open carry laws are bullshit and shouldn't exist - and i don't care about your constitution, which is about two hundred years out of date. but, regardless, you have to expect that the cops will behave like this. the purpose of the police force is not to keep law and order, it's to protect property. when you live in a country with massive racial correlated inequality, a great deal of what the cops do is uphold it. what you're seeing here is a logical necessity.
http://www.youtube.com/watch?v=BKGZnB41_e4
Saturday, May 16, 2015
this comes off as some kind of cancelled republican propaganda program.
at
21:45
Location:
Windsor, ON, Canada
fucking victoria's day. every year, no matter where you go, there are waves of degenerate idiots that get their jollies off on producing neon flashing lights in the sky. it's annoying because it's loud. why can't they just sit inside and drink themselves stupid while staring at winamp visualizations?
at
21:29
Location:
Windsor, ON, Canada
broadly speaking, he's got the right idea. but i think this is a good example of how you can get lost in something and lose perspective. it's been a plank on the left for a while now to defer to voices within a conflict. and, there's certainly value in ensuring those voices don't get lost. but, if you were to do a survey on global conflicts - that is, look at this empirically - i think you'd find it's more often the case that being outside it allows for a broader perspective.
the blame everything on israel thing is easy, and they're certainly rarely "good guys". but, what's happening here is bigger than israel. he points out that turkey and the gulf states are proxies for nato, and they have their own interests. he's able to see the conflict for what it is, but is lost in the battle on the ground.
the commonality with countries that america has attacked since yugoslavia is that they are all former soviet allies or puppets. it's clear as day when you look at it from a cold war perspective: yugoslavia, afghanistan, libya, syria. egypt and iraq are somewhere in between, but let's not forget the history of the baath party and it's connection to "arab socialism". now, sure, it's a long time ago in some cases. but the key point is that these are not "our guys" in power. and, now ukraine - tomorrow it'll be kazakhstan.
the meta level analysis is that all these conflicts are about prying states away from russian influence at what is perceived in the west as the end of the cold war. russia is defeated. it's time to clean up. israel doesn't play much of a role in that, besides providing for the odd air strike - because it can't. anybody can get involved except israel.
what that does is open up a power vacuum. or, at least, it would if it were a correct analysis. if you're stuck in this hegelian unfolding of history with liberal democracies as the end point, you assume that assad evaporates on contact. then, the power vacuum opens up, and you get these american allies jockeying for influence.
but i also wanted to say something about kosovo, because i think he has the exact wrong idea with that. kosovo happened when the west was hooking up to the internet, which broke the state's media monopoly and allowed for a wider cross-section of news to get out. as a young person at the time, i remember the war against serbia as the moment that i stopped trusting the state. i had access to that information. my parents didn't, and didn't quite understand; they thought i was reading pravda or something. but, there's no turning back from that point. and, i think that story is widely shared.
iraq produced a massive backlash. that required a shift in approach. the american-backed wars of the future are going to look like the funding of the contras or the mujahideen in afghanistan - or indeed of isis in the levant. secret wars. wars beyond critique.
that's of course what happened after vietnam, but that neo-con clique thought it had an answer. that failed to generate the support they were hoping for. so, it's back to the cia ops.
and, that's why it's useful to get that outside perspective. standing from where i am, all i see is a lot of co-option by state interests.
http://www.youtube.com/watch?v=wEX05-7IGaA
the blame everything on israel thing is easy, and they're certainly rarely "good guys". but, what's happening here is bigger than israel. he points out that turkey and the gulf states are proxies for nato, and they have their own interests. he's able to see the conflict for what it is, but is lost in the battle on the ground.
the commonality with countries that america has attacked since yugoslavia is that they are all former soviet allies or puppets. it's clear as day when you look at it from a cold war perspective: yugoslavia, afghanistan, libya, syria. egypt and iraq are somewhere in between, but let's not forget the history of the baath party and it's connection to "arab socialism". now, sure, it's a long time ago in some cases. but the key point is that these are not "our guys" in power. and, now ukraine - tomorrow it'll be kazakhstan.
the meta level analysis is that all these conflicts are about prying states away from russian influence at what is perceived in the west as the end of the cold war. russia is defeated. it's time to clean up. israel doesn't play much of a role in that, besides providing for the odd air strike - because it can't. anybody can get involved except israel.
what that does is open up a power vacuum. or, at least, it would if it were a correct analysis. if you're stuck in this hegelian unfolding of history with liberal democracies as the end point, you assume that assad evaporates on contact. then, the power vacuum opens up, and you get these american allies jockeying for influence.
but i also wanted to say something about kosovo, because i think he has the exact wrong idea with that. kosovo happened when the west was hooking up to the internet, which broke the state's media monopoly and allowed for a wider cross-section of news to get out. as a young person at the time, i remember the war against serbia as the moment that i stopped trusting the state. i had access to that information. my parents didn't, and didn't quite understand; they thought i was reading pravda or something. but, there's no turning back from that point. and, i think that story is widely shared.
iraq produced a massive backlash. that required a shift in approach. the american-backed wars of the future are going to look like the funding of the contras or the mujahideen in afghanistan - or indeed of isis in the levant. secret wars. wars beyond critique.
that's of course what happened after vietnam, but that neo-con clique thought it had an answer. that failed to generate the support they were hoping for. so, it's back to the cia ops.
and, that's why it's useful to get that outside perspective. standing from where i am, all i see is a lot of co-option by state interests.
http://www.youtube.com/watch?v=wEX05-7IGaA
at
21:18
Location:
Windsor, ON, Canada
publishing refractions (inri065)
inri046.
the just uploaded ambient mix is track 11. you might want to sit down for this, it's something else.
--
some time in late 2002, sean sent me a message over msn or icq requesting that we begin a song based on looped birds chirping. i thought his idea was kind of cliched, but i took to working around his suggestions by converting them into something more musically expressive. i didn't want to write a song that literally climaxes around birds chirping, but i was willing to write something tonal that evoked the feeling of birds chirping.
at the time, i had my sister's electronic piano downstairs. she had a miniature grand upstairs. it was initially written on the keyboard with a very strange timing, which the scorewriter had difficulties capturing - partly because i was inconsistent in performing it. the piece was greatly simplified as it was arranged.
however, i believe the piece sat for a long time before the second section was added to it.
sean and i didn't talk much over the next few months, and the truth is that i just never brought this piece up to him. by the time it was finished, i had firmly placed it in my successor project, the trivial group. it was initially dedicated to sean as a part of the going away disc, but that's really as close as this ever got to being a rabit tune.
i don't have clear memories around composing it, although circumstantial evidence makes it very likely that this happened in the late winter and early spring of 2003. i vaguely recall playing it on the grand upstairs, which could have only happened after sarah moved home to the outer suburbs to get ready for the trip. this was around march. i do remember recording the guitar parts and percussion parts, and am convinced this was in the spring due to memories of the spring sun hitting the bowls. the april 25th date may be a little late, but i have every reason to believe that this was not finished until after exams that year.
the percussion sections in the track are notable. the metallic sounds were created by smashing cutlery into a metal bowl, whereas the woody sounds were created by "playing" a