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Re: improv + looping in Jungian analysis

I remember my first time under Sodium Pentathol, the occasion being the
removal of some otherwise lovely K9 bicuspids in preparation for (ugh)
braces.  It was 1971, and I'd never heard anything really that used looping
technology, more or less just emerging musically from using Beethoven to
help my parents escape Montovani, Percy Faith and Perry Como.


The thing I remember sonically during the blackout after attempting to 
backwards past 99 was a non-lingual jibberish combined with what I believe
were four tones, repeated over and over again, until I came to.  At first 
course there was the fear element, but my curiosity and analysis of the
looped sounds helped me to stabilize the fear, and enjoy the experience
somehow.  I couldn't ever repeat the sounds of course, but I never forgot
the edge of the sound loop itself.  And it WAS a loop, I'm convinced.

Does this have anything to do with my enthusiasm for looping today?  Could
be, could be!  I try not to analyse THAT too much, preferring to just DO

Stephen Goodman
http://www.earthlight.net/Studios * The free Loop of the Week!
http://www.mp3.com/StephenGoodman * New MP3 Releases!
http://StephenGoodman.iuma.com * Even more MP3s!

"Petr Dolak" <pepetr@yahoo.com> Looped:

> I am taking a class on C.G. Jung's active imagination.  I found that,
> actually, I have been doing it for years with my music and poetry,
> although not as systematically as he suggests.  Active imagination can
> be done in various ways and with various techniques, such as poetry,
> visual arts, sculpting, etc.  The point is to do art in order to
> reflect and not for art's sake.  A session should be followed by the
> reflection on the symbols and "messages" received during the creative
> event.