I was watching this great interview with Roger Penrose this morning speculating on the origins of the Big Bang, and sharing some of his most recent thinking on how the universe might be in an eternal cycle of recreation in which, at certain points in the cycle, size and time don’t matter.
My early morning mind connects a lot of things together, and today that video led to a reflection on smoothness and lumpiness. And the universe, mushrooms, and jazz.
One of the fundamental patterns in the universe is that there are clumps of matter. This always amazed me. The idea is that at the moment of the Big Bang, everything was smooth and evenly distributed, and therefore every possibility was in play. Think of it like a calm lake. In wintertime time, if there is no wind and nothing else disturbing the water, it forms smooth ice, with no lumps or pits.
But often lakes freeze while there are waves on the surface, and the water becomes “lumpy.” In other words, if you lay a flat board down on the ice, there are places where the ice touches it and places where it doesn’t. Something influences the system and it gets lumpy.
The same is true of the cosmos. As Penrose says in the video, the sun is over there and not here. It emerged from a smooth cloud of gas, but now it exists next to places where it doesn’t exist. Gravity does that work, creating attractor basins in space-time into which stuff falls. A spaceship travelling close to the sun will fall into it and become part of the sun. One that travels near and stays outside the boundary – the event horizon – will pass on through space. There is a point somewhere on that boundary where you cross from probably to certainly.
In a lumpy universe, some things are more likely to happen than others. There is not an equal opportunity for things to emerge in every place at every time. It is highly unlikely that a black hole will emerge spontaneously in the centre of the earth, but it is a near certainty that one will emerge when certain types of stars die.
This lumpiness is caused by constraints in the system. An unconstrained system is just smooth and random with equal opportunity for anything happening, even if that opportunity is equally near zero. But a system in which gravity exists, for example, will become less random and star get more ordered. Certain things will happen and not happen. Certain constraints are immutable – such as gravity – and so, will influence stuff, in the same way, every time. (Penrose talks about how gravity is constant in the universe regardless of time and size).
At smaller than cosmological scales this we see this same pattern repeating. Yesterday I was out hunting mushrooms, and I am learning that certain species – like the boletes I found – will live in certain places, around the roots of mature cedar trees. There is no point looking for them in the alders. The constraints of the system help you find them.
In the same way, after 40 years of playing guitar and appreciating jazz, I am finally learning how to play jazz guitar, and I am learning about how the music moves, why we are likely to find a dominant fifth between a minor second and a root major seventh chord.
In mushroom hunting, one must sink into the system and observe it deeply to learn about how mycorrhizal fungi live. Understanding the constraints makes it more likely to find these beauties, and every time I pick one I get this strong sense of joy at having joined the system so closely that the mushroom and I could find each other.
There isn’t much I can do to influence a bolete to grow in a place it doesn’t want to grow. But if I wanted to cultivate boletes, I’d have to start by growing a forest.
With jazz, however, there is a lot I can do to mess around with the music. It’s true that a ii-V-I chord progression is nearly ubiquitous in jazz standard repertoire at all kinds of levels of scale, from single melody lines to whole songs. Its a reliable pattern and if you are lost in improvising, it’s something you can often come back to, to find your way back to the melody.
But the other thing about the ii-V-I is that is can make a creative musician lazy. It is so smooth and reliable that it can become too constrained and one falls into repetitive patterns, just “going through the changes” and not adding anything interesting. When I am trying to find chord voicings for songs I’m learning, my teacher will often say “hey trying adding that sharp 11 to the chord” and instantly something different happens, some delight emerges, a new colour appears. Not only that, but the alteration gives me more options for what the NEXT chord voicing might be, because adding that sharp 11 note makes my ear want to go to a different place. It gives me permission to move somewhere I had never imagined before.
