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monart

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  1. Wow, so your first lesson was, second-removed, from FM. What was your first lesson's effect on you? Did you feel free and light all over, as the better AT teachers are able to impart? How would you vouch for AT's important contribution to your life's well-being? I remember "Full Context", but I didn't read or keep track of all its articles, so I missed seeing the AT one. I'm curious if it was written from an Objectivist perspective. I'll try to find it. My approach, understanding, and practice of AT (as a student) is philosophical and wholistic, as well as technical. I regard AT and the wider subject, (which some have named "kinesthetics") as almost important as Objectivism, for self-improvement ("constructive, conscious control and use of the self") and the achievement of health and happiness. It's unfortunate, and tragic, that AT, like Objectivism, is not better and more widely known and practiced.
  2. Mark, thanks for posting the links to the videos, classics of the leading teachers after FM's death. You're right that AT can't be fully described in words, but the few words wrote can help draw attention to checking out AT. Yes Dewey's philosophy is actually in opposition to AT, but Dewey's philosophy is inconsistent anyway, and his endorsement may still be taken as his personal endorsement of AT. Thanks for the link to a comprehensive analysis of Dewey's philosophy in relation to AT. Are you an AT student or teacher? Do you have any experiences to share about it?
  3. The Orator, Peter Nivio Zarlenga A significant value I found since Ayn Rand is the philosophic oratory of Peter Zarlenga, who contacted me in 1977 after reading my “Project Starship”, introduced me to his speeches and books, and invited me to work with him in his Flight Achievement Seminars, which I did, 1977-79. Peter Nivio Zarlenga (1943-2007), was founder and orator of Flight Achievement Seminars in Chicago – on the Principles of Achievement: Identity, Simplicity, Concentration, Movement. The seminars were recorded on audio tape and some copies still exist. He is also the author of a series of books titled, The Orator – comprised of philosophical poetry on reason and individualism. Because his speeches included provocative and unflinching criticism and condemnation of the political and religious establishments, he was targeted, framed, and imprisoned. He died in prison — a tragic and severely unjust end for a heroic genius, but his inspirational oratory live on. The following are excerpts from some his speeches. ———————— Truth and Beauty Speak the truth in harmony with beauty moving humanity to freedom. Freedom is the child of beauty in love with truth. The love of truth is the spirit of man. Justice is truth in action creating beauty. Beauty is being in harmony with what you are. To be beautiful, be true to yourself. We are free. Our freedom is to move at will, to be effective, to live, to create order from chaos, to achieve perfection, to conceive and create, to imagine and enact, to dream and to fulfill our dreams, to be and become what we want to be. The way to achieve this great aim is to concentrate the magnificent power of your mind on the fulfillment of the love of your spirit. When you do this you will create an intense beam of power so pure it will reach the furthest star. The purpose of life is to be what you are and to become what you could be. To seek to create excellence in whatever you choose to do. To do what is right. To practice principles. To create order from chaos. To think and act upon your thought. To be real, right, good, and true. To choose to cause your own change. To identify, simplify, concentrate, and move. To fight for freedom, justice, truth, beauty, achievement, and joy. Hold your ground defending yourself, living for yourself, respecting yourself, being yourself. Set fire to your spirit, soar aloft, become what you could be. Put your will into action and realize the reality of reality. Bring the value of your spirit into being. Have the courage to create yourself from your own thought and action. Trust your own mind to identity what is true. Act upon the truth. Act upon the truth and you will create order. Your order will create energy. Your energy will create movement. Your movement will create achievement. Your achievement will create joy. Your joy will create love. Your love will create goodwill. Your goodwill will create justice, freedom, truth, and beauty. It can be done. You can do it. Trust yourself. Think for yourself. Speak for yourself. Act for yourself. Be yourself. You are greater than you feel you are. You have the power you do not realize you have! Your action is proof of what you are. Failure is caused by ignoring reality and evading action. Most people think least about what matters most. If you break your concentration, you will lose. If you concentrate on the wrong thing, you will lose. Be real, right, good, and true. Choose to cause your own change. Identify, simplify, concentrate, and move. Realize the reality of reality. ————-- Portrait of Peter Nivio Zarlenga, The Orator, by Richard F. Newton:
  4. I found Ayn Rand the way I did, only because I had escaped in 1956 from the tyranny and starvation of Maoist China (but at the cost of losing and forgetting my parents) to finally land in Canada in 1959, two years after Atlas Shrugged was published. I first read Ayn Rand in 1968 because of a school friend’s recommending Anthem, which I enjoyed but did not grasp its significance at the time. Then in 1971, while waiting to start a summer job, I read The Fountainhead because of an army friend’s reference to it, and I was so moved afterwards that I read Atlas Shrugged, and thus began a life-long study of all her works and my full commitment to Objectivism. At university, I changed my major from Astrophysics to Philosophy, with little regard for career prospects, because I saw that, no matter what, to understand Objectivism and philosophy was of supreme urgency to me. In classes, papers, and meetings, I argued with professors and students while ignoring somewhat the cost in grades. Rand’s heroic genius was that empowering and inspiring for me. By 1976, I arrived at a clear identification of my life-purpose, in the form of a succinct description of a romantic, philosophic vision of the future as being objectivist and astronautic, in an essay, “Project Starship”. https://www.academia.edu/67747715/Project_Starship Elaborating further, by 1985, I completed a thesis, Starship Astronuaut as Rational Egoist, https://prism.ucalgary.ca/handle/1880/2343which qualified me for a M.A. from the University of Calgary. A copy is also at https://www.academia.edu/40416024/Starship_Astronaut_As_Rational_Egoist_Ayn_Rand_s_Objectivist_Philosophy_Applied_to_Space_Civilization While earning needed income from various jobs, mostly in Quality Management for IT companies, and, along with my wife, helping to raise 2 children and 3 grandchildren – I continued to engage individuals in seeing the value of Objectivism and the starship vision. One outreach project in 2004 was commissioning and producing the music album, Concerto of Deliverance, created by John Mills-Cockell - http://www.starshipaurora.com/concertoofdeliverance.html in his unique interpretation of Rand’s statement of the music’s theme in Atlas Shrugged. I was last here at Objectivist Forum in 2004, when it was far from welcoming for me, but now, 18 years later, I'll see how it has changed. Currently, as part of my continuing role as a private objectivist philosopher, I am a Mentor for the Astraean Individualist Society https://www.astraeansociety.org/ a new outreach organization to attract individuals to Objectivism. So, for a most fortunate boy refugee that I was, born in 1950 in dark communist China, Rand’s sunlit, romantic, Objectivist world became my indomitable source of a lifetime of revitalization and self-improvement – a full and rich life that I firmly embrace and for which I feel a profound gratitude to the heroic Ayn Rand. The core and code she taught me I call Rand’s 4Rs: Reality. Reason. Rights. Romance. Reality exists. Reason knows. Rights protect. Romance loves. Reality is objective and absolute. Reason knows truth by sense and logic. Rights protect reason's goodness against force and fraud. Romance loves rights to life and its beauty. ------- A fuller statement is the attached philosophic-poetic precis, “Romance for Reason and Rights in Reality” Romance for Reason and Rights.pdf
