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June 30 2015

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Breeo raises the dildoflag (loop)
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Breeo raises the dildoflag

May 07 2015


but...the music industry was never alive to begin with

(EPUB, 12 KB)
Dec20 2001

But ... the music industry was never alive to begin with

- - Anybody familiar with music in the West for the past
forty years might be awaiting a new move in music, ear to
London.  Dare not to mention Seattle, lest one go deaf.  And
I'd be wrong to remiss in not mentioning NYC either which
way.  Every dozen years or so since pop music reared its
head we have been subjected to the new craze; the next big
thing; the latest fad; newest trend; the legion of one hit
wonders.  Much like a miniature paradigm shift, irresistible
fodder for the West's intellects, there is change in the
air.  Of course it's just those kids though, ain't it ? 
Never mind that these kids have enough capital spoils to
make a third world nation blush with envy.  And you have to
look over the fact that in a recession, the bosses of prime
indicators look to these consumers (almighty after the
buck).  But now I must seem too flippant.
- - If it's not stillborn, why then do people continually
demand new ideas from the music industry?  A generation only
lasts just over a decade?  A new sound with a new dress code
with a new set of verbiage with a new set of, very
questionable, heroes.  Maybe a heroine too for good measure,
I don't know.  If you read billboard or et al for a few
months, you can predict the top 100.  The music industry was
truly a paradigm at first, but it is a paradigm for the
stock market, not culture.  Those top 100 gurus all have
plenty of dollar signs next to their names.
- - How can I but not hear it when it comes?  Avoidance is
futile.  Kind of like hookers and street cops.  I'm one of
those 'nut-cases' you see, I prefer to go searching for what
I like rather than swallow what is presented to me.  Nothing
like the hunt, and when you find your prey, man -
indescribable.  I don't like any excuse for culture being
rammed into my head.
- - As a listener specifically, though, I could care less
about capitalist dogma in the music industry.  Frankly, it's
too limiting.  Don't get me wrong, I wouldn't give the top
four, or however many there are, a penny.  But it's what I
hear that I am critical of.
- - It's so absolutely godamn fucking sterile!  Song after
song into album after box set.  Perfectly timed, perfectly
tuned, perfectly performed, no mistakes, everything edited
to the millisecond, must behave like audio robots to the
corporate master.  Just like a laboratory, sterile.  Oh, I'm
sure they're extremely talented and they are all obviously
geniuses of marketing.  But where is the style?  And I am
not referring to their sense of style.  I am referring to
the true sense of style: that which sets one artist's
technique apart from another's.  And that's far more than
the sound of someone's voice and the guitar lick.
- - In music history, to turn to for an answer, there are
two competing forms, the Natural and the Unnatural.  Natural
music is basically formed when instrument makers and
musicians get together with some basic raw materials and put
together musical form from marimba or drum or flute, et
cetera.  Every musical instrument is connected to the
Natural scale.  The Unnatural is born out of a sort of
deconstruction.  It can incorporate everything from
mathematics to harmonic analysis.  The advantage of the
Unnatural form is that it internationalized music in a very
real way.
- - Today, much of the music supported in the music industry
is caught between these two spheres.  The blues is based on
the Natural scale, yet its tension is often drawn from
Unnatural sources.
- - And that's the way instrumental music has practically
disappeared from the mass music consciousness.  In the
struggle to create the genuine article, there is no real
room for exploration of harmony (harmony is just a general
term to describe things like chords and scales and notes). 
So there is only one place to turn, and that's the
