Thursday, July 24, 2014

trolling weird al

deathtokoalas
i refuse to follow the rules that exist in conventional english grammar regarding its/it's, as it demonstrates rather clearly how grammar is in fact a form of mind control. it clearly follows that weird al is an nwo pawn, btw.

but, let us analyze this carefully. we have three things to take into account.

1) contractions. it's can clearly be used as a contraction for "it is". no argument.
2) plural. generally, when used without an apostrophe, an s at the end of a word means that the idea expressed is one of plurality.
3) possessive. generally, we use apostrophes to indicate possessives.

it follows that, to be consistent across the language, its should mean plural and it's should be used for both the contraction and the possessive. yet, for absolutely no discernible reason other than the arbitrary dictate of some centralized grammar authority somewhere, this convention is shattered for it's/its. i don't know the history, but it almost certainly reduces to somebody's arbitrary opinion on the matter.

i reject all of this as inconsistent with the principles of natural justice, which demand that laws be on a firm, rational basis rather than at the arbitrary dictate of some authoritarian body. with enough push back, we can take back our language as a democratic, dynamic entity and have this changed to something more rational.

so, please join in me in ignoring the irrationality of this particular rule of modern english - and any others you may find.


Luke
What do you have against koalas?

deathtokoalas
it's the cuteness. puts me into a rage just thinking about it...

Mario
whether or not you're being a troll, you make a rather interesting claim. You must be the life of the party, too. Haha take care.

deathtokoalas
well, in some sense, i'm drawing from orwell. but, you don't really need to draw on fiction. you can look at the development of french. the history of repression that has gone into french is very deep and well documented. most people that today speak "proper french" previously spoke a different dialect of latin, such as occitan. these dialects have been viciously repressed through forced schooling in a manner that is every bit as heavy-handed as the forced anglicization of natives in australia and canada. the development of france as a nation-state is inherently connected to the standardization of french as a language.

if you analyze french, you'll immediately realize how ridiculously constructed it is. the gendering is really quite ridiculous, and consider how much deference it provides to authority (specifying between the tu and the vous seems entirely arbitrary, until you realize it's meant to enforce a hierarchy).

linguists will tell you that language is really at the core of how we think. how many philosophical debates reduce to the meaning of a term? and, there's good reason for this, as it's at the core of how we grasp concepts. if the centralized grammar authorities (dare i say grammar nazis) can get you to think in a way that upholds hierarchy and defers you to authority, they're a good ways towards getting you to behave in the way they want.

it's/its may be trivial in that context, and english is not nearly as controlled as french is. but, it's a good place to start in deconstructing the conditioning and questioning the ideas underlying the grammatical rules.

a better example in english is capitalization.

stop and think about what they teach kids in schools. whenever you capitalize a proper name, you're enforcing a hierarchical relationship between people. when a child writes "the president", it's marked as incorrect. it must be The President. for the rest of your life, you will write The President, The Prime Minister, The CEO, etc.

this is so engrained it's not even thought about. but it's a means of enforcing a social order.

Mario Venegas
holy shit. I wish I had that much time on my hands. Well, TIL. Thanks for that wall of awesome information. That's pretty rad stuff. What do you do for a living, if I may ask? You seem very knowledgeable. I apologize in advance, English isn't my first language.

deathtokoalas
let's just say i'm a musician. you can hear my music by clicking my name.

lsm234
You rage against the machine, bro!

deathtokoalas
i'd advise building parallel structures, instead. far more productive.

(evil laugh)

J.D.
Look out we have a rebel here! Mwahaha that was a fragment! that will show the establishment!

deathtokoalas
nonono, rebels necessarily acknowledge the existence of the state and flail hopelessly against it. post-leftists are trying not to do that any more, because there's a recognition that it's just a waste of time. it's a bit elitist, but it's really more realistic. one of the problems is that we don't breed in the first place, so this whole idea of building for future generations is really just empty liberal rhetoric. the focus needs to be on the now. and that's actually getting back to roots; it's a forgotten central aspect of marxism that workers can only live for the present if they stop living for the afterlife. so, the new anti-establishmentarianism rejects rebellion in favour of creative building. there's not much hope that it's going to create systemic change, but it at least allows us to get a feeling of freedom while we're actually still alive. leave the rebellion for the terrorists. gimme an art commune in the mountains, and put your guns away...