  5. Continued from previous] I first studied and practiced the Alexander Technique (AT) about 10 years ago, teaching myself from a variety of books on the subject. I have more books about AT (next to all the books I have by and about Ayn Rand) than on any other specific topic – that’s how important the knowledge is to me, along with Ayn Rand’s Objectivist philosophy, for full mind-body integration. The following is a list of AT books in my library (including the titles mentioned above), each with different perspectives and applications, for different AT readers, all of which I recommend. The first two are by AT teachers who were taught by Alexander himself. Wilfred Barlow was a MD, who married the niece of Alexander, Marjorie, who herself was an AT teacher trained by Alexander. Frank Pierce Jones was a Classics Professor, who after becoming an AT teacher, conducted decades of research into the AT effects on health and disease. - The Alexander Principle: How to Use Your Body without Stress - by Wilfred Barlow, MD - Freedom to Change: The Development and Science of The Alexander Technique - by Frank Pierce Jones For expectant or new mothers, this title is most helpful. - The Alexander Technique Birth book: A Guide to Better Pregnancy, Natural Birth and Parenting – by Ilana Machover and Angela & Jonathan Drake, Forward by Sinead Cusack and Jeremy Irons For basic, practical guidance, for the general reader, are the following titles: - The Alexander Technique Workbook: The Complete Guide to Health, Poise, and Fitness – by Richard Brennan - Illustrated Elements of Alexander Technique: a Practical Program for Health, Poise, and Fitness – by Glynn MacDonald - Body, Breath and Being: A new approach to the Alexander Technique - by Carolyn Nicholls - How You Stand, How You Move, How to Live: Learning the Alexander Technique to Explore Your Mind-Body Connection and Achieve Self-Mastery - by Missy Vineyard For musicians and actors are these titles: - Indirect Procedures: A Musician’s Guide to the Alexander Technique - by Pedro De Alcantara - The Actor’s Secret: Techniques for Transforming Habitual Patterns and Improving Performance – by Betsy Polatin The following titles are by an AT teacher and mind-body education professor and researcher at the Dimon Institute: - The Undivided Self: Alexander Technique and the Control of Stress - by Theodore Dimon - Your Body, Your Voice: The Key to Natural Singing and Speaking – by Theodore Dimon - The Elements of Skill: A Conscious Approach to Learning - by Theodore Dimon - The Body in Motion: Its Evolution and Design - by Theodore Dimon - Neurodynamics: The Art of Mindfulness in Action – by Theodore Dimon Finally, there is even this book on AT and the chair, by an AT teacher and professor of architecture, (from which I learned about the Capisco Chair that I sit on) : -The Chair: Rethinking Culture, Body, and Design - by Galen Cranz [Finale] Along with the At books, there are, of course, the resources on websites, including video streaming sites. So, if one already has an internet device, there’s no need even to spend any money for teachers or books, just the allotment of time and the life-long commitment to improve oneself - to straighten up, to move steadfastly forward, to free your will to seek and love life, to stretch and reach out for new values, to embrace gracefully your purpose with balance, harmony, and unicity. Head up and forward!
  6. [Continued from previous] Being Who You Are The Alexander Technique has particular value for people who don't want to fill themselves with drugs, or to shop from therapy to therapy, hoping for some kind of emotional relief. Millions of people exist in this half¬-alive state, countering their depressions and anxieties with a whole arsenal of tranquilizers, and moving hope¬fully from one fad to another. If they turn to the Technique, there is no magic formula that will instantly solve their problems. Instead, they will discover they have some choice in their lives and that they can consciously interrupt the debilitating habits of a life¬time. Freedom and ease is at their command. Beneficial Effects in Many Diseases Many people would find it hard to believe the seemingly fantastic medical cures attributed to the Alexander Technique except that these extraordinary reports come from reputable physicians and scientists. In 1973, Professor Nikolaas Tinbergen, upon receiving the Nobel Prize for Medicine, devoted half his acceptance speech to the Technique. He related how his interest in it was excited by a little experiment he had tried with his own family. He, his wife and one of their daughters had learned the Technique at the same time. As their body musculature began to function different¬ly, they observed "with growing amazement" the marvelous results. They noted, for example, that the Technique brought about "very striking improvements in such diverse things as high blood pressure, breathing, depth of sleep, overall cheerfulness and mental alertness, resilience against outside pressure, and also in such a refined skill as playing a stringed instrument." Tinbergen went on to affirm the possibility that certain other stress-related ailments could benefit from the Technique: rheumatism, including various forms of arthritis; respiratory ailments, even asthma; circulation defects that may lead to high blood pressure and heart conditions; gastrointestinal disorders of many types; sexual failures; migraines and depressive states that often lead to suicide. All these as well as other non-bug diseases, he suggested, might be helped by the Alexander Technique. Tinbergen concluded that while the Technique is assuredly no cure-all to be applied in every case, "there can be no doubt that it often does have profound and beneficial effects; and I repeat once more, both in the mental and somatic sphere. A physician, Dr. Wilfred Barlow, conducted a survey of men and women who had long used the Alexander Technique, and reported that in this group-there were no coronaries, -no cancers, no strokes, no rheumatoid arthritis, no slipped discs, no ulcers, no neurological dis¬orders and no severe mental disorder. Barlow called this statistic "almost unbelievable" and concluded that 99 percent of the population needs the Technique. The British Medical Journal once published a letter, signed by nineteen doctors, endorsing the Technique for its remarkable effectiveness in the treatment of many of their patients, and called upon their profession to recognize and evaluate it. Unfortunately, no such evaluation has thus far been carried out, which is a point that must be emphasized. Although there has accumulated an impressive volume of personal testimo¬ny, no thoroughgoing scientific investigation has been conducted into any of the medical claims that have been made for the Technique. A word of caution is therefore in order. If you have any ailment or illness--even one due to, or complicated by, the continual wear you place upon yourself through bad muscular habits--only your own physician can advise you if the Alexander Technique is likely to help. Everyone Can Use It People from all walks of life benefit from the Alexander Technique. Those who have a professional interest in their bodies--actors, dancers, athletes--are making it an important part of their training and maintenance program. Leading performing