historical role music has had (particularly with stringed
instruments, and especially the guitar) in language.
- - But look at how irrelevant harmony has become next to
angst or politics or psychological influences on music.  For
over half a century now, shortly before the newer forms took
over the industry, there was great conflict in musical
theory.  A separation occurred that brought institutional
forms from Europe and planted them on Turtle Island.  This
was not simply a migration.  It was after this occurred that
music became institutionalized, unchanging.  Dead.  Music
could not borrow from it's surroundings anymore.  Music
could only manifest itself through assimilation of other
cultures.  This 'multiculturalism' survives today.  But the
heart is still unchanging European theory.
- - The popular music of the West is not separate from this. 
Instead, the two feed off of each other.  One refines the
technique and technical, even mechanical, side, well the
other finds new cultures to absorb.  Thus, grunge is less a
form as much as it is a monogamous marriage of previous
forms, pop and punk for example.
- - Harmony lacking leaves only one thing left, rhythm.  And
Western music today has rhythm is droves.
- - Understand that I am still only critical of music coming
out of industry because of its lack of soul in its
recordings; its suspect sterility.  Rhythm starts with life
itself and moves into all other things.  But what the
institutions broadly threw out in its entirety decades ago
was the continued development of harmony.  This development
is preserved by a few, usually labeled as 'jazz' or some
other tolerant alternative moniker.  But it's implications
are more far reaching than those spewed out by the music
- - Inquire of any listener of what the music industry sells
as music as to their own personal opinion of Classical music
and it is a surprisingly generic response.  But do people in
the West really understand that Classical music comes from a
short period two hundred plus years ago when the Church
domination of music harmony finally ended?  I know you
probably won't believe this, but the West (as dominated by
the music industry) has not changed all that much from this
point!  The instruments have changed.  Other forms have been
adopted or assimilated.  But the role of institutional
separation hasn't, by in large.  (By the way, dance music is
primary to Natural and pre-Natural music theory. 
Theoretical development aside, its role is always
significant as the ideal starting point for new music.)
- - Foolhardy one would be to equate industry with all
institutions.  Industry merely profit off the excessive
ignorance.  Who is asking what music is anymore?  Instead,
everyone is defining it or trying to 'redefine' music.  Who
in the West asks, "what is aboriginal music"?  Instead, it
is assimilated through scale (institutional), the all wise
"world music" (whatever that is defined as).  Exactly like
the politics of its institutions and the policies of its
industries, the music coming out of West is the ideal
reflection of its institutions and industry, not its people. 
Western music is Eurocentric, of course.  But everything
that isn't sold at large is all one, big category apart from
the industry standards.
- - Is it surprising that there are so few new ideas in
music when those new ideas are in the 'other' category?
- - The exceptions to the standard are not really so
numerous because they cannot be simply commodified. 
Industry does not need to make clear distinctions between
art and sales.
- - Psychologically, one doesn't listen for perfect
structure (often why people are automatically put off but
computer generated music).  One listens for the mistakes. 
So listen and hear: the mistakes are musical equivalents to
the beat as well as the cute melody and the hard, driving
force in song.  The mistake comes from the soul.  Where does
the perfect sterility come from?  Where is the perfect,
linear structure of shape and form in the rapid brush stroke
of the artist's or calligrapher's creation?  If all you can
listen for in music is who else a band or musician sounds
like, you're probably not hearing anything.

