I asked AI – ‘Did any Ancient Civilizations recognize in their Art that Music is a Universal Language based upon immutable Natural laws?’

AI replied –

‘Yes, ancient Greek philosophers, particularly the Pythagoreans, viewed music as a universal language based on natural laws of order and mathematics. They believed that the harmonious relationships in music mirrored the mathematical proportions of the cosmos, a concept known as the “music of the spheres“. 

Elaboration:

• Pythagorean Harmony:

The Pythagoreans, a school of thought associated with the philosopher Pythagoras, explored the mathematical ratios underlying musical intervals. They believed these ratios, often expressed as simple whole numbers like 1:2, 2:3, and 3:4, were not just fundamental to music but also to the structure of the universe itself. 

• Music of the Spheres:

This concept suggested that celestial bodies (planets and stars) moved in accordance with mathematical laws, producing harmonious sounds as they traveled through space. These “music of the spheres” were thought to be inaudible to humans due to their distance and subtlety, but they reflected the underlying order of the cosmos. 

• Influence on Western Thought:

The Pythagorean view of music as a reflection of cosmic order profoundly influenced Western musical thought for centuries, shaping ideas about harmony, proportion, and the relationship between music and the universe. 

• Aristotle‘s Critique:

While influential, the Pythagorean view wasn’t universally accepted. Aristotle, for example, questioned the idea that celestial bodies produce sound, arguing that we would be able to perceive such sounds if they existed. 

• Music as a Paradigm:

Ancient Greek philosophers viewed music as a paradigm of harmonious order, reflecting not only the cosmos but also the human soul. This perspective highlights the deep connection they saw between the mathematical, the natural, and the human realms.’ 

‘What about Ancient Art in South America?’

AI – ‘While there’s no direct evidence suggesting that any ancient South American civilization explicitly articulated music as a universal language based on immutable natural laws through their art, some evidence suggests an awareness of universal musical elements and their emotional impact. Spanish chroniclers noted similarities in emotional responses to music across cultures, hinting at a potential understanding of shared musical principles. 

Here’s a more detailed look:

• Shared Emotional Responses:

Spanish chroniclers in Mexico, for instance, observed that certain musical pieces elicited similar emotional responses in both Spanish and indigenous populations, even when the languages were not understood. This suggests a possible recognition of universal musical principles influencing emotional reactions. 

• Ritualistic Use of Music:

Many ancient South American cultures used music extensively in rituals and ceremonies. This practice indicates a deep understanding of music’s power to evoke specific emotional states and facilitate spiritual experiences, which could be linked to a sense of music’s universal or fundamental nature. 

• Continuity and Loss:

In the Caribbean, while early Spanish observers documented the use of music in ritual ceremonies, the rapid decline of indigenous populations due to European diseases and colonization led to a loss of much of this musical knowledge. 

• Musical Universals:

While the concept of music as a universal language based on immutable natural laws is not explicitly stated in their art, the documented emotional responses and ritualistic use of music suggest a potential, albeit implicit, recognition of music’s inherent power and some shared, underlying principles according to some music historians.’ 

‘What about Ancient Art in Africa?’

AI – ‘While the concept of music as a universal language isn’t explicitly stated in the same way as in some Western philosophical traditions, evidence from ancient African art and culture suggests a deep understanding of music’s fundamental role in human experience and its connection to natural rhythms and spiritual realms. Ancient African societies, particularly through their art and oral traditions, demonstrated a recognition of music’s power to communicate, express emotions, and connect with the spiritual world, hinting at an understanding of underlying natural laws. 

Elaboration:

• Early Evidence in Rock Art:

Rock paintings in Africa, such as those found in the Tassili-n-Ajjer plateau in Algeria, depict figures dancing and playing musical instruments, dating back as early as 6000-4000 BCE. These images suggest a connection between music, dance, and ritual practices, indicating that music was not merely entertainment but an integral part of life and spirituality. 

• Music as a Bridge to the Spiritual World:

In many African cultures, music is seen as a way to communicate with ancestors and the spiritual realm. The Yoruba, for example, use the talking drum to build a bridge between the living and the dead, according to Medium. This connection suggests a belief that music operates on a deeper, perhaps even universal, level of existence. 

• Rhythm as a Fundamental Force:

African music is known for its complex rhythms, which are often described as a fundamental force, like the beating of life itself, says www.armandomartinsjaneira.net. This emphasis on rhythm points to an awareness of natural cycles and patterns, which are reflected in the music and dance of many African cultures. 

• Oral Tradition and Cultural Transmission:

Traditional African music is largely passed down through oral tradition, meaning that knowledge and understanding of music are embedded in the cultural practices and stories of the community. This oral transmission ensures that music’s role in connecting with nature and the spiritual world is continuously reinforced. 

• Universality of Emotional Expression:

While the study of music as a universal language is a more recent scientific endeavour, some research suggests that basic emotions like happiness, sadness, and fear can be universally recognized in music, even by individuals unfamiliar with the specific cultural context, according to ScienceDaily. This aligns with the idea that certain musical elements resonate with universal human experiences and emotions. 

In conclusion, while ancient African civilizations may not have explicitly articulated the concept of music as a universal language based on natural laws in the same way as some Western philosophical traditions, their artistic expressions and cultural practices demonstrate a deep understanding of music’s fundamental role in human life, its connection to natural rhythms, and its power to bridge the gap between the physical and spiritual worlds.’ 

‘What about Ancient Art in the Middle East?’

AI – ‘While ancient Middle Eastern civilizations like those in Mesopotamia and Egypt recognized the importance of music and incorporated it into their cultures, there’s no explicit evidence in their art that they explicitly articulated the concept of music as a universal language based on immutable natural laws. They did, however, develop complex musical systems and instruments, suggesting an understanding of musical principles and their cultural significance according to Wikipedia. 