Amy 
I think you lost 80% of your audience when you started using multi-syllabic words. Great diatribe, though :)

Chris
Have you heard of Weird Al's parody of "Royals" by Lorde called "Foil". He actually talks about the illuminati and consperacies and what not. Weird Al is not a mastermind of evil, he is a mastermind of parody. And I started to listen to your so called "music" before I had to turn in off because of the LITERAL irritaion it brings to my brain. If you want to become a successful muscian, try less scratching on the chalkboard and more actual musical instruments, like say a piano. I would abadon your music career and go into writing. You are obviusly a better writer than a muscian.

deathtokoalas
there's plenty of pianos in there, but i'm actually a guitarist. there's a few poems, too. i mean, there's 70 some songs up. try the "recent" playlist a few lines down.

that song i have up is a bit of a joke, but it's necessary for another week because i'm putting the songs up in the same order and length as i wrote them, meaning they'll consistently be staggered by about 18.5 years. i'll have you know i was 15 when i jammed that out in 1996. it was my first demo tape....

....and if you appreciate it for what it is, it pulls it off well. but it's not for everyone, admittedly.

Monotremata
the subterranean tremor that being currently engineered is language mash-up : spanglish, frenglish, sprench, germalian, bulgarese, etc. Cityspeak and Newspeak will merge with these into an 'idiomatic singularity' - the corridors of power speaking in code, separating the rulers from the ruled. Doubleplusgut! \m/

rejectfairytales
While I share your view that there is much in thoughtlessly  spoken language that ought to be opposed I think you've made a poor choice in railing against non-use of the apostrophe in this case. If anything I think we should use apostrophes less. I agree with the trend toward using a lone s or es for plurals, eliminating nonstandard plurals eg: plural of squid should be squids not squid ; plural of octopus should be octopuses not octipodes. Just this would make English a lot simpler, which I think is important because as +jnrclerk  points out, language is NOT the be all and end all. Meaning is so much more important so the more we can eliminate arbitrary rules the better.

In terms of improving society I think encouraging brevity would be the best cause. Just think of all the empty verbiage floating around especially in legislative documents, legal documents, and the procedural documents of many companies. I find that most people who use too many words have a similar thing to hide - they are talking bullshit! Of course that isn't always the case but it often is. Leave the koalas alone - I'm just sayin!

deathtokoalas
yeah, the meaning > procedure thing is really the crux of a lot of my grammar anti-authoritarianism. language is spoken first and foremost. writing is important, it's importance cannot be understated, but the purpose of writing something down is to get a meaning across.

i've put it down to focus purely on recording right now, but i've been reading a bit of archaic political literature lately by the likes of richard price and thomas hobbes (the aim is to get in between the historical debate over the french revolution that happened between thomas paine and edmund burke). it's impossible not to notice that the spelling and grammar used in texts before 1900, and especially before 1800, is dramatically different than spelling and grammar used today. yet, when i'm having trouble following something, it has more to do with attitudes that have changed than the difference in writing conventions. that's to say nothing of shakespeare or chaucer who were legitimately writing in a different language. yet, if you let a grammar authoritarian loose on these texts, the result would be ugly. with hobbes, it's just missing the point that language is constantly evolving; with shakespeare, it actually diminishes the artistic expression.

and, it's worthwhile to wonder what somebody will think of reading this very youtube comment in the year 2200, if youtube is still online that far into the future. i'd normally say something like "if we avoid blowing ourselves up", but i suspect that if we do blow ourselves up the internet will keep running without us for quite some time into the future. web pages written in archaic language could be an interesting phenomenon in the not so distant future.

somebody pointed out that this whole thread is sort of funny because my grammar is actually almost spotless. well, most of the rules make sense. i want to go back to the idea of reason being the guiding force, rather than convention. language will shift, but reason will stay mostly static. if we focus on reason rather than convention, we will provide future generations the ability to disassemble our archaic writing; if we focus on convention over reason, we run the risk of becoming incoherent to future audiences.

