MagnoliA

[...] The reasons behind my motivation to deal with topics like chaos, structure, automatism and self-organising process, stems from a personal experience that has shaped and is still shaping my perspective and desire to explore a sincere form of human expression.
In this particular area, there are connections between chaos, structure, idioglossic vocal expression and its relevance to what I cautiously refer to as "higher dimension" (I won't elaborate on the latter; instead, I prefer to leave the reader with a neutral essence to form their own opinion).
As I embark on sharing my experiences and reflections, I do not claim that my understanding of these topics offers guarantees of absolute correctness as it still remains a work in progress.
So it is crucial to establish a shared understanding of a few key words.

We begin with the two simple words: structure and chaos.

I believe most of us agree that structure, such as tidiness and patterns are wonderful and stand for aesthetic beauty and gives a sense of safety.
On the other side when I looked up for words that describe chaos I was surprised that most of them are associated with aspects we see as negative, such as disturbance, disruptions and unpredictability therefore insecurity - prefixed positive words to describe the opposite of 'good'. But who or what decides about good or bad? Applying this thought to nature and mind it's freedom that results from chaos and it's selection that is based on a given or made structure (I sometimes call it a 'blueprint') in order to exist dynamically. Without dynamic there won't be any movement. I can't think of a system that can't be traced back to some form of a cycle process

So what role does the concept of structure and chaos play in the development of vocal expression?

Languages are subjected to rules, otherwise we would not be able to communicate on a complex level. Imitating sounds and expressions remain the simplest way to communicate.
However, languages that are perceived chaotic or cryptic usually occur, when we hear them for the first time and need time to recognise the patterns that developed under a collective mind of those who inherited and passed them on.
As someone who grew up multi-lingual and -cultural I often came across the question of how established structures of languages influence our expressions. I believe that these structures can create a gap between genuine emotions and the way we communicate them.
And I found a reason that confirms this assumption: the human ability to produce random vowels.
For that we have to switch off our "judging" mind that is mostly present when we are awake or influenced by emotional topics at the moment.
Switching-off can lead to a space that is open to words and senses which may be perceived to come from an unattributable or subconscious source. This phenomenon often refers to gibberish.

There are many different views and terms that fall under the categories of gibberish or pseudo language. In general, it pertains to words and syllables that seem to resemble a language.
Many people describe this as an experience where words are seemingly delivered from somewhere else. For instance, those who refer to glossolalia often relate it to a religious context, where words are believed to be delivered by God or the Holy Spirit. In contrast, idioglossia describes a pseudo language that is understood by individuals who have developed it together, such as baby twins, through the act of imitation and improvisation.
Since I am neither religious nor spiritual, the terms that could suit my case are scat singing, a phrase from the Jazz field, or a similar vocal technique from Irish music called lilting. I chose the word idioglossia because it is not specific to any particular musical genre.

Similar to the case of idioglossia, I did not start throat singing as a deliberate cultural practice. It happened accidentally when I attempted to mimic another vocal technique that shares similarities with yodelling; Unexpectedly, my fundamental voice "dropped" exactly one octave, and later extended to one and a half octaves lower. The initial technique aligns with the kargyraa style, while the latter and both together are associated with the subharmonic series. Since then I am and have been developing and refining techniques to gain control over the capabilities of the human voice.

When I sing, it feels like I am having conversations with the sounds, and the sounds respond to me, especially when I arrange music where vocals and instruments interact with each other like individuals. However, the words I am using are not bound to a system like they would in an actual language. They stem from improvisation, communicating and somewhat from mimicking sounds, especially in the case of throat singing.

Improvisation as the act of offering immediate and spontaneous responses to perceived signals — Personally, I see it as a layer within the creative process that balances the circulations of structure and chaos and contributes to the final form of a creation. What I find remarkable about improvisation is that it disrupts repetitive patterns and opens other ways. However, the downside of it can be the fact that the seemingly infinite number of possible ways that emerge from that process, tend to expand until it becomes a loose mess of chaos.
That's why it's crucial to work towards an open minded understanding to connect with the act, which usually happens if there is a willingness of failing, learning and sharing. For instance, I could never connect with my drawings, even if they are improvised. Not knowing about the outcome of a work is truly wonderful. But if my progress didn't bare any will of expression it's like staring at an empty envelope. It also happens that it will eventually become a base of a meaning that is in growth, made off memories and analytic thoughts and associations afterwards. But I could never unravel any path of sincerity through my drawings and modelling.

As I often misconstrue word series and their sense, it is the universal language of melodies that puts me into a dynamic mode that connects with the unspoken while bypassing the thought process of word-finding. The unspoken refers to the insight of the soul, extrudes the area of undeniable truth to the surface and unites with something "omnipresent".
It's possible to think that in this state I feel emotional or let out feelings but in fact there is nothing than tranquility.

Now some, if not most, people may ask about the beneficial elements of all of this. The truth is everyone who is interested in this, or even have just reached here by reading, already have their own views and answers. I believe that idioglossic vocal expression and the art of improvisation are strongly related to internal and external self-organising processes (automatism) like dreams and hallucinations (internal) and chemical reactions and cymatics (external) - just to name a few. 

Overall this is a huge field to discover. I mentioned the remaining of a progressing work, my reflections and experiences were slowly shaped over the past years and still are shaping.

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This paper presents a compelling thesis from February 2023, which both my brilliant friend - Nat Bradley - and I pleasantly discovered we had independently arrived at a very similar idea around the same time.

The Creature (working title) refers to an individual who explores its meaning and connectivity to the unseen from a metaphysical and philosophical (and creative) view. The Creature is visualised as a simple speaker with an antenna and a microphone that is attached to a crane, as shown in a sketch I created.

>>Stay tuned! Nat Bradley has a mastery for describing concepts with profound clarity and depth!