of patterns and patternists; A Sonocybernetic Manifesto
I feel like I have some theories. some gleaned from experience…some from research…some im just making up because they feel right and I will roll with them until I create or discover better ones. I use a lot of made up words to describe some of them-especially the use of the prefix “sono” which refers to sound or “sonic”- so there is no need to message me to “inform” me that this word actually means “that”…I don’t care. these words are my spells…I am merely sharing them for those that give a shit.
what is music?
music exists between dimensions. it is a sort of catalytic glue between what we think of as the physical plane where our bodies reside and the plane of thought, emotion, dreams…a sort of mathematical plane that informs the thought plane and the physical plane. sound exists without you. if a tree falls in the woods, does it make a sound? yes. sound does not need an observer to do what it does. cymatics can demonstrate this. sound creates a spherical bubble of order that permeates matter. so sound exists without a human observer to hear it. music…hmmm…that is a different question. music implies a greater order. more complexity…intention. if sound can influence and create so many things in nature, what must music be able to do?
in sufi mythology, existence began with a great sound and sound is a form of mathematical expression. we live in a deeply ordered mathematical reality. the interaction with this great truth is profound to a degree that I am humble to. I seek to know it and to create ways for it to order itself through me. to be an ordering conduit for its expression. any truth above, below or around that, will come through how successful I am at that core purpose.
in my studies over the last few years I see that sound, and music, affect every aspect of the human construct. music and sound wash over the entire body, which just so happens to be coated in neurons…we are distributed computing systems. our mind is not simply in our heads…nor completely in our brains…it surrounds our entire body, I believe.
there is the music of computation and technology, expressed as pure binary math and boolean logic. the music of light and spectral frequency. the music of biology and its fractal expression of information. what is music? it is the point and the next but it must be asked AS music.
Terrence McKenna once said, while quoting someone else that, “language was invented to lie”. that was as funny then as it is now because the word that I keyed into was not “lie”…it was “invention”. language as invention. this is odd. it seems as if language just always was. that we as a species just popped out talking, but the more I study the more I see that this isnt the case. carbon dating of ancient musical instruments suggest that music is older than homo sapien. so if language is an invention, then that means we can invent others, right?
I mean,we do it all the time. there are dozens of programming languages used to talk to computers…languages of law, medicine, money…languages of the drum and of the body in the form of dance, gymnastics, fighting, swimming, car driving, motorcycling, climbing and musical expression….all languages with syntax and nuance and emotion and symmetry.
music as a language
Ive been hiding out, working on a new kind of language for a few years. something that would be easy to begin learning (especially since I will have to learn it as well) but could expand beyond what one believes to be their capability to learn. in fact, this system would enable the capability to communicate multidimensionally, with “dimension” defined as mutually exclusive realms of expression. speaking and dancing are two different forms of communication but painting and cooking are as well. they are dimensions of expression. so my idea is to create a language that is, by its nature, multidimensional. the elements that will weave all the dimensions together are sound, binary logic, computers, 3d printing and basic electronics.
I call this form, Sonocybernetics.
the idea is to learn these basics in a manner that feeds the idea. that sentence is recursive which means that it feeds back into itself. the same way that we humans learn by doing things over and over, is recursive. the very idea is recursive. learn something that feeds back into itself to constantly give feedback while also propelling forward based on this process. and since its not one thing-one dimension-that feedback cross pollinates all the things you do, resulting in increasingly serendipitous results. how you do one thing will have a direct impact on how you do another thing because they are all governed by the same core idea. my 3d printed designs have a direct impact on their playability which influences how they sound, which influences how I move which influences the expression of the data they generate which influences the machines I have connected to those data streams….and so on…
the basic structure of sonocybernetics rest on a number of core “pre-elements”, the first of which is to always move toward and embody open source philosophy as a life philosophy. language can not thrive if one has to ask permission to use any aspect of it. any non-open source elements must be either reverse engineered into something that can be shared or pushed to the outside edges of the idea…never the core. when I say “pre-elements” I mean a few very specific tools that form the core toolset.
- a computer, running linux(prefereably the raspberry pi platform)-yeah I know…linux is for geeks and nerds, but guess what youre gonna have to be to do this? yup. this is not for people who want to take the easy road. if you need it easy, go do something else…this isnt for you AT ALL. don’t waste your time. this is powerful, not because it is easy but because it is NOT easy (note: its not hard either, its just strange, which some mistake for hard) and currently, the world runs on linux. to know linux is to realize you are connected to the nervous system that runs the world and it just happens to be completely open source meaning that later, you can change it how you feel.
