September 24, 2010

susanne giring responds to the anahat

Filed under: kagavox,music,susanne giring — ABRAXAS @ 1:59 pm

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aryan kaganof’s composition anahat is a radical remix and reworking of material from michael blake’s string quartet #3. the composition is available as part of the double cd package: the bow project and can be ordered directly from michael blake: michaelblake@telkomsa.net
Price R120 inc. p&p

September 23, 2010


Filed under: kagavox,music — ABRAXAS @ 7:13 pm

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The Unstruck Sound, The Anahata Naad

The initial creative impulses arose as spandan or thought- vibration of the Pure Being. The sound that emanated from the vibration was AUM. In its transcendental aspect, it is difficult to establish contact with the Supreme Being. However, the nearest approach is Sound, also referred to as Aparam Brahmn .

Supercharged with transcendent soul-force, sound is, in all Creation, the one, powerful principle that widely influences and effectively brings under control all other manifestations.

Self-realised beings, the siddhas , discovered that there exists a definite relationship between sound and mind. The mind, in the process of being attracted towards sound, loses awareness of the external world altogether.

Through meditation, seekers following the path of Siddha Yoga endeavour to establish contact with the divine sound, the Anahata Naad that helps in subduing the turbulent mind – that keeps roving in the pleasure garden of sensual objects – and giving it a new, inward direction.

As the seeker delves deep within, he realises that his physical and astral bodies, his senses and the mind, all have sound as their basis. An analysis of one’s individual existence takes one to sound before one reaches the Eternal Self.

Anahata Naad also forms the basis in all the six chakras or plexuses located within the sushumna that extends from the base of the spine to the crown of the head – the brahmarandhra or the tenth door. Since the lower three chakras – muladhara , swadhishthana and manipura – are dominated by the tattvas earth, water and fire respectively, Naad is not clearly heard in these.

Anahata chakra , which corresponds to the cardiac plexus in the physical body, is the centre of Vayu Tattva . Anahata Sound, called the sound of the Shabda Brahmn , emanates from this centre. Significantly, Anahata Naad is the unstruck, mystic sound that occurs spontaneously and is not the result of striking or beating certain things. Depending upon the intensity of a seeker’s concentration and the level of his mental purity, Anahata Naad can be distinctly heard in deep meditation, paving the way for the seeker’s evolution to the highest level of consciousness.

Anahata Naad manifests it self in different ways ranging from the sound that is similar to the beating of the waves of the sea to the deafening peals of huge bells and the holy sound of the conch. When the seeker hears the sound of the flute, his entire being is permeated with Divine bliss and he loses body-consciousness; the sound of the kettledrum bestows the seeker with powers of clairvoyance and the ability to see distant objects. But the naad that leads the seeker to the ultimate goal of yoga, Nirvikalpa Samadhi , is the meghanaad , the sound of thunder.

Siddha Yoga masters say that constant hearing of meghanaad for some days in deep meditation enables the seeker to enter the abode of Chiti, Pure Consciousness, where he experiences the tranquility of the supra-causal state of consciousness.

The seeker then begins to understand that there are two dimensions to Chiti : one is the supremely pure transcendent aspect, which transcends the world, and the other is the immanent aspect, in which by free will, there is differentiation, attribution and the projection of the wondrous universe on the canvas of the Supreme Being.

Despite appearing as the universe with myriad diversities and impurities, Chiti retains her immaculate purity and remains absolutely untainted.

The writer, ANUP TANEJA, is an editor with the Indian Council of Historical Research. this article first published here

aryan kaganof’s composition anahat is a radical remix and reworking of material from michael blake’s string quartet #3. the composition is available as part of the double cd package: the bow project and can be ordered directly from michael blake
Price R120 inc. p&p

September 20, 2010

a recording session with natasje van der westhuizen (cello)

Filed under: kagavox — ABRAXAS @ 9:31 am

a letter to Dr. Theo Herbst

Dear Theo,

I would very much like to close mic various aspects of the instrument. In this way to simultaneously record not only the “notes in the room” but very particularly, the tiny gestures (fingers on the strings; attack of bow on the strings). Perhaps six microphones would be sufficient. A basic two mic set-up for the sound of the instrument in the room, and four more very directional mics, picking up the limited audio spatial dynamics of a specific region of the sound events on the instrument.