arts conservatories and university programs schedule regular classes in the Alexander Technique for students. Many professional musicians attribute quick recovery and continuing ease in playing to their study of the Technique. Patients in medical institutes in London, New York and elsewhere find it acceptable as a valuable resource in physiotherapy. High fashion magazines, like Vogue and Harper's Bazaar, have informed their readers of what the Technique will do for presentation and appearance. Trial projects in elementary and secondary schools throughout the western world have shown that the Alexander Technique significantly contributes to greater cooperation, attention, and self-esteem. John Dewey, the great educational philosopher and innovator, em¬phasized that only by including the Alexander Technique in the education of young children can we make that education truly effective. A Simple Method This book will introduce you to the Alexander process of thinking and moving. It presents a simple method for learning the Technique by yourself. In the words of Professor Frank Jones, "Since the Alexander Technique is nothing-more than the appj.icali0n~of experimental method to problems of everyday behavior, there is no reason-to delay the undertaking if a-teacher is not available.". . . ===============
  7. Contemporary books written by AT teachers are more instructive to modern students. One typical beginner's book, _The Alexander Technique: Learning to Use Your Body for Total Energy_by Sarah Barker introduces AT in the following extended excerpt: "The Alexander Technique: The What and the Why" imagine a technique for transforming the operation of your body, so simple that you can learn it yourself, a technique so amazing in its results that your physical and emotional life will soon change for the better, like the opening of a door into another world. That technique is the Alexander Technique, named for its discoverer, F. Matthias Alexander, and known around the world as one of the most extraordinary discoveries of our time. Scientific Acclaim It would surprise many people to realize what the Alexander Technique can do for them were its astonishing results not supported by the most respectable scientific authority. During the years before and after Alexander's death in 1955, his students and followers conducted a considerable amount of research to substantiate his findings. At the Tufts Institute for Experimental Psychology, twenty-five years of investigations--using quantitative measure and control groups--have thrown important light on the manner in which the Alexander Technique produces its seemingly miraculous effects. There has also accumulated an impressive volume of clinical data, reports by physicians attesting to its remarkable effectiveness in helping many of their patients. Feeling at Your Best Apart from suffering any specific medical symptoms, most of us plod through our days and nights in a condition far below optimum. We "manage"; we "get by." Good health is regarded as merely the absence of sickness. Against this keep-your-nose-above-water-level definition of being alive, the Alexander Technique proposes, as normal, an exuberant and vital sense of wellness: physical freedom and ease combined with mental flexibility and alertness. . . . Age Is No Barrier If you think you're too old to begin learning anything so revolutionary, you're wrong. It's never too late. Even after forty or fifty years of continually misusing yourself, you can begin to make a beneficial and healthy change. John Dewey, one of the founding fathers of scientific philosophy and modern education, took up the Alexander Technique at the age of fifty-eight. He thereupon underwent an extraordinary rejuvenation and lived another thirty-five rich, full years. The ninety-¬two-year-old Dewey attributed this vital longevity to his Alexander practice. George Bernard Shaw learned the Technique at eighty and lived to ninety-four. If You Are Overweight You can even streamline your physical appearance by means of the Alexander Technique…. A beneficial side effect of the Alexander Technique is a better carriage of the body's weight. You appear more streamlined and proportioned. Your Rampant Emotions All of us are subject to "states" of various kinds, and it is hardly news that human development in general is retarded by fear reflexes unduly-excited by-emotions, prejudices-and-fixed-habits. … [Aldous] Huxley might have given his own story as a case in point. The famous writer had spent all his days in a state of acute physical illness until he studied the Alexander Technique and transformed himself. He had begun to withdraw from people, finding his physical and mental energies too drained by social contact, and he was beset by a terrible depression and a chronic insomnia that made it almost impossible to work. He had tried gardening, yoga and other remedies in vain, but it was the Alexander Technique that opened up a new way to live. Can the Technique really help with our mental and emotional problems? Professor Frank Pierce Jones, the foremost scientific investigator among Alexander scholars, observed that while the physical effects of the Technique are indeed remarkable, "the psychological effects are of greater importance." Some of these, he noted, may of course be explained as the happy side effects of any betterment in physical condition, for a change in mental attitude often accompanies an in¬crease in health. Individuals who suffer from chronic depression have found that when they change their bodies from a depressed posture to an open and balanced state, their feelings of depression fade. There is likewise an improvement in our self-image when we feel more competent physically. We also discover how much more we like other people when we have a more relaxed when we have-a more relaxed feeling about ourselves. … Living Without Stress We can see how this works easily enough. Next time you're angry, notice whether you clench your hands slightly or perhaps a great deal. When angry, you may also hunch your shoulders and hold your chest rigidly. Or if you're anxious about something, you may find yourself making fidgety movements. These are all surface reactions we can observe. Underneath-are the unconscious tension states that can build into attitudes which interfere in our relationships with other people. When you release those clenched fists, or prevent the fidgeting, by means of the Alexander Technique, you may find your feelings much more within your control, because you are no longer reinforcing them with body tension. Once you break this cycle of reinforcing feeling with body tension, you may even find that you no longer experience any disquiet--except perhaps to wonder where your rage or panic went. Thus freed, you are able to experience emotions fully in a few moments and begin thinking clearly again. This new conscious control of yourself does not prevent you from feeling any emotional states--life would be rather stiff and boring if it did--but you will be able to allow for more appropriate and spontaneous responses to the events of your life if you are not locked into one fearful or angry response for all occasions. [To be continued]
  8. The first books written on the Alexander Technique (AT) were authored by Alexander himself, important for historical, scholarly study. Most of them are out-of-print but some high-priced used copies can be found, as well as archived at Internet Archive https://archive.org/ - Man's Supreme Inheritance: Conscious Guidance and Control in Relation to Human Evolution in Civilization (several editions, 1918, 1941, 1946) - The Universal Constant in Living (several editions 1941, 1942, 1943, 1946, 2000) - The Use of the Self (1932) -His most well known and still in print: a concise account of how he discovered and developed his Technique, what it consists of, examples of its application, and what benefits it provides to health and well-being.