- - As in life, so with music.  All does not stop because of
the controlled manipulation of what basically constitutes
old white men in fear of loosing one modicum of power from
being old and white and male.  There are some simple
formulas to work with.  Of course, because it's outside of
institutions and industry, you do have to search for those
- - Structurally, such musical explorers touch on the
diminished chord as a focal point.  There are many
analytical reasons, more historical than mathematical, for
this.  But basically, one can follow this line of logic :
the Unnatural scale, sometimes referred to as the 'major'
scale (not actually a scale but a 'mode', which is an
abstract definition for a broad set of criteria), and the
Natural, or 'minor', are divisions of seven notes (balanced
frequencies arrived at mathematically).
- - Now European music devised this Unnatural structure
(more or less the rough official set of tones).  The full
set of notes is comprised of twelve separate frequencies,
the chromatic set (set of semitones).  All additional notes
are double or half frequencies from the original note,
referred to as an octave.  Each of these seven modal notes
(transformable to scale and chord) are labeled 'A' through
to 'G', respectively.  Thus the A that is one octave 'above'
another A is its exact frequency multiplied by two.  So the
structure is very sound.
- - But the structure is also tenuous, something familiar to
anyone who has listened to unique music from other regions. 
There is no reason why one could not have, say ten rather
than the twelve notes in the chromatic except that there may
be conflicts with the Natural scale now.
- - So we basically have seven notes to deal with.  The Law
of the Music Industry dictates that one only need three
notes upon which to build a song.  This is based on
absorbing basic blues theory.  But it has an interesting
point in it's choice of values, the number three.
- - The seven notes of our scale are of three extremely
significant and unique categories.  Two of those categories
have three notes each, thus one note has a category all it's
- - The first category of three notes are of a Natural,
'minor', distinction.
- - The second category of three notes are of a Unnatural,
'major', distinction.
- - The third category of one note is of a diminished
nature.  Diminish, meaning here essentially to 'lessen' the
space between notes in a harmonic structure.  So if you take
a Natural or Unnatural chord and 'lower' an additional note
on top by a semitone you have basically diminished that note
(although the label 'diminish' has additional criteria).
- - These distinctions are brought about in Western music,
apart from the Law of the Music Industry, as a result of
building harmony and harmonic structures on these root
notes.  This is defined as a chord.  A Natural chord,
therefore, has a 'minor' sound often associated with a more
primitive root, the Unnatural being 'major'.  But what is
the sound of the diminished chord?  This is a question
nobody is willing to explore anymore.
- - Some suggest that the Natural is connected to emotions
like sadness and depth were the Unnatural is sweet and pure. 
Very rightly so, although also a result of part of the
picture.  The diminished note, if I may call it so, is not
treated so fairly.  It is branded, 'wrong', the 'off color
note', and is rarely used, almost never central to a song,
or outright banned from the vast majority of composition in
accordance with the Law of the Music Industry (let me
clarify, it is more precisely the Law of the Music
Establishment, but the parallel stands in Industry as well). 
And yet, there are only seven to choose from.
- - So what's the problem then?  Well, it's not as simple as
incorporating the diminished in with two of the six Natural
and/or Unnatural notes.  That would go well with the Law of
the Music Industry.  It just isn't practical.  The truth is,
the moment one focuses on the diminished, the entire
harmonic structure begins to waver and flux.  The structure
of song is usually altered, the sound and use of acoustic
vibrations and tones begins to devolve.
- - In short, the moment somebody tries to centralize
structure in musical form, they use the Natural (familiar
universally) and the Unnatural (the international form, if
you will).  But once you place the seventh note in, the
structure ceases to function.  Oh, one can force the issue,
I'm sure that's been done to death.
- - What I find so exciting about this apparently grey,
boring discussion is that once a musician begins to
incorporate the diminished note, the seventh note, a very
interesting thing happens to composition.  Suddenly, all of
the other notes are equally welcome.  Rather than dumb down
measures such as the Law of the Music Industry, song
structures and musical structures invited all six other
notes together.  Or not.  Or more, for the diminished also
agrees with the other five notes not in the Natural and
Unnatural scale (the diminished note is a part of the
Natural and Unnatural scale, being the last and seventh
- - The acceptance of this understanding in musical theory,
which is again very, very simple to apply (one of seven
possible choices!) represents no less than the liberation of
music from restrictive compositional structure.  And society
would be better off with it, as would a populace mature in
its thinking by a simple broadening of its horizons.
- - But there are problems with using the diminish note, as
I term it.  For example, there is no real linguistic and
emotional connection to it.  Other cultures, using far more
than twelve notes per octave, are much more accommodating. 
Not so in West from were it comes from.  We have no common
usage words to really describe the diminished sound.

