Narrative Structures

The subject of narrative cognitive ‘transference’ lies at the heart of ‘my relationship’ to creative music and physical universe perception, and this subject has also helped shape the vibrational/intellectual and spiritual ‘experiences’ that lie at the heart of my ‘aesthetic/life’s consciousness’ – concerning both what a given viewpoint  ‘actualizes’ in itself ( with respect to what a given postulation signals about the ‘act’ of creativity) and extending to include what that same postulat-ion signals about  necessarily related scientific/practical and vibrat-ional ‘correspondences’. Narrative formal logic transference is a subject that extends into many different areas of thought and dimension and transcends the domain of any one discipline per say- (including ‘affinity-indentification’)- extending instead to embrace ‘the fact of composite existence and experience’, and the demonstrated wonder of ‘cosmic-change’. For me the subject of narrative logic correspondences lies at the center of the ‘experiencing’ person and the fact of consciousness. I believe the ‘challenge’ of this subject will only increase in the coming period of profound geo-political re-alignment (and world change). For the context of a given narrative-focus is not separate from the community of values it takes place in. More and more, the challenge of a dynamic ‘planet-realignment’ will force the ‘world-group’ to build viewpoints based on a context of ‘constructs’ that have demonstrated clear evolution ( form/change) equal to the theater of possibilities we now find ourselves in ( from a composite  perspective). It will be from this vantage point where the challenge of new ‘trans-mythologies’ can be seeded. The wonder of narrative logics in this context can be used to provide a platform of measure-ment (identity) for individual to group realization ( with the hope for a positive planet-unification ‘state of being’ that could extend from ‘shared-qualities’ myths to ‘target-myth’ structures). But there is more here: because the dynamic implications of this subject hints of a ‘network’ of ‘active-implications’ ( and ‘curiosities’). Implications that go right to the center of present day viewpoints of cultural diversity and ‘world-political balance’. It is for this reason that the fundamental modes of communication (and ‘information transfer-ence’ models) in the future will rediscover the significance of narrative based constructs. This subject points to the genesis foundation of human experience and belief- extending to include the vibrational ‘target-goal’ of hope for a more utopian vision of reality). The serious of this subject extends into every layer of our culture, and represents one of the fundamental challenges of this time cycle.