  9. In the fifty years since I first studied Ayn Rand’s works and, in applying Objectivist principles to the life around and within me, I found several important ideas that made significant improvements in my life, which I offer here to those may be interested. One is described in the following. Head Up and Forward – Moving Through Life with Ease and Poise – The Alexander Technique Many individuals move through life in a hunched, twisted, and crooked manner (to some degree), unbalanced, uncoordinated, inflexible – facing life in a slouch, as if with dread, despair, or shame – having forgotten their first years as a child of natural, free and easy poise and elegant movements. Even worse, these people, after a lifetime of corrupted practice, feel that their posture is right and normal. Yet their collapsed demeanor is crushing their organs, choking their breath, and crippling their gait – all diminishing their health and well-being. But it’s possible to change, to improve and redirect oneself, to move through life with head up and forward, neck free and easy, with back long and tall, with shoulders broad and wide, all balanced and coordinated with hips and legs, flexible and loose – embracing life with a straight gaze, an unbowed stature, and an upright, noble, romantic bearing. There is a solution, a conceptual schema and a prescribed practice, originated and developed over the past century, called the Alexander Technique, named after the discoverer, Frederick Matthias Alexander. F.M. Alexander (1869-1955) began his career as a voice actor, giving recitals of Shakespeare, until he began losing his voice, a handicap which no experts he consulted could heal. So he sought to heal himself by studiously and meticulously, with mirrors, observing and experimenting on himself while he recited. Eventually, he discovered that it was the way he held and used himself that was the cause of his affliction, and that by learning to take conscious control of his head-neck-back-shoulder alignment; he corrected his misuse and recovered permanently his voice. Furthermore, he discovered that this proper primary control is the key to the right use of the whole self for all movements and actions, and an essential factor in health and well-being. So essential was this discovery to him that he replaced his recitals with lessons that he taught on the Alexander Technique to pupils in Australia, the UK, and the US, including lessons to appreciative celebrities like John Dewey, Aldous Huxley, and George Bernard Shaw. Alexander also trained teachers of the Technique, passing on the tactile tradition to the hundreds of AT teachers worldwide today. There is also a significant library of books on the Technique, including Alexander’s own volumes, the most popular being The Use of the Self. I would classify his system, philosophically, as something like “kinesthetic egoism”. I know of only a few Objectivists who practice the Alexander Technique. Jean Moroney wrote an article about it at her Thinking Directions https://www.thinkingdirections.com/the-alexander-technique/ For Objectivists, as for all individuals, a full mind-body integration is essential to health and happiness, and the Alexander Technique, in consonance with Objectivism, will take one a long way towards that integration.
  10. Here is how I "summarize Objectivism in a short, memorizable statement" in a few, interconnected, integrated words: ----- Rand's 4Rs: Reality - Reason - Rights - Romance Or: Romance for Reason and Rights in Reality Objectivism in Four Words, in One Sentence, in Four 2-word Sentences, or Four longer Sentences. Four tenets of Objectivism Reality. Reason. Rights. Romance. Reality exists. Reason knows. Rights protect. Romance loves. Reality exists objectively and absolutely. Reason knows reality through sense and logic. Rights protect reason against force and fraud. Romance loves rights for life's truth, goodness, and beauty ----- These four tenets are the "creed" of the Astraean Individualist Society https://www.facebook.com/groups/489922809377197 An expanded statement (a philosophic poetic precis) of Rand's 4Rs is attached. Romance for Reason and Rights.pdf
  11. There is a recent work that was explicitly based on and inspired by Rand's description of "the Concerto of Deliverance". It was commissioned to commemorate the Rand Centenary. Lots of excerpts and info is at http://www.starshipaurora.com/concertoofdeliverance.html Later, search here at OO for the thread last year that discussed the production of this album. - Monart
  12. Check out the album, Concerto of Deliverance, that was commissioned for the Rand Centenary and inspired by a quotation from Rand in Atlas Shrugged. Lots of excerpts and info at http://www.starshipaurora.com/concertoofdeliverance.html Last year there was an extended discussion here on this site about the album (or, rather, around the album). To find the thread, ust key in <Concerto of Deliverance> on this site's search box. But first listen to the samples with your own ears. - Monart
  13. Exactly! On a forum where the content is screened before it gets posted, you and the pathetic garbage that you spew would never be seen. But here you get to post your "neo-objectivist" crap and demonstrate your disdain for the philosophy of Objectivism and its creator. To "reason" with the likes of you would be obscene. The only choice is to ignore a cuckoo bird like you, or ridicule you. Up to now it has been entertaining doing the latter. Where, in this thread, did Stepen Speicher ever "reason"?. All his posts were attempts at *diversion* from reasoning -- using ineffective and unfunny insults, slurrs, intimidation, etc., that do no credit to his already disrespectable reputation. Not once yet has he answered the rebuttals in my post "The 'Immorality' of a Concerto of Deliverance", or in my other post. His just asserting that he doesn't care to, isn't a reasonable answer. He's better off being silent. -Monart
  14. A review of the album, "Concerto of Deliverance", is just published at Atlasphere. See announcement below. Other earlier reviews are at http://www.starshipaurora.com/cd_comment_01.html http://www.starshipaurora.com/cd_comment_02.html http://www.starshipaurora.com/cd_comment_03.html ---- August 12, 2004 A new feature column has just been published at the Atlasphere: John Mills-Cockell’s Concerto of Deliverance (Review) by Douglas Wagoner Far from a traditional concerto, John Mills-Cockell's Concerto of Deliverance (commissioned by Monart Pon) is perhaps best viewed as an idiosyncratic concept album inspired by Rand's work. Go here to read the full article: http://www.theatlasphere.com/columns/04081...deliverance.php ___________________________________________________ The Atlasphere http://www.TheAtlasphere.com Connecting Admirers of The Fountainhead and Atlas Shrugged
  15. In Stephen Speicher's latest post, observe that he continues to show rancor and use ridicule to divert attention away from the fact that he hasn't demonstrated any reasoning for his charge that I'm "immorally violating Rand's intellectual property rights". Nor has he supported his charge that I'm a "liar" and a "fraud". Stephen Speicher should be told that independent minds can read for themselves and don't need Speicher's telling of the alleged connection between "Starship Aurora" and the "Minerva Constitution". It is *not* the constitution of Starship Aurora, which is only a philosophy and art organization. SA was never involved in the Minerva project or any political project. A copy of that constitution is posted on the website for historical reasons, and as an example of how a modern, limited government constitution may or may not be written. What is the point of Stephen Speicher's mis-representation about this? The pattern of his posts indicate that it's another distraction and a continuing attempt to defame my character, presuming falsely to know who I really am. In all other moderated forums, such repeated insults substituting for reasons, like those being posted by Stephen Speicher, would have been clear grounds for deletion and unsubscription long before this. But observe that this forum is different, it seems some are exempt from the posting policy. Meanwhile, Stephen Speicher should know that his posts are making his reputation even worse. -Monart
