It looks like you're using an Ad Blocker.
Please white-list or disable AboveTopSecret.com in your ad-blocking tool.
Some features of ATS will be disabled while you continue to use an ad-blocker.
Materialism, from my perspective, is very dangerous to the human psyche and the world in general.
Nearly no one recognizes their true self because they are blinded by the possession of wealth, material things, and power. Humans are the only living thing on this planet that do this.
Materialism is an illusion. We surround ourselves with material things and enjoy the splendor that they have to offer, but consequently, we forget about nature and lead ourselves to believe that we are separate from it. Forgetting about nature is very dangerous for humans. Some people are so blinded by materialism that they forget that they are in fact nature as well. Now you see the danger in materialism. We completely surround ourselves with unnatural material human creations and we lose our true self as part and one with nature.
Its almost seems like materialism is an invention specifically designed to make us forget our true selves. That's my opinion because attraction to material things whether you are aware of it or not greatly alters your perception of reality. In fact, now that I think about it, it seems like materialism is directly related to all the problems we have on this Earth including but not limited to greed, distrust, control, pride, hate, jealousy, war, etc.
It seems like if you were to take away everything that is not natural besides necessities such as comfortable housing and such, that there would be an automatic sense of equality and oneness with nature. This would lead to a cessation of conflict and a more blissful Earth with highly desirable living conditions. Under the veil of materiality, we are all the same. This would be realized in such a way that I wouldn't have any desire to cause conflict in any way.
When we look at just a short list of unique physical components that came together as the music that was created – the brain-nerve-muscle coordination of the violinist, his hands and his fingers acting upon the strings, the bow drawn across those strings, the strings vibrating and resonating against the bridge of the violin itself which caused the wood to resonate, the sound waves pushing through the open air of the hall, the reverberation of the walls and ceiling that smoothed out the harsh tone of the raw sound of the strings and made it sing as it did, the ears of the listeners, and finally, the minds of each listener at that instant that the sound became music as interpreted by each mind – we have to accept that if we took away any single stage of this list of contributing aspects alone, the result would cause the music in question to either be radically altered, or destroyed entirely.
Then there are the preparatory components. When the violinist struck his first note of the evening, that note was a C#, but to simply state that it was a C# is to lose sight of all that this single note presented to the unique identity of this particular moment. This C# note did not, does not, exist in a vacuum. It didn't simply appear from nowhere to launch this specific performance.
As the first note of a composed symphony, it was selected and placed by that symphony's composer. That choice imbued this C# with all that came about, as historical context, to create that choice. What historical context? Let's see.
This composer lives (or once lived) a life that contributed to the notion of choosing and placing that note in that specific part of the composition. In fact, it stands to reason that the composer spent some time and thought about which note to place in that specific part of the piece, and likely spent considerable time deciding how long the note should last, how loud it should be played, and whether it should be physically manipulated by the musician in such a way as to provide it a specific expressiveness at any point within its existence as a performed musical note. All this thought came as a result of study and experience, as well as the direct impact of those specific events on the inimitable human expression that separates that composer from any other composer – or any other human being, for that matter.
As the definite result of such a causal chain of events – education, experience, consideration, and even the invention and establishment of notes and staff as a form of written musical documentation (if one wishes to run the history of that note all the way back to its origins) – this C#'s historical context becomes a primary identifier when selecting it from any such expression suite for precise examination.
In this case, history is not the only progressive chain that brought this C# to lead off this orchestral arrangement. There is also the direct contribution from the author's own intellectual continuum to consider. That composer provided a full level of intellectual context to that note, and that context grants a distinction to that specific note that is not shared with any other C# note in that or any other musical piece. The identity of that note is affected by that very specific context, and makes that note unique before it is even performed.
Of course, on this particular night, that note was performed, and this isolated it even further as its singular identity was further amplified with the additional impact of the performer. After all, this was an audible note, and not just a conceived note, within this particular composition.
When the violinist struck that note, he added his own contextual contribution to that specific note on that specific evening. This piece was not composed by him, but the creation of that C# note as sound – the physical interpretation of that note by way of the violin as a sound generation tool – was accomplished solely by the violinist. What flowed through the hands and fingers of that violinist as he struck that C# note, represented all that had been his life to that point in time, and the whole of it caused that C# to suddenly belong to him as an artist who had taken the composer's suggestion and had had his way with it – for good or ill, as the case may be.
The years of study, practice, and personal sacrifice; the career that he’d already had, or still envisioned; the surging elements within his own body and brain; all coming together as he hit that first C# and gave its execution his own unique signature. This is the historical and intellectual context that the violinist provided, which combined with the historical and intellectual context that the composer had already provided, to further distinguish this first C# note as a contextually isolated unique whole that expressed the unique identities of both artists in a manner that is both actual and logical.
But there are other contextual layers to consider. There is the instrument itself.