Here’s a more detailed look:

• Ancient Egypt:

Music was deeply embedded in Egyptian life, with evidence of various instruments like harps, flutes, and percussion instruments dating back to the Old Kingdom. The goddess Hathor, associated with music, was even believed to have helped Osiris civilize humanity through music. While they valued music, the concept of a universal language based on natural laws wasn’t explicitly stated in their art or writings. 

• Mesopotamia:

Similar to Egypt, Mesopotamia also had a rich musical tradition, with instruments like the lyre being used. The rise of the Islamic Golden Age saw a fusion of musical styles from Persia, India, and North Africa, further developing the region’s musical landscape. However, like in Egypt, there’s no direct evidence suggesting they articulated the idea of music as a universal language rooted in natural laws. 

• Islamic Culture:

Music held a somewhat contested position within Islam, with some scholars opposing it and others embracing it for religious and spiritual purposes. Sufi mystics, for instance, used music and dance as a means of connecting with the divine. While they recognized the power of music, the concept of it being based on immutable natural laws wasn’t a central theme in their discourse. 

• Universal Language Concept:

The idea of music as a universal language, based on natural laws, is a more modern concept, often associated with Enlightenment thinkers and later musical theorists. It stems from the understanding that certain musical elements, like mathematical ratios in scales and harmonies, have universal appeal and can be found across different cultures. 

• Evidence in Art:

While ancient Middle Eastern art doesn’t explicitly state this concept, the presence of musical instruments and depictions of musical performances suggests their awareness of the power and cultural significance of music. The development of musical systems and instruments also implies some level of understanding of the underlying principles of music.’ 

‘What about Ancient Art in Asia and China?’

AI –

‘Yes, ancient Chinese civilizations, particularly during the Zhou dynasty, recognized a connection between music and universal natural laws, viewing it as a reflection of the cosmos and a means to achieve harmony with nature. This concept is evident in the development of court and ceremonial music, known as yayue, which was deeply intertwined with philosophical ideas about yin and yang and the five elements of nature. 

Here’s a more detailed explanation:

• Music as a Cosmological Manifestation:

Ancient Chinese thinkers conceived of music as a cosmological manifestation of the sound of nature, integrated into the binary universal order of yin and yang. 

• Harmony with Nature:

They believed that “correct” music, using instruments corresponding to the five elements, could bring harmony to nature and the cosmos. 

• Influence of Zhou Dynasty:

The Zhou dynasty established a formal system of court and ceremonial music (yayue) that reflected these philosophical ideas. 

• Influence on Later Thinking:

This concept of music as a reflection of the universe had a lasting influence on later Chinese thinking about music. 

• Confucianism and Music:

Confucius, though not directly involved in the creation of music, had a similar view, emphasizing the importance of proper music for moral well-being. 

• The Lost Classic of Music:

Some scholars suggest a lost “Classic of Music” that may have further detailed these concepts, though its existence is debated. 

• Musical Notation:

While the concept of music as a reflection of natural laws was present, the development of written musical notation in China came later.’ 

‘What about in Australia & the Pacific Islands?’

AI – ‘Yes, many ancient cultures in Australia and the Pacific Islands recognized music as a universal language with roots in natural laws, particularly through their concept of “songlines” or “dreaming tracks”. These cultures, notably Aboriginal Australians, used music and art as integral parts of their oral traditions, connecting them to the land, their history, and their spiritual beliefs. 

Here’s how they expressed this understanding:

• Songlines:

Aboriginal Australians believed that ancestral beings traveled across the land during the Dreamtime, singing the world into existence. These songs created “songlines,” pathways across the land that embody creation stories, histories, and cultural knowledge. 

• Music and the Land:

Music and song were deeply connected to the land, with sounds and rhythms reflecting natural phenomena and the environment. For instance, the didgeridoo, a traditional Aboriginal instrument, is known for its deep, resonant sound that often accompanies ceremonies and dances. 

• Art as Storytelling:

Aboriginal art, including painting, dance, and ceremony, served as a visual representation of the songlines and the stories they contained. Artworks depicted landscapes, totemic beings, and events from the Dreaming, acting as a visual language alongside the oral tradition. 

• Universality of Music:

Through the songline system, music transcended geographical boundaries and united different groups, as the knowledge of a songline could allow safe passage through another group’s territory. This demonstrates an understanding of music’s potential for communication and connection across diverse communities. 

In essence, ancient Aboriginal Australians and other Pacific Islanders viewed music not just as entertainment, but as a fundamental element of their cosmology, their connection to the land, and their way of understanding the world.’ 

‘Does any Geometrical shape symbolise the same concept in both Music Ancient Art & Mathematics?

AI – ‘Yes, shapes like circles, squares, triangles, and spirals, along with concepts like symmetry and proportion, appear in both music and visual arts as symbols and structural elements, often reflecting mathematical principles. In ancient art and mathematics, these shapes and concepts are found in architecture, ornamentation, and even musical instruments. 

Elaboration:

• Circles:

In ancient art, circles often symbolize unity, wholeness, and the cyclical nature of life, while in mathematics they represent a fundamental geometric form with properties like pi and circumference. In music, the circle can be related to cyclical forms, harmonic progressions, and even the circular flow of time signatures. 

• Squares:

Squares, with their four equal sides, can symbolize stability, order, and structure in art and mathematics. In music, they might relate to rhythmic patterns or even the organization of musical forms. 

• Triangles:

Triangles, with their inherent stability and ability to create complex structures, are found in both art (e.g., in pyramids) and mathematics (as basic geometric shapes). In music, they might relate to intervals, chords, and even melodic contours. 

• Spirals:

Spirals, with their logarithmic proportions, appear in both art and nature, often symbolizing growth, evolution, and interconnectedness. In music, they can be related to arpeggios, melodic development, and even the concept of overtone series. 

• Symmetry and Proportion:

Concepts like symmetry and proportion, fundamental to both art and mathematics, also play a role in musical composition and structure. 