  16. Observe that Betsy Speicher, too, didn't seem to have read my post, analyzing and refuting hers and others' claim; otherwise, she would not keep restating the claim without giving the grounds for it. Observe that Betsy Speicher's conditions of proof for showing I'm not "exploiting" Rand assumes that which she and the others still need to prove. Observe that these people are regarding their claim as if it were an axiom, a self-evident, unquestionable axiom, requiring no proof, and any attempt to disprove it, "proves" that the disprover is "dishonest and immoral". But their claim is obviously not an axiom, but they do regard it as an unqestionable stand that must be upheld regardless of proof or reason. -Monart
  17. To be temporally precise: Stephen Speicher did not call me -- "irrational", a "liar", an "intellectual and ethical fraud", etc.,-- not immediately after my introductory post. He did that after I answered, in my next post, Betsy Speicher's questions about "objectivist astronautics" and "neo objectivists". His condemnation was, nonetheless, an expression of his opinion about my involvement with Concerto of Deliverance (and my other works), the album of which was the context in which I quote him in my post today. Observe that Stephen Speicher still has given no real arguments to support his condemnation of me or to invalidate my extended analysis of his and other detractors' claim. Observe also that he, like Don Watkins III, is only trying to dismiss my arguments with ineffective intimidation. Observe, finally, that the thumbnail graphic by Stephen Speicher's name, of an astronomical scene -- when combined with his disdain for Starship Aurora" and for my objectivist astronautics degree -- may indicate that he, too, "soars aloft in the night sky...afraid to face the dawn. -Monart
  18. That's an overly familiar (and easy to utter) phrase, "not to give sanction", often used to avoid facing real arguments. Also, observe that Don Watkins III, sensing that someone may pick out this maneuver, offers a "private" consultation -- presumably where he would not have to display his mentality in public. "They soar aloft in the night sky...afraid to face the dawn." -Monart
  19. Important typo corrections to my previous post: --- Following my rebuttal, Don Watkins III then wrote: "You're dropping context. We all benefit from Rand's work. That is no crime. The issue is trying to take from Rand benefits to which we are not entitled. The music you commissioned [sic,... --- It should have been typed as: "You're dropping context. We all benefit from Rand's work. That is no crime. The issue is trying to take from Rand benefits to which we are not entitled. The music you comissioned [sic]... === And Brian wrote, "Monart may, and possibly should, have the legal right to call his song what he wishes, but not the moral right. I don't think anyone should call their peiece [sic] ... --- It should have been typed as: And Brian wrote, "Monart may, and possibly should, have the legal right to call his song what he wishes, but not the moral right. I don't think anyone should call their peice [sic]... === I also apologize for any typos and other grammar mistakes in my post. (English is not my first language.)
  20. I've reviewed the criticisms against me and, in particular, against my producing the album Concerto of Deliverance for my pleasure and then presenting it to other Rand admirers for their own enjoyment. I've thought very carefully about this project from the beginning and, not only did I conclude that it's a *moral* thing to do, but a *glorious*, benevolent act as well. But, to be open-minded about this, I'm intrigued by the possibility that the critics here may have discerned a principle I'm not aware of. So I examined their arguments as stated in their posts, with the view that, even if I could not find a clear and consistent principle in their presentation, perhaps I could deduce a principle from the concrete examples they gave. The issue raised is important, not only to the “moral” status of the album Concerto of Deliverance, but also, in general, to how anyone should properly use and benefit from the work of Ayn Rand. In response to my first post introducing myself and presenting the new album Concerto of Deliverance -- giving a summary of and links to who I am, why and how the music was produced, and what it might sound like -- there were these following replies. Stephen Speicher condemns me as being "irrational", a "liar", an "intellectual and ethical fraud", who "immorally sought to reap benefit from the good name of Ayn Rand” and “selling his immoral product", which is "a clear violation of the property rights of Ayn Rand". Don Watkins III expressed "disgust... that he/the musician he hired had the gall to call their project 'The Concerto of Deliverance'. Morally, that is a violation of Rand's intellectual property rights. It is the attempt to confer the benefits she made possible on someone who has no right to them. For anyone who professes admiration for Rand to use her in this way is sickening.” My reply to these criticisms included the following: "Far from being ‘a clear violation of the property rights of Ayn Rand’, the album Concerto of Deliverance is a tribute to her achievement and, among other aims, a way to draw new readers to her works (which it is already doing). And I put my severance pay and savings, and my love and dedication to objectivism, to produce it. (Does anyone here expect me to give it out for free, other than the samples and insightful articles on the website?) "The US copyright laws says this: "Copyright does not protect names, titles, slogans, or short phrases. In some cases, these things may be protected as trademarks." See US Copyright Office <http://www.loc.gov/copyright/> And there is no registered trademark for "Concerto of Deliverance". "As to my using and benefiting from Rand's works: don't all objectivists do? Is someone who makes a movie of Anthem (now in the public domain) being immoral? Is someone who names their children after characters in Rand's novels being immoral? Is calling a website or organization "Objectivist" being immoral? Is applying objectivism in one life and career, and making money from that being immoral? If it is, then we should all refrain from deriving any benefit from her, put her works in a vault, and make them taboo." Following my rebuttal, Don Watkins III then wrote: "You're dropping context. We all benefit from Rand's work. That is no crime. The issue is trying to take from Rand benefits to which we are not entitled. The music you commissioned [sic, even if it lived up to Rand's description of Halley's work, is aquiring [sic] an audience *simply* by using a title given value by Ayn Rand. It would have been fine had you called it something else, and said, "Inspired by Rand's description of Halley's Concerto of Deliverence [sic]." But to *call* it "Concerto of Deliverence [sic]" is intellectual fraud." And Brian wrote, "Monart may, and possibly should, have the legal right to call his song what he wishes, but not the moral right. I don't think anyone should call their peiece [sic] of music the Concerto of Deliverance. In everyone's minds it is a great masterpiece that we cannot hear but it selfcontained [sic] in Rand's novel. We each see it as something beautiful in our own way. And I think it should remain that way. It's something too precious to have someone try and bring it to reality." Collectively, the critics’ statements make this claim: that I am “immoral” and a “fraud” in producing and presenting an album called “Concerto