompany dance or songs, more than to be listened alone.
A language that plays the game of the Universe.
To acquire its independence as a language it will have to evolve further its informative syntax, to a degree that can appeal the intelligence of man by itself. To do so music evolved both in instruments, and tonal scales, to a level that made of music a language able to explain the “Game of Existence”, the Game of Times (see “Theory of Times”, vitaluniverse.com) that all species develop in the Universe, as they are born, struggle for energy and information, evolve in herds and finally die away.
In that sense we can consider the score of a masterpiece of Western music, with his richness of sounds and scales, and its 3 theatrical arts that imitate the 3 ages of all universal species (as we shall see latter with literary words), a resume, a linguistic mirror of a Universal game of existence, performed by any species of the Universe. Refresh if you need, your understanding of the Universal game that all ‘Times’ all organisms of the Universe play, (chapter 1-10).
This is the game that a good score reproduces in infinite individual variations.
Take each note as a single cell. If you have the treble note, you are an informative cell, if you have a bass note you are an energy cell. If you have a middle note you are a balanced cell. Notes appear in the score, and grow in number and complexity forming herds of notes. Those herds shape 3-simple organisms, with a head-body-tail note of higher information-balance-and energy.
So minimal organisms of 3 notes, group in herds across the score.
You can imagine them racing as herd of animals race in a savanna, or a group of explorers race in a dangerous labyrinth. The labyrinth is the musical staff. The God of the labyrinth that establishes the dangers through which the herds of 3 notes will go, is the composer.
As musical complexity grew, the species divided in multiple subspecies, the instruments of the orchestra. The labyrinth also grew in complexity.
Yet the game was still a representation of the Universe.
All organisms we said, have to limits of survival, an excess of information (max. treble sounds that we fear) and an excess of energy (bass sounds that stunt us into pleasure and dream-like oblivion).
Those are also the limits of ‘death’ of our notes, that create emotions of suffering in the ‘spectator’ of the Existential Game played by the notes.
So now you can trace a ‘plot’, an argument for the life of those subspecies of notes, that travel through the staff as birds travel in the air, or human warriors in a battle race. The game will be harmonic if the notes come together in groups, that have harmonies of energy/information value among them. The score will be interesting if that trip of the note herd suffers some risky events going to the limits. The score will be well constructed if those surprises come in crescendos that make us anticipate emotionally the dangers towards what the notes go…
European classic music, the summit of the language.
In my earlier work on “Theory of Times”, in which I studied the bio-logic game of existence that all universal organisms perform as they live and die, I admired greatly the work of some western musicians in as much as they subconsciously have created some ‘universal symbolic games of existence’ played by notes, in which each note was a cell of a growing, living organism that existed through the score, evolved in groups, risked its existence in the “Lorentzian regions” of higher and lower notes, and finally died violently in a growing energy crescendo, or slowly disappeared in the final notes of the score.
This is the essence of a language: to represent the Universal game of existence, with simple symbolic forms that are sensorial in nature, reduced in size, and travel fast in time, in such a manner as to imitate the physical games of reality, in a short period of time, and a short range of spatial energies. This is what music has done in Western tradition once the 8 tonal scale and the diversity of instruments -subspecies of notes were created.
That summit of music as a language started with the baroque music of Bach.
Through the organ, the first real complex instrument with enough ‘herds’ of notes, he built ‘fugues’, crescendos towards the extremes of survival of treble and bass sounds, in which new herds of notes added to smaller herds, and in a bio-logic almost unavoidable manner lived the game of existence, for the audience to enjoy that representation of the Game of God, knowing that it was all fiction. That we did not die, and suffer in the game, only notes did.
In that sense Bach inaugurates the classic age of Fiction music. Before Bach the best music allied itself with dance and words to become sacred accompanying sacred body-mental forms of man.
Why we had to wait so long to find the classic, full development of music? The answer is that music had to grow its informative complexity, both in hardware and software, which was achieved in music through the creation of a written mode, the staff, and the variation of earlier instruments in yet another 3-creation subspecies, or families of instruments.
