Showing posts with label form. Show all posts
Showing posts with label form. Show all posts

Saturday, May 25, 2013

Form Follows Function

"It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law." 
~  Louis H. Sullivan

Mage Music 54

Mage Music 54: Form Follows Function   jimmypagemusic.blogspot.com
Louis Sullivan (1856-1924) wasn't an occultist, though you might think so from the above quote. He wasn't a theologian or philosopher, either. Mr. Sullivan was an architect. 

Mentor to Frank Lloyd Wright and called "father of the skyscraper", Mr. Sullivan was a visionary who coined the phrase "form ever follows function". The shortened version we are more familiar with, "form follows function", is fully stated as the aesthetic credo quoted above. Things are known by how they manifest in the world.  

When Louis Sullivan put forth his ideas in his article "The Tall Office Building Artistically Considered"(Lippincott's Magazine, March 1896: 403-409), he was discussing a new approach to architecture that addressed the engineering problems associated with buildings that went up, way up. He understood that the old ways of doing things could literally not support the new needs.

Form follows function means that to bring about the true manifestation of a thing, the shape should express what its purpose is, but Louis Sullivan was also talking about much more than skyscrapers. New function goes hand in hand with new aesthetic freedom as well. 

More or Less

Obviously the forms of things don't have to be shaped by their functions. We love all the embellishments - the different colors and looks and sizes - knowing they're all just icing on the cake and that none of it has anything to do with the function of the objects that have been so decorated. If we didn't love the flash and the bling, the meaningless difference, we wouldn't crave - much less put up with - all the options for cars, computers, clothes or covers for iPhones.   

In the world of true manifestation, though, even the ornamentation needs to be in alignment with function. Sometimes even a little more is just too much. This is true with music as well as Magick.

I remember thinking, back in the late 1960s, how amazing it was that Cream and The Jimi Hendrix Experience could put out such a rich and complete sound with just three musicians each. I also remember being very disappointed with bands whose music was full and deep on their albums, but that on stage came across like skim milk compared to the recordings. For them, what was created using multiple tracks and engineering in a studio was not duplicable live. Needless to say, Led Zeppelin wasn't like that - there was just as much live as there was on the albums, if not more.

That's because every component of Led Zeppelin's music, whether on stage or recorded, was an expression of the function of the ritual of the music.  Every beat, every riff was an expression of the song's purpose. Every component of each performance was essential.  And every musician's input was crucial to the construction of the ritual.   

In his comment on the Page/Plant tour of 1998 on jimmypage.com (On This Day, May 18), Jimmy Page said: "With a stripped-down line-up ... it gave us more freedom to explore and re-work the songs, without the orchestra and supplementary musicians ..."

Not only can more be too much, more can't always make up for a missing essential.  The Magick of Led Zeppelin was in the alchemy of those four musicians, and adding more musicians down the line could not recreate the true manifestations of the missing members of the band. Life is recognizable in its expression. It can't be simulated; it must be a true manifestation of the purpose.

Designing Ritual

While objects and actions of ritual - Magick or music - that come from elsewhere can be used as inspiration, in fact true manifestation comes from expression of the Mage's own desire and will. That means that using ritual from some other source, no matter how successful it is for the other source, is not necessarily going to manifest anything for the Mage that he intends until all the objects and actions become his own.

Thus, creating a ritual starting from scratch is in a way easier - or at least less risky - than starting with a pre-existing design. When all component parts have to have meaning and form within the function of the intended purpose, using enough of the wrong ones leads to failure.  The notes, pitch and all components of the melodies, riffs and rhythms of music and the ceremonial objects and actions of Magick have to be the right ones in the right quantities and they have to express the function of the performing musician's or Mage's intended purpose - not some other band's or Aleister Crowley's.   

No substitutions!  Original work only!  No grading on a curve!  According to Louis Sullivan, it's the law. 


Note:  As always, use of the masculine gender is not meant to exclude the feminine.


  

Saturday, September 1, 2012

Mage Music 18: Fetching the Magick

Ritual is the glue that holds the Magickal process together...

Mage Music 18

Black Dog
artwork based on NASA image
click on image to enlarge
Like everything else associated with Magick, Ritual is simple, but it’s not easy. Just for openers, there is more than one flavor of Magick. There is no one Magical path that is the sole truth of things. There is no good or bad Magick, either – Magick is what the Mage chooses to make it, since Magick is a process and tool of the Mage, not an independent thing in itself. The Power that the Mage accesses using Magick is the infinite energy of the Universe, which is not owned by Magick, the Mage, a demon, an angel or any being.

Even within one flavor of Magick there are many possible rituals that can be used by a Mage to achieve the desired outcomes. The ritual can be from any number of possible sources or it can be created by the Mage. The same ritual can be used over and over again or can be changed from time to time. Always, however, the risk exists for putting too much emphasis on the ritual’s form rather than its function. More on this in a bit.


Ritual: The Abracadabra Part

Ritual is the visible, external part of Magick. It’s what people see in the movies and read about in books and, if they are uneducated about Magick, it's what they think Magick is all about. Not so.