The musician's violin is a rare and valuable model that was produced by a celebrated craftsman who died hundreds of years ago, and since its creation, it has been played by a line of brilliant musicians who've carefully preserved its beauty, its tone and its overall utility. The very fact of its unique excellence, and the history behind that excellence, contributed its own level of context to the sound of this first note, as well as the causal impact on the violinist's psyche (again, flush with critical context) as he skillfully honored this rare treasure with his committed effort to produce that sound.
This blend of circumstantial and intellectual context – somewhat different in nature than the blending of purely intellectual context that two artists in tangential collaboration would contribute to the identity of the piece, but just as powerfully isolating in its impact – was yet another contribution to what had already come together to distinguish this first C# of this particular musical piece.
Then, we must include the actual event and physical environment into the contextual whole, since the note did reach into a real environment during a real moment in time. For this, we must include the environmental aspects of the concert venue itself, the relative humidity of the atmosphere and its impact on the violin's tone and the “carry” of the note within the structure of the hall, the impact of competing and sympathetic frequencies from the other notes filling the hall, and whether people were buzzing among themselves as this note was struck, or even if the hall was full or whether people were still finding their seats. From there we can continue to add contextual qualifications until we run out of atoms and quarks and strings to pick over.
So, where does the artist end and the art begin? I don't know. There may not be a point where one ends and the other begins, and that may be exactly the point. Context identifies and isolates, but it can also unify and relate one unique with another. Our violinist – as he struck that C# – became forever associated with that composer through the contextual confines of what both men contributed to that one note, even as that C# broke free and isolated itself from the whole of reality with its full load of inimitable context, never to be duplicated again as the fact of its existence lives on into eternity.
The artist adds to the whole, while establishing his or her art as both contribution and identification. Of course, as humans we each experience reality in relation to ourselves and to our own need for unique identity, so we focus on the identifying-isolating aspects within the artistic expression, and we look for that point where the art itself becomes released from the artist. After all, that release must exist if we are to take from the artist what we see as beautiful and claim it as part of our own identity.
Of course, as humans we each experience reality in relation to ourselves and to our own need for unique identity, so we focus on the identifying-isolating aspects within the artistic expression, and we look for that point where the art itself becomes released from the artist. After all, that release must exist if we are to take from the artist what we see as beautiful and claim it as part of our own identity.
In the Material realm, all that exists does so because it works to maintain existence. In other words, it survives, and survival is the only real goal of physical existence. You may see yourself as existing well above the carnal level of survival, but then you aren't a carnal (Material) survival expression, are you. Well, you are, but it's not that simple. Unlike other animals, you're a true hybrid expression – fully Event-centric (Material) and fully Informational – and, with that being the case, what does survival look like for you? After all, the Informational has no real need for a survival expression.
In fact, The Informational itself has no real need for any expression at all, since expression is a means to establish prolonged Identity beyond a finite confine. But then, Identity expression wasn't an issue at all within the informational realm until the information-generating material brain and its Event/Informational hybrid trajectory made it an issue. Dynamic Information crashed the Informational Realm with its own dynamic freedom of active expression; its own unique and inimitable identity. Suddenly eternal Informational Existence was capable of Identity; a true eternal Masculine expression. And isn't that what survival is for you?
Think about it. You buy, you create, you win, you express your opinion, you bring your progeny into this world, and all of it is yours. It all belongs to you. Like a male cat spraying your territory, you mark the world around you, and you make it identifiably associated with you and you alone. Your body, your wife, your husband, your car, your house, your career/job/business/art, your children, your parents, your family, your life, your sickness, and finally, your death. You tag it all, you defend your ownership of it, you care for it, and you push it forward to positively express your ongoing identity through having made it yours.
What you can't own, you've established direct association with. Your school, your community, your church, your company, your friends, your city, your ethnicity, your race, your heritage, your country; all of it establishing and preserving your Identity through your direct membership. Assuring and preserving your existential presence within the environment. Your survival.
You don't exist above the carnal level of survival. No one does. You simply express that survival through your establishment and preservation of Identity. In this next digression, I want to take a look at how the Survival imperative is expressed throughout the existential realm. From the least to the greatest, and how this one imperative drives everything that has been set into motion to succeed.
Originally posted by NorEaster
So, when it comes to materialism, what's actually being accomplished is the establishment of inimitable Identity by an existential Event/Informational hybrid that inherently realizes that Identity is its only real primordial imperative. Whatever the human being collects to itself, and establishes as part of its suite of contextual properties, becomes integral to its Identity forever. It may seem trivial, but even those who dismiss materialism are actively embracing that dismissal as integral to their own Identity contextual suite. In other words; 6 of one, half dozen of another, with neither means of Identity establishment more effective than the other.edit on 8/6/2011 by NorEaster because: (no reason given)