Afrofuturism

Important sources here include: Afrofuturism 2.0, particularly its essays dealing with consciousness/spirituality; phycisist Stephan Alexander’s work at the intersection of Quantum mechanics, jazz and Vedanta (see ee Fear of a Black Universe and the Jazz of Physics and Fear of a Black Universe;Robert Blauval’s and Thomas Brophy’s work in astroarcheology, see African Genesis; and Edward Bynum’s Our Black Subconscious: The African Origins of Mysticism and Psychology.

See further commentary under Pillar #1 below.

Integral Theory

While the term ‘integral’ has a long history, the philosopher Ken Wilber has articulated an IT model that is both massive in the range of perspectives–philosophical, spiritual, psychological, aesthetic, cultural, etc.–that it interweaves, but also its applicability to virtually all areas of human endeavor.  ICAST’s spirituality/arts/science foundations correlate directly with IT’s first-second-third person realities and related epistemologies.

See further commentary under Pillar #1 below.

Noetic Sciences

ICAST’s connection with Noetic Sciences is largely inspired by the important work done at Institute for Noetic Sciences, founded by Edgar Mitchell to promote inquiry into the farther reaches of consciousness and human creative and spiritual potential Isee http://noetic.org.)

See further commentary under Pillar #1 below.

Afrofuturism

Important sources here include: Afrofuturism 2.0, particularly its essays dealing with consciousness/spirituality; phycisist Stephan Alexander’s work at the intersection of Quantum mechanics, jazz and Vedanta (see ee Fear of a Black Universe and the Jazz of Physics and Fear of a Black Universe;Robert Blauval’s and Thomas Brophy’s work in astroarcheology, see African Genesis; and Edward Bynum’s Our Black Subconscious: The African Origins of Mysticism and Psychology.

See further commentary under Pillar #1 below.

Apaurasheya Bhasha

Maharishi Mahesh Yogi’s Apaurusheya Bhashya, commentary on Rig Veda, offers an extraordinary account of how the vast diversity of creation sequentially unfolds from the self-referral dynamics of the eternal, silent—yet infinitely dynamic—cosmic source reverberating within itself. Inherent in this cosmic play of creation, or lila, is the interplay of subject, process and object, or rishi, devata and chandas dimensions (the basis for Integral Theory’s first-second-third person realities) in every instant of space, time and experience. Two important principles emerge that are key to music’s transformative potential. From a structural standpoint, the primordial vibrations or frequencies that comprise the basic building blocks of creation manifest in musical sounds. From a process standpoint, the improvisatory core of musical creativity is a direct manifestation of cosmic improvisatory creativity, thus supporting the idea of improvisation as a primordial process.
(See Pillar #1 commentary—under read more).