- Pure data, specifically, pd-extended. yes, I know…either youre not a programmer or you use c++ or java script or python, well I chose pure data because of its inherently spatial layout and power with number structures that make it easier to show to someone at a glance without having to hunch over and read down a long list of text. I find pd to be soooo much easier to teach and to share and its easier to share ideas of fractality and nesting. also, it is a gateway to programming in other languages, which can be used to create pd objects.
- a reprap 3d printer-yes I know….you use a makerbot and/or you don’t want to build a 3d printer from scratch but the reprap is what the makerbot is based on and steals all its upgrades from. it is a machine that makes machines! and not only can you build it but you can evolve IT…as YOU evolve. this is very very important as the dimensions move out past plastic forms and move into the micro/nano scale and well as the macro scale. because if you can build and evolve a small reprap, you can build a house sized one as well as a molecular sized one so internalizing this technology as DIY, is important. and 3d printers don’t have to be overly complex. here is one I designed out of spare parts that is handheld, requires no CAD software, and uses pure data, running on linux for control and is built around an arduino. this can form the basis of a larger 3d printer later (and of course, it is open source)
the arduino platform-yes I know…youre not a hacker and whatever else but understanding the arduino allows you to program functions directly into the machines you make, as in the above example. your printed machines become programmable. and you learn to use and eventually create better faster microcontrollers later.
with these tools you have the basis of a multidimensional language. you can speak sound, physical form, code and and current simultaneously. and these form the basis of completely new kinds of thought not possible any other way. these tools allow for the view of computer as prosthesis. as recursive augmentation; a tool for exploring self which when focused outwardly, reveals an increasingly malleable programmable reality. this can give some insight into parts of the process as well
how does it work?
sonocybernetics is based on cybernetics, transduced using patterns of sound that evolve as you evolve. cybernetics theory is based on two dimensions of communication systems; information structure and the physical representation of that information. feedback into the system is key, as feedback of high enough gain, takes over from the input. so lets look at that statement like this; youre a jazz improviser and youre playing with your combo and you begin a ballad. you are inputing inFormation into the system but instantly you are listening to your band mates who are also inputing information and you all stablize on a key, a tempo and mood. but then maybe you decide, as a flourish, during your solo, to play something that sounds a bit like salsa, which instantly makes your drummer hit a bit of a salsa beat and now your bass player has jumped into the action and youre now all playing salsa based on subtle cues of information feedback. as any musician knows, this happens all the time. jazz and cybernetics have more similarities than you would imagine. this feed back can be sono-cognitive, mechanical, design, programmatic, realtime, dietary, kinesthetic….
the feedback relates very specifically to the “sono” part of sonocybernetics. this is the part ive been trying to figure out for years. ordered sound has an imprinting effect on the physiology of the brain, which means that it affects the way you think. ordered encoded sound is the glue that makes the whole system work in a manner that is self evolving and self iterative. this is a new kind of music, specifically for creating new forms of sound order:
this system regresses to a base2 number system. the whole idea orbits around the “on” and the “off” pair. as you will note, all computing is already based on binary numbers but binary number systems have been around since ancient egypt and probably longer. so it is a system that is simultaneously ancient old and new new. it is based multiples of 2 but at its simplest its easier to think of it as groupings of on/offs called “bits”. if you touch a surface with your index finger, this could be considered on. if you lift your finger off that surface, this is off. congratulations, you have just completed a 1bit calculation. with 1 bit, you have 2 positions-on and off. and “off” is equally important to “on”. with out an off, there is not music. there is only a building cacophony of sound. sound is ordered by off. music is ordered by relationship of the off to the on. this is what the bit represents, musically. you can do a lot of very relevant things with 1 bit. drumming comes to mind, as does morse code. you can change the spacing between the on/off to get different rhythms as well…that is with just 1 on/off. with 2 on/off, or 2bits, you now have access to 4 positions;
an easier way to think of this is with drums and drum sticks which are 2 on/offs many forms of african drumming were used to transmit messages over long distances, complete with recursion (resending the message over and over again so that the intended message is received), error correction, routing and swtiching, so binary logic has been with us for a really long time, which was why it started making more and more sense.