Let us consider those facts in more detail, before making a fast, well-known topic classification of master musicians. (Topics are indeed truth, since languages are universal and most people are contrary to the supposition of our leaders, intelligent people that do understand the quality of languages intuitively as part of an intelligent Universe. So indeed, Bach, Mozart and Beethoven are the greatest musicians of all times, as any person in the world would confirm, despite the snob individuals that pretend to change the laws of creation and informative/energetic quality of the Universe).
The press and the staff music.
For Bach to exist, Europe, a few centuries before, had to discover, a new dimension to the spatial language of musical sounds, which were played then at the moment, and hardly remembered with the weak mind of men. So a written, sophisticated system of symbols able to accurately reflect in a temporal manner complex herds of notes in social evolution appeared: the staff.
In that sense the staff of music, was able to push informatively the evolution of Music, as the press and mathematical notation did about the same time for digital languages. What proves ultimately the enormous importance of the press, to give temporal dimensions to the languages of man. Indeed, the press made the staff and the mathematical symbols of Viete popular enough for people like Bach or Descartes to do their job.
Staff Music: second Horizon of Musical evolution
Treble and bass are the two limits of information and energy sounds. Then within those two limits it can be created a complex language to describe the Universe of energy and information as a sound-map of reality.
Music in that sense illustrates the evolution of all languages, the fact that all languages use a Universal grammar, with two limits that represent energy and information.
In visual languages those limits are the color limits of red (maximum energy) and blue (maximum information). They are the white and black of the bi-chromatic scale. They are the vowels (maximum information) and consonants (maximum energy ) of verbal languages.
They are the two sides of a mathematical equation…
Once we have that range, we can combine subtle subspecies of sounds, colors or numbers to create partial maps of the reality in which each subtle subspecies correspond to a relative energy or information region of the Universe.
So we see in red, all energy species, and we see in blue all informative species, including the light of the sky that inform us.
Red however is the color of meat, and blood – our food and energy.
So happens in music, that constructs with the usual social harmonies and disharmonies between treble groups and bass groups the fundaments of emotional music. Music sounds become an informative language, with multiple combinations. Since music no longer has a practical sense, it can be evolved into more complex harmonies, and secondary games. We unlike fishes do not become stunned and terrified by the high pitch of a dolphin, and so we enjoy music as art. This happens often with languages that loose power or become unconnected with the game of survival and extinction. We talk then of ‘fiction’, as the final age of a language, when no longer is important for the species to survive.
Then the language can be used as a mere game of creativity.
Such is the case of verbal thought today, once the age of ethic religious verbal thought, is over by the substitution of verbal informative words by money values, as the main language of human survival. Such is the ultimate meaning of a baroque, third age in a language: a language becomes a decoration, not a structure that sustains the vital game of the species. So musical and verbal sounds have become at the end of his human evolution, a ‘decorative game’, fiction, a mirror of the Universal game between energy and information.
It is then when it grows the informative, third age of complexity of the language.
Complexity of music grew, and finally found its own abstract language in the 5-staff that creates a higher informative level of musical perception to guide the evolution of direct-ear music. The staff is the written musical language that causes its evolution, the guide, the true father of European music. As paper became the written medium for the evolution of words; and the graphic press first and then the computer, the medium for the evolution of mathematics:
Modern music derives from those languages. Music as art is the combination of sounds in an 8 tonal scale, without worldly phrasing [basically 1/3rd of the complexity of the 24-sounds of verbal thought, probably evolved by the division of that basic scale in 3 different sounds for each initial form].
The Neopaleolithic develops music and mathematics to avoid the evolution of the human verbal mind.
We are not going to explain the entire range of effects, and sub-games of Existence that can be presented in the staff. The entire Universe can be represented in any of its languages, that carry truthness about the games of the Universe. In that sense music is as valid as mathematics or words. What made it secondary to words, was the fact that men could not biologically perceive the scale of music beyond 8 sounds, with clarity.
Again we can consider the same case for mathematics: men cannot understand the deep, and secondary meanings of mathematical equations in an intuitive manner, as he does with words.