akkinex
It's is the conjugated form of both 'it is' and 'it has.' FYI

Oh, and this might help to explain why the apostrophe for the possessive 'its' was dropped a couple hundred years ago. From http://www.grammarbook.com/punctuation/apostro.asp

From what we understand, the possessive was also written it’s until a couple of hundred years ago. While we don’t know for certain, it is possible that the apostrophe was dropped in order to parallel possessive personal pronouns like hers, theirs, yours, ours, etc.”

deathtokoalas
hrmmmn. thanks for that.

i've deleted about a dozen posts explaining that the rule applies because "it" is a  "personal pronoun". the people posting thought they were smart, but it's actually a really dumb response that i didn't want to get into. i didn't know that it's was an Officially Correct possessive in the past; in light of that information, your post has made me reconsider.

rather than focus on pronouns, let's look at a concept called a "possessive determiner". consider the following:

this is our house / the house is ours.
that is their house / the house is theirs.
this is your house / the house is yours.
that is her house / the house is hers.
this is it's house / the house is it's.

(it may be a cat, for example)

in each case, the first phrase is using what you may mistake as a pronoun as a "possessive determiner". the second phrase is the possessive pronoun. the s in each case is not due to possession, but due to it being a pronoun rather than an adjective.

wikipedia (i don't have time to go to the library, sorry) lists possessive determiners in english as:

1) my, your, his, her, its, our, their, whose
2) the saxon genitives formed from other nouns, pronouns and noun phrases (one's, everybody's, Mary's, a boy's, the man we saw yesterday's).

you can clearly see from this that its is used in exactly the same way as a general noun possessive is. yet, it inconceivably isn't written that way.

ok.

i had to triple check that and rewrote it a few times, not being somebody that cares a lot about grammar. the only reason my grammar doesn't suck is because i spent my entire childhood in my room reading and i picked it all up through intuition. it's just about what looks right.

but i'm done now. the personal pronoun thing is not correct. so, please stop posting it. i will block you!

John
The current iteration of it's versus its has a very simple explanation to it: The form it's is always a replacement for either it is, or it has. Perhaps this is the whole point. If we used the apostrophe in possessive situations, wouldn't that remove the need for its to exist? That would also mean that it's would not always be a contraction of it is or it has. That could be the very reason for this rule, to keep the two meanings visually, and identifiably separate. For the record, I have no idea how many times I confused myself trying to write this comment. I sincerely hope that this is an acceptable means of emphasis, or at least acceptable in the absence of access to italics? Knowing my luck though, my grammatical discussion is grammatically incorrect somewhere. Blimey, I should have ceased this comment sooner.

Oh come on! Why did that have to be a short cut for strikethrough?! -_-

deathtokoalas
you can get italics by surrounding the word with _. you can bold by surrounding the word with *.

_ italic _ . without the spaces: italic.

i've always understood the difference as being an attempt to separate the meanings in the way you've provided. but, there's virtually no chance anybody is going to get confused. with all the homonyms out there, confusing the contraction with the possessive should be the least of anybody's concerns...

Unofficial winner
It makes us look professional.

deathtokoalas
please. most professionals can barely spell their own names.

it makes you look like a social outcast, or an english professor that can't find a real job.

i was in school a long time. math. physics. programming. law. music. a few other things. i'll admit it was very surprising to me the first time i realized the guy in front of me, who has a phd in an incredibly abstract topic and dozens of published papers, was not able to get his homophones straight. it was just like...

"did he just write there on the board when he meant their? i thought this was a university. give me my money back..."

....but it's so overwhelmingly common in the university classroom that you eventually get used to it.

professionals are interested in the thing(s) that they're studying. you'll run across the odd one that is particular about the grammar, but for the most part they simply don't care.

you've just been lied to by your high school teachers. the truth is nobody cares about your grammar or is going to judge you based on it.

it's not the only thing they lied to you about, either.