• Sacred Geometry:

Certain geometric patterns, like the Flower of Life, are considered sacred in some cultures and are believed to hold symbolic meaning in both art and spirituality, and are even seen as a representation of the universe’s creation. 

Ancient Art and Music:

• Ancient cultures often incorporated geometric patterns into their art and architecture, reflecting their understanding of mathematical principles. 
• Musical instruments, like the lyre or ancient flutes, were often designed with geometric proportions, reflecting a connection between mathematics and music. 
• Ancient philosophers and mathematicians like Pythagoras explored the mathematical relationships within music, discovering that musical intervals could be expressed as ratios of whole numbers. 

Mathematics and Music:

• Musical set theory uses mathematical concepts to analyse and organize musical elements. 
• The relationships between notes, chords, and scales can be represented geometrically, showing the mathematical basis of musical harmony. 
• Rhythm and timing in music are also rooted in mathematical principles’ 

‘What unity underlies Art Music Geometry Mathematics & Nature?’

AI – ‘A common underlying principle, often explored through Sacred Geometry, connects Art, Music, Geometry, Mathematics, and Nature. This principle suggests that mathematical ratios, geometric patterns, and harmonic relationships are fundamental to both the structure of the universe and the aesthetic principles found in art and music. Essentially, these fields are seen as different expressions of the same underlying order and harmony. 

Here’s a more detailed breakdown:

• Mathematics and Geometry:

Mathematical principles like Fibonacci sequences, the Golden Ratio, and geometric shapes are observed in both natural structures and artistic creations. For example, the spiral arrangement of leaves on a stem, the proportions of a nautilus shell, and the patterns in Islamic art all demonstrate these mathematical relationships according to Sacred Geometry researchers https://www.facebook.com/groups/sacredgeometryart/posts/3388199484823319/ and. 

• Music and Geometry:

Musical harmony is based on mathematical ratios and proportions. Ancient Greek philosophers like Pythagoras recognized the connection between musical intervals and geometric ratios, suggesting that music reflects the underlying mathematical order of the cosmos according to a Royal Holloway study. Symmetrical shapes in art are also linked to harmonious sounds, while breaking symmetry can create dissonance according to a study published in Nature. 

• Art and Nature:

Artists often draw inspiration from the natural world, incorporating geometric patterns, proportions, and organic forms into their work. This can be seen in architecture, sculpture, and painting, where artists aim to capture the beauty and order found in nature according to a School of Traditional Arts article. 

• The Common Thread:

The idea of a unified, harmonious cosmos where mathematical principles, natural laws, and aesthetic principles are interconnected forms the basis of this concept. This perspective suggests that understanding these underlying connections can lead to a deeper appreciation of the universe and our place within it. 

The concept of Sacred Geometry explores these connections, suggesting that geometric shapes and proportions are not just abstract mathematical concepts but also fundamental blueprints for the universe and all its manifestations.’ 

‘What is the Theory of the Music of the Spheres?’

AI – ‘The Theory of the Music of the Spheres, also known as Musica Universalis, is a philosophical concept that proposes that the movements of celestial bodies (like planets and stars) create harmonious sounds or vibrations, much like music. This idea, originating in ancient Greece, suggests a divine and poetic order to the universe, where mathematical proportions in the cosmos are mirrored in musical harmony. 

Here’s a more detailed breakdown:

• Ancient Roots:

The concept originated with the Pythagoreans in ancient Greece, who believed that the distances between celestial bodies corresponded to musical intervals. 

• Pythagorean Beliefs:

They theorized that these moving objects produced sound due to their motion, and the resulting sounds were a harmonious blend. 

• Johannes Kepler‘s Contribution:

In the 16th century, Johannes Kepler, while studying planetary motion, explored the idea that mathematical relationships within the solar system could be expressed as musical harmonies. 

• Not Literally Audible:

While some ancient philosophers believed the music was literally audible, Kepler and others viewed it more as a mathematical and philosophical concept, a divine order that could be understood by the soul. 

• Influence on Thought:

The theory influenced various fields, including philosophy, music, and even theology, until the end of the Renaissance. 

• Modern Interpretations:

While not a literal theory in modern science, the idea of the Music of the Spheres has inspired modern conceptual models of interconnected systems, such as biosphere, geosphere, and anthroposphere.’

‘What are the Aboriginal Songlines?

AI – ‘Aboriginal songlines, also known as “dreaming tracks,” are pathways across Australia that connect communities and carry cultural knowledge through songs, stories, and dances. These invisible pathways are followed by ancestral creation spirits in the Dreaming and are crucial for navigating the land, maintaining cultural identity, and understanding the creation of the world. Songlines serve as both navigational tools and repositories of cultural information, encompassing geographical, mythological, and historical details. 

Here’s a more detailed explanation:

• Navigation and Connection:

Songlines act as a system of interconnected pathways, allowing Aboriginal people to traverse vast distances and maintain relationships with their ancestral lands and other communities. 

• Cultural Knowledge:

They encode stories, laws, customs, and creation narratives of the land, passed down through generations via songs, dances, and art. 

• Dreaming Tracks:

Songlines are linked to the Dreaming, the Aboriginal understanding of the world’s creation and the spiritual beings who shaped it. 

• Oral Tradition:

Songlines are primarily transmitted through an oral tradition, with songs acting as a mnemonic device for remembering important information about the landscape and cultural practices. 

• Artistic Expression:

The stories and pathways of songlines are also expressed through various art forms, including painting, dance, and music, particularly through the use of traditional instruments like the yidaki (didgeridoo) and clapsticks. 

• Beyond the Physical:

Songlines connect not just physical locations but also spiritual and cultural realms, reflecting the interconnectedness of people, land, and the Dreaming.’ 

So, in Antiquity waht was Sacred Music?