of Deliverance”, because, in doing so, I am “violating (morally)” Rand’s “intellectual property rights”, and “reaping benefit” from what she created to which I wasn’t “entitled”. What were the reasons given to justify this claim of “moral violation and fraud”? I read and re-read the critics’ posts, but I could not find any. All that was stated was the repeated assertion of their claim, and comparisons of this Concerto of Deliverance album with other cases of people, in their projects, using words associated with Rand’s work. There were also appeals to Rand’s (presumably posthumous) “disapproval” of such things as this album. Even though the reason and principle upon which I am being charged with “immorality and fraud” is not given, I will analyze their claim, nonetheless, and try to discern its meaning and validity. First, the part of the claim pertaining to “violation of intellectual property rights”: As I have posted earlier, referring to the copyright laws, I did not violate her property rights, intellectual or other kinds. In response, then, the qualification, “moral” violation was insisted, without explaining what that means. Now, it is the case, that a violation of rights is an act committed in a socio-political context which integrally involves the use of force or fraud. But no such an act was committed by me or the composer. I certainly did not use force. Nor, did I use fraud -- as in, e.g., taking credit for, and pretending that the name and meaning of, “Concerto of Deliverance”, was of my own making. No, I do not; I clearly attribute the title to its source. Indeed, the title is a commemoration and a tribute to her work, as is clearly stated in the album booklet and the information on the website. So other than charges of forceful and fraudulent, i.e., legal, violation, what is “moral” violation? Now, I can understand cases where I can be immoral in producing the album, but which has nothing to do with Rand’s property rights, as in: if my wife or my daughters need life-saving and expensive medical treatment, but I take our remaining dollars and put it into this album -- *then* I’d be immoral, in sacrificing their higher value. But that wasn’t the case. So in what way am I being immoral (and in alleged “violation” of Rand’s property, or even in disrespect of her eminence)? The second part of the claim, that I’m benefiting from Rand’s work to which I have no right and am not entitled, is also difficult to make sense of. That’s why, in my previous post, I listed several kinds of ways in which someone could use and benefit from Rand’s work -- ways which, if they were “immoral” and should not be done, then her work should be made taboo. Then, the critics insisted on the qualification of “no right and not entitled to”, a qualification which doesn’t make the charge of immorality any clearer. I’m definitely not taking any of part of Rand’s work that I’m not “entitled to” or given “rights” to. I’m obviously not taking or copying a piece of music that Rand composed and calling it my property. So in what way am I using her work that I’m not entitled to? Don Watkins III gives a slight elaboration: The album “is aquiring [sic] an audience *simply* by using a title given value by Ayn Rand”. I don’t know what Watkins III means by “audience”, but if he believes that an audience is created that easily, he should produce an album called “Anthem”, or “Fountainhead”, or another “Concerto of Deliverance (once it becomes “moral” for him to do it). Without the genius required to create the music, the title will no more “acquire” an audience, than Clinton will acquire a following, wearing a T-shirt that says, “I am John Galt”. “The Concerto of Deliverance”, as a literary reference, is the title of Chapter VI, Part III, in Atlas Shrugged, and, within the story, is the name given by Richard Halley’s friends to his Fifth Concerto. The description by Ayn Rand of what the music sounded like to Dagny (when she first heard it whistled on the train during the scene that introduced her) is repeated when the music is described when played in the Valley near the end of the story. The title of the album I’m presenting is not “The Concerto of Deliverance”, indicating a supreme or ultimate or sui generic status. It is also *not* a depiction of Richard Halley’s Fifth Concerto. It is: “Concerto of Deliverance” -- implying that it is *a*: “Concerto of Deliverance”, an original work inspired by a contemplation of Rand’s description of such music. The composer, John Mills-Cockell, with literary guidance from the commissioner and executive producer, created this, his longest, most expansive work as his musical offering of the themes in Rand’s passage. This was the original commission, as shown in the numerous postings and updates on the web during the past two years, and now on the album’s website. I will quote, below, from the last pages of the album booklet, as indications of the relationship between the executive-producer, the composer, and Ayn Rand, in regards to the emergence of this album “Concerto of Deliverance”. Finally, a comment on Brian’s insistence that Rand’s description of the Concerto of Deliverance “is too precious to have someone try and bring it to reality”. If this is true, does that mean that *any* ideal depicted in Rand’s art (or formulated in her philosophy) too “precious” to bring into reality? If not, why then is only the Concerto of Deliverance is too precious? There is something wrong with this attitude, something which hold dreamers back from being real, something which I referred to in the Zarlenga poem I posted previously: “Soar aloft in the Night Sky…Afraid to face the dawn.” - Monart ------------------------------------------------------------------------------------------------------- [From the album booklet for Concerto of Deliverance http://www.starshipaurora.com/albuminfo.html ] Monart Pon -Executive Producer Monart Pon immigrated to Canada from China when a boy. Here he found three of his passions: astronautics, philosophy, and music. He enjoys a diverse collection of music, including Dvorak, Debussy, Gershwin, Stivell, Elvis, and many, many others. He has a Master’s in the philosophy of astronautics and advocates the rational, libertarian advancement towards living in Space. <http://www.starshipaurora.com> Monart first heard John Mills-Cockell’s "Tillicum" & "December Angel" and first read Rand’s Atlas Shrugged, 30 years ago, and since then, wanted to hear a "Concerto of Deliverance" as created by his favorite composer. This album represents, for him, that desire achieved. ------- The Music of John Mills-Cockell John Mills-Cockell's music cuts across genres and breaks the bounds of traditional styles and instrumentation, melding together both familiar and newly synthesized sonorities. His musicality spans a wide range of styles and themes, embracing the dramatic and deep, the light and simple, the wistful and enchanted, the defiant and the triumphant, the joyous and the sad -- all imbued with freshness, equanimity, and integrity. A fountainhead of genius in our times, John Mills-Cockell’s sunlit music ennobles and sets fire to the soul. John Mills-Cockell demonstrates his incomparable mastery of the New Music, when he creates -- with superb clarity, intensity, sincerity, confidence, and grace -- such profoundly moving and philosophical themes as those of "deliverance". His music can challenge, comfort, and cheer one's relentless movement towards the realization of life's beauty and happiness. It's that powerful. An unusual musical adventure of discovery, remembrance, and arrival -- this Concerto of Deliverance. - Monart Pon, a fan Email: [email protected] ------ About Ayn Rand (1905-1982) Ayn Rand is a celebrated champion of free thought, free trade, individual rights, and romantic heroism. She wrote: "My philosophy, in essence, is the concept of man as a heroic being, with his own happiness as the moral purpose of his life, with productive achievement as his noblest activity, and reason as his only absolute." [‘About the Author’, Atlas Shrugged] "At the dawn of their lives, men seek a noble vision of man's nature and of life's potential...the sense that one's life is important, that great achievements are within one's capacity, and that great things lie ahead." [‘Introduction’, The Fountainhead] "She sat listening to the music. It was a symphony of triumph. The notes flowed up, they spoke of rising and they were the rising itself, they were the essence and the form of upward motion, they seemed to embody every human act and thought that had ascent as its motive. It was a sunburst of sound, breaking out of hiding and spreading open. It had the freedom of release and the tension of purpose. It swept space clean, and left nothing but the joy of an unobstructed effort. Only a faint echo within the sounds spoke of that from which the music had escaped, but spoke in laughing astonishment at the discovery that there was no ugliness or pain, and there never had had to be. It was the song of an immense deliverance."