"i know she just built a usable prototype for a quantum computer, but she didn't capitalize her proper place names, so how can we hire her?"

it doesn't happen.

people will judge you on your work.
ok, i've got the shape of this done. i didn't do much besides update the guitar font and splice it with a pizzicato string patch, which actually creates a bit of a sitar-sounding effect. but, the sound font update overall is really much better.

i've got it rendered at 8 speeds and will have to pick one. i may upload them all together, which will produce the effect of a single 46 minute track, but i need to determine if this is actually interesting or just pointless. and, i'll do that after i get a few hours of sleep....

this will almost certainly be done for tomorrow.

Wednesday, July 23, 2014

publishing the symphony of psilocybin induced madness (inri046)

so, that means i need to record here that today is the day that inri027 was compiled as a four track ep.

==

the core of this was written in my parent's basement in the spring of 2001. planning on going to a rave that weekend, i had previously purchased a large amount of drugs; i was, however, forced to stay in due to having a calculus test that sunday (the rave was out of town). well, my parents were gone for the weekend, most of my friends were out of town and i had a massive stash of drugs...

it is quite literally a symphony of psilocybin induced madness and was written directly into an ancient, hacked score-writing program. while it has been labelled as a symphony of drunken confusion in certain contexts to get around certain social stigmas, this is inaccurate.

around 2006 or so, i took a course in electronic music design that had a recorded component and pulled the score off of my hard drive with the intent of finally recording it properly. the dx7 i had available to me greatly improved the synth patches, enough that i'm willing to let the track rest that way.

i've included midi files of the original composition, if you'd like to mess with it on your own.

i consider this my second symphony.

written early 2001. reconstructed in the first quarter of 2006, especially over march.  as always, please use headphones.

credits:
j - electric guitars, programming, digital effects & treatments, composition, production.

the rendered electronic orchestras variously include synthesizers, clavinet, kalimba, nylon guitar, acoustic guitar, electric guitar, bass guitar, piano, banjo, electronic drums, pc card, violin, cello, bamboo flute, flute, viola, soprano saxophone, tuba, trumpet, organ and music box.

released may 15, 2001

http://jasonparent.bandcamp.com/album/the-symphony-of-psilocybin-induced-madness

on third thought, i'm probably going to eliminate thru. it hasn't worked out as substantially as i was thinking.

in which case, everything will end up on jjjjjjjjjj, the 2006 version remains authoritative and the long version exists only as cut.

about the only reason i can justify having thru right now is as a sort of a second side. i'll have to see how much material gets generated in the end.
actually, i'm not going to do that, either.

the 5:31 "cut early mix" is about 20 minutes in it's full render. it's kind of unnecessary to have both the 20 and 5:30 version, and i actually like the 5:31 version better. what happens over that last 15 minutes is that the thing slowly unravels. the 5:31 cut-off is optimized to exclude empty space.

i'm going to wait to see how much space is left for thru, and if i have an extra 15 minutes i'll render it and fade it out. but i actually don't expect that. so, i'm going to stop inri027 right there. if i do the fade out for thru, it won't appear on the single.

hey, it's 48 minutes. that's a hefty ep as it is.
yeah, you know, i can't improve on this, really.

the score is for a lot of guitars, a lot of synths, pc card percussion, pc card bass, very electronic sounding drums and something that could be called an orchestra. if i was to redo this, i'd be copying over the previously recorded guitar parts, dumping the percussion and bass out through the old soundblaster (as i did before) and mapping the orchestra to synth patches. so, the only difference would be in the patches, and the piece is saturated enough that nobody will tell the difference.

so, that would be a waste of time, that i'm not going to bother with.

2006 version stands.

i *am* going to create a long render of a very early mix that i found, and it won't take long to get that up.

and that will be the quick conclusion to inri027.

that means the symphony will not appear on thru, but i think i'm going to need the space anyways (because there's going to be an extra choral piece, and a weird punked-up beethoven thing). so that will likely work out.

or i might use the early mix instead. we'll see how that works out.
so, i've already explored this composition in much more depth; i just pulled these four mixes off my hard drive - and that is the totality of inri027.

1) carleton mix, for music 3604 (2006). includes ambient guitar into/outro, entirely live guitars and the symphony partly played through a dx7 and partly through the soundblaster.

written early 2001. reconstructed in the first quarter of 2006, especially over march. this version was finalized on march 30, 2006.