- - Very strong parallels, coincidentally can be found in
another theory from roughly the same region as Classical
music.  Classical music marks the point when Unnatural
theory became accessible to the public due, in part, to
technology like the pianoforte and harpsichord which allowed
mathematical balances to bring together opposing musical
'dialects' (similar to structure based on modes, which I
referred to earlier).  This occurred essentially in Austria,
although other regions in Europe played a vital role, such
as in Germany and Italy (it was in the church where these
'dialects' were kept from the more common public).
- - This theory that I refer to could have been a result of
comparative analysis, primitively, with Classical music
theory or not.  It is the turn of the century theories that
developed what we know of as psychology, or psychological
theory.  I am generally an opponent of psychological theory
because I find some of its critical roots fractured, which
is a serious flaw when claiming to be a methodology for the
treatment of what it terms as disease (something I would
have to go into in great detail to explain, not useful
here).  So in psychology, there is a plausible basis, I
hope, for which its theory begins.  The definition of sanity
and insanity, which is similar in my analogy to Natural and
Unnatural, expanded into the reasoning behind both models -
thus my comparison.
- - It is all too important that I point out that the
European establishment has historically had very central
views towards the Natural and Unnatural theories in music
and how these theories apply to non-musical areas such as
ethnicity, to which I shall elude.  The basic established
view predates even Natural music, which predates Unnatural
theory.  (Natural and Unnatural are well recognized terms in
musical history and general music theory in the West.)  This
is the most universal form of music.  Interestingly, in the
West, it is found frequently in the blues.  It has, for the
sake of analysis, a scale, the pentatonic (five tones, also
the smaller keys on the music keyboard).
- - The establishment in Europe, probably as a result of its
continuous plundering of foreign lands, constantly came
across this scale.  I'm sure at some point, someone in the
European establishment, probably more than one, realized
that two isolated cultures that were themselves isolated
from each other had this scale in their music.  Often, as
almost always the case with limited technological
development (technological development that is often brought
about by warfare and conquest), this scale would be the only
structure in such 'discovered' music (often in the tribal
sense, but still universal).  Thus, it had to be dealt with. 
This is not reason for the development of the Unnatural
scale, it is only one of many motives for its creation in
established Europe, essentially the Church (I won't get into
which Churches, but one could say the Church in pre-
Classical Italy and not be completely off base).
- - Established views became very concrete in how to define
this pentatonic, and by extension Natural (the Natural scale
is the pentatonic plus two notes (one note being the
diminish, the other being the Natural note)).  For the
purposes of basic Musical Law (not really a law), it was
declared, and typically still is to this day, that the
Natural scale is primitive, tribal, and, in the clearest
established dogmatic approach, inferior.  The Natural came
to represent the regions of the world where Europeans became
the conquerors.
- - Unnatural musical theory was and is, therefore, seen as
the essence of what the establishment views as 'true music'. 
It is clearly a European development, but the comparison to
purity is symptomatic of other, more ethnic formulations.
- - The contrast to defining sanity and insanity is
striking, shocking I would say to anyone who understands the
nature of centralized establishments that make any
assumptions along the lines of ethnicity and other such
social lines - even if by extension.  Sanity, clearly, is
the equivalent of the Unnatural.  Insanity, also clear, is
in complete parallel with Natural music.  Again, I making a
fairly sweeping statement here.  But it is essential to our
understanding of the significance of musical theory most
particularly when we examine the complete history of Europe
and the unique contributions it has made to humanity, music
and musical theory being one such example.  There is no
culture I have found that comes quite so close to the
extreme in developing a uniquely centralized yet highly
versatile and universal means of communication and artistic
expression that is found in that of European music.
- - Diminished note type of development is an affront to
just such an established notion.  It not only expands
musical theory into relatively unexplored territory,
certainly in the popular sensibility were music is
concerned, but it also has a clear and obvious purpose.  In
the most general use of diminished note theory, both the
Natural and the Unnatural theory breaks down.
- - I will reiterate that again.
- - Diminished note usage not only breaks down structures
based on establish views, it also breaks down those in the