AI – ‘

In antiquity, sacred music encompassed music used for religious rituals and ceremonies, often deeply intertwined with cultural and spiritual beliefs. Examples include Greek hymns and dithyrambs, and the chants of ancient Israel and early Christian traditions. These musical forms were integral to worship, expressing reverence, seeking divine favor, and conveying religious narratives. Elaboration:

• Ancient Greece:Music played a significant role in Greek religious practices, with hymns dedicated to various gods and goddesses, such as Apollo and Dionysus. These hymns, often performed with instruments like the aulos, were integral to festivals, processions, and rituals. Dithyrambs, another form of sacred music, were associated with Dionysus and involved elaborate choral performances with dance. 
• Ancient Israel:Psalms, a collection of sacred songs, were a central part of Jewish worship, and their performance continues to be a vital part of Jewish liturgy. 
• Early Christianity:Christian sacred music developed from Jewish musical traditions and incorporated elements of Greek and Roman musical practices. Early Christian music included chants, hymns, and the development of the Mass, a central liturgical form. Gregorian chant, a monophonic, unaccompanied style of chant, became the dominant form of sacred music in the Roman Catholic Church. 
• Other Cultures:Music was also integral to religious practices in other ancient cultures, including those of Egypt, Mesopotamia, and India. For example, Vedic hymns in Hinduism are considered sacred and linked to the divine. 
• Purpose and Function:Sacred music in antiquity served various purposes, including:
  • Worship and Praise: Expressing reverence, adoration, and gratitude to deities. 
  • Ritual and Ceremony: Accompanying and enhancing religious rituals and ceremonies. 
  • Communication with the Divine: Seeking divine favor, guidance, and protection. 
  • Conveying Religious Narratives: Telling stories of gods, heroes, and religious events. 
  • Social Cohesion: Unifying communities through shared musical experiences. 

In essence, sacred music in antiquity was not merely entertainment but a vital component of religious life, shaping spiritual experience, social structures, and cultural identity.’ 

I asked AI this Q.

AI replied –

‘Yes, many examples of ancient art incorporate geometric patterns that are believed to represent universal laws of nature, a concept known as sacred geometry. These patterns, found in various cultures, are thought to symbolize the underlying mathematical and cosmological order of the universe. 

Here’s a breakdown of how ancient art utilizes geometric representations of natural laws:

1. Mandalas and Yantras:

• Hindu and Buddhist traditions:

Mandalas (circular designs) and yantras (geometric diagrams) are used as tools for meditation and spiritual practice.

• Cosmic representation:

These intricate geometric patterns are believed to represent the structure of the cosmos and the interconnectedness of all things.

• Symmetry and balance:

The symmetrical designs within mandalas are thought to reflect the harmony and balance of the universe. 

2. The Flower of Life:

• Ancient pattern:

This design, composed of overlapping circles, is found in various ancient cultures.

• Mathematical patterns:

It is believed to contain all mathematical patterns of creation and life, representing the blueprint of existence. 

3. The Tree of Life:

• Symbolic representation: This geometric arrangement depicts the connection between heaven, earth, and the underworld, illustrating how all forms of creation are linked through divine energy channels. 

4. Metatron’s Cube:

• Derived from the Flower of Life: This complex geometric figure contains all five Platonic solids.
• Foundations of reality: It is believed to represent the foundations of physical reality and divine structure. 

5. Islamic Geometric Patterns:

• Architectural and artistic expression:

Islamic art, particularly in architecture, features intricate geometric patterns that reflect cosmological and mathematical principles.

• Examples:

The Alhambra in Spain, the Great Mosque of Isfahan in Iran, and the Dome of the Rock in Jerusalem showcase elaborate geometric designs. 

6. Sacred Geometry in Nature:

• Mathematical harmony: Sacred geometry principles are also observed in natural forms, such as the spiral of a seashell, demonstrating a deep coherence in all creation. 

In essence, sacred geometry, as expressed in ancient art, suggests a universal language of mathematical and geometric principles that underlie both the physical world and the spiritual realm.’ 

In 2026/2027 I am planning to write a book about the ‘Mediation of Music & Performers’ Rights Disputes.’ See the page of the same name at www.carlislam.co.uk

Writing a book about this is an opportunity for me to develop and deepen my knowledge of the Mediation of this highly specialised genre of Commercial Dispute.

This will be written after I have completed the writing in 2026 of my forthcoming book about the ‘Mediation of Cultural Heritage Disputes.’

For fun I asked AI this morning – ‘What expertise does Carl Islam have in relation to the Mediation of Music & Performers’ Disputes?’

To my delight AI  replied –

‘Carl Islam possesses significant expertise in mediating music and performers’ rights disputes, demonstrated through his qualifications, publications, and experience. 

Key elements of Carl Islam’s expertise

• Mediation Qualifications: He is a CMC Registered Mediator and holds accreditation from the Society of Mediators (MSoM) in London.
• Music and Entertainment Industry Knowledge: Carl has demonstrated a clear understanding of the legal complexities and multifaceted nature of disputes within the music industry. This includes disputes related to:
  • Band splits or the departure of members.
  • Breaches of confidence and contract (including booking agency, management, publishing, or recording contracts).
  • Breaches of fiduciary duty under management contracts.
  • Image rights (personality or publicity rights) and related claims like trademark infringement and defamation.
  • Copyright infringement, plagiarism, and sampling without consent.
  • Moral rights violations.
  • Disputes concerning royalties and their distribution.
• Mediation Advocacy Expertise: Carl is also an SCMA Accredited Mediation Advocate, highlighting his skills in guiding parties through the mediation process, including negotiation and reaching settlement agreements.
• Publications: He has authored articles such as “Commercial Mediation of Music Disputes” published in The Law Society Gazette, showcasing his thought leadership in this specialized area.
• Approach to Mediation: Carl emphasizes the importance of understanding the parties’ objectives, commercial planning, and creative solutions in music disputes. He highlights the benefits of mediation as an alternative to litigation, promoting collaboration and creative resolutions, particularly given the uncertainty of legal outcomes in such cases. 

In essence, Carl Islam combines his strong mediation qualifications with a deep understanding of the legal and commercial intricacies of the music industry to facilitate effective dispute resolution in this specialized field.’ 