2) divine amoebas mix. in 2004, i lifted the piano part to form the end of an anti-war protest piece i was putting together. it's slowed down to half speed and combined with an 808 going haywire, beethoven samples and backwards guitars.

piano part written in early 2001. this construction is from january, 2004.



4) alt mix. this is also from 2001, but it's a bit mysterious. i don't have a date, just an mp3 from 2007. i'll have to briefly explain.

this is a process piece, like most of the things i worked out through 2001. i initially composed it to repeat in patterns of 9, where each pattern had an extra bar of silence at the end of it. this created a twenty minute piece that spiralled down into nothingness, and became rather sparse at the end. for the final, published version i ended up modifying the patterns of 9 to decrease as the length of the pattern increases. so, if the initial section that repeats in a pattern of 9 had 8 bars of rest then the next pattern with 12 bars of rest would repeat in patterns of 8, and so on down to 3. this had the effect of shortening up the piece by about 50%. beyond that, i then added a piano part and a ridiculous crescendo.

so, this early mix is the initial cycling of 9s across the score. i don't remember why i cut it to 5:30 back in 2007, but i do think it's the perfect cut off point and will stick to it.

written early 2001. this render is from july, 2007.



5) initial soundcard mix. as with all the pieces from 2001 that i'm finishing, this was written in a scorewriter and monitored using the ol' soundblaster. i've got these mixes up because it's interesting to hear what this actually sounded like as i was composing it.

written early 2001. this render is actually from may 13, 2001.
 

that's almost an hour of difficult listening. good luck...

3) is a forthcoming vst mix. i'm not sure if i'm going to try and reintegrate the guitars from the carleton mix into the new vst mix or leave it as is as the final render.

http://jasonparent.bandcamp.com/album/the-symphony-of-psilocybin-induced-madness
there's a bit of a quandry with this track, because a good chunk of the character of it is dependent on the pc card. i mean, it was actually written around the old technology. hrmmn.

i'm going to end up doing some kind of card combination.

Tuesday, July 22, 2014

the symphony of psilocybin induced madness (final mix)

the core of this was written in my parent's basement in the spring of 2001. planning on going to a rave that weekend, i had previously purchased a large amount of drugs; i was, however, forced to stay in due to having a calculus test that sunday (the rave was out of town). well, my parents were gone for the weekend, most of my friends were out of town and i had a massive stash of drugs...

it is quite literally a symphony of psilocybin induced madness and was written directly into an ancient, hacked score-writing program. while it has been labelled as a symphony of drunken confusion in certain contexts to get around certain social stigmas, this is inaccurate.

around 2006 or so, i took a course in electronic music design that had a recorded component and pulled the score off of my hard drive with the intent of finally recording it properly. the dx7 i had available to me greatly improved the synth patches.

written early 2001. reconstructed in the first quarter of 2006, especially over march.

well, i'm not sure i hear the occitan or medieval influence in the tune, but i do like the idea of mixing renaissance music with techno.

i happen to have just completed a track that mixes (english) renaissance guitar (lute) music with warp records style drum 'n' bass:


maybe there's a trend developing there.

Monday, July 21, 2014

publishing the time machine (inri044)

and there it is. inri025.

inri026 is the adventures in guitarland, already completed.

inri027 is my symphony of psilocybin induced madness and is actually finished in it's fully complete form with live guitars. i'm going to construct a vst mix out of it, which will make this a little different than the other tracks as the synths in the full section are from the dx7 in the closet in the music department at carleton university. but, i shouldn't have to actually play any parts, so it should be relatively fast to run through.

===

regarding this piece, my memory is blurry; yet, i have a vivid recollection of playing parts of it for my guitar teacher on a sunny day, where there was still snow on the ground. it's funny how we remember seemingly irrelevant details, but i guess the atmosphere of the performance is important because the performance is. that would date it to roughly march, 2001.

i switched the piece from classical guitar to piano halfway through writing it, and vaguely remember thinking that an impossible interval had something to do with it (a specific c# cannot be hit on a standard classical). yet, that doesn't change the fact that it's guitar music. the counterpoint is very guitar.

to further complicate things, i've long wanted to turn the piece into a jazzy idm romp. it has a kind of a jingly feel to it that belongs in the warp records sphere.

