Psychologica in Musica
A rich tapestry of psychology, linguistics, and biology are present in all writings. Yet it also lends itself to the phenomenon of music. Writing is an expression/expulsion that like music, contains structure, and is bounded by that structure to conform to certain laws of reciprocity. This manuscript will deal with the geometry or vibration of writing as the expulsion of the acausal as a crude form of music. That is to say, viewing what is underneath writing when appreciated as an unconsciously driven piece of music.
Literally: behind all text there is a motivation: a subliminal trail of intent. That intent is often driven by ego resulting in the churning out of a great deal of rubbish or “noise” that occurs in communication prior to the Abyss. However, such noise contains among it key notions: each snugly nestled into a centre-point in the text that is couched and surrounded by supporting arguments and diatribe intended to give weight to the key point directly or indirectly. A spell if you like, that requires rhythm, pace, and to borrow from the musical world: hitting the right key during a composition.
Music is probably one of the only genuine abstractions in the world the other being geometry. Music in its raw form as sound does not depend on humanity for its existence, whereas an abstraction like mathematics does. Music existed before humanity, but mathematics was only a potential inherent in geometry. The only reason I refer to music as abstract is because it is comprehended and bounded humanly, as “music”.
When we read a good piece of writing we could say that is possesses us, causes us to go places the writer has determined for us to go, and some places the writer hasn’t or couldn’t. It might depress or enliven us, sadden us or fill us with joy or intrigue or wonder. We know instinctively when we write, when a word doesn’t fit. Despite the millions of words we combine, it takes only the careless use of one to bring an otherwise masterpiece of literary finesse crashing down from the status of perfect. It is much the same with music: were a musical piece to jar suddenly after maintaining tempo and melody throughout: we should notice it for its coarse difference and be drawn to remember that jarring note as ruining the composition. In fact we might even be unable to enjoy the piece, because of that jarring note. Writing is the same. Musical appreciation and the analysis of textual frequency will differ from member to member, but the love and recognition of sinister elements will always be a solid constant that unifies that listening.
Analysis of geometry is not the hearing of a literal orchestra: it is intuitively based perception of the writer’s motives and the awareness of being hypnotised by beautiful music. This beautiful music might be described as having a shape, a vibration, a frequency or a colour. Regarding colour it is the Psychic sensation of being able to imagine what colour the text would be if it were a colour, or with Shapes, the shape such text might make were it associated as being structured as square, circular, triangular etc. If in imagining that a text is green: to determine its ‘essences’ based on a perception of colour one might draw on personal associations of the colour of green to describe it: fresh, lush, natural, etc.
But to equate writing to music is not the same arbitrary association as colour and shape. Rather it is a true superimposition of the qualities of sound over the text to turn its logical arrangement into pitch, treble, bass, timbre and melody, tempo, and rhythm. It is a mode structured in the real that could lend hue, tint and the vibrancy of colour by means of imagination to the literature, by virtue of being a mode of perception that mirrors the skill and mastery of the musical composer. Classical music does not communicate by word, but by its intent.
Taking three examples:
I.e. besides the surface platform of arguing rhetorically in politics, religion, or occultism: a writer has written a plain message (a single note) that states he does not need the Temple’s help [Residual]. Another writer has gone to great lengths to be elaborate (a symphony) and wants me to see that she is smart [Active]. The last writer wants to challenge my own ideas in order to regain control of their own (a prelude) [Egoic].
~Residual: the writing presents key notions in a quiet rhythmic tempo: couched only by the bare essentials to give the prose form. It is simplistic, straight to the point, and because it requires very little mental processing and does not step out of the OF, it is soft. Because it is soft, it causes the mind to inject more contrast upon it to bring it forth: it is thus more likely to be received well, played over and over as a single note, and thought about more often after reading it than an Active writing is.
