A surprisingly profound and near-perfect custom-made music video for Tool’s famous instrumental track, “Triad” from their best album to date — Lateralus. There are visual elements that reveal the sacred geometric precision behind Mahameru or Sri Yantram/Sri Chakram, Temple structures, etc. showcased adequately in this video among other visual data. As Tool listeners would know, all 3 tracks viz. “Disposition”, “Reflection” and “Triad”, are part of one continuous studio recording.
What most might not know is that the tracks are representative of Brahma, Vishnu and Shiva respectively — the Hindu Triad or Trimūrti. The tracks can be analogised to the Creation, Maintenance and Destruction of our universe, signifying the cycle of life, existence and death within this realm of conscious awareness. One can note the distinctive musical signatures in the tracks, wherein the first is calming and ecstatic; representative of Creation. The second balances between enlightening and tragic, representative of a Ātman or human soul’s living and suffering. The third signifies Shiva’s Tāṇḍava or Shiva’s divine cosmic dance Tāṇḍava nṛtya. A chaotic destruction or death to make way for the new. Liberation or Mokṣa from the continuous flow/cycle of rebirths or Saṃsāra. The song ends on an uplifting note with musical cues that can be compared to a sense of Creation once again and/or Liberation.
Shiva implies all that is Divine and is the Creator, Maintainer and Destroyer altogether — or the Transformer. Thus being why the third track is the amalgamation and ultimate among the three. Also being why the third track was named Triad i.e Trimūrti, which is Shiva.
The complete 3-part song can be compared to Om or Aum or ॐ, wherein Brahma, Vishnu and Shiva are within this Om. The silence between the sacred uttering of this ancient mantra (Om or AUM) between the next, implies the gap of nothingness between everything. And within this gap is also Om. Om manifested at the very first instant of Time as we perceive it. Anyways, without going into a full discourse of ancient Vedic knowledge — I mentioned these details to explain why there is a silent portion after the audible section of Triad ends (as in the original recording and not shown in this music video).
Then you just start the cycle all over again with Disposition…
Have a happy spiritual awakening!
P.S: Note the distinct sounds of the Hindu Bell or Mani ringing towards the end in the calm section of the song, before the guitars kick in one last time and transition to the ending. This song (along with the other two) is full of Indian musical themes and mathematical musical precision, based on Indian musical time signatures, rhythm and pitch (more on that later). In ancient Hindu tradition, the bell is rung at a temple when the Nada or the inner doors of a temple are opened to reveal the deity (god) inside. It is metaphorical of how our own body is a temple and we need to open our inner doors to reveal ourselves to the sacred knowledge of Divinity or Godliness which is within ourselves — each and every one of us, the fragmented souls…
The Risk of Deciding
"Dune" was to be his most ambitious film production: a personal adaptation of Frank Herbert’s novel of the same title, published in 1965. The science-fiction saga was ideally suited to the choreography of transgressive visual and narrative genres of the sort in which the method of Alejandro Jodorowsky partakes, and as it had been manifested in his films "El Topo" (1970) and "The Holy Mountain" (1973). Such an important project merited its own blank book. Hence, the word "DUNE" written in Art Deco-style typography is on the cover of a thick yellow notebook from 1974. Inside, however, there is not a single reference to the film (a premonition, perhaps, of the fact that it was never to be realized under Jodorowsky’s direction). The notebook, reproduced here in a selection of pages, was used for something else entirely, an investigation into one of the topics that concerns this director, cartoonist, composer, and visual artist: the history and use of the Tarot de Marseille.
Jodorowsky has dedicated much of his life to exploring what he calls psychomagic, a divinatory, therapeutic practice and a kind of artistic research. Art is not art if it is incapable of healing. The power of the word along with an image from the tarot deck can bring out the individual subject’s unconscious desires, allow them to flourish, and help reach his or her most intimate facets. The cards—the images they place before our eyes and the words that rest on their surface—help to establish a poetic, performative, and interpretive dialogue between Jodorowsky and the “patient” who consults the deck. This dialogue is geared toward grasping fears, stimulating spiritual grace, and breaking out of vicious cycles. In psychomagic, cognition and behavior come together in a method whose basic premise is belief: healing is not possible in the face of indifference, nor can it be reduced to the language and schema of scientific reason. Hence, once heard and believed, the symbolic charge of these words will set off a process of psychic and somatic transformation that will free agency.