12tone equal temperment is not very good at controlling robots or communicating or evolving. it was made to make orchestras sound good together. this was the hitch point for me for the last couple of years. it was the one thing that had to go. it was hard to think of throwing away 30+ years of experience, at least it was until the john coltrane revelation. he had to rip his way out of it but beyond that, his tools were always bringing him back to it as a starting point everytime he touched his horn. I have no such limitations. whatever I do not have, I can create. pure data can convert any number series into any type of frequency output I deem relevant-ultra low, below human hearing or ultra high into radio frequency range and beyond.so it was with this in mind that decided to step away from sax fingerings and 12 tone ET as a primary sound interface concept.
as you can see in this video, I decided to design a 2bit system to test the theory. this uses a couple of nuts in a printed shaker type construct that lets me play around with 2 bits in a musical way. no brain implants, no quantum mechanics…just a shaker with two nuts to investigate 2bit interfacing.
there is another form of input that is crucial; the analog input which I call a stream. this is the other stuff-sensors, breath, motion…all the stuff that isnt simply on or off. so if we go back to the finger tapping example, this is tapping with intensity or adding an accelerometer to the 2bit shaker so that the angle it is being shaken at can be used as input. with bits and streams, you’ve got just about any sort of input covered. every added input is considered either an added bit or an added stream. in this way you are able to completely maximize your input potential. it doesn’t mean that you have to, it simply means that you can. so rather than 2 buttons just being 2 buttons, they can be 4 positions. 3 buttons can represent 8 positions, 4 can prepresent 16 positons but for the sake and scale of this system ive designed it around a 8bit matrix, with a total of 255 positions.
the 8bit matrix
I believe that binary numbers are the key to this sonocybernetic system, but its not that easy. there has to be an initial limitation- a learnable one -but one that can one day be expanded easily. that limit is 255. this is the full range of 8 bit numbers. the 8 fingers on my hands can create 255 positions. if I include the thumbs, it shoots up to 1024! if I were to try 16bits, id be tying to swim thru 65,000 positions! that is out side the realm of comprehension for me right now. the goal is to create a full 8bit “pattern” in my mind, then evolve from there. this pattern would consist of any number of bits up to 8bits then any other range of bits would be another group of bits. all streams would have a range from 0 to 255. in this way everything has a definable, learnable space that it operates within. instead of learning 12 octaves of 12 notes, this system would be 1 range of 255 note intervals, definable in any way the “patternist” sees fit. 255 becomes the resolution of a grid that is 255x255x255 which results in over 16million possibilities ! in multiple dimensions. 255 notes, 255 parameters positions, 255 points for each sensor range….there is a mind boggling range of combinations to be explored.
within this initial 255x3 matrix, possibility is granularized and can be built up in any way that suits the patternist. lets say I want to use sax fingerings. I do not have to discard the binary input system, I merely need to assign interval relationships to the keys that I normally used to finger sax notes so in that way I can play sax fingerings but I can also play any binary finger combination and play those intervals as well. this applies to ANY MUSICALLY RELEVANT INPUT, like flute, drums, trumpet, mpc drumpad…anything! the interaction can be as familiar as the pilot wants it to be but can mutate outward to encompass the maximum number of input possibilities. lets say I want to type words. I can assign letters to numbers and assign sound intervals to letters based on on vowel spacing. these “scales” are endless in function and variety. scales for gcode (3d printer control), scales for algebra. scales for video projection control, hexapod interaction, drone flight control AND feedback from proximity sensors…its infinite.
most importantly, is that every “bit” of data is stored. it forms a fractal map of your journey. the 8bit matrix is a sort of holographic “read-head”, viusually, but it is powered by a time-coded dataformat that lets you look at every moment you interact with the system, which will become more and more important over time as more intimate sensor information becomes integrated, such as EEG, and full body “state” information.
of patterns and patternists
I realized something interesting in the last couple of years; music by itself is meaningless. what matters is the patterns. same goes for sports, paintings, agriculture, space flight, writing, swimming…all human endeavors are all pattern based. we discern patterns…we create patterns. we make predictions based on those patterns and when someone can challenge our predictive capability, we either praise them or burn them at the stake.
everything is patterns!
not only that though. we seek out “novel” patterns. patterns that tickle our sensibilities in some way. this is the reason why a style of music or design becomes “old” or “classic”; because the ability of that pattern to be constantly novel, has been exhausted but the stored exploration in the form of records or clothing style, yielded a stability of beauty, form or usefulness. some people like me, seek out the patterns in sound and people and internet information flow and others are obsessed with sports for the exact same reason. they predict that this player or that will score ( x ) much this season based on ( y ) and because of the new rookie they picked and the loss of this or that coach. same goes for video games…everything to humans is patterns and prediction.
it is with this understanding that I decided to test a theory back at the beginning of 2013: it was at this time that I decided to stop playing “music” as I had understood it to be, and to begin playing evolving patterns of sound. I was fully ready to have fruit thrown at me and stop getting bookings but I hypothesized that as long as the patterns were ordered, complex and continuously evolving, I would be talking directly to the pattern part of the human brain and the rest of the human would stay put and absorb it and I was right…very right. from that moment, I became a patternist
the term patternist is my choosen name for what I do, what I am and what we do together as sonocyberneticists. I cribbed it from an octavia butler book called “mind of my mind”. the patternists were a race of telepaths, eugenically created over a time span of about 5000 years by an immortal named Doro. their defining feature as a group besides being powerful telepaths, telekinetics and shapeshifters was that the “pattern” allowed them to live together in harmony and draw strength from each other when necessary.