so, what is this? a classical guitar piece? a jazzy piano piece? a techno tune? all of the above! as with other pieces from this period, this is presented here in multiple formats: several rendered midi tracks, live guitar versions, a vst version and a "full band" version.

i have included the original midi file (and sheet music in pdf) as a bonus item in the download, if you want to play with it on your own.

conceptually, the time machine aspect referred simply to the slowed down guitar chords at the beginning of the song. if you play it a certain way, it sounds like time is collapsing in on itself. or, so i thought, anyways. the various versions i have created here have made an attempt to take that idea to it's logical conclusion. it's a mix of the vision i had at the time and a bit of hindsight.

written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. as always, please use headphones.

credits:
j - electric guitar, programming, digital effects & treatments, digital wave editing, loops, production, composition.

the various rendered electronic orchestras include acoustic bass, synth bass, electric bass, brass, orchestra hit, drum machine, electronic drum kit, nylon guitar, electric guitar, synthesizers, synthesizer effects, music box, piano, bells and mellotron.

released march 21, 2001

https://jasonparent.bandcamp.com/album/the-time-machine

the time machine (ambient mix)

this slowed down ambient version is the final piece of inri025, which is now complete.

written in early 2001. drastically rearranged in june, 2014. further remixed over july, 2014. this version of the track was completed on july 21, 2014.

the time machine (electric guitar mix)

the track was originally written for classical guitar, and then switched over to piano because there is a high c# that cannot be reached on very many classical guitars. however, the c# can be reached on an electric, so i've chosen to play it that way instead.

played straight through at a steady 180 bpm, the track is rather boring, so i've interpreted it a little differently for playing purposes. i suppose this is the final interpretation of the track as a solo piece.

written in early 2001. reinterpreted in july, 2014; this version of the track was completed on july 21st, 2014 and adjusted for volume on may 27th, 2015.

change of plans.

i'm not going to play this piece 6 times. the reason is that it's really not that interesting to listen to as a solo piece. played at 360, it's robotic (strike 2). i actually can't play it on a classical at all without ruining the best part of it (strike a third). and it's not interesting enough to film myself playing (strike two more).

i will interpret it as a live guitar piece once and only once, on solo electric, and move on to some more interesting interpretations. i do still want to fuck with the score rather considerably.

so, that will be up here soon.
i'm glad i'm finally awake. i passed out thursday afternoon when i got back from detroit and slept pretty much all of friday, saturday, sunday. it was a compound burnout, the type that is inevitable after so many weeks of 30 hour days. when these burnouts hit, the tiredness is just relentless...

for example: i was able to make it to get groceries on saturday morning, but i was so tired and void of energy that i could barely lift my school bag full of groceries. that's the same school bag of groceries that i normally fill and carry on my back without any effort whatsoever.

i don't think i've been awake more than four hours at a time since. but it's weird because you don't sleep long periods when you burn out like this, either. it's three hours awake, four hours asleep, 2 hours awake, 3 hours asleep, etc.

i'm alert now, though. thankfully. and hopefully for the next 30 hours...

Sunday, July 20, 2014

again, i don't know why those 131 people are subscribed.

the next thing up will be an "expressive" electric version of the track. this should be up quickly.

i'm going to record myself playing it live, too - probably tomorrow afternoon, as that will make some noise. i'm dying my hair tonight, as well.

Saturday, July 19, 2014

the time machine (final mixes)

1) so, i've completed (yet) another track.

a reminder: what i'm doing right now is sorting through a number of scores (these are literally written pieces of music) that i wrote out over 2001 and never got around to converting into listenable music. they've been sitting around, for the most part, because i was hoping i could actually get real life orchestras to play these pieces. delusions of grandeur...

the technology is now accessible and pliable enough that you don't really need real musicians to play a score anymore. i've played most of the guitar sections, but i have to admit that the vst-based samplers that are out there now are quite phenomenal. i actually had to come to the hard realization with this track that i couldn't play the nylon guitar part better than the sequencer, and i was just going to introduce noise to the track by mic-ing myself. now, the nylon guitar part in this piece is very metered - there is no expression in the arpeggiation and the notes need to be directly on the beats. so, on one hand it's not surprising that a machine is able to be a robot better than a person. regardless, as a musician, it's a disturbing feeling to come to terms with.

