The new science of the "HipHop Culture Era"
By the knu DJ fly agaric 24
"Hip hop handihap'" - James Joyce, Finnegans Wake, Here Comes Everybody.
Be influenced by as many great artists as you can, but have the decency to acknowledge the debt outright, or try to conceal it.
"This lesson is the very basis of solid banking. Credit rests in ultimate on the abundance of nature, on the growing grass that can nourish the living sheeple" --Ezra Pound
At 'Reggae on the river festival this year up in Humbolt county California i was reding Finnegans Wake by my lost uncle - James Joyce 22:33 - preparing for the "Tale of the Tribe" Maybelogic Academy class and discovered the woidz "hip" and "hop". "HipHop Handicap" was partly in reference to brewing a sort of hallucinogenic moonshine me thinks, so then I had an epiphany allatonce; thinking hip hop roots doublyn and the minds of the people.
Hip Hop, like other cultural phenomenon - was born from a complex of origins. A combination of social, technological and perceptive revolutions brought about by the invention of a brand knew language, a vehicle or vessel to contain the expanding post quantum - "minds of the people'. A revolution in telepathic telecommunications you might spit. In the year 2005 the four quarters of the "Hip Hop Culture Eara" are not taught enough in many certified school curriculum's, not getting presented in church meetings, or getting academically acknowledged as a revolutionary and universally important branch of proper 21st Century scientific investigation. The time has come
The purpose for my own investigations into shamanism, entheogenisis and stereoscopic Ideogramic method, is to gloss a still damp - freshly painted picture - a new "representation" empowering the indigenous tribal elders, and the indigenius warriors of the knew global Hip Hop Culture Revolution. Keeping the New Science raw and unreeled. Representatin the great mystery - dark matter and mystery DNA on the fly
I propose that the four traditional corners of "hip hop' culture - Msceeing, Dee Jaying, Break-dancing, Caligraphy - are universal themes within modern cultures around the globe. From sombunal of my own experiences i have approximated and guessed that future spatio/temporal advances within timespace travel must also include the widely recognized four elemental axioms which contain 'Hip Hop" culture'.
Freestyle rapping or rhyming looks and sounds to me like urban shamanic languaging. It includes the vital spontaneous tools of invention required to comprehend the new science, which similar to the ancient I Ching requires experiential "witnessing" to rearrive at any empirical results and therefore freestyle rapping builds upon metaphor like voltage, Assimilation and expanded perceptions. Untruths and unreal mythological scholar warriors of word world webs woven together to mesh together a knitted hierarchy of values. On the fly for the world wide web to chew on.
"No Chinese raised on I Ching has ever found quantum mechanics puzzling" - Dr. Robert Anton Wilson
I would add that Occidentals raised on the new science of "Hip Hop" will also not be, and are not so - puzzled by - quantum mechanics and the paradox implicit within aristotelian logic. Because because because the neo psynce of "Hippty Hopp" thrives on multiple identities, divine ambiguity, transformational psychology and stereoscopic perceptions. And life force
"Hip Hop" culture has exploded around the globe, but paying the price of misrepresentation by joining the Global capitalist merrygoaround which for me has left an empty woid where used to lay the sacread sauces. Censorship, assassination, recording industry bullying and Usury are just a few of the ugly words which signifly ugly practices in spacetime and deployed onto the 'Hip Hop" cubehouse mathematically corresponding to a watered down, predictable, poop cultural enterterrorpainment. Global media opposed to ohmniversal, ohmnipotent, transcultural surprise! Intoxicated poetry! in the minds of the people
The second face of the new "Hip Hop" cubehouse which geographically faces the "High priest of ceremonies" or M.C, is painting, graffiti and more specifically branded aerosol art. Here we arrive at french surrealists dreamtime or Italian futurists hallucination juice. Un-institutionalized, un-legalized pictographic memies swarm the urban concrete canvas like a clingo-linguistic virus, erupting from an underground laboratory - inhabited by scholar-mystics from the future hoarding a massive stash of car paint, not working for nobody but gods
World leaders and policy makers must learn to tolerate this new scientific language, this new revolutionary language in the minds of the people, or , at the veryvery least lean about the skeleton keystone which supports the body poetic of the new "HipHop Culture Eara" which is emerging from a dirty mucky Bog smelling of peach blossom rose leaves.