area of ancient and Natural views.
- - There is no countervailing opposition, no duality, in
the diminished note based theory.  That is for the Natural
and the Unnatural alone.  But to include it respectfully
means the listener must be engaged to pay attention.  And
that is not helpful to the Law of the Music Industry.  In
fact, it's counterproductive to the music industry because
it causes the listener to think even though listening is
essentially a passive experience.
- - The effects of practical application of diminish notes
and its principle use are significant, though singular in
part due to the general lack of exploration.  Of note in my
own exploration has been of a technological nature, although
more deconstructive and simplified.  One thing that happens
with proper, central use of diminished notes is the changes
that occur in how one hears music.  Coming from Western
influences, I have a need for such deprogramming.
- - A standing theory, unique amongst Europeans and their
descendents incidentally, is the theory of perfect pitch. 
Some believe that certain individuals, usually soloists
(note how there is a degree of egotism) and often vocalists,
attain perfect pitch upon birth, a rarity.  That is, the
ability to reach a perfectly tuned note without the
necessarily accompanying instrumentation.
- - Tuning an instrument is a secondary technique.  The
primary technique involved in originating instrumentation is
in the development of perfect pitch itself.
- - Perfect pitch is one of the mathematical mechanics that
allowed Classical music theory to take music out of the
establishment and into the serfdom of some two centuries ago
(it wasn't just churches alone that housed essential
theory).  Perfect pitch allowed for the first time one House
to communicate with, rather than to, another.  This was
traditionally impossible because each House had its own
instrument maker, its own composer, and its own pitch for
tuning its own instruments (truly a centralized social
structure if ever there was one).
- - Perfect pitch is rudimentary Unnatural theory.  But it
is based on analysis in physics (some wavelength theory is
helpful) and mathematics, owing to theory from as far away
from Central Europe as Greece.  The idea that a person can
be born with perfect pitch is kind of like saying a human
could naturally mutate robotic limbs or computer
architecture biologically in the womb.  Perhaps I am being a
little too dramatic.
- - The point is that the Law of the Music Industry and
Perfect Pitch theory obviously go very well together - both
are living in eighteenth century Austria!  (I will not elude
to forms other than Classical, which I am not using strictly
as form but period.)
- - What is interesting is the degree to which those in the
West have adopted their listening habits to perfect pitch. 
Much of the music out of the Asian region of the continent
uses quarter tones (half a semitone), or there about.  And
that is my point.  How does one deprogram oneself from
perfect pitch, retaining its essence, and move into
expanding the musical vocabulary to include different
approaches to tuning?
- - Practically speaking, though diminished theory
qualifies, it too breaks down because it relies very heavily
on a degree of perfect pitch as it is continually
interacting with the other six tones (an alternate name in
theory ascribed to the diminish note is Leading Note, that
is its tendency to Lead into melody).
- - So I turned to the guitar for a solution.  There too, I
found a problem.  As the strings of such a stringed
instrument stretch, their tuning is altered.  Eventually,
certain notes in regions of the fret board become
unplayable.  This can be easily adjusted through retuning,
but puts certain limitations on performance.  As the string
is tuned to play notes from one part of the fret board, the
other part or parts are too far out of range.  But it's not
impossible, it's only a limitation.  I needed a solution
- - Most guitarists, I'm no exception, regularly replace
their strings.  There is a very key subtext here in that as
I write in generalities, I am writing about universal
application.  But I am taking diminished notes and using a
deconstruction of perfect pitch to enter a very practical
- - Resulting in the need to not, I write, not replace the
strings on a typical six-string guitar, (again, found in
economic virtues inherent in the blues) I accomplished a
more critical goal.  Practical application of advanced,
unestablished (institutional) view, theory, and practice. 
But the real gem here is that with extensive compositional
technique, I no longer need to replace my strings and that
this lack of replacing strings is the method for advancing
diminished note theory (not to mention the cost saved from
not throwing more metal into a landfill - as a thought
experiment, imagine how much metal (typically platinum,
zinc, copper, steel ...) is thrown out by all of today's
- - This might be irrelevant in a non-Eurocentric setting
where instruments are designed to accommodate this essential
mechanical flaw in the calibration of metallic instrument
strings through practical necessity.  But retaining
Classical theory is absolutely essential to musical

