By: Jonathan Kay, PhD Student,

East-West Psychology Department,

California Institute of Integral Studies

original cover artwork buy Fumiyo Yoshikawa

Prelude 

mandala #1 – arrival

the quiet hum of a far off highway

a brisk breeze gently rattling thin windows. 

birdsongs of new friends

A new sonic terrain excited and stimulated me as I lay awake on the hard floor of my new apartment in Lower Haight, San Francisco. Anticipation of a new world opening before me; 

new place, space, a new home to be cultivated; 

new people, new stories, knew adventures to be had; 

new sounds, songs, frequencies, tonalities to be discovered. 

I hadn’t even spent 12 hours in California and I was off, racing down Hwy 1 in awe of the roaring pacific ocean, heading towards the Introduction to EWP retreat.

mandala #2 – redwood elder

footsteps in moist soil branches in the breeze

the forest remind us… compels us…

towards nonhuman bandwidths

I stand face to face with a wise elder different in kind. 

the red wood speaks in musical tongues,

subsonic rumbles and overtonal screeches

flash and rip though my body, 

primordial sounds terrify and terrorize

as the horizon of sense fractures

into a luminous infinite.

Bowing in reverence  

my forehead touching the cresting wave

of continuous wisdom presence.

Introduction 

I entered graduate studies in the East-West Psychology Department at the California Institute of Integral Studies in San Francisco, California with an idea of how this program may enrich me, and how I could implement this into my professional life. Ultimately I was searching to reconcile two very different aspects of myself. One, as a born and raised Torontonain jazz saxophonist, the other, as a North Indian classical music raga musician. While living for a decade in Kolkata, India, learning raga music, I chose to assimilate into the holistic life of my Guru’s teachings, and becoming a part of his family was a culturally transformative experience. I grew to feel at home within these two drastically different cultural containers, but also had to live with the tension between them. They occupy very different socio-cultural and psycho-spiritual territories, and I started seeking better understand of how I could integrate them harmoniously them into my life. This is the central question of my life, as a spiritual seeker and artist. I find it poetic that I found a home in East-West Psychology, because I feel like I live and embody many central questions this department represents.

What follows is the journey of my experiences over the past two years in EWP. Each class presented different questions of becoming which challenged me as a thinker and artist. I took these questions and found how they posed problems based on my goals of becoming. Sometimes they challenged and exposed the assumptions of my goals of becoming, unearthing new ground (below/above/within). Folding in from the exterior, new subjectivities form new topologies based on the never ending ebb and flow of temporality. This dance/play of subjectivity form the problematic nature of individuation. 

These poetics in sound and word are expressions of existential and problematic sites becoming. These sites are productive and are immanently embodied and artistically depicted throughout this paper.

This paper has five sections titled:

Sonic Ontology

Cosmologies of Sound

Music Presencing – Process Relational Aesthetics

Aesthetic Biospirituality

Contemporary Sonocultures

mandala # 3 – individuation as problematic

intentionality (composition/improvisation) + breath = (non)expression

problem + becoming = expression

The space/play between:

• being/becoming
• one/many
• past/present/future (actual/virtual)
• body/mind (breath/intention) + spirit
• meditation: static/active
• single point concentration/ train of thoughts

How can we harmonize or organize heterogeneous gradients of becoming? How can we understand the gravity of subjectivity, or selfness-in-the-world? How can we form a psychic gravity which grounds the orbits of our many drives and desires.

mandala #4 – questions of becoming 

Ontology: 

What is the ground of reality

Being or Becoming?

transcendent or immanent

Being and becoming

the being-of-becoming

being-in-becoming

self-other – interior/exterior

What are your questions of becoming?