This allows us a tremendous degree of control in the mixing. We can choose to eliminate the micro range altogether and just leave the stereo room sound (this is always the “safe” option) or we can really go to town, analysing the event nature of sound in our mix, thereby completely discrediting Kittler’s notion that the sound recording is “real”. Of course nothing is real; or at least, this “real” dimension of sound recording has everything to do with what we can hear. And our experiment will show that what we can hear is in itself entirely constructed and therefore not “real”.

But more importantly this mix of the room spatial event and the close mic events provides a really rich way of creating a tapestry out of the same thing – a single source becomes the orchestra of itself, in analogue fashion and without synthesizers or computer programmes.

My role in this will be to provide a vocal accompaniment that Natasje will use as a springboard for the emotional mood of her improvisations. These vocals should best be recorded in two different positions:

1. With the microphone hanging ABOVE my head directed down towards me (this because the effort of looking up and projecting my voice from within a strained chestplate gives a very distinct quality to the sound of the voice that cannot be attained any other way).

2. With me lying down on the ground on my back and the microphone suspended above my head – this is interesting to compare as here the resonance of the relaxed chest is entirely different to the previous position.

Regarding how Natasje and I have prepared. She attended a poetry reading of mine and saw how I use the voice, so she has an understanding of the range and the textures. We agreed not to rehearse as we both felt that the best material will come out of a spontaneous combustion and should this indeed fail then we could always rehearse after the event in order to taxonomize what worked and eradicate what didn’t. The idea of immediately recording the improvisation is exciting because it creates a pressure that will be audible not merely in terms of the concentration level but – I believe – an actual audible quality, the being nowness of the moment. I am attracted to the idea of creating sound events in an entirely spontaneous manner and then refining these events in the studio to create a work that might not sound anything like the recorded sound-in-time at all! That is the wonder of utilising the recording studio as an instrument itself and not merely a capturing device.

OK so enough from me. I am really terribly excited about this Theo and I hope that this simultaneous multiple microphone technique (SMMT) provides you with a lot of very interesting source material to play with!

Yours sincerely,
Aryan Kaganof

June 16, 2010

badilisha radio. celebrate. badilisha live

Filed under: croc e moses,kagavox,malika ndlovu,poetry — ABRAXAS @ 7:03 pm


April 14, 2010

on the complete works of aryan kaganof

I conceived the work as an interlocking sculpture in time – with all of the pieces reflecting each other in some way. An alchemical work founded on the principle that “as above, so below”. In that sense there is no traditional “development” in time. Many of the works that I made in the early and mid 1990s have still not been “released” and when they are released, will not be back-dated. In this way foiling and negating the idea that the art reflects any kind of chronological movement at all. The digital aspect of the work has not been explored in terms of surface (ie. “looking” computeristic), but rather foregrounding non-linearity as a discourse that one can pre-empt in time. Although the physical artefacts emerge, one by one (or in clusters) they have not been made in, nor do they make sense in, the chronological time that we experience moment by moment. Actually this non-linear sculpture was imagined before I had access to digital editing and thinking; it emerged after reading Henri Bergson. The digital tools made it possible for me to articulate an idea that I had received from Bergson and refined through Heidegger.

In terms of the reception of the works – what little reception there has been has been confined within “disciplines” (film, fine art, novel). The unsatisfactory quality of the individual works has been often spoken about by reviewers and perceived as a problem. It is the problematising of the disciplines that is of course the real nature of the work, that exists autonomously outside of these generic conventions whilst at the same time inhabiting, or disguising itself as, examples of these generic disciplines. This larger, over-arching goal of mimetically engaging existing disciplines I got from watching Invasion of the Body Snatchers (the original 1950s film of the novel). The novel had made a huge impact on me when I was a teenager and the film was a lightning bolt of clarity. One of the first works I made at the film academy, THE SOLIPSIST, in 1990, samples fragments from this science-fiction classic, and serves as an architectural blueprint for the entire sculptural process that my work is. One day some gnarly, hardened art critic will toil over the work, discover THE SOLIPSIST, and yell “Eureka, I have found it!”. Until then I will keep on putting the pieces out in silence and darkness. Perhaps it is better this way…

aryan kaganof

October 8, 2006

the word sparkle

Filed under: kagavox — ABRAXAS @ 12:02 am

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