On Music As Kosmos (Order[ing])

“धिमिद्धिमिद्धिमिध्वनन्मृदङ्गतुङ्गमङ्गल ।
ध्वनिक्रमप्रवर्तितप्रचण्डताण्डवः शिवः ॥”

While I disagree with her on most everything else, it was said by the famed anarchist Emma Goldman – “if I can’t dance, then it’s not my revolution”.

” जटाटवीगलज्जलप्रवाहपावितस्थले । “

With deference to #NAS Theology and associated rites … it occurs most strongly that in the absence of dance, of music, of rhythm .. of bass as somewhere between ‘final frontier’ and ‘foundational baseline’ of reality – a basstion, you might say – well, what is there.

“If it does not dance – if it does not resonate
then it is not our Theology “

” विनिर्गमत्क्रमस्फुरत्करालभालहव्यवाट् । “

And even though we know so very well that all matters are, intrinsically and in principle and in innate cause and unto effect, matters of theology [just as all crimes are, at their root, those of impiety; and all virtues build themselves back up towards Piety at their apex and their core] – it is worth emphasizing, stressing [sturmbeat und drang] that politics, too, can and should be viewed in a similar light.

” धराधरेन्द्रनन्दिनीकुचाग्रचित्रपत्रक ।”

This was, as it happened, what the legendary ‘Pirate Republic’ of Gabriel d’Annunzio, founded in Fiume immediately following the First World War, sought to run upon. Right there in the (‘Free’) State’s Constitution, there it is – an entire section devoted, dedicated to Music as the characterization and the shaping and the highest expression [as piety, no less] of a soul and of a society.

It has been said that this Constitution made Music the “central principle of the state” – and while this is not directly nor succinctly stated in the [translation, admittedly] version of the Constitution I’ve been reading; it nevertheless very much comes through as a recurrent theme. A Leitmotif, but also very much that baseline regulating and resonating – all-permeating – rhythm. [Indeed, section 63, governing the Council of Aediles, who might perhaps be thought of as the State Aesthete-Enactors and Public Works ‘Conductors’, specifically cites a sense of rhythm as a necessary qualification for elevation to the body, and as the essential guiding principle [along with ‘proportion’] of the works thus engaged in by same] [It is worth noting further that “music” is a characterizing quality of each ‘Body’ within the Corporatist societal model as an essential determinant of their identity [s.20]; and more importantly] [Rhythm [in potential poetical connexion], per s.64, is held as the essential regulator of the private or economic affairs of the populace more generally] .

Now, we are often hearing talk of the “harmonious society”; although for some reason, the “melodious society” is less popular – perhaps due to the seeming ease with which the dissonance collapses it , an overabundance of “malus”, perhaps, into simply the “-odious”.

We also occasionally hear of the “regulated society”, the “rhythms” of life, or even simply of the political cycle.

This proves, after a sort, that the “musical society” is not an “anarchistic” one – but rather one which functions upon a deeper logic; of rules and resonances which are no less real simply for their being subtler in their imputation; and which produces, nevertheless, a pervading and pervasive profound social order akin to the in-unison whirling circular processions prominent amidst the Muslims of Chechnya, or the flow of couples in a ballroom. Or, it has to be said, line-dancing, for the (Southern) Americans in the audience. Mayhap each people has “their” own dance, and which mirrors their essential character as an ethnie or a polity – and which conceals within it , in radiantly clear sight like wood upon trees, the abundant ‘secrets’ of the mechanisms, the motives, and the wave-forms via which they might, must be governed.

” करालभालपट्टिकाधगद्‍धगद्‍धगज्ज्वलद् । “

‘Immanence’ is, indeed, the foundational strength of Music, Rhythm, Dance, as politico-[] organizational principle. It is partially through this that its other advantages manifest – the ways in which it can effectively ‘bypass’ the more ‘facade-level’ self-delusions of consciousness and alleged ‘rational’ cognition, to hit us, with the referential connotations of the phrase fully in mind, “right between the eyes”.

It overcomes intersubjectivity in a way that language – well, other forms of language, I should more properly say – almost invariably simply cannot.

” नवीनमेघमण्डली निरुद्‍धदुर्धरस्फुरत् । “

There is no ‘arguing’ with a beat. There is simply the recognition that it is there, felt even subsonically right in the primal parts of the brain – and there’s a fascinating series of research-efforts on how repetitive-beat and the associated music [trance, for instance] actually directly affects the brain in the manner akin to a (positive) drug . And, flowing from there, how to respond within it. It cannot be quibbled with ,or subverted, or opposed in the manner of a more mortal-mundane “law” or rhetorical-philosophical axiom.

To the right ears, the ‘music’, the ‘beat’, the ‘rhythm of reality’ .. it just is.

“स्फुरद्दिगन्तसन्ततिप्रमोदमानमानसे । “

And as many have seen when attending the concert of a band with a devoted following [what is rampaging through my recollection at this moment, is a much younger me, in his very late teens, at Iron Maiden watching entire serried rows of folk in black shirts of all ranges of ages moving in near-perfect unison, and fundamental, functional unity of purpose to mirror the outward unity of action, a unity of thought and unity of feeling flowing between and betwixt them. ]; when the ‘body’ of men have such shared hearing and appreciation of That Which Is , its rolling, unfurling rhythms and design … then it moves ‘in concert’. The “body of men”, in other words, has become a body. An ‘organicist’ gemeinschaft , organized via the simple yet irreducibly complex dang near gravitational [an analogy with love, in a certain sense – combined with ‘entanglement’] forces of Music and our congruence with it. Not mere passive ‘hearers’, or ‘existers in the sonic pathway thereof’ of the sound-waves … but ‘responders’, ‘co-occurrers’, ‘shaped into the grooves’, and further vibrating like the skin of the drum in response to the pounding.

” डमड्डमड्डमड्डमन्निनादवड्डमर्वयं । “

Now, you may perhaps think me insane for what i have said. You might even be right. But more-than-likely it would also be because you “cannot hear the music”.


ॐ नमः शिवाय ॥


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