Ritual is the action that is used to bind the desire and will of the Mage and provides a focus for long enough for the Mage to access and open to the energy of the Universe. It’s the unlimited and infinite energy of the Universe that makes changes in the reality of the Mage... if all the component parts of Magick come together just right.

There is no Power in Magick itself, since Magick is a process not a thing. There is no Magick in a magic wand or in a secret word or symbol – if any of those things seem to contain Magick, it is only an illusion, a seeming that comes from the Mage at the time of use in ritual. Don't believe it? Well, a non-Mage can go to a magic store and buy the most arcane, most talismanic object - but outside of Magickal process by a Mage, the object will be just an inert thing. Think about this: Jimmy Page told Brad Tolinski in 2010 that the iconic outfits that our favorite Mage Musician wore on the 1977 tour were “more than just stage clothes; they were talismanic”, yet I doubt anyone who put one of those dragon suits would suddenly gain the Mage Music abilities of Jimmy Page. That's because....

Magick isn't in the objects or the ritual; Magick is a process that provides a framework for a flow-through of purposeful and directed energy of the Universe. It isn't easy to do this - and it's not an immediate cause-effect, either, which is a good thing when you think about it. One moment of inattention and a demon pops through!  No, it is fortunate for reality as we know it that immediate cause-effect - a wave of a wand and an Abracadabra - is not how Magick works.


Focus 

I mentioned in discussion of the use of a Mage's will how hard it is to sustain powerful desire and a conscious awareness of purpose for any meaningful length of time. For most of us, a moment or two is pretty good. For a Mage, minutes - many of them - may be needed to bring about the desired changes in Reality. There probably have been humans who could sustain the desire and awareness for long enough solely through their own will, but for most Mages, ritual is the tool that allows them to do the job.

Good ritual, through the use of stylized, formal actions performed sequentially, focuses the mind and emotions so that distractions are prevented and the primary desire and purpose can be maintained. Good ritual draws in and binds the senses and ensnares conscious awareness in order to align the mind, body and soul with the desired outcome. It is the loss of awareness and surrender to the desired new state - existing in the changed reality before the change exists in reality - that is the key to the ritual of Magick. Shamans dance and chant or dream, priests use prayer, Mages use Magickal ritual - all do so to surrender to the process, to step out of themselves and into the new state and to sustain that altered existence until it becomes the new reality. For some Mages, the form of ritual - and the surrender - is to music:  Mage Music.


Form vs. Function

The form of ritual provides a framework for the Magickal process that creates a familiar pattern.  [Note that if the pattern is achieved, then the ritual isn't improved by increasing technical expertise of performance, since it is the familiar patterns themselves that tell the receiver what kind of information to expect.  Jimmy Page has often been criticized for sloppy technique, but technique is secondary to content for a Mage Musician.]

The formula for ritual is pretty standardized:  There's a beginning, middle and end.  Each kind of ritual has its own pattern-within-pattern.  With Magick (and Mage Music) the ritual pattern looks approximately like this:
  • Preparation - Sets the desire and will, repeated so that the body/mind/soul are prepared (theme, riff) 
  • Invocation - Losing self in order to put the desire and intention of the Mage out into the Universe and to thereby become aligned with the change that is desired (solo) 
  • Close - Gratitude and creating the path to return to end of ritual (return to theme)
The function of ritual is essentially that of prayer (in the sense of spiritual communion), the object of which is to transform the Mage and thereby transform the Mage’s reality.

Ritual in itself is a catalyst, meaning that it brings about change while itself not being changed. Ritual is simply a component in a process that brings about/transmutes the Mage's reality, via desire and will, into a new reality. The need for the Mage to be able to surrender while maintaining the highest and most powerful levels of desire in full purpose and awareness means that during the sequential moments of ritual, what it looks (or sounds) like is secondary to the change it brings about in the Mage's reality.

No quality of musical performance, however skilled, will bring Magick to the music without the Mage’s purposeful immersion in the ritual.  The technical skill of a Mage Musician is less important than the strength of emotion, the purity of desire and the power of will used to perform the musical ritual.It can’t be faked and it can’t be emulated – Magick in music can only be created and recreated each individual time and only through the efforts of a Mage.

Fortunately for Mage Musician, audience has a function in the ritual.  We provide energy.  When we recognize the the ritual pattern and the quality of the music that carries Magick, when we feel the Magick we are transmuted along with the Mage and our feedback helps power the Mage.  It is the Mage Musician, however, who always does the fetching for us.



  

Future post: Magickal Mystery





Individual songs

1971 Led Zeppelin  Black Dog (live) Osaka (pre-album performance)
1971 Led Zeppelin  Black Dog (studio) Album: Led Zeppelin IV 
1971 Led Zeppelin  Black Dog (live) Knebworth
1973 Led Zeppelin  Black Dog (live) Madison Square Garden
1975 Led Zeppelin  Black Dog (live) Earls Court
1979 Led Zeppelin  Black Dog (live) Knebworth
1993 Page Coverdale  Black Dog (live) Osaka
1995 Page Plant   Black Dog (live) New Orleans
2007 Led Zeppelin/Jason Bonham  Black Dog (live) O2