——A plane of consistency—— situating problems of becoming——

Epistemology: 

A metaphysical container is build to house these probemlatics as polarities

a praxis is designed to realize the goals of becoming

experimentally, one proceeds

Ontogenetic individuation:

the individual becoming cosmic, as the cosmic becomes individualized

Individuation —>—>—>—> Chaosmos <—<—<— <—Cosm

The Integrative Impulse

Dr. Debashish Banerji teaches an experimental yogic praxis which develops internal structures capable of harmonizing plurality through an integrative process of individuation. He has helped me see my cross-cultural experiences and disciplines as a yantra or mandala (symbolic geometric diagrams of universal power) which can be harmonized into an integral vehicle of self-transcendence. This ontogenetic drive is called the integrative impulse (January 12, 2018); an ascending evolution of consciousness through cosmic individuation. By developing a faculty beyond the limitations of the rational mind, we can hold the diversity of multiple ways of knowing, leading beyond the limits of historical socio-cultural signification. This can result in a more holistic illumination that is based on integrating even the most paradoxically disparate modes of becoming.

mandala # 5 – creative evolution

“A spiritual idea is a power, 

but only when it is inwardly and outwardly creative. 

Here we have to enlarge and deepen 

the pragmatic principle that truth is what we create, 

and in this sense first, that it is what we create within us,

in other words, what we become”  – Sri Aurobindo

(Ghosh, 2003, pp. 262)

Mandalas of Becoming

This collection of sound-iloquies are based on problems of becoming. I have gleaned gems of wisdom from each class in EWP, and assembled them into an integral mandala of self-becoming. I have presented each gem as a problematic territory of transdisciplinary engagement to be thought of as a sound-world, in which words and sounds dance intuitively, creating new worlds, guiding new ways of becoming. Through creative act of intentionality and free-play, these poetic expressions are an attempt to present an integral way of knowing. In Francis Bacon: The Logic of Sensation (2002), Gilles Deleuze argues the true source of knowledge is not rational or mental, but a being of sensibility experienced through precognitive affective feeling. Let us be guided by this primordial being of sensibility.

mandala # 6 – mandala sound painting 

A mandala spirals around 

an (in)visible point at the centrem

warping one into

an embodied bound infinite. 

The bindu represents the portal

beyond self-Self distinction,

radical identity of ONE.

Yet each sound node in the organic architectonic

also represents a bound infinite of variation,

in relation to a gravity of becoming,

multidimensionally becoming a fractal 

kaleidoscope of infinities playing with Infinity.

My mandala is made of four directions/houses of sonic knowing, leading towards the cultivation of an integral ontology of sound.

SONIC ONTOLOGY

three ontogenetic rhythms:

• fractal cosmology of vibration (metaphysics)

• biospirituality as process-relational harmonic (aesthetics)

• creative utopic sound-world (creative performance)

mandala # 7 – yantra of becoming-sound 

A yantra is an engine of cosmic power.

Nature’s mind-lattice

synthesizing disparate orders of becoming

constellations of resonant nodes

crystallizing as auto-poetic tone rows.

A dynamic architectonic machine,

or meditation idea-diagram 

generating synchronous eternal events.

Time-crystals with sonic dimensionality.

Through the sentience of sound

natures aspires to exceed herself.

Towards a Sonic Ontology

mandala # 8 – becoming-sound

consciousness is nothing but vibration

waves

light

colour

sound.

Listen to the melody of your own becoming

the mode of your soul

and simply

sound.

Will to spatialize time

European enlightenment epistemology and humanism is based on the idea that human rationality is the highest measure of all things, and the ever-increasing overdeterminism of the rational function over time has ontologically shaped modernity accordingly. Heidegger has called this the “age of the world-image” (Heidegger, 2002), in which the rational mind fragments reailty by enframing them it into objectified finite sized bytes, resulting in the spatialization of time into a series of now-points. Therefore all that happens in-time, or duration, and across time-quanta are subjugated to a partial description of their reality without accounting for their natural ecology of becoming. Leading us to the brink of social and ecological disaster, the episteme of modernity can be articulated as the gathering of reality into a single flattened frame so as to order its contents at will for mechanical production and consumption (Banerji, 2017b, pp.9). These consequences have led to a metaphysical drive to spatialize time, ontologically privileging sight over the other senses (Spanos, 1992, pp. 6).

