Former Angeleno musical spiritual abstractionist Kraig Grady alerted us to the following recent blog posting. The Music of Anaphoria would have fit nicely with tomorrow night's pPperformance Nite.
Wilson's Chart of the Mt. Meru/Lambdoma interface
Today, as never before,we are witnessing an opposition
not between art and life,
but between sacral and secular spaces.
"In the process of my wife, Terumi Narushima working on her book on Erv Wilson's Tuning innovations, the subject of the Partch's Diamond and its origin have come up. What strikes myself is that how this structure seems to have been reawakened in not only Harry’s vision even if through Mayer, but the others to as close relatives. Spontaneously they appear in others such as Novaro (in the same year as Partch, 1927), but also Schlesinger too once one scratches the surface of her subharmonic scales sharing a common tone. That all this rediscoverering would happen within a few brief years after 2000 years is uncanny and could be seen almost as if the structure had a life of its own. In its former context it was used to please the gods or to represent the celestial clockwork or even as a reflection of political structure. This Lambdoma returns, but not in the context of an object to be worshipped, but as a something that nevertheless is once again in communication with our secular world. It is within this contact and communication that Partch deserves credit for placing his work and vision. His rituals do not worship these objects, but nevertheless places them within the conversation throughout his own aesthetic objects..."
Continue reading Archivist/Cultural Liaison's "Diamonds, Lambdomas, and Mt. Meru: The Return of Sacred Objects to a Secular Landscape" at the Field Stations and Outposts of Anaphoria Island blog here: http://anaphoriasouth.blogspot.com.au/2016/03/diamonds-lambdomas-and-mt-meru-return.html