[‘Concerto of Deliverance’, Ayn Rand, Atlas Shrugged, 1957] --------------------------------------------------------------------------------------------------------
  21. I see that the show "Firefly" has not been mentioned here, so, in case someone here hasn't seen it before, I should recommend it, highly. Firefly, unfortunately, was canceled from TV, mid-season in 2002. Fortunately, it's now on DVD and a movie is in the works. I'm finding that everyone I'm recommending it to enjoys it immensely; it's high individualism and romanticism, funny and philosophical, thrillingly plotful and visually stunning, witty and repeatedly watchable. I've bought my daughters each a set of their own, and they're showing it around too. My wife and I have watched through it 8 times now, enjoyed it every time, and are looking forward to the next time, soon. I've appended, below, earlier posts about it, elsewhere. The latest, great news is that the movie version, "Serenity", is scheduled for release April 22, 2005. Monart ~ * ~ Concerto of Deliverance <http://www.starshipaurora.com/concertoofdeliverance.html> Starship Aurora <http://www.starshipaurora.com> -------- Original Message -------- Subject: OWL: "Firefly" Date: Thu, 08 Jul 2004 17:35:38 -0600 From: Monart Pon <[email protected]> Organization: Starship Aurora To: OWL <[email protected]> To add another topic to the List: The "Firefly" TV series is to be resurrected in the "Serenity" film. There's hope for the culture yet, and something inspiring and enjoyable to look forward to. Previously, I posted elsewhere: Subject: [starship_Forum] "Firefly" on DVD Date: Thu, 15 Jan 2004 From: Monart Pon To: Starship Forum [email protected]> "Firefly", the unusually entertaining and provocative TV series that was canceled by Fox last year is now available on DVD, all 14 episodes on 4 discs (from Amazon.com or Chapters.ca, at discounted prices). This may be your only chance to watch this revolutionary show that's sure to please any rational, romantic individualist. I'm hoping for a resurrection of the show. Subject: [starship_Forum] TV Show Worth Watching: "Firefly" Date: Wed, 13 Nov 2002 From: Monart Pon To: [email protected] Another starship TV series worth watching is Firefly": about a civilian transport ship and crew, out and about doing freelancing work, set in a future where Earth is "all used up", and humanity has colonized numerous systems, but a collectivist Alliance is seeking to gain centralized control over the colonists. What's different about this well produced show is the pioneer "wild west" flavor of the worlds and aboard the Firefly ship "Serenity", with a mix of hi-tech and low tech gear, and with country-western southern accents. The captain and crew are a band of varied and interesting characters, including the unpredictable but decent captain, a mysterious preacher, an aristocratic doctor and his recovering brain-washed genius sister, a female "Companion", a woman engineer, a married couple, and an ex-mercenary. --- Other previous postings: http://groups.yahoo.com/group/Starship_Forum/message/2478 http://groups.yahoo.com/group/Starship_Forum/message/2480 http://groups.yahoo.com/group/Starship_Forum/message/2601 Movie Announcement posted at: http://www.fireflyfans.net/news.asp?newsid=473
  22. Far from being "a clear violation of the property rights of Ayn Rand", the album Concerto of Deliverance is a tribute to her achievement and, among other aims, a way to draw new readers to her works (which it is already doing). And I put my severance pay and savings, and my love and dedication to objectivism, to produce it. (Does anyone here expect me to give it out for free, other than the samples and insightful articles on the website?) The US copyright laws says this: "Copyright does not protect names, titles, slogans, or short phrases. In some cases, these things may be protected as trademarks." See US Copyright Office <http://www.loc.gov/copyright/> And there is no registered trademark for "Concerto of Deliverance". As to my using and benefiting from Rand's works: don't all objectivists do? Is someone who makes a movie of Anthem (now in the public domain) being immoral? Is someone who names their children after characters in Rand's novels being immoral? Is calling a website or organization "Objectivist" being immoral? Is applying objectivism in one life and career, and making money from that being immoral? If it is, then we should all refrain from deriving any benefit from her, put her works in a vault, and make them taboo. As to my introductory post being an "ad": it was not such. It did not prompt people to buy, it did not state a price, and it's style was not commercial. It was an introduction to who I am and what I do, and a goodwill gesture and offer to anyone here who may be interested in checking out a new possible source of esthetic pleasure. If my messages get deleted from here and I get banned, it would not be because of a violation of policy, but because of them being perceived as an affront to the vocal ones here. I know that the respondents do not represent everyone who read my posts, but those who did reply, did so with immediate unfriendliness, suspicion, mockery, sarcasm, and insult, all without the expected objectivist logic and evidence. Instead of judging me for who I am, they tried to fit me in categories of their own making so as to dismiss me and intimidate others here who are watching in the background. Whatever you respondents try to make me out to be, the evidence posted here shows who you and I really are (to anyone who judges for themselves. To add to all that I've posted here so far, and for the benefit of the non-posting readers here, I offer the following as a point of reflection on what's going on here. ------ They Soar Aloft in the Night Sky To be free in their minds in their imaginations in their consciousness, they soar aloft in the night sky, alone in their brain, that's what freedom is to them. When one comes who tells them it can be done in the real world, he is hated because he destroys the inner beauty of their dream. Their mind is their reality. They live vicariously, destroying their enemy with their dream. They soar aloft in the night sky afraid to face the dawn. -Peter Zarlenga _The Orator_, 1976 + ------ -Monart ~ * ~ Concerto of Deliverance <http://www.starshipaurora.com/concertoofdeliverance.html> Starship Aurora <http://www.starshipaurora.com>