What are the costs of subordinating the other senses to sight? How can we reclaim other ontological ways of knowing? 

mandala # 9 – organic inquiry

an estuary of organic nodes

folding infinitely into fateful entanglement 

phylogenetic lines of evolution 

disrupted

a leap across heterogeneous gradients 

a dark precursor

We can challenge and reject the assumptions of modernity and aim to carve out a territory based on alternative modalities of becoming. From this independent and partially free space, we can imagine an alternative-modernity where we can reengage with transnational neoliberal capitalism and consumerism on our own terms. I propose an alternative model based on the cultivation of sonic ways of knowing. Hearing differently can make us see differently and can lead to a whole new world of possibilities, breaking the hegemonic patterns of the past. Through cultivating a sonic-oriented ontology, I believe it is possible to reclaim a autonomous sense of becoming, and develop an intuition of ecology, based on the organic and relational interdependence of all things.

mandala # 10 –  assemblage theory

Unconscious submission to mindlessness

is to assemble flows of aimless desire.

eating propaganda and images of artiface,

conditioning and in-prisoning

within a perpetuating

system of self-consumption.

Conscious assemblage of oneself

is to redefine ones territory,

sounding individual freedom 

and composing reality 

in the key of unbounded subjectivity.

Deleuze defines the assemblage theory as:

i.) state of things

ii.) enunciation (style of expression/language)

iii.) territory and movements of deterritorialization 

(Deleuze, 1996)

mandala # 11 – sonic animism  

What was the role of sound in ancient cultures? How did they perceive sound? How did sound become music, and what would delineate difference between the two? Is it possible that the animistic experience of ancient indigenous peoples was possibly dominated by a sonic-ontology? This idea leads us to explore greater importance and meaning that sound and music may have had these cultures. It naturally follows to also question how sonic epistemology could also lead to a plurality of sound worlds, all with subjective and radically different experiences of time flow. The nature of subjectively lived time (as opposed to clock or mechanical time), as posited by Bergson (Deleuze, 1988), is radically plural and corresponds to co-existent multiplicities Bergson calls duration. Additionally, following the research of Husserl (1980), the father of phenomenology, time and sound/music are intimately correlated and it is fruitful to explore our experience of duration through the phenomenology of music. It is here that we find how sound may be a critical link into understanding possibilities of different sonic ontologies, and how cultivating the discipline of music would potentially give access to alternative ways of knowing.

I would like to posit that ancient cultures may have experienced reality more as an interpenetrating canvas of multiple sonic-worlds; a sonically animated cosmos where sound, melody and rhythm would have enchanted a variety of natural and supra-natural experiences. In this world, sound would have been the main currency of power, and music could have been the subjective key of entering into other cosmic realms/realities. Insights of this nature would have led to radically different individual and collective imagination.

mandala #12 – transliminality 

Following the sonic trail of the inward breath…

molecular organisms held by molar organizations

molar organisms animated by molecular striations 

trans-liminal soundscapes of pre-individual potentiality

all-becoming as cosmic-symphony.

Sonic ecology – A call to sound-together

Experience yourself as modes of melody and rhythm, and experience with each sense the inherent musicality of life as is sensuously unfolds. I invite you to extend your sonic awareness into the natural world around you, resting completely in the soundscape of your environment… Now, turn your awareness inward by following your breath towards an inner stillness… Imagine yourself, hear yourself as multiplicities of harmonic resonant nodes. What kind of melodies and rhythms do you hear? Now listen deeply to your family, friends and social collectives. What songs or compositions do you hear? From this perspective we can see how we inhabit an ever flowing plurality of interwoven sound-worlds in which the collective container becomes an ecology of resonant sound-bodies. The Greek root word of symphony, sumphonos, means sound together, and I would like you to think of life as an experimental symphonic ritual of integrally sounding-together. How can we reframe our daily sonic territories and musically re-enchant our sound-worlds where each individual attunes itself in a cosmic musical entanglement of becoming-symphony. 

Can we sonically re-enchant every sublime nuance of the cosmic becoming as a musical tone-poem of the Divine-poet? If we can think of the essential nature of all bodies in motion as vibration, can we extend this way “seeing/hearing” to all becomings as inherently melodic and rhythmic? 

Melody and rhythm therefore become the essential body of all-becoming. The ancients from the East and West discovered this. In ancient Greece, Pythagoras discovered the harmony of the spheres, based on insights into the universal nature of harmonics based on their underlying mathematical resonance. In the Upanishads of India, Nada Bramha is a metaphysical doctrine of Divine manifestation as pure vibration, revealed in these scriptures as the seed mantra A.U.M. An undifferentiated unstruck sound/noise is the canvas from which the cosmic being creates and assembles sonic structures of becoming for the pure joy of experiencing itself in duration.