This is what we mean by “enabling constraints.” In jazz, you have a choice about what you do with the enabling constraints. You can try to improvise within a tight framework of standard chords or start finding “adjacent possibles” – notes that sound good because you have altered a chord in such a way that a new note or interval comes into play. These alterations are small. They need to be because they have to work both with the base chord you are altering AND link to the new place you are going. There is a logic to this, and you’re working within constraints.
And of course, you can utterly dispense with this logic too, choosing to play entirely improvised music. But even total improvisation finds a “lumpiness” around emergent patterns. It might be a rhythmic pattern, a dynamic move between soft and loud, or a small set of notes or intervals. It might be a moment in time that repeats or a call and response with another player. Free jazz and improvised music is not random music (although it can often sound that way). It is a natural evolution of art that discovers emergent attractors and uses them as enabling constraints to create some lumpiness, to lightly constrain creativity and see what might happen. Sometimes it fails completely and sometimes incredible experiences are had.
You’ve read this far, maybe hoping for a conclusion, but I feel like leaving this post here with a question. What does this make you think of? What does this musing about lumpiness, likelihood, cosmology, mushrooming and jazz leave swirling around in your brain?
Edited later to add some theology: if I understand Penrose correctly, the only thing that survives the cycles of universe manifestion is gravity, which means that, at least in my theology, gravity is God. And gravity pulls things together and provides perturbations in smooth fields that help create new things, which kind of equates with own humble theology…so more to think about…
I think we are living in a time when every emotion we are capable of generating is seen as a potential for making money. Our loyalty is co-opted by brands. Our anger is co-opted by politicians who channel it towards groups they scapegoat and then ride in as saviours of our condition. Our sense of reverence is owned by Hollywood, who exploits it for the latest superhero movie. Our love is sucked up by celebrities who are ciphers for the qualities in ourselves we can no longer recognize.
The most disempowering thing you can do to another human being is rob them of their ability to love themselves, not in a narcissistic way, but in an authentic acceptance of who they are, full of gifts and flaws and unique ways of seeing the world. There is nothing more dispiriting I think than being unable to love yourself. You think you are never capable of loving others or being loved. And all the while we tap “like” and “love” on our social media accounts and take the dopamine hits from pixels flying from one user to another through the filter of a money making machine.
So yesterday, when I saw this thread tweet, it stopped me in my tracks:
RuPaul’s been telling us for years, “If you don’t love yourself, how the HELL you gonna love anybody else?”
And we agreed.
But then, Lizzo switched it up in her Tiny-Ass Desk Concert. She said, “If you can love me, you can love yourself.”
And I can’t stop thinking about that.— Angela Mayfield (@pinkrocktopus) July 30, 2019
I was struck by how that one almost throwaway line at the end of the performance became a full on sermon for Angela Mayfield. That’s a wicked perception. And following along a little further, I clicked through to the link of Lizzo’s Tiny(-Ass) Desk Concert and could not stop smiling for 17 straight minutes, which you should do right now.
Lizzo is right. If you are capable of loving someone else, or even shouting out at a concert “I LOVE YOU!” then you are indeed capable of shouting it at yourself. It’s a reminder of me to not be exclusively directed my emotions outward, but instead to notice how love, anger, loyalty, and reverence can be a healthy part of my inner life, and not merely directed outwardly all the time. In an era where we project ourselves into the world through media like this, where our images, words and thoughts are put outside of ourselves first and foremost, thereby separating us from our feelings, Lizzo’s small invitation is a powerful reminder to me to take it all in too.
Isn’t that beautiful image? Here on the west coast of Canada the Douglas-firs and cedars and hemlocks that cover the mountains and islands rake the sky for moisture. As the rains return in the fall, the trees help the forest drink. Rain showers pass through and for hours afterwards, the trees drip water onto the forest floor, feeding all the understory and the mushrooms that keep them alive.
That image was one given to me by Chris Weaver, a fellow Open Space Technology facilitator and a poet and a friend who spent years on this coast, south of me, in Washington State. I say friend, in a particularly 21st century way. We never met in person, but the beauty of his words, our shared professional growth and our email exchanges from 1998 to 2006 were rich and playful and full of depth. He brought out a part of myself that I loved.