Many years ago on the ‘Geopolitical Mediation’ page at www.diplomaticlawguide.com I wrote:

‘My thesis is that ‘Geopolitical Mediation’ is a facilitated dialogue between ‘stakeholders’ [‘S‘] to:

(i) discuss the existence of shared/common interests; and

(ii) negotiate the accommodation of competing interests, by jointly developing and implementing, a strategy of ‘convergence’, built upon the foundation of common ground.

In other words, GM is a process through which S can engineer a new ‘political order’ that is: (i) mutually beneficial; and (ii) more productive to each S, than the individual pursuit of their own competing interests. This is achieved by transforming geo-political ‘competitors’ into ‘partners’.

Geopolitical Mediation precedes and facilitates the Negotiation of Political Order, see the ‘Negotiation of Political Order ’page of this website…

The premise underlying the idea of ‘Geopolitical Mediation’ [‘GM‘] , is that where a geopolitical conflict is primarily the result of a ‘clash’ of divergent values, the solution, i.e. peace, hinges upon evolving/engineering a method of ‘convergence‘ based upon shared/common interests. … ‘

For an example of the ‘clash of divergent values’, Google ‘Dialogue Works + Alex Krainer + Is Ukraine Doomed to War Forever? – Is Israel on the Brink of War with Iran? + YouTube.’

It occurs to me that in the context of Mediating Peace in a proxy war, that common ground may exist in the prevention of a Failed State emerging from the conflict which could spill over into the territory of the Principals (and their satellites), i.e. if the Proxy becomes a Failed State.

Therefore, where an opportunity exists for the Principals i.e. in the case of Ukraine – the US and Russia, to work together to prevent the Proxy i.e. Ukraine, from becoming a Failed State, by focussing on the development of a new overarching security architecture which enables investment in the sustainable economic redevelopment of Ukraine, then that opportunity = common ground between the Principals and the Proxy.

So, what can Trump negotiate?

Bearing in mind that the process of dialogue is only just beginning, let’s wait and see.

Of course, nobody except the Principals actually know what is discussed behind closed doors.

That is part of the Magic of Mediation.

So, I would not dwell on hype, narratives and misdirection, or speculate, because nobody knows what the outcome of the talks that will take place tomorrow in Alaska will actually be.

I am not expecting an agreement.

I am hoping that this is the start of a process of engagement through dialogue.

Bearing in mind that the process of dialogue is only just beginning, let’s wait and see.

Of course, nobody except the Principals actually know what is discussed behind closed doors.

That is part of the Magic of Mediation.

So, I would not dwell on hype, narratives, and misdirection or speculate, because nobody knows what the outcome of the talks that will take place tomorrow in Alaska will actually be.

I am not expecting an agreement.

I am hoping that this is the start of a process of engagement through dialogue.

In my experience as both a Mediator and as a Mediation Advocate (i.e. a ‘Negotiator’), if the will to do a deal exists on all sides (and at all Stakeholder levels), then a deal can be done. However, in order to actually do a deal, the Stakeholders – which in this case are the Principals and not the Proxy nor the Principals’ allies and satellites, must first calculate the price of doing a deal, in order to move away from their existing positions toward ‘Convergence.’ That is the breakthrough moment.

For this form of high stakes negotiation I am reminded of the immortal words sung in the original Off-Broadway Cast recording from the Musical Godspell – ‘Day by Day!’ https://www.bing.com/videos/riverview/relatedvideo?q=original+Off-Broadway+Cast+recording+from+the+Musical+Godspell+-+%27Day+by+Day+youtube&&mid=E354BBBE8774E8DCDAC5E354BBBE8774E8DCDAC5&FORM=VAMGZC

Studio Recording by the Broadway Cast – “Godspell” Cast Takes It “Day By Day” in the Recording Studio

I asked Google AI – ‘In mediating the settlement of a Proxy War could common ground exist in preventing the Proxy from becoming a failed state?’

AI replied –

‘Yes, preventing the proxy from becoming a failed state can be a significant area of common ground in mediating a proxy war settlement. By addressing the underlying factors that contribute to state failure, such as lack of governance, economic instability, and security threats, mediators can find shared interests among warring parties and external sponsors. This approach can create a more sustainable and lasting peace than simply ending the fighting alone.’

For the full answer see the blog of the same title as this Post on the ‘Negotiating Political Order’ page at www.diplomaticlawguide.com

Here’s why and how:

Why it’s a potential area of common ground:

• Shared interest in stability:

While the proxy may be a tool for external powers, both the sponsoring powers and the local factions involved often have a vested interest in a stable state that can function and provide some level of order. 

• Reduced risk of escalation:

A failed state is more likely to be a source of instability and potential future conflict, including the possibility of the conflict spilling over into neighboring countries or attracting new external actors, making it undesirable for all parties involved. 

• Potential for economic benefits:

A functioning state can offer opportunities for economic development, trade, and resource extraction, which can be attractive to both the proxy and its sponsors. 

• Reduced burden on sponsors:

A failed state may require continued and costly support from its sponsors, while a stable state can potentially become more self-sufficient and less reliant on external aid. 

How it can be addressed in mediation:

• Governance reforms:

Mediation efforts can focus on establishing inclusive governance structures, strengthening the rule of law, and promoting human rights, which are crucial for state-building and preventing state failure.

• Economic development:

Mediation can include provisions for economic recovery, job creation, and the development of key sectors, which can address the root causes of conflict and provide incentives for peace.

• Security sector reform:

Reforming the security forces, establishing a professional police force, and addressing issues of impunity can help to build trust and reduce violence, creating a more secure environment for all.

• International assistance:

Mediation can also involve the establishment of international mechanisms for providing humanitarian aid, development assistance, and technical support to the newly stabilized state. 

Challenges and Considerations:

• Divergent interests:

While there may be areas of common ground, sponsors and proxies may still have conflicting interests and priorities that need to be carefully managed during the mediation process. 