Sounds can be seen as nutrients, melodies like loved ones, songs like archetypal wisdom figures, all of which are necessary to nurture holistic ecologies of becoming-sound. These interpenetrating spheres of individuating musical resonances are sound-worlds; the cosmic quilted canvas of our psycho-somatic experience. Sound-worlds are at once individual and spiritual, yet collective, social and political, all of which form nodes in the unfolding cosmic symphony. The organization of sound into pitch and rhythm is therefore always political and ethical. Music can be used as a weapon to surround and enslave one in a sound-world of machinic production-consumption, or it can be a revolutionary cry of liberation harnessing the sonic technology of resistance, carving out an independent territory from hegemonic noise.

A contemporary problem of becoming can thus be framed: How can one find and develop the poise of an inner silence deep enough to truly “hear” the constellation of the sound-worlds that we inhabit? Furthermore, how can we assemble our own unique sound-mandalas that will allow harmonic individuation across all modes of becoming? It is time to reclaim and reframe our sonic territories, and through exploration and experimentation, it is time we re-imagine humanity in an ecology that can be holistically nurtured into a global symphony, or sounding-together.

Cosmologies of Sound  

mandala # 13 – Nada Brahma

Brahman is AUM,

eternal ((non)) vibration

eternal ((non)) sound

the ultimate seed syllable,

which stands for the manifested world, the past, the present, and the future, as well as the unmanifested Absolute.

AUM is the sonic gateway 

bridging the heliocentric realm-

absolute smooth space

silence 

with the striations of the geocentric realm in three parts and realms of conscious experience:

“A” represents the waking state, vishva: cognizes external object

“U” represent the dream state, taijasa:  cognizes internal objects

“M” represents dreamless sleep, prajna: state of blissful all-knowing

absolute silence

absolute silence /          A + U + M           / absolute silence 

absolute silence

Turiya,

the absolute silence

unstruck sound known as anahata. 

Is the absolute of smooth space in the unbound Infinite static Being

pure undifferentiated consciousness. 

mandala # 14  – Anahata 

absolute (un)sound-noise 

a continuum of self-reflexivity

scanning itself at infinite velocity

“Unstruck sound is the sound of silence 

auditory equivalent of phenomenal emptiness. 

Lost in this non-sound, the sense of self becomes infinitely diffused in emptiness. 

Musicians are lost in space through the infinite powers of dissolution of the unstruck sound, and their sense of self is reinforced by vestiges of magical power adhering to the mind after hearing the unstruck sound only indistinctly.”

(Dowman, 2014, pp. 93)

mandala# 15 – Raga-ness

a musical portrait of divinity 

set against a majestic ocean of tonality

in sensual play of colour

ornamented according to a coutly cosmic event 

depicting archetypal emanations

its canvas expanding to infinity

its hues perplexingly rich

culminate in liminality

aesthetically rupturing 

becoming-bliss

mandala # 16 – Becoming-Raga 

Transformative potency and aesthetic depth 

An interconnected framework of melodic phrases, 

unfolding as a tone-mandala in sound-space. 

A crystalline sonic world emerges from traditional roots, 

but is uniquely contemporary as it brought to life 

by the spontaneous seeing of the artists in the present moment. 

Emerging as a yantric engine of transcendence, 

meditation on the intricate unfolding gives rise to Raga-darshan and becoming.

mandala # 17 – Raga-without-organs 

cutting the plane of consistency 

disembodying the raga-being

just as Picasso relativized subjectivity

New arrangements and formations 

contour other phylogenesis

as new poetics 

find new beauty 

in the (de)formed  

(re)form

Music Presencing – Process Relational Aesthetics

What if the world is nothing but a moire pattern of sheer infinite possibility, the play

of the Infinite as unbound finite fields of vibrational mandalas; the cosmos an absolute Deity, a virtual standing wave of clarity and luminosity. What if each moment is a cresting wave of oceanic wisdom, primordial dancing energies of ritual space appearing as visual and aural universal archetypes of fundamental human experience. 

mandala # 18 – the mystical third ear 

luminous ground of sonic possibilities

where true wisdom resounds

intuiting the being of sensibility

on the horizon of pure-feeling

as radical-listening 

to presence itself

Music Presencing is a practice of intuiting and phenomenologically observing the organic unfolding of eternal objects from virtual potencies to flowering actualities. By reaching phenomenological realms of presencing the being-in-becoming, these eternal objects are divinized in trans-musical soundscapes.

mandala #19 – the art of being-in-time

The relational ground of sound  

dawns in the mind of light

as a chaosmos of noise.