Chris died the other day, the second of my friends this summer to succumb to suicide from depression.
He is being remembered by friends and colleagues the world over, because his death was untimely and his life was one that touched many people very deeply, even if we were not always at his side.
When my father in law died in 2004, he consoled me this way:
my whole heart descends with you to that place of grieving, all interlaced withthe joy of life well-lived – the test so finely and passionately played insun and rain and mud.
He was referring to Test cricket in that blessing, a sport about which he knew nothing but he enjoyed witnessing the banter between me and Alan Stewart about the Australia-India test series of 2004. He could take something like that and, yes, weave it into a consolation.
Later that month, our mutual friend Ashley Cooper hosted a small conversation on her blog about how we all wanted to be remembered, and Chris shared this:
it’s funny, i have two pieces of music that are back-to-back on a cd called “the gentle side of john coltrane,” and for some reason when i listen to them, i often think, those two songs are all i need for my memorial. they are about feeling it all, and releasing it all into joy. track 11 is “in a sentimental mood,” duke ellington’s tune, a rare time when coltrane and ellington recorded together. track 12 is called “dear lord,” with mccoy tyner back on the keys, & if my life has a theme song, that’s it.
since you’re taking notes for the event ash, they’re both slow-dances
Well, the time has come for us to remember Chris, and so, here are those two pieces of music.
In that post I shared a vision for my own memorial in which I said that I’d love an Open Space with everyone who knew me to be gathered together to talk about good work they could do in the world. To that idea Chris Weaver simply replied:
“i’ll be there, chris (even if my own memorial comes first!)”
Chris’ words are spanning the globe right now as his colleagues and friends remember him. Cherish these drops of rain. Long after the storm has passed, they continue to slake our thirst.
Godspeed friend. See you at my memorial.
Spellbound this morning watching Sean de hOra, a famous old Irish singer, performing his version of the Irish air Bean Dubh an Ghleanna (The Dark Woman of the Glen). He is a gorgeous interpreter of the “sean nos” or old style of Irish singing, which is deeply emotional and moving evoking in the performer something of the duende that Lorca wrote about in flamenco. In both flamenco and sean nos, there is a sense that supernatural creatures are near by, and there is tradition that links the singing of these songs to the kidnapping of the singer by fairies, so powerful is the song.
For these reasons – the weight of emotion being communicated and the fear of being lost – a tradition in sean nos singing is to have someone engage in “hand winding” with the singer and you can see this in this video. It is a gesture of amazing empathy, and it brings the singer into the fullness of the expression of the song without him fearing being lost or taken away.
Here is Ciaran Carson:
In the ‘hand-winding’ system of the Irish sean-nós, a sympathetic listener grasps the singer’s hand; or, indeed, the singer may initiate first contact and reach out for a listener. The singer then might close his eyes, if they are open (sometimes he might grope for someone, like a blind man) and appear to go into a trance; or his eyes, if open, might focus on some remote corner of the room, as if his gaze could penetrate the fabric, and take him to some antique, far-off happening among the stars. The two clasped hands remind one another of each other, following each other; loops and spirals accompany the melody, singer and listener are rooted static to the spot, and yet the winding unwinds like a line of music with its ups and downs, its glens and plateaux and its little melismatic avalanches.
What do you notice here?
My daughter Aine is a musician. She is a singer and also a songwriter and she loves collaborating. She has a Soundcloud channel where you can hear some of her stuff accompanied by herself on guitar. And while she is pretty good on guitar, it’s really cool to hear what happens when she works with a collaborator, in this case her friend Zach Brannon, a local shredder from here on Bowen Island. They’ve been working on an album together and have just reeased an acoustic version of a new song called “Not Afraid to Cry.”
It’s pretty good.