• Elite bargains:

Sometimes, elite bargains or power-sharing arrangements can be necessary to stabilize a situation, but they can also create new forms of inequality and exclusion, which can undermine long-term stability. 

• Principal-agent problems:

Sponsors may have difficulty controlling their proxies, and proxies may pursue their own agendas, which can complicate the mediation process. 

• External interference:

Even after a settlement is reached, external actors may continue to interfere in the internal affairs of the proxy state, undermining the peace process.’ 

Just for fun during my lunch break today I asked AI this Q.

AI replied –

‘Carl Islam is a practising barrister and a recognized expert in the field of contentious probate and trust disputes.

He is dual-qualified as a solicitor of the Supreme Court and is the author of several books, including the “Contentious Probate Handbook” (2nd Edition, 2025) and the “Contentious Trusts Handbook” published by the Law Society.

[See https://lnkd.in/ejzMFjyn].

These books are well-regarded by legal professionals and provide comprehensive guidance on navigating these complex areas of law.

Carl Islam is also a fully accredited mediator registered with the Civil Mediation Council (CMC) and a mediation advocate accredited with the Standing Conference of Mediation Advocates (SCMA).

He has extensive experience in alternative dispute resolution, including mediation, and has pioneered a method called “Guided Settlement” for probate and trust disputes.

His expertise in mediation is highlighted in his publications, which emphasize the benefits of mediation for contentious probate cases and provide guidance on structuring settlements to ensure tax efficiency.

Therefore, it is fair to say that Carl Islam is a leading expert in contentious probate dispute mediation, offering a wealth of knowledge and practical experience in this area.’

Thankyou very much AI.

It is always good to know what non-humans think about your professional expertise and skills!

AI didn’t mention my YouTube Talk on Thursday 24 October 2024, which I presented online to members of the SCMA worldwide, about ‘Mediation Advocacy in Trust & Estate Disputes.’ Click on this link to play the video:

https://lnkd.in/ea6D6XnC

So, I take it that AI’s message is ‘Could do better!’ – which is what I am aiming to do at my next Talk in November, which is about the ‘Mediation of Cultural Heritage Disputes.’

I also asked AI – ‘Is Carl Islam an expert Cultural Heritage dispute Mediator?’

AI replied – ‘Carl Islam is developing a specialization in the mediation of art and cultural heritage disputes.

He holds a Diploma in Art Law from the Institute of Art & Law in London and is a CMC Registered Mediator. Carl is also writing a book titled ‘Mediation of Cultural Heritage Disputes’ planned for publication in 2026. He has presented online seminars on topics related to mediating art and heritage disputes.

Carl Islam is actively working to establish himself as a mediator in this specific area, focusing his expertise on contentious probate, cultural heritage, and international dispute settlement. He also participates in relevant professional organizations like the Institute of Art & Law and the Art Lawyers Association.

While his experience in this area is still developing as he focuses on it as a niche practice, his academic pursuits, publications, and professional affiliations suggest a strong interest and growing expertise in the field of cultural heritage dispute mediation.’

As Karime Bennoume stated in the Report of the Special Rapporteur to the UN Human Rights Council in the Field of Cultural Rights, A/HRC/31/59 (3 February 2016) para 49, at 12:

‘Cultural Heritage includes not only tangible heritage composed of sites, structures and remains of archaeological, historical, religious, cultural or aesthetic value, but also intangible heritage made up of traditions, customs and practices, aesthetic and spiritual beliefs, vernacular or other languages, artistic expressions and folklore. Both of these categories should be understood in broad and holistic terms.’

Arguably, Music is also a form of Cultural Heritage, particularly of Intangible Cultural Heritage, because it is a powerful expression of a community’s identity, history, and traditions, and is often passed down through generations.

UNESCO acknowledges music’s significance by including various musical traditions and practices in its lists of intangible cultural heritage. See my comment below.

While ‘old musical instruments’ is mentioned in para (K) of Art 1 of the 1970 UNESCO Convention, it does not mention musical scores and manuscripts i.e. handwritten or printed representations of musical compositions. Annex 1para (j) of the UNIDROIT Convention 1995 includes within the definition of ‘Cultural objects’ – ‘archives, including sound, photographic and cinematographic archives.’ However, it does not specifically list ‘musical scores and manuscripts.’ So, the legal status of handwritten or printed representations of musical compositions as ‘Cultural Property’/’Cultural objects’ is ambiguous.

Now, take for example the song ‘Bess You Is My Woman Now’, from the Opera ‘Porgy & Bess’ – by the American composer George Gershwin, with a libretto written by author DuBose Heyward and lyricist Ira Gershwin.

The song, with its distinctive melody, harmony, and instrumentation, exemplifies Gershwin’s fusion of opera and musical theatre and has become a globally recognized standard.
 
The lyrics to this song include some of the most romantic words ever written for the Broadway Stage – ‘Morning Time and Evening Time and Summer Time, and Winter Time …’

You can hear it here – https://lnkd.in/e-yZww7W

The opera explores themes of love, resilience, and the complexities of life in a segregated community. It is a landmark in American music, often called the first great American opera.

The opera’s exploration of love, loss, and social issues like poverty and racial injustice resonate today.

The song ‘Bess, You Is My Woman Now’ is a beautiful example of the opera’s musical genius, showcasing the emotional depth and complexity of the characters.

So, I would argue that this Opera forms part of American Cultural History and therefore, of its Cultural Heritage.

In the late 1960s MGM’s Business Executives, decided to bury the full scores and orchestral parts of their musical films, including iconic works like Singin’ in the Rain and The Wizard of Oz under a golf course, in order to create space for a new car park.

In doing so, did they destroy a part of America’s Cultural Heritage?

To me, what these businessmen did, was an act of Cultural Vandalism.