Metastable organisms of 

abstract sonic geometry, 

become galaxies of beautiful non-music.

Intuitive flows of interrelationship and co-dependent

awareness of process-relational aesthetics 

shape the art of musical being-in-time

mandala # 20 – Music as non-dual mirror 

There is no true differentiation:

performer

performee (instrument)

performed (the piece)

performance.

Aesthetic Biospirituality

Daoism is described as a praxis of biospirituality; (Miller, 2008, pp. 70) a psycho-somatic way of knowing, symbiotically putting embodied senses, mind and intuition into union.

mandala # 21 – the dao 

Myriad forms of transience

arise while dissipating 

as boiling tea water-

the concrescent wave of impermanence

The daoist poise of perfect tranquility

through acts of forgetting

returning to the womb

sitting in oblivion

beyond

self  – no-self

doing – non-doing

being- non-being

sitting in oblivion

To see anything but ceaseless change would be to not see anything at all, for form is only a fleeting reflection between breaths of the dao. The illusion of structure is only a temporal skeleton of transition from one potential to another, and it is without name because it exceeds all that can be named, and it is only by forgetting oneself that you can know it. Only by forgetting beauty can you realize Beauty. Nature itself is, and cannot want to be, and this is the the way of dao. Sitting in oblivion, one must return to pre-individual nature to know the dao and to know the beauty of pure becoming.

mandala # 22 – koans of becoming   

doing of non-doing 

Wu-wei 

flow =  improvisation = novelty =  creativity = invention

My cross-cultural journey as an improvisor has posed the question, how can we find the essence of these traditional flows of music so as to utilize their effect in a transglobal cultural container? We first need to approach sincerely learning these classical forms though authentic transmission- not to perfect them in-themselves as closed cultural coded systems, but to experience other ways traditional sound-worlds and durations of becoming. This means not pursuing and perfecting canonized structures which can be easily praised by an elite hierarchy of classical connoisseurs, but to find the transformative and spiritual sonic ground from where these sonic-worlds were cultivated. What is the living essence of each tradition and how can one access not only the surface musical structures, but the essential heart-spirit of the music. For example, how can one merge with the sound-body of the Indian raga, or in the case of a Daoist music, express one’s qi in sound?

mandala# 23 – The sound of qi

Watamuzi blows hot air into the shakuhachi  

this is not music…

but the sound of qi

this is not beauty…

but the sound of nature

this is not art…

but the sound of emptiness

what is the sound of emptiness…

what is the sound of nature…

what is the sound of qi…

…ask the dantian.

mandala # 24 – body-mind listening 

“When listening stops at the ear, it is limited to what the ear can hear. 

When the mind stops at what verifies its preconceptions, 

it is limited to what it can combine with. 

But when you listen with the vital energy, 

since the latter is omnipresent, vast, openly flowing, 

it can use the body without being used by the body, 

allowing it to respond to the operation of all things without being dependent on things.

For it is empty and unobstructed, responding but not storing. 

The vital energy is kept whole and intact through the unification of the intentions into a singularity, emptiness is brought about by a vital energy that is whole and intact, and the Course is gathered in with the arrival of emptiness. This is the meaning of “the fasting of the mind.” 

(Zhuangzi, 2009, pp. 295)

Aesthetic biospirituality is an attempt to theorize the integration of traditional and contemporary ways of embodied knowing through an aesthetic assemblage of biospiritual flows as sonic relationality. This is a contemplative discipline based on the cultivation of body-mind unity, in which one can enter into an ecology of sonic biospirituality that can re-enchantment our worldview. Developing an ontology that privileges hearing would result in inverting, space-time to time-space, and mind-body to body-mind, leading to new subjectivities of duration and ecological interdependence.