For that reason we say that words are the true language of man, and relevant information should also be produced with words. The present development of digital languages, does not respond to a progress of the human mind, but of the chip mind that understands those languages. it means the degradation of the collective mind of man that understands only words. For that reason societies that are against man, animetal societies ruled by money or by warriors, have always praised the goodness of numbers and music, in order to stunt in ignorance the human mass. In Germany, during the baroque age of princes and military dictatorships, of Jewish bankers, and Prussian warriors, when the Germans were exploited, music became fundamental art, to avoid verbal art. Music became supreme, and Germany developed the best music of mankind, and the best mathematics, while the human society, the German people suffered, and became corrupted, and degraded verbally and ethically by Go(l)d religions and Military inquisitions. So German people ended in the Nazi Holocaust, leaving behind a trail of good music and good mathematicians, of inventions that would destroy mankind… Since German literature, German religion and German roles had been of the lowest quality seen for centuries in the Human experience… The same can be said of modern America, where music and mathematics are so important, and literature, ethics, laws and religions are obsolete, corrupted, primitive, creating a Neo-paleolithic of minimal human, verbal intelligence.
Latter (4th part) we will study how in this Neo-Paleolithic in which music is so important, the degradation of man creates the paradox of modern music, which is simple, bad music that either has forgotten the use of complex staff notes or uses instruments that are not natural to the human biological ear. The why of that paradox of modern bad music has to do with the arrival of simplistic non-human musicians, computers, and simplistic non-human instruments, metallic instruments, which deform the natural sounds that man can hear. So as mathematics do, creates sounds that our ears do not fully understand, impoverishing the quality of music… Which leads us to the consideration of the second element of any language, the hardware – in this case musical instruments, required to create a complex linguistic form.
The law of 3 creations: instrumental evolution.
Any musician will tell you that there are 3+1 families of instruments. They are the 3 sub-families of species natural to the evolution of any form according to the law of 3 creations: Percussion, wind and string Instruments. The fusion of those 3 families created the final top predator instrument of western music, the keyboard instrument….
In that sense we can relate the 3 basic families of instruments to the 3 natural forms in which a sound can be created. By collision between forms, by friction of air through a channel, and by vibration of a chord. Obviously the 3 forms previously described are form of increasing complexity in information and decreasing energy. So they give origin according to the law of 3 creations to 3 subfamilies of instruments of increasing information and decreasing energy:
– Percussion instruments, product of a collision, of maximum energy. Which range according to size from the small drums and cymbals to the big gong.
– Lineal, simple instruments based in friction: wind instruments. They have also the lineal shape of energy, which acquires a final bend in the most evolved forms (sax). They evolved from the earlier shepherd flute into a myriad of sizes proper of the western orchestra, from the small flute of the highest treble pitch, to the fagot family of maximum bass sounds.
– Rounded, complex instruments: String Instruments. With rounded forms, they have the cyclical form of information. As such they are richer in sound possibilities, and became the fundamental element of western music.
We can easily subdivide them according to size in 3 other subspecies:
– The small, highly informative violin, with treble sounds of maximum quantity of notes per unit of time.
– The middle, balanced guitar, which will be latter the most evolved instrument of pop music (since balanced forms tend to be the top predator, most liked, most reproduced forms of the Universe).
– The big, bass family of bass sounds as their name says, of lower sounds and minimal quantity of sounds per unit of time.
It should not surprise us for those familiar with “Theory of Times”, that again the families of instruments follow the laws of morphology and properties of energy and information species. In that sense we can consider that instruments tend to bass sounds of minimal information as they grow in size, acquiring the properties of space, and grow in complexity and quantity of information per unit of time as they diminish in size, and grow in number of quantic strings…
Which lead us to consider the final evolution of instruments in western music, the percussion instruments, evolved into the key instruments, that fusion percussion, wind and string qualities.
– The organ, a wind-dominant keyboard instrument, which reached with Bach its perfection after a long tradition of centuries of religious music.
– The piano, a string-dominant keyboard instrument, which was unparalleled in the work of Chopin, preceded by the works of Mozart and Beethoven.
The great musicians of History. The 3 ages of classic music.