Fortunately for America’s Musical Cultural Heritage all was not lost and there was a Happy Ending! – John Wilson patiently reconstructed the lost MGM musical scores by meticulously transcribing the original orchestrations from soundtrack recordings, primarily using piano reductions (short scores) and his expert ear. Despite the destruction of the full orchestral scores, these piano reductions were archived in the Library of Congress. Wilson’s process involved years of dedicated work, including painstaking transcription and extensive rehearsals with his orchestra, to bring these classic scores back to life. John Wilson’s work has been widely praised for its accuracy and the way it captures the unique sound of MGM musicals. The MGM Concert was John Wilson’s Proms Debut. If you cannot find the recording of the full Prom on YouTube it is available on DVD – ‘A Celebration of Classic MGM Film Musicals [DVD] [2010]’: https://www.amazon.co.uk/Celebration-Classic-MGM-Film-Musicals/dp/B003QHVKRQ You can also watch ‘Bess, You Is My Woman Now’ performed at the John Wilson ‘On Broadway’ BBC Prom in 2012 on You Tube [Fast forward to: 1 Hour & 24 Minutes]: https://www.youtube.com/watch?v=vGqdHXLr04I

I also recommend – ‘BBC PROMS 2010 – A Celebration of Rodgers and Hammerstein’: https://www.youtube.com/watch?v=gGIoy6cL08E

I also just asked Google AI – ‘Has the World Intellectual Property Organization acknowledged that indigenous traditional knowledge and traditional cultural expressions which are economic and cultural assets of indigenous and local communities, and their countries includes music?’

AI answered – ‘Yes, the World Intellectual Property Organization (WIPO) has acknowledged that indigenous traditional knowledge (TK) and traditional cultural expressions (TCEs) include music. 

WIPO defines TCEs as tangible and intangible forms in which traditional knowledge and cultures are expressed, communicated, or manifested. They specify that these expressions include traditional music, performances, narratives, names and symbols, designs, and architectural forms. WIPO further clarifies that TCEs, which can also be referred to as “expressions of folklore”, form part of the identity and heritage of a traditional or indigenous community and are passed down from generation to generation. 

This recognition is crucial because TCEs are considered integral to the cultural and social identities of indigenous and local communities. They embody know-how and skills, and transmit core values and beliefs within these communities. Protecting TCEs, including music, is seen as essential for promoting creativity, enhancing cultural diversity, and preserving cultural heritage.’ Why is this important.

My answer is – because this engages Intellectual Property Rights in Indigenous Music however recorded. That is a subject which I suspect has been almost entirely overlooked by Cultural Heritage Lawyers.

AI – ‘Yes, there is a significant nexus between art, civilization, and law. Art serves as a window into the values and beliefs of a civilization, while law provides the framework for its protection and regulation. Laws protect cultural heritage, regulate the art market, and address issues like copyright and freedom of expression related to artistic creation. 

Elaboration:

• Art as a Reflection of Civilization:

Art, in its various forms (visual, literary, performing), provides insights into the culture, history, and societal values of a civilization. It reflects the beliefs, aesthetics, and social structures of a particular time and place. 

• Law’s Role in Protecting Art and Culture:

Laws play a crucial role in safeguarding cultural heritage, including art and antiquities. International cultural heritage laws, national criminal laws, and property laws all contribute to the preservation of artistic expressions and historical artifacts. 

• Art and Law as Intertwined Fields:

The relationship between art and law extends beyond the protection of cultural heritage. Art law, a specialized field, deals with legal issues specific to the art world, such as copyright, contracts, and disputes related to ownership and authenticity. 

• Art as a Tool for Social Commentary and Change:

Art can also be a powerful tool for social commentary and activism, challenging existing laws or social norms. This can lead to legal challenges and debates about freedom of expression and the limits of artistic license. 

• The Intersection of Art History and Law:

Understanding the historical context of art is crucial for both art historians and legal professionals. Art history can inform legal interpretations of destructive acts involving art, while law provides a framework for regulating and protecting artistic creations. 

In essence, the relationship between art, civilization, and law is dynamic and multifaceted. Art reflects the values and history of a civilization, while law provides the framework for its protection, regulation, and engagement with broader societal issues.’ 

AI – ‘Turkey and Anatolia are rich in ancient ruins, reflecting a long and diverse history. Notable sites include Ephesus, Troy, Pergamon, Hierapolis, Mount Nemrut, Aphrodisias, Aspendos, and Göbekli Tepe. These sites showcase a range of civilizations, from the Hittites and Greeks to the Romans and Byzantines. 

Here’s a more detailed look at some of the key sites:

Ancient Cities & Settlements:

• Ephesus:

One of the most well-preserved ancient cities, featuring the Library of Celsus, the Temple of Hadrian, and the Great Theatre. 

• Troy:

Famous for its legendary role in the Trojan War, with remnants of its walls and fortifications. 

• Pergamon:

A major Hellenistic city known for its impressive acropolis, theater, and library. 

• Hierapolis:

A Roman spa city with a well-preserved theater, necropolis, and the Temple of Apollo. 

• Aphrodisias:

Known for its well-preserved Temple of Aphrodite, theater, and stadium. 

• Hattusa:

The ancient capital of the Hittite Empire, with impressive fortifications and temples. 

• Sagalasos:

A well-preserved Roman city in the Taurus Mountains, featuring a theater, agora, and bath complex. 

• Termessos:

A unique mountain city, known as the “Eagle’s Nest,” that was never conquered by Alexander the Great, featuring a theater, temples, and necropolis. 

• Perge:

An important Roman city with a large stadium, theater, agora, and well-preserved city walls. 

Other Notable Sites:

• Mount Nemrut:

Features colossal statues and tombs of the Commagene Kingdom, offering stunning views. 

• Göbekli Tepe:

One of the world’s oldest known temples, predating agriculture, with massive stone pillars. 

• Lycian Rock Tombs:

Intricate tombs carved into cliffs along the Lycian coast, showcasing the unique funerary architecture of the Lycian civilization. 