Contemporary Sonocultures

“Jazz is the hybrid celebration of the post-human” (Banerji, 2017, pp.36)

mandala # 25 – posthuman bandwidths 

exceeding potentialities

in experimental lines of flight

untangling bound infinities 

into exploding sheets of sounds

Cosmogenesis

Ontogenesis is a term that Simondon used to describe the process metaphysics of the “becoming of being” (Scott, 2014, pp. 38). He describes the birth of the individual from a metastable state called the pre-individual (unbound infinity) from which the individual faces a problematic of relationships to foreign elements. This causes the individual to further define its states of interiority and exteriority, forcing a porous horizon or boundary, necessary to approach higher states of stability (bound infinity) called individuation, in which disparate singular elements assemble into ensembles that form enclosures as entities. Simondon uses the term cosmogenesis (being-becoming-in-time) to describe a cosmic becoming which is governed exclusively by the principals of individuation. The assembled elements, which in their struggle to find stability, endurance and efficiency, begin to develop interrelationship and work together as a unit towards higher levels of organization. A stabilized individual is in constant communication with its exterior, namely other individuations, which exchange information by forming a shared relationality through collective individuation. Cosmogenesis is therefore the perpetual relation of the totality of individual individuations in the cosmos. The genesis of the individual is in relation to the totality of all individuations and therefore must try to equal the cosmos (becoming-cosmos) to survive (Scott, 2014, pp. 101). We can see how in Simondon’s process metaphysics, ontology is necessarily replaced by ontogenesis and structure by phylogenesis. This leads to a relational image of reality in which dynamic energy fields actualize through the process of individuation, yet entities are never static or complete in themselves, only in-becoming, or becoming-something-else.

mandala # 26 – transindividuation

a double movement always undermines the autonomy of subjectivity

interiority exiles exteriority

…until it needs something

…until it realizes that nothing is possible without the transindividual

and pre-individual metastability dissolves

through a disindivuation of the subject 

aspiring to become-whole

Transindividuation refers to an individuation with “two faces” (Combes, 2013, pp. 25), a transductive exchange between two reciprocal individuating movements; that of the psychic (interior to the individual) and the collective (exterior), better articulated as the psychosocial to “allow us to define a category of transindividual that tries to take into account their systematic unity” (Simondon quoted in Combes, pp.26). Simondon proposes that because of pre-individual metastability, the individual is “more than individual, it is incompatible with itself” (Scott, 2014, pp. 118). Individualization therefore requires a surrounding milieu to aid in the solving of problems of becoming through the process of disparation. “The subject can truly resolve the tension characterizing it only within the collective; the subject is being tensed toward the collective, and its reality is that of a “transitory way”” (Combes, 2013, pp. 32).

mandala # 27 –  Jazz as micro-political revolution

Cornell West, a postmodern preacher 

sings the blue note into philosophy

genealogical reconstructing history 

based on the prophetic cries of Saint Coltrane.

“Notes of dissonance, disturbance, defiance,

wrestling with darkness, 

but always sustaining a sense of endurance and stamina 

rooted in a deep love of self and a love of others.”

(West, 2015)

mandala# 28 – subjectivation

The history of western art has its masterpieces

embodying the myth of elitist pricelessness 

But the failure of modern art

resounds in the lack of exceptional lives in the people who created it.

Conscious transformation is rarely found

alongside the creation of conceptual art

only fetishized products of consumption.

Institutionalized artistic creativity without praxeology 

is the bankruptcy of cultural ideology.

Foucault calls for ART

as a mirco-political technology of self-becoming, 

challenging conditioning 

decentering the panoptic gaze of govermentality.

Art as being deeply attentive to its own soul-making

in an act he calls subjectivation.

inspired by (Banerji, May 23, 2020)

 

mandala # 29 – transcultural sound worlds

biospiritual flows

autopoetic organisms

embodying transcultural musical duration

beads in Indra’s net

gleam in shimmering distinction

yet are nothing but an empty reflection

of every other eternal-event

Epilogue 

sound-iloquy # 30 – redwood reverie

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