More meanings of the 108 secret Anaphorian signs that cannot be shown

More meanings of the 108 secret Anaphorian signs that cannot be shown
62. The path that is apparent only after much time and reflection.
63. When a crystalline formation informs an array of thoughts
64. That prophesy attained through grasping the waves of balance between opposites.
65. What we call and identify as personal guides
66. What is separated to be reconfigured into a better bond
67. The most individual trait that is most useful to others.
68. The study of the sparks that lead to an awaking from an oppressing hypnosis.
69. A relentless force set upon working on that which has been spoiled.
70. The pleasing glimmer at the end of a task.

Cudamani-

Probably the most important composers collective and/or communal music making organization (well more than music!) on the globe at the moment. anything but your standard Balinese Gamelan.

Inuit Singing/ 2 examples

Randomness

The man replied,”Things as they are,
Are changed upon the blue guitar.”-Wallace Stevens

I have a small blank black book where I have kept a record of practically every I Ching hexagram I have thrown since 1977. Perhaps I am somehow deceiving myself, but every time I have thrown it, it seems to make uncanny sense. More than once when it seemed to stray, I have found I tabulated it wrong. It is more than the traditional method too. I use a variety of multi-sided dice that I pick and choose from, depending on the subject. The configuration attempted to coincide with the probability found in the yarrow stick method. Why did I pick dice? It seemed to fit my (post) western concept of chance. Las Vegas. A place I loathe. but where the power of chance is worshipped.
Funny thing though when I have used a computer to throw the I Ching ithey NEVER seem to fit. One wonders whether the programs are all defective or ‘limited’ in someway or there is more influence one puts into the results than one realizes when going the corporeal route. Perhaps my ‘attitude’. Tarot, which I have less experience with, my experience has been pretty much the same. I suspect some aspect of randomness is intangable.
Musically I have used random methods primarily when I was investigating the nature of inversions of chords. To sustain a chord on some of my faster decay instruments I would ‘randomize’ the members of the chord, learning that it worked better to play the extremes less often with the middle more. I am sure that what I do is less than what a mathematical producing might give me, yet musically the result fits as good or better. But there is an interesting symbiotic relation going on here that I think could and should be explored more. What I am doing in these instances is only because of what I have heard machines or methods do. One could say I am informed by these random generators. As there are different random processes, it seems that they each could be used as an exposure to activate similar activity within a performers ourselves. To some extent I am sure this has already happen. One wonders if a Feldman could have happen without the input of his friends exploring various random applications musically and also visually. Intuition relies on what it is presented with. It seem the process could go back and forth.
It partially leads me out of a dilemma I was having.
“ What is the difference between a piece that uses a random method and one that says it is, but doesn’t”. One could put all types of other things to replace random to be fair, but I think I made enough problems with others asking these types of questions. There is still the aspect of partisan attitude associated with method and process that becomes meaningless if one cannot tell one realization from another. We don’t need such emperor clothes, the phenomenon is or should be enough
We can see that the process can be much more interactive with other processes in a deeper sense than when one thing literally mirrors another. Our tools can inform us and in turn we can inform them.

First Contact-Film

Original footage of the 'first contact' between Papuan highlanders and Australian gold prospectors in the 1930's, together with reflections from surviving participants on their swift introduction to Western colonialism.
Ripped from the DVD "Indigenous Resistance in New Guinea" made by Solidarity South Pacific: www.eco-action.org/ssp - respect!«



Thanks to Carl lumma for finding this

Hmong Qeej

thanks to Taylan Susam for finding the first of these. The following i found of great interest

INSTRUMENTS

Not all instruments are equal in their flexibility. Compare what can do with a piano and finger cymbals. I have a wonderful recording of a solo of the latter by Madjid Khaladj. Here on Tombak

Human beings will always be able to make music out of just about anything.
The relationship with instruments and people works both ways -each dictates what the other will do. Often time a defective one will result in an artist exploring just that defect. Keith Jarretts busted electric piano key on Miles LIVE/EVIL became the whole focus of the song as Jarrett first circles around it then drones on it. I have seen Chris Abrahams do the similar things on a “bad’ piano with finding some unique chord/timbre only available there at that moment.
Still such an instrument offers much choice in variation in sound.
While it is wonderful to see so many new instruments one would hope we can recognize the ones that offer more than one sound or timbre, one that allow the artist somewhere to go and discover beyond the immediate. It needn’t be complex as even set of bowls tuned by water gets one a broad range of expression. Often we might see an individual who no longer uses an instrument in ANY conventional way and I remember Jim French questioning why they just make an instrument that does that to start with and then venture from there. It is a good question.
What we need are instruments we can continue to explore on, not hem us in to a sound or two. Conventional ones have their own history and shouldn't be avoided. In fact how far can we get beyond variations of these great models?