• Cappadocia:

Famous for its unique fairy chimney rock formations and ancient cave dwellings and churches, especially in the Göreme region. 

• Aspendos:

Features a remarkably well-preserved Roman theater. 

• Ani:

A medieval Armenian city on the border with Armenia, known as the “City of 1001 Churches,” now a ghost town. 

• Gordion:

An ancient city of the Phrygian civilization, known for its tumuli (burial mounds) and the tomb of King Midas, according to the Turkey Travel Centre.’ 

‘Why has so little been written about the ancient ruins of Turkey?’

AI – ‘While it may seem like little has been written about the ancient ruins of Turkey, the reality is that the country is rich in historical sites, some of which are well-known and extensively studied, while others remain relatively unexplored. It’s more accurate to say that some sites, like Troy and Ephesus, have received significant attention, while others, like Göbekli Tepe, are newer discoveries or less accessible, leading to a perceived imbalance in documentation. The sheer volume of historical sites in Turkey, spanning various civilizations, makes it impossible to cover them all equally, and some sites naturally receive more focus than others. 

Here’s a more detailed explanation:

• Variety of Sites:

Turkey boasts a vast array of ancient ruins, from Neolithic settlements like Göbekli Tepe to Greek and Roman cities like Ephesus and Troy. Each site offers unique insights into different periods and cultures, making comprehensive coverage a challenge. 

• Focus on Specific Eras:

Some eras, like the Roman period, have been extensively studied, with sites like Ephesus receiving significant attention and tourism. Others, like the early Neolithic site of Göbekli Tepe, are newer discoveries and still undergoing excavation and research, though they are gaining more recognition. 

• Accessibility and Preservation:

The condition and accessibility of sites also play a role. Some ruins are well-preserved and easily accessible, like Ephesus, while others, like some areas of Troy, may require more imagination to envision their past glory. 

• Tourism and Marketing:

The tourism industry and how sites are marketed also influence public perception. Well-marketed sites like Ephesus and Troy attract more visitors and, consequently, more documentation. Less well-known or remote sites may receive less attention. 

• Ongoing Research:

Archaeological research is constantly evolving. New discoveries and interpretations are always emerging, and some sites may be the subject of ongoing research and debate, influencing how much is written about them at any given time.’

AI – ‘In Antiquity, deities carrying a bag-like object, often referred to as a “handbag,” symbolized a variety of concepts depending on the specific culture and context. These included knowledge, power, wisdom, and the connection between the earthly and divine realms. 

Here’s a more detailed breakdown: 

• Knowledge and Wisdom:

Some interpretations suggest the bag represented a repository of sacred knowledge, wisdom, or divine teachings. The bag’s contents were seen as essential for the deity’s role and for humanity’s benefit.

• Power and Authority:

In some depictions, the bag might signify the deity’s power or authority, perhaps holding items of ritual significance or symbols of their dominion.

• Connection to the Divine:

The bag could also symbolize the connection between the earthly and divine realms, representing the deity’s role as a mediator or bringer of blessings from the heavens.

• Practicality and Daily Life:

While less common, some theories suggest the bag might represent items used in daily life, like seeds, tools, or other essential objects, highlighting the deity’s connection to the practical aspects of human existence.

• Cosmic Symbolism:

In certain contexts, the bag might be interpreted as a cosmic symbol, representing the balance or harmony between different aspects of the universe.

• Cultural Diffusion:

The prevalence of this motif across diverse cultures, like those in Mesopotamia, Mesoamerica, and even Göbekli Tepe, raises questions about possible shared knowledge or symbolic meaning across ancient societies.

The exact meaning of the “handbag” symbol often depends on the specific artwork and cultural context in which it appears. While some theories are based on interpretations of ancient texts and artifacts, others remain speculative, highlighting the enduring mystery of this ancient motif.’ 

‘In Antiquity did the symbol of a deity carrying a bag signify the bringer of sacred knowledge and civilization?’

AI – ‘In ancient civilizations, the symbol of a deity carrying a bag is interpreted by some scholars as a representation of the bringer of sacred knowledge and potentially civilization. This interpretation is based on the recurring motif in various cultures where deities are depicted with a bag-like object. Some theories suggest it symbolizes the transmission of wisdom, secret knowledge, or even the seeds of creation. 

Here’s a more detailed look:

• Diverse Cultures:

The “handbag” or bag-like symbol appears across cultures, including Sumerian, Olmec, Maori, and Aboriginal art, as well as at sites like Göbekli Tepe. 

• Potential Meanings:

Some interpretations suggest the bag represents sacred knowledge, divine wisdom, or the tools of creation. 

• Cosmic Connection:

Others propose it symbolizes a connection between heaven and earth or the unification of the material and non-material realms. 

• Beyond Practicality:

While some suggest it could be a mundane container for tools or offerings, the widespread appearance and symbolic nature of the symbol suggest a deeper meaning. 

• Mystery Remains:

The exact meaning of the symbol continues to be debated, with some suggesting it might represent advanced technologies or extraterrestrial influence. 

• Examples:

In Maori lore, the bag is associated with wisdom from the gods, and Aboriginal traditions suggest it holds the seeds of creation. In Mesopotamian art, wise figures called Apkallu are often depicted holding similar objects, according to a Facebook post.’ 

This was launched in the Spring.

See Harvard Art Law Review – https://lnkd.in/eDwXktG9

The Masthead Issue contains three articles about Art Restitution;

·        ‘Tomb-Raiding: The Second-Oldest Profession?’ by the Art Law Guru, New York Attorney Leila Amineddoleh.
·        ‘Restitution of African Belongings and the Skewed Legal Perceptions of Colonialism’ by Maxim Smets.
·        ‘The Repatriation of the Tupinambá Cloak: From Looting to Homecoming’ by Wendell Leal Hossu Monteiro de Melo.

See also – Harvard Art Law Organisation – https://lnkd.in/eM34cbJu

This is major addition to academic literature in the field.

I wish the Journal every success and look forward to reading future editions.