Once you have had your tools twisted and taken away, your language arrested, your town bulldozed and your mind controlled - breakdancing in the street morphs into another face upon the cubehouse of the new science of the neo "HipHop Cult Era" Casting it's very own revolutionary language into minds of the people - aerodeogramphickly. The ability to create alphabet's with new flesh body parts and limbs has been a way to communicate and waltz for yonks, but in the western lands it seems to have been dropped and left for rotting carcas in the "Reality field" of psynce fiction known as "social entertainment"
An experienced breakdancer will be able to allude to multiple languages simultaneously by spinning and switching between cymbals to create another body poetic logic. With the addition of directed sunlight a sillouette or photograph can be cast upon any wall or boundary which sings us back aroundaboat to the new "Hip Hop Paintography" although, this time around we might imagine a "material paint free" image - thrown up against an Urban Jungle Canvas, decorated by a chrome boombox and a 40 in the forground. And the New York city skyline as the backgrind.
Claude Shannon has shown to me through his brilliant mathematical theory of communications that, the new Science of the "HipHop CKulture Era" contains more acurate information than the entire His story of our western civilization, more harmony with shamanism than any rational anthropocentricked anthropologist - or academic intellectual. More blommblast than looney outspoken members of the Republicrat party, more compassion than the Dealy Lama and more direct contact with "God" than any sovereign entity, King, Priest, Reverend, Monk, Vicar or Grandmaster except - maybe Grandmastertheodorewizard. But then mathematics always went straight to my head.
In the process of condensing what i have experienced and witnessed in the United States and the United Kingdom over the last ten years, i have re-arrived at the center of a what i like to call the cubehouse or the knew science of the "HipHop Culture Earer".
Carlos Perez Shuma poetically compared spirits to "radio waves", and said that once you turn on the "forest television" you can pick em up lyk "radio waves", Its similar with souls - with ayahuasca you can see them and hear them.
dj fly agaric looked into the literature on photons of a biological origin or "biophotons" - i looked into bright urban street culture, hip hop cubehouse music, turntable music, breaking, M.cing, maverick street painting and what i call - "urban shamanism".
fly acrillic 24
"Long live the New Flesh, Long Live Hip Hop Culture"
"Full lake and excess of the West
Youngest daughter; Alice Pleasent Liddell,
Swallowed the moon full -
Atum. - fly agaric 23
"Hip Hop Shamans are, I believe, are people who have been able to de-condition themselves from the community's instinctual distrust of the mystery, and to go into it, to go into this bewildering higher dimension, and gain knowledge, recover the jewel lost at the beginning of time, to save souls, cure, commune with the ancestors and so forth and so on. Shamanism is not a religion, it's a set of techniques, and the principal technique is the use of psychedelic plants. Another might be the new science of Hip Hop Culture. - Terence Mckenna
"Matt. ... when it so happen they were all sycamore and by the world forgot, ... and read a letter or two every night, before going to dodo sleep atrance, with their catkins coifs, in the twilight, a capitaletter, for further auspices, on their old one page codex book of old year's eve 1132, M.M.L.J. old style, their Senchus Mor, by his fellow girl, the Mrs Shemans, in her summer seal houseonsample. - Finnegans Wake, James Joyce.'
Forty nine stalks were employed, which were thrice manipulated for each line, so that it took eighteen manipulations to form a hexagram. The lines were determined by means of the numbers derived from the River Map. - James Legge, I ching, Book of Changes
"Thus the ideographic element of Chinese poetry is not a simple matter of adding a single spatial right-brain component to a temporal art, but rather one of providing a additional right-brain spatial element to an art that is already both left-brain, temporal, and linguistic, and right-brain, spatial, and patterened. In a sense, then, chinese poetry is only once an 'art of time," but twice an 'art of space. - Neural lyre"
"In the shou king, in a document that purports to be of the twenty-third century B.C, divination by means of tortoise shell is mentioned; and somewhat later we find that method continuing, and also divination by the lineal figures, manipulated by means of the stalks of a plant, the Ptarmica sibirica, which is believed by some scholar mystics - still is cultivated on and about the grave of confucius."R. L Wing, The Illustrated I-Ching
"That is, metrical variations are not significant in themselves, like sememes: but rather they form, together, a picture-like Gestalt which is a distinct representation of something that we can recognize; and thus, like pictorial representations, or music, they are much less culture-bound than linguistic codes. But here, excitingly, we encounter a paradox stemming from the gross structure of the human brain. Poetry, being an art of language, is presumably processed by the left temporal lobe of the brain. But meter, we are suggesting, carries meaning in a fashion much more like that of a picture of a melody, in which the meaning inheres more in the whole than in the parts. There is no "lexicon" of metrical forms: they are not signs but elements of an analogical structure. And this kind of understanding is known to take place on the right side of the brain. If this hypothesis is accurate, meter is, in part, a way of introducing right-brain processes into the left-brain activity of understanding language; and in another sense, it is a way of connecting our much more culture-bound (and perhaps evolutionarily later) linguistic capacities with the relatively more "hardwired" spatial pattern-recognition faculties we share with the higher mammals. - - Neural lyre
www.cosmoetica.com/B22-FT2.htm