~Active: A loud, noisy couching of many key notions that seldom operates on the OF. It requires a lot of information to be processed: and pending the poetic talent in which this information is presented: can either end on a low note or a high note. With active writing it is necessary to use words that are out of the OF and this can be done tastefully if the rhythm of non-OF words is melodic and gradual. Or if persons are familiar and used to using a different OF such as the vernacular of the ONA; acausal, Aeonics, dark gods etc… the geometry of an Active letter is not affected by the departure. But if the letter is forceful and shows little grace in presenting its keys: it is as though a drum-kit has fallen down stairs. Elasticity in writing, an ability to compose lyrical music that is flexible, flowing, and able to rise and fall: to concede the merit of others music accordingly: shows a maturity of composition. “Textual Melody” is one of the essential factors to use in determining the psyche of a writer. If the writing was well put together, but lacked a convincing argument it translates musically as a low but inauthentic bass boom. If the writing had little substance but served only as a raft for the ego of the writer: it might translate musically as a high-pitched whine, scream or some irritating instrument.
Most writing is active: that is, fed by a complex intent. Although that intent cannot be erased: [it is the paper on which the score is written] the writer can acknowledge its presence in a composition: and either apologise for it or justify it with an honest announcement pending poetic talent. Hence, I’m sorry, and well aware of the irony of writing about the ego.
~Egoic: Egoic writing is best equated to archetypal resonance: an Egoic writing smacks of a vulgar permutation of rehearsed classics. For that is what it is. It is more often than not a flighty composition that has a quiet opening and a loud but [sometimes understated] crescendo at the end. It can be coloured into two distinct tones of which there are various degrees. There is the persuasive ego that attempts to win the readers will under power: by appealing to emotive instruments such as the violin, cello or bass: using a similar mode of association that America employs to create anxiety and then remove that anxiety by posing as the readers saviour/crusader. And there is the aloof ego that plays beautiful music using flutes, panpipes, and other stringed instruments but like the song of the siren, requires that the listener enquire of the composing ego – for the composer deliberately separates itself from the musical score. This is so that compliments, congratulations on writing a beautiful piece are met with gruff reproach and any energy of appreciation toward the composer is turned into an ugly tentacle where the musical score is understated as rubbish and beneath the composers better attempts: this requires more interaction with the ego to soothe it, cradle it, encourage it to see its beauty and power: which it already does, but uses it to lure the unwary: a true psychic vampire.
I should add that such compositions that include a violin, are those containing emotionally charged archetypes such as overcoming an obstacle to get to the reader, the writer being prepared to sacrifice themself on the readers behalf etc. and so the tune is often interlaced with sneaky flutes and panpipes to give a lift to the otherwise drudgery of being forced to empathise with these vampire types. Also those of the aloof type write ideas that are never fully formed or they may master one or two concepts beautifully. But diversity is lacking in these types: mainly because the piece is intended as a cleverly crafted web: it is not the intention of the writer to go on and further themselves, but to receive praise endlessly on the mastery of one or two works. If praise is withheld, the writer usually does not return: there is after-all no substance to the writer and except for being fed voracious amounts of energy it has no interest in anyone else. It is for this reason that I refer to the aloof compositions as being composed of ‘lilting’ instruments: high notes with no bass.
Although there are several frequencies covered in this MS, some to do with time, some to do with magical alignment, others with commonplace repetition – it is this last one that is probably the most intuitive and useful.
Because there is a lack of originality in this mediocre human-centred phase of time, because writing must conform to various rules to appropriately conceal or reveal the writers intention if it be other than what they would indicate, and because music has gone into hibernation: and I mean the rise in stream-lined electronic factory produced banality that passes for composition these days: archetypically: most people I have encountered fall into one of these three categories. Why? Because they lack the power of personality: to be different: or to maintain or revive a link to the past and tap into genuine musical experience. The esoteric secrets of music are not lost however: they have been kept intact by the permeation of the acausal phenomenon of Music, with its noisy counterpart Language. Although I would not lean heavily on the categories given above, indeed they are just rough guides to give some semblance to the esoteric method that can be used, in tandem with other means, to determine a writers authenticity: I believe that there is beyond words and their static level of use in the matrix on a linear level: a secret esoteric harmony and frequency that remains unconscious in most: that delivers to the avid music appreciator; the Soul on a plate.