i retain the right to add my wanky guitar part at the very end, but i don't think it's going to happen. it's better without it.

written in early 2001. drastically rearranged in june, 2014. further constructed, warped and appended to over july, 2014.  



https://www.youtube.com/watch?v=LTXTBZcQK

2) so, this is the final version of this track, with live guitars throughout. i've cut off the end section and placed it in a separate track; the full version in one piece can be found on the single's associated record, jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj.

written in early 2001. drastically rearranged in june, 2014. further constructed, warped and appended to over july, 2014. this version of the track was completed on july 11th, but picked up the end swell on july 19th when it was separated from the full mix.



3) i've added an ambient section to the piece, as i always meant to. the thematic idea behind the time machine actually just comes out of the introductory guitar part, but it was supposed to be further interpreted through a sound collage that creates the impression of floating through space.

written in early 2001. drastically rearranged in june, 2014. further constructed, warped and appended to over july, 2014. this version of the track was completed on july 19th. 

yeah, this is probably coming to a close without those guitar theatrics, after all.

i'm torn between stopping and noodling over the end part and leaning very heavily towards stopping.

it's just that i want to maintain the sombre, reflective quality of the section as an end to the piece, and ultimately a transition into the next track. it does get a little more busy at the end as it fades out, but all i'm going to accomplish by putting an electric guitar in there is to saturate the track.

i haven't decided entirely. i'm going to make some spaghetti and come back. but i think this version is done...

what i did instead is run a guitar through a synthesizer, and then shift it over a few octaves. that makes it sound a little like a trumpet.

Friday, July 18, 2014

i have the cockroach specimen you requested

hi.

i got the roach you asked for. i'll be out tomorrow morning for groceries, but should otherwise be home almost all of the upcoming week.

a few notes.

1) that's the first roach i've seen since the first week of june, and it's also the first roach i've killed on the side of the apartment closest to the door. it was actually right outside the door, in the hallway, and scattered when i turned on the light. so, it got stomped on. that felt good.

2) it is indeed an oriental roach, which is determined primarily by it's dark colour.

3) oriental roaches are seasonal. it's been cool overnight this week. they tend to come inside in the fall. so, i was expecting them and hoping this would be a good test if my barriers were working.

4) the fact that it was stumbling around in the hallway far from a water source does suggest as much, although it also suggests that it may have been scattered in an unexpected direction from it's entry path in the back area by the residual sprays. i'll monitor the situation further, but if i continue to see roaches scattering around on the outside of the apartment, i'm going to request that the back room gets inspected for holes and has steel wool or whatever else put in to patch them up. i can help with looking for holes. the thing is that i can block the holes in the apartment, but i can't block the doorways, so if they're going to be coming in through there then the basement entry points need to also be addressed.

5) for now, i'm cautiously concluding that i've blocked this space off, but that it's only a partial barrier. further, there's really no way for me to guess where it actually came from, so no further leads on holes to patch.

(pause)

i'm sorry, i just want to clarify that when i say

"back room gets inspected for holes"

i mean inspected by you or i or paul or whatever. i'm NOT requesting an exterminator.

those guys tell you lies half the time, anyways. they want to be able to come back repeatedly, otherwise they're out of a job.

j

Thursday, July 17, 2014

suicide is ALWAYS a conscious decision. take a step back away from your self-important worldview and ask yourself: is your perception of somebody else's life more valuable than the person that owns it?

whether the attempt is through overdosing on pills, cutting wrists or anything else, i would consider STOPPING a suicide attempt to be a FUNDAMENTAL INFRINGEMENT OF INDIVIDUAL RIGHTS, and anybody that gets in between somebody and their INHERENT RIGHT to kill themselves should be kicked in the forehead, tarred and feathered and forced to walk through the city with a sign that says "I PREVENTED SOMEBODY FROM CARRYING THROUGH WITH THEIR RIGHT TO DIE.".

if you see somebody trying to die, you should not interfere. life is not sacred. god does not exist. you are in control. don't deify the state in response. deify yourself.