May 01 2015


The Complete Voltairine de Cleyre Record epub

(EPUB, 515 KB)
Everything Voltairine deCleyre in one ebook
EPub 527104bytes
Reposted byanarachy anarachy

The Complete Voltairine de Cleyre Record

(TXT, 1.29 MB)
Everything Voltairine deCleyre in one ebook

Reposted byanarachy anarachy

April 07 2015

3215 7844
June4 1998 "microanimation"
5342 617b
(March10 1998) "t"

March 27 2015


March 11 2015

7288 93a2 500

#bytesofchina - This #internetcafe in rural #guizhou, china is the single source of income for a family. After the husband was injured in a work accident that left him paralyzed from the waist down in 2005, the wife had to find a way to support their two children. A friend suggested she build an #internetcafe. When she first opened it in 2008, she was averaging 3,000¥ ($500) per month. She said they the cafe used to be full of children playing games and people watching movies. But in recent years, mobile internet made it to this region. People now play games and watch movies on their smartphones instead of the Internet cafe. As a result, she is now only able to make around 100¥ ($17) per month on the cafe. The other source of income is her husband’s disability payment of 100¥ per month. Her two kids have borrowed money to study at local technical schools. Since she doesn’t have a permit to run the cafe, her relatives, who work inside the local government alerts her when county police come into town. As mobile internet coverage and smartphone use have rapidly increased over the last 5 years, Internet cafes are slowly disappearing around the country. It’s fascinating to learn that the economics of maintaining a cafe in rural areas are less feasible now as people are spending more time on personal devices. It’s quite possible these spaces will become a relic of the pre-smartphone age in China. #livefieldnote #triciainchina

Reposted fromtriciawang triciawang

March 04 2015


Pauling c1931 - The Nature of the Chemical Bond

(EPUB, 1.06 MB)
Pauling c1931 - The Nature of the Chemical Bond.epub

2bit compression

March 02 2015

0696 9730
Reposted frommasters masters viasstefania sstefania

February 16 2015



(EPUB, 494 KB)

February 01 2015

2059 d9f1
Reposted fromclitoris clitoris viasstefania sstefania

Computing Machinery and Intelligence by AM Turing

(EPUB, 25.5 KB)
Computing Machinery and Intelligence
by AM Turing

October 31 2014



(OGG, 102 KB)
Animated Gif music
Tags: music midi

October 29 2014


The Nazification of the Modern State

The Nazification of the Modern State

Anne attempt to ,without embellishment ,represent - concisely simplified - the gradual adoption over time of the 25-point program of the Nazi Party into the Conservative political Democratic State

Note on translation :i.e. were Nasi "nationalism" (re :a Modern State) ,Conservative "State" (re :a Globalized State)

A) anti-communism --> 1 Nationalism ;10 ideological purity

B) favouritism towards capitalists --> 7 economic xenophobia ;11 income regulation ,debt abolishment ;12 nationalization of: profit ,economy(13) ,industry(14) ,business(16) ,& land(17)

C) ethno-nationalism --> 2 international recognition ;3 right of colonization ;4 racial purity ;9 ethnic equality & sovereignty(19) ;25 authoritarian centralization

D) moral inequality --> regulation of pension(15) & national capital punishment(18)

E) anti-immigration --> 5 regulation of immigrants ;8 national xenophobia

F) political equality --> 6 Party sovereignty ;22 nationalization of arms

G) religious fanaticism --> 20 nationalized education system ;21 mandated physical indoctrination ;23 nationalized censorship ;24 religious purity

January 24 2014


Copernicus - On the Revolutions of the Celestial Spheres

(EPUB, 40.2 KB)
Copernicus - On the Revolutions of the Celestial Spheres.epub

December 31 2013


431219 Silent Music - Vac xvid

(AVI, 7.52 MB)
431219 Silent Music - Vac xvid

December 21 2013


431218 Silent Music - Dril xvid

(AVI, 5.19 MB)
431218 Silent Music - Dril xvid.avi

August 15 2013

08/13 AFewMinutesOfTech New skull 4 Tracy
Tags: robot robotics
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