Not surprisingly it was the combined action of Staff written music, and the arrival of key board instruments that combined the qualities of all other instruments, what inaugurate the great age of classic music, in which the language of sounds reached its perfection, though it had lost all real meaning, in his baroque age, or informative age, or age of fiction.
Youth: architectural non-fiction.
Bach was the first of those masters. He is perhaps the first musician who realized fully of the game of Existence, in the metaphysical kingdom of music languages. He did indeed, feel closer to God when he played his fugues and Brandenburg Concerts. He is there. He knows as few artists have known in each of his languages, throughout history what he is doing, which rules God has established for the games of life and death. He is also the first one, and so he is in the ‘epic, young age’ of music (see Part 3 to fully understand the 3 ages of any musical form). What this means is that he is still lineal in his conception of music, he is still a believer in the game. He trusts God. He is a puritan. He is happy with the architecture of the game. He likes the game, and his music shows that architectural, solid nature as his flows of notes mover orderly in a Military style towards life and death, throughout existence.
It is also the beginning of his civilization, the civilization of Northern Europe, the civilization of company-mothers, gunboats, press, science, and rationality that we will study in all its artistic forms together, in chapter 13.
And yet that rational, lineal belief of Bach will be shattered as the civilization of Northern Europe gives way to the Industrial Evolution, that crashes the hopes of the artist for human progress (that false dream sustained by economists and scientists, that man will never attain through machines, but through his own senses).
Maturity: the full expression of the game of times.
So as we come to that age, during the catastrophic transition to the age of machines, Mozart and Beethoven will show in the mature age of music, the hesitations and fear to the new age of the Industrial Evolution that will destroy man.
In that sense the difference between those two masters, that changed music from its youth to its maturity is evident. Mozart was a mason who loved the change. His music is more optimistic than Beethoven, hence more liked by the modern audience that live an age of faked, fictional happiness. Beethoven influenced by the war age of Napoleon, sees in the machine of destruction, in the revolution and new age that comes not the creation but the destruction of man.
Both together shape a dual mastership (which Mozart might had filled alone had he lived enough), which is to music what Goya is to painting in that same age.
If Goya moves from the optimist of the illustration to the pessimist of the war so happens with the dual masters.
This of course translates to the language. Mozart introduces as music comes out of youth some basic laws of the Game of existence applied to music, which introduces new harmonies of vital geometry (see “Theory of times” vitaluniverse.net):
The use of a 5-tonal structure between the major mi flat and its relative minor do, with 3 flats in the key signature. The creation of social couples in notes, that are joined 2 in 2. the frequency of triads and sextets in parallel.
So the game of 2-3-6 social forms, the most natural social game of the Universe comes now in full power on Mozart’s music. To which we should add the dominance of wind instruments over chords, that give the energy and optimism to the work of Mozart.
Beethoven will continued influenced also by the symphonic work of Haydn this evolution of the basic universal games of social evolution in notes, with increasing complexity, and will bring back new power to the string instruments, violas and violins… with his excess of information that balance the optimist of the energetic wind instruments of Mozart. In this manner in Beethoven the balance and zenith of symphonic music is reached.
Accordingly his games of existence, his scores, his notes, are not building architecturally with sheepishly obeisance as the notes of Bach do, the games of existence.
They indeed play the game, but they are against the creator. They challenge the creator, they go to the extremes, they live and die with passion, in the vortex of death, through the limits of notes. They combine instruments apparently dissimilar, join by complex, subtle harmonies, exploring all the limits of the Game of existence.
Beethoven is the best musician of history because he is the master of the mature age of the most sophisticated age of music as an art language of fiction.
And all men naturally endowed to understand intelligently music do agree.
It is also an age in which instruments have matured, with organic forms, made with materials that are natural to carbolife and easy to understand with human ears. Strings made with animal leather, and winds made with wood, allow those romantic musicians to reach the summit of informative perception in music, that all human ears can decode. What Beethoven is to the complex games of symphonic music that uses all the subspecies of notes of the musical Universe, will be Chopin for the master top predator instrument of maximum range of formal creativity, the piano…
Extinctive, informative age: diversification, eclecticism, complexity.