The subject of narrative form-building and it’s role in creative music is a complex subject that establishes at least four areas of ‘subject-focus’ that can be isolated for discussion, that being: 1) that the base nuclear logic that defines cognition is a tri-centric thought unit that cannot be properly transmitted ( or understood) without some inclusion of a ‘corresponding- poetic’ logic (association/binder) that respects the experiences of the ‘living person’ (the actual ‘experien-cier’). 2) that narrative form building is directly related to the form of evolution that produced the ‘modern-era’ and should not be discarded,  3) that the challenge of the next time cycle transcends two-diminsional modeling constructs and instead calls for a fresh unit of perception that recognizes target ‘sub-level experiences’         ( that included intention, and ‘vibrational-spectra’). All of these matters are related to the subject of narrative subject-transference. In the first listed subject-inquiry area for discussion, I am referring to the discipline of music as a ‘fundamental-experience’ that has direct relevance to narrative modeling by nature of the what the ‘experience of listening’ is. My early attraction to music was totally intertwined with the related narrative-associations sub-experiences that took place in the actual process of listening. In the beginning, I found myself attracted to the music of Mr. Chuck Berry and Mr. Bill Haley- two virtuoso vocalist/guitarist who were among the first to practice a music that would later become ‘Rock and Roll’. The experience of hearing their music in the fifties would transform my life and dreams and establish the fundamental posture (alignment) of my perception of ‘sonic-activities’ as well as the experience of ‘vibrational identification and time-perception’.  Hearing music in this period would open my imagination to new and strange ‘fantasy worlds’ that contained fresh experiences and associations. From a vantage point of forty-nine years I can now see the powerful sub-component implications of narrative logic transference and the role this component has played in my aesthetic-experiences from the very beginning. This is so, because the route of my ‘ear-volution’ was not separate from the beginning experience of ‘hearing a song’ that I ‘liked’ – that, after a period of time I could maybe sing to myself- (“because, somehow the ‘lyrics’ made me feel better, or maybe I liked the ‘message’ of the song (( but this was the fifties, the songs were not the revolutionary kinds of songs we’ve grown accustomed to in this time period – this was a more boy-girl ‘I’m in Love With You’ kind of thing: I am not writing of political revelation or of ‘profound-harmonic’ transformation)) but rather, the opening experience of listening to music and affinity sonic-identification ). The popular musics of the 1950’s would be the beginning of my early associations with conceptually intended sound experiences and it is also here where the fundamental qualities of narrative transference can be traced. Because the context of those associations (on it’s own plane) would become a ‘sub-clause’ component experience in itself that would be a consistent factor in my musical awakening – extending into every domain of cognitive and vibrational experience. Yet I have not meant to describe my experience as somehow unique in the cultural context of things- because this is not the case. The experience of listening to music sets it’s own vibrational balances in motion. All of these matters are part of the normal dynamics of listening to creative postulation ( including association and projection). In the beginning of my early listening experiences I was not actively aware of the various scientific processes taking place in a given composition. I only knew if I liked the music – “I liked it.”! My early experiences of listening involved ‘the wonder of the sonic experience’ and the ‘intuitive’ awareness of similarities and differences as part of the ‘active-internal energies’ that describe ‘animate sonic-postulation’ ( this is what I mean by the mechanisms that encompass the hearing experience). My point is this: that even in the beginning of the musical listening ‘encounter’ the friendly ‘listener’ is given a set of narrative associations that form the backdrop of the ‘hearing experience’. The first most basic unit of recognition in this context is the concept of melody. That is, the concept of melody as the first unit of recognition for the average person ( of course, this is not always the case, there are always exceptions, but my viewpoint for this paper is based on the normal ‘opening-alignment’ that most of us bring to listening). Music listening in the early period for me involved the experience of hearing many different songs ( and needless to say, the television and radio broadcast of that time period extended and adopted the same fundamental ‘proclivities’ of cultural architectonic recognition and elaboration (style/identity). The reality of those experiences would find me listening to a song because a) it reminded me of a lady that I liked, or day-dreamed about, b) or a given song matched my emotional state in a way where I identified with the song (ie. the lyrics, or a particular artist). But there was another aspect related to this subject that would come to redefine and in effect ‘summarize’ the whole experience of listening ( as a tranformational experience), and that aspect is the ‘urge’ that allows a person’s consciousness to ‘fuse’ with the narrative exposition of form. That is; narrative form logics as the base fundamental construct that directs the mind’s consciousness through the ‘available shades of meaning’ that the ‘friendly’ listener can experience. By of end of the 1980’s, the progressional expansion of existential modeling ( melodic-target associations extending into  sub-identity target states that contained  more diversified -and abstract structural relationships strategies) finally lead into the current ‘lost of meaning and lost of historic perspective’ predicament we now find ourselves in as a culture. Somehow the modern era was suppose to lift us over the threshold of local idiomatic recognition into a more advanced experience of ‘multiple operating’ creative active properties. The hope was that the evolution of structural properties on it’s own plane could provide the kind of experiences that  would establish  new levels of sonic-recognition/associations (structural and ‘conceptual’ recognition) and for a moment those ideas seemed to hold the promise of a future. But this was not to be the case.

The thirty year cycle that brought in post-modern conceptual challenges ( from the time period of the 1960’s) has if nothing else shown the dilemma of existential modeling as an end to itself. More and more it is becoming possible to see the difference between art experiences based on fundamental constructs of recognition as opposed to the newer contemporary ‘elastic’ models that are couched in brilliant philosophical terms but somehow can’t address itself to the ‘linear-sustained’ interest/attraction (associations) that narrative architecture has long demonstrated. This to me is one of the important challenges of the closing twentieth century- that is, the need to re-establish restructural composite narrative structures that can serve the need of our citizens in the next time cycle. Rather than simply seek to throw everything from the past away – as if nothing from our recorded experiences has any transferral relevance the challenge of the next time cycle will call for fresh attempts to ‘merge’ a composite myth-narrative base that can be both flexible and stable – according to the needs of the ‘experiencer’. The dynamics of abstract form consciousness /architecture that started in the Romantic Period has ushered through a unique set of possibilities that still has relevance to the future. In that context, the concept of ‘poetic-logics’ architecture is an attempt to fuse the structural logo of a given focus with a dramatic ‘under-sense’ that can allow for ritual identification  ( and alignment). It is through this ‘context of balances’ where the ‘friendly experiencer’ has involvement with the kind of associations that transcend two-diminsional structural recognition. The exploration of structure and form on it’s own plane – without regard for related metaphysics (correspondence logics) – will not be enough in the future. Transformational art (and thinking) in the next time cycle will call for the development of  ‘stories/myth structures’ that have universal application. This will be the beginning of the new ‘TRANS- IDIOMATIC’ experiences.