  23. A "neo" objectivist, as distinguished from an "old" objectivist, is a new, usually younger, objectivist, born within the last two decades, who may not be bound by the habits and traditions of the previous generations of objectivists from the 60's and 70's, who are non-sectarian, non-insular, non-conformist -- open to new ideas, even if those ideas are not "approved" by the orthodoxy -- and thus are more curious, benevolent, and attractive. These neo objectivists can be found anywhere, including here -- although they tend to frequent places with open skies and fresh air, where there isn't stifling and noxious airs of pretentious in-groupies and envious mediocrities. Thanks for your questions, Betsy. (I've seen your name and postings here and there over the years. Is Stephen still your husband? He's too quick with sour sarcasm, sure to turn people off.) Monart ~ * ~ Concerto of Deliverance <http://www.starshipaurora.com/concertoofdeliverance.html> Starship Aurora <http://www.starshipaurora.com>
  24. Betsy, I've been asked that question numerous times, so I'll forward an answer I've given before: -------- Original Message -------- Subject: [FAM] "objectivist astronauts" Date: Tue, 07 May 2002 12:31:55 -0600 From: Monart Pon <[email protected]> > Forgive me if you've explained this already, but what > university gives a Masters in Space Settlement? > > Marsha Hi Marsha, Although I'm trying to stay on vacation from the Web, I want to answer your question. I know of your interest and your fine work in Education. What university grants a "Masters in Space Settlement", and more, in "objectivist space settlement"? In my case: A university that didn't know what hit them, people who didn't really know what they were letting into their program by accepting my proposal. A university with an independent, non-standard, multi-inter-disciplinary department (CRE: "Committee on Resources and the Environment) that was well-funded, probably because most of the research was in environmentalism. A university that had the professors I found to want to be on the 3-4 years-long thesis committee: an engineer, a philosopher, a political scientist, and at first an ecologist -- who each had their own reasons to be there. A university who had a chairman of CRE, a biologist, who was supportive enough of the thesis and provided grants for the research. After four long years and two attempts, I convinced the thesis committee to grant a Masters in "objectivist astronautics", as printed right on the Degree, from the University of Calgary in 1985 (a Canadian Provincial university of 25,000+ students and 4000+ faculty & staff <http://www.ucalgary.ca/UofC/about/>) The thesis, in a newly defined field called "objectivist astronautics", has the title of _Starship Astronaut: Rational Egoist_. More details about this were in an OWL post last year, which I've copied, below. Thanks for asking, Marsha. Monart ~ * ~ ----- Original Message ----- To: OWL <[email protected] Sent: Tuesday, October 17, 2000 Subject: "objectivist astronautics" Bill, Thanks for asking about "objectivist astronautics". When the university asked for the name of the field of research, it was the best name I could think of. The degree was granted by a multi-inter-disciplinary body called the "Committee on Resources and the Environment" at the University of Calgary, Alberta, Canada. I had been searching for a department that would accept my proposal for research into the philosophical presuppositions of space colonization, and this Committee (CRE) couldn't find enough reasons to refuse my bold offer, which also fulfilled all their forms and prerequisites. I spent the next four years investigating the technological, cultural, and intellectual implications of the space colonies project proposed by Gerard O'Neill, in particular, and of the astronautics industry, in general. I studied philosophy, anthropology, psychology, sociology, economics, technological theory, environmental design, religion, utopias, more objectivism, and bits of many other subjects. I then applied the objectivist philosophy to my analysis and presented my findings to CRE, having to submit the thesis twice because of, you guessed it, the objectivist philosophy. I succeeded, though, and there, printed on my degree, below "Master of Arts" is "Objectivist Astronautics". [...] Monart
  25. Hello, I'm a new subscriber to this forum and would like to introduce myself to those of you who don't know me from other venues. I've been studying, using, and benefiting from Rand's work on objectivism since 1971, when her Fountainhead motivated me to switch from astrophysics to philosophy and earn a BA in philosophy and a MA in objectivist astronautics. I've been active in promoting and advocating the philosophy in various projects, and my latest project is a significant example. To round out this introduction to what I'm about -- who I am, what I'm after, and how I'm doing it -- is the new album, titled "Concerto of Deliverance" by John Mills-Cockell, that I've commissioned and produced, an album inspired by Rand's description of such music in Atlas Shrugged. An invitational message is appended below to lead you to more information. The production of the album is an independent project, done mainly out of love and goodwill (a "mom and pop" venture) -- but this is a high-class album depicting an expansive world of beauty and excitement, offered for your enjoyment. Thank you. Monart ~ * ~ Some of you may remember two years ago when I announced the project to create a Concerto of Deliverance by John Mills-Cockell. Now, since July 4, 2004, the album of the music is finally here! What does it sound like? What might it sound it? What should it sound like? Will it make a difference? Now you can find out for yourself. Information on the album -- its contents, samples, profiles, composer's notes, reviews, etc. -- are available at http://www.starshipaurora.com/concertoofdeliverance.html Reviewers of the work have included musicians and philosophers, with diverse responses. I've appended excerpts from one reviews (go to the website for the authorship). -Monart ======= Concerto of Deliverance, by John Mills-Cockell ...satisfying resolution...an integrated work ...the music moves freely through American spiritual, American Indian, American western, Asian, Spanish, jazz, rock, symphonic, march, Gregorian chant, modern Persian, traditional Chinese, etc. I also enjoy the blurring of the line between what is typically thought of as orchestral/classical/grownup music, and group/rock/kid music. My guess is that your most enthusiastic customers among objectivists will be the under 30 neo objectivist crowd, who are used to and eager for new sounds, different sounds, pretty themes that aren't pretty the way their parents like them... The rhythm changes constantly. Even during the segments where it remains constant, Mills-Cockell varies the way the rhythm is played, or changes the synthesizer registration used to play it. The key changes constantly... My own musical taste inclines toward the extremely complex, which is, I think, what explains my ability to enjoy this brand new piece despite my usual preferences for ancient music... The piece is extremely linear, which is another feature I find endearing. Chords are arpeggiated throughout, so the structure and logic is perhaps less obvious to some people if their preference is for music that is chiefly made up a vertical chords. As might be expected given what I've said so far, I have a strong personal preference for perpetual motion and steady rhythms without percussion. I'm pleasantly surprised by this piece's ability to seduce me despite the fact that it is more like modern music and less like German baroque in this regard. The effect of constant movement is maintained partly by the tensions created by the elements I mentioned earlier, as well as the linear structure. I think it speaks to the universality of the music that Mills-Cockell is able to capture the attention of someone so happily entrenched in the early music tradition... Sometimes Mills-Cockell weaves back and forth between acknowledgment/experience of pain and joy; sometimes the pain hovers in the background, unrecognized or forgotten but still a part of history, while fun and happiness take over. Evil lurks, that's just a fact: But it never wins. Nicely done... =======
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