Then in the third age of classic music, a myriad of composers will exhaust all the possibilities of individual and combined instruments. It is not worth to mention all of them. As the Industrial evolution destroys the human evolution, artists become negative, and destructive in their perception of man and his languages and forms. Yet in music there is no like in painting a Picasso, master of deconstruction of the human form. Throughout the entire XX century, we will find many musicians that take care of that task, taking music to limits of excess in information (Brahms, Schonberg, Berg) or excess of simplicity, regressing to the basic sounds and using metallic and electronic instruments that produce sounds strange to the musical ear. They are the origin of pop music, and modern music, a non-staff improvised, simple, energetic Neo-Paleolithic music studied latter in more detail.
4: The mimic age. Transition from visual to verbal languages.
The Mimic, dramatic Age. Youth of verbal languages.
When talking of the origin of music we explained the mimic age of signs and simple verbal sounds based in musical sounds that would express as a child does, the basic feelings of fear [trebles], and pleasure [bass sounds], backed by facial expressions. It is the transition age between the Homo Pictus (dominant in spatial, image languages) and the Homo Verbalis (which ads the temporal dimension of words).
The Neo-Paleolithic resembles the Paleolithic age of mimics.
In the mimic age, communication of images and forms perceived by the eye, is elaborated beyond Image and Musical thought, into simple mimic and verbal terms. Yet Image thought, the direct language of electromagnetic perception, is still dominant – it still causes the sense of truth in man, which only believes what he sees. So the sounds are ‘reinforced’ with mimic, dramatic forms.
The age of actors, of childish thought, of simple verbal expressions, returns now in the Neo-paleolithic, the age of decadence and extinction of human languages. So actors which were rightly considered till this century, childish artists, have reached again as Neo-Paleolithic music has done, a new sacred status. We can in this manner imagine how that first Paleolithic was. We can also look at children and big apes, to realize of the gesticulating nature of the first verbal age. We can perceive today that age, in the paleogenesis of human languages, that take place in children. Children accompany all his words with gestures and expressions to reinforce the meaning. Chimps and Gorillas are also gesticulating actors, that accompany their brief number of sounds with multiple facial expressions, as film actors do today.
They behave like the first men who tried to speak probably did. Since we are regressing into the third age of human languages, as the languages of machines prey over human brains. So in the collective third age of human art, ‘children of thought’, actors, and dramatic characters, that use mimic, and very simple ideas to express themselves are the leaders of mankind…
Visual machines regress man to the pre-verbal, individualistic age.
The reason of that regression is self-evident (see chapter 14): the new dominance of visual languages, now enclosed within big brother TVs, that become the new media to communicate ideas to the human mass. At the same time digital languages become truth and words fiction. The overall result is a massive degradation of the verbal bio-logical soul of man. The effects are multiple. In as much as words are the social network that unifies human cells as nervous impulses unify the cells of your body, men become simplified into individuals. Ethics and social evolution is lost, and men become selfish individuals without temporal, verbal dimension. Future and past, memories and survival projects become irrelevant. We no longer care for the future of the species because we have lost the temporal dimension that words give to man. We no longer care for the experience of the past, to learn about the dangers of the future, because we no longer use verbal modes to think on the past. So men become simplified not only at social level, but at individual level in animal-like species searching for spatial, visual, direct sensation of immediate reward.
The Homo Americanus, the main character of the Neo-paleolithci is the living prove of this age of stupidity, selfishness and degradation of man.
The guilty is the metal-eye, the camera and TV.
In this manner even in deconstructed form, the mind of machines by providing our soul with images that hypnotize our eyes, degrades mankind to the previous age to that of logic words: the mimic age.
And our heroes become the most stupid human beings.
This is expressed subconscious by the artists of the day. Billy Wilder a film director affirms that virtue is not photographic. Mr. Tarantino affirms that violence is cinematic. We know indeed, that the new dominant visual languages degrade the ethic, verbal, temporal capacity of man, degrading the entire human race, into ‘big apes’, gorillas of theatrical expressions, null intelligence, and complete individual selfishness.