For more than three years, Jodorowsky’s interest in the Tarot de Marseille led him to a series of encounters and studies that are put forth in this notebook, a register of teachings alongside an analysis of the deck and its complex laws of combination. This tarot deck is one of the oldest known and is generally considered to have been brought to Europe by Romani. It is characterized by “whole”, rather than split, characters. The number appears in Roman numerals on the upper portion of each card, and the name of the card is in French at the bottom. The Major Arcana contains twenty-two cards, and the Minor Arcana fifty-six. The cards in the Major Arcana are more important; they hold the key to deeper questions. The cards in the Minor Arcana, on the other hand, address more mundane concerns.
Jodorowsky the “psicomago” delves into the relationship between image, word, interpretation, and behavior. Through chance and the principle of indeterminacy, word and deed establish a tight and necessary relationship in his magically surreal practice that directly addresses the chaotic totality of the unconscious.
Journey in to the unknown | paper cut illustration in a shadow box
Offlate, I have been experimenting a lot more with paper as a medium and creating depth with layers of paper. It super tedious and I am definitely on my way to getting carpel tunnel syndrome, but its well worth it.
This piece - titled “Journey in to the unknown”, i worked on last month as a part of the Indy Ink - 10 year anniversary show at Indy Ink, Denver. The piece is 5”x7” and is handcut archival quality water color paper assembled in a white wooden shadow box with a LED strip lighting from the back. I love the simplicity of the piece and how it looks so different in day light to when its lit up in the night / dark.
More paper art to follow, and it feels good to revive the blog after a crazy one year long hiatus (blame my laziness - which happens to be my super power!)
In music, we take something that we love and build on it.
Mark Ronson at TED 2014.
Sure, this might be true of music – it’s what Duke Ellington was doing with jazz – but it also applies to how all creativity works. Lest we forget, it was another Mark, Twain, who so memorably and insightfully observed that ”all ideas are second-hand, consciously and unconsciously drawn from a million outside sources.”
'Five husbands! That can't be fun, God know I have enough trouble with one': Kalki Koechlin writes a monologue on Women's Day
Thanks for the pseudo-intellectual rant Kalki Koechlin, but i’ll pass.
Kindly do not confuse older western patriarchal conventions of complete lack in women empowerment to that of India’s traditions which never had any misogynistic viewpoints in her heritage. The cultural traditions were convoluted over time by the countless invasions in India along centuries. This was all in exchange for a fraction of the ancient wisdom/knowledge to find solutions for their socially degrading lifestyles & make sense of their non-existent roots, post-renaissance period. A simple example of its effects today can be seen in how they have disturbingly commodified positive spiritual practices like yoga, into forms of “self-empowerment/yoga businesses”. We now have yoga pants, pseudo-spiritual wellness centres, porn in yoga pants, Wendy Doniger’s senseless infatuation with religious sex, to all kinds of perverse subjective treatments on sacred traditions handed down from the Vedas. These values were respected for millennia by our people, and still are to this date. Regardless of all outcomes, the standing testimony to their worth remain in the fact that they still exist today and are as remarkable as the architectural achievement of the Cheops pyramids.
We are rectifying our system, but that needn’t have to begin with our own people letting go of ancient traditions, cultures and wisdom/spirituality for a momentary sense of appreciation from community. The whole notion of DHARMA is a concept non-existent in western epistemological schools of thought.
Everybody including a woman, has a voice. But the last time I checked, being a woman never exempted you from the ramifications of spreading false messages.
Nobody said this would be easy.
"Be the change you wish to see in the world." - Gandhiji
Too good not to be shared.
~ Fred Astaire - One of Michael Jackson's sources of inspiration ~
Black Swan: A Film Study on Duality
The film, Black Swan would be Darren Aronofsky’s masterpiece, yet.
Watch to find out why I think so.
P.S: It’s easily observable that I had to “mirror” the footage to avoid being unnecessarily flagged (which makes it quite subjectively perfect in this case).
~ True Art does not yearn to be noticed. It’s out there for the people who care, to be observed and rejoiced. ~
David Fincher has a unique combination of filmmaking techniques in his storytelling. It would rank high in my definition of ‘Stylish Cinema’. He’s one of the greats of today’s auteur film directors. It’s already widespread knowledge that he takes extravagant effort in making specifically themed film title sequences.
I wanted to make a video that focuses on the rest of his toolsets.