my personal definition is slightly different. each patternist creates a pattern that evolves as they do. anything they want to learn or do can be grafted into their pattern. in my case, even though 3d printing isnt necessarily a musical skill, it is part of my pattern, as is everything I want to learn, because if I can break down anything I want to internalize, to a sono-spatial kinesthetic interaction construct, everything reinforces everything else (ie, I move in a way that lets me create sound in a way that affects me by postioning the sound when it sounds like it is coming from anywhere 360° around me, by using pure datas built in surround sound panners). the more complex this meta pattern becomes, the more easily new information can be grafted into it and the more readily it can be imprinted. this process of imprinting is called “psycho-cymatic, sonosynaptic, reconfiguration”. this is the actual writing of patterns of meaning onto the brain using spatialized sound. I should note at this point that I reinforce this process with brain stimualtion modalities such as transcrannial direct current stimulation, and with cognitive enhancing “nooptropic” (new-oh-trow-pick) compounds such as piracetam, both of which I have been doing for a number of years.
this process has been happening with me since at least 2012 when I got my 3d printer. every thing I do and learn feeds a meta-pattern in my mind which affects how my brain works and processes future information. but it was hampered by 2 things;
1. music as entertainment rather than purely patterning modality
2. the music itself, because of the leaning toward music as entertainment, I wasn’t using the music to store sonic patterns of relevance to things I was learning or wanted to learn. the system was only meant to sound good and not to design with or run a 3d printer or operate a mechanical system like a vehicle or a robot. this is an early sonomorph of constructed intent that moved away from a listener model toward an encoded intention model.
but now, with a binary core concept, the system speaks the same language as the computer it is running on and can be programmed, in realtime, to interact with the brain and become a system of expanding feedback t; what one hears influencing the next thing they do, perpetually. the feedback is the key. this does not throw away beauty and symmetry or “funkiness”…it re-imagines them as having a new relevance as encoding metaphors. syncopation can have a function…something that makes a body move has a pattern that is relevant so all this pattern talk does not mean that said pattern must sound like r2d2. that said, you hear what I have sounded like? well, its gets stranger…
Patternist != cyborg
cyborgs do not create themselves.
they are created by someone else for someone elses purposes and not for the cyborgs transcendence and evolution. in addition, the concatenation of the terms “cybernetic” and “organism”, upon closer inspection is very dis-empowering. it implies that a system of greater order is being “imposed” on an “organism”. this to me is the same type of wordplay that reduces a “citizen” to a “consumer” or turns the “people” into the “public”. Norbert wieners book on the subject was entitled “cybernetics: control and communication in the animal and the machine” and so concerned with the misuse of this technology was he, that he wrote another book entiteld “The Human Use Of Human Beings: Cybernetics And Society” to discuss these topics. “cyborg” is a small word with great power. I designed “Onyx Ashanti” as a word of power. “beatjazz” is another such word as are “sonomorph”, “sonic fractal matrix” and “exo-voice”…inspection of the elements of their construction reveal words of empowerment and strength.
I have been living with the word “patternist” for a couple of years now, just to see how it evolved over time and in that time, the word has come to mean more than it did when I chose it. when veiwing patterns as multidimensional recursive information structures, the full time investigation of such structures, makes calling oneself a a patternist, more and more fitting. it is a word that can grow and evolve. it gives the direction of focus, more light without being overly general.
technically, I also like the terms “sonocyberneticist”, but that sounds more academic than im comfortable with in general use. I also sometimes simply use the term “pilot”, but that’s more of a slang than a descriptor. patternist and patterns work extremely well and their use will easily detract from any cyborg references once they have more of an establish body of expressions. note though: the use of the word “patternism” is not used. that is something else entirely and feels more like an ideology than growth term. sonocybernetics will work in those moments, just fine.
(EDIT: although patternist is still applicable, new terms have come into being that fit better. the term “Sonocyb” is now the default term to describe a sonocyberneticist/patternist. the initial system is now called “SonoCyb1” and the resultant sono-patterns are called “Sonocybin”. )
there it is
that is the super super basics of the idea. this rabbit hole is crazy deep but I don’t want to monologue on it without working examples, which are in the works. now when I describe things that are coming, this can be the proper reference point. everything refers to this now. and the best part is now that sonocybernetics provides such a comprehensive umbrella under which to place all of my expressions, I don’t have to shun beatjazz anymore. it is a “form” within sonocybernetics and a sonomorph is another. from this point forward, everything refers to sonocybernetics as the ecosystem within which everything else lives and propagates.