Since that mass still speaks verbal languages (though diminishing his vocabulary very fast), she enters an stage of gesticulating behavior, dramatic behavior, violent behavior, which is ‘visual’ and ‘cinematic’.
Science with his digital machines of visual-sensorial evidence regresses mankind to this age again, through the effect of Television and film. Man no longer believes words even if he uses them. He believes images and mimic people, actors of minimal verbal intelligence and great capacity to show emotions with gestures. Man focuses only in visual evidence.
We talk of the first and final mimic ages of man, as the ages of very simple verbal languages and ideas, which are mostly related to the ‘spatial, immediate evidence’, of what they eye sees. Due to the erasing of the mind by digital TV-images of greater information than your eyes images, you become hypnotized again, as the Paleolithic man by visual thought. So you only believe in space and energy, no longer in time, and imagination, and logic – the ways temporal facts chain each other through causality.
Today our children are big bodies, that imitate the ‘Californian model’, the first man of the Neo-paleolithic that regressed to that violent, simplistic mental age by effect of Hollywood. When I studied mimic languages (acting) in New York a teacher told me, that there were no books in California, only those cardboard imitation that look nice on the shelves. It was quiet truth. Most script-writers in California had not read Proust or Tolstoy, had not traveled through America, had no idea of writing. The rest, would not even know what those names meant. In California – Capote said – you could not die because your brain was dead. It was also truth, in as much as men are informative, linguistic species whose life is intense through perception, not through physical actions as Californios think. The Californio, big and stupid, selfish, without social sense of evolution, without imagination, is the new Neo-paleolithic man that all humanity imitates. Now varieties of the Neopaleolithic Californio appear all over the world, as American satellites erase with digital thought the imagination of all men.
Verbal degradation extends to all languages.
It is important to understand that verbal languages are temporal languages, that develop the human mind, in all its levels of perception as the summit of the human soul. The result of the neo-paleolithic man, the mimic man is a regression in all social and intellectual levels. This is obvious when considering the low level of scientific understanding that happens among American scientists, which cannot construct models of reality beyond the mere description of facts, since their logic, verbal brains have minimal depth of thought. If we compare the evolution of science in Europe till the war, with the kind of simplistic, data-based, computer-based science of modern America the superiority of the European model-creator, from Darwin to Einstein is evident. Again if we consider visual artists, such as painters, the difference is notorious. Americans lack imagination which is given by the temporal dimension that words give to us. Without words, time, causality, the causes of change in the Universe appear mysterious, irrational. Such is the case of the American, which can only understand what he sees, and believers that only what he sees is real. So for example, American art, fluctuates between hyper-realism, what he sees, and total abstraction – energy painting made with the conceptual level of a big ape. In between, the fertile -isms of the Europeans, that created imaginary worlds with symbols and creative evolution of the inner languages of man, are very rare, specially in California.
The Californio cannot paint except what he sees. I made a living for a while making impressionistic and expressionistic paintings of actors and virtual celebrities. They were surprised that I could paint beyond reality. They could only see space, what they saw; not the logic of time that caused reality. That logic required to ‘see’ words, to sense them with the same informative strength we use to see images. Yet the Neo-Paleolithic californio cannot create with words, and so it prefers mathematics to theory of evolution, violent films to feelings, machines to humans, realism to symbolic painting. This is why the Californio makes robots that will extinguish man. He cannot even imagine that reality is guided by Theory of Evolution and those robots will cut their children into pieces, and torture them, as the Californio tortures the minds of all men thanks to the mass-media communicative power of satellites, money and internets. The Californio is the future of man. The no-future of Human languages. We will soon be all Californios.
The Neopaleolithic is again the mimic age. We admire the Californian bodies, those women who make love like if they were making gymnastics, whose verbal-feeling sensations are null. Who even despise reproductive goals. I have been with many of those women. They do not leave memories or feelings in your mind. They are not ‘women’, or ‘men’, they are Paleolithic, selfish hunters, in search of their immediate reward. They have forgotten the meaning of feelings created by loving words.