“In the clear, critical light of day, illusory administrators whisper of our need for institutions, and all institutions are political, and all politics is correctional, so it seems we need correctional institutions in the common, settling it, correcting us. But we won’t stand corrected. Moreover, incorrect as we are there’s nothing wrong with us. We don’t want to be correct and we won’t be corrected.”
This is the one song everyone would like to learn The song that is irresistible
The song that forces men to leap overboard in squadrons Even though they see the beached skulls
The song nobody knows because anyone who has heard it is dead And the others can’t remember
Shall I tell you the secret? And if I do, will you get me out of this bird suit?
“The role of the music is much less to produce the trance than to create conditions favorable to its onset, to regularize its form, and to ensure that instead of being a merely individual, unpredictable, and uncontrollable phenomenon, it becomes, on the contrary, predictable, controlled, and at the service of the group...”
We know about Coltrane’s Circle of Fifths because of an interaction with Yusef Lateef in 1967. Coltrane gave Lateef the drawing, and then Lateef included it in his book Repository of Scales and Melodic Patterns. The Repository of Scales and Melodic Patterns is a 280-page book of scales, patterns, and licks that serve as a list of jazz patterns. For Lateef, Coltrane’s Circle of Fifths symbolizes his musical journey. He adds that Coltrane “embraced the concerns of a rich tradition of autophysiopsychic music.” For Lateef, the autophysiopsychic was “music from one’s physical, mental and spiritual self.”
“It resides in our brains and stretches itself out through time, connecting each and everyone of us together, using us to force itself into material existence… In a peculiar motion, the knowing ape undergoes a partly conscious act of creation in the manner of Dr. Frankenstein. A body is grown, grasping at whatever it can take in, making flesh, stealing code. We build our trajectory upon shifting sands, held together by our ability to negotiate, to compromise, to determine which way the wind blows and thus set sail through the fog. However, one must remember that the binds that tie may also be used to rip a body in twain… The virus is there, as a process, as processing itself, forcing us to witness a veiled existence, forcing us to take part in itself. Some of us get so drawn into identifying with the virus that they lose sight of the way that we are held captive to it. They feed the growth of masks and armor, so they might hide from themselves, and protect against others. They force those who’d rather not draw from this poisoned source to feed the growth of masks, and armor as well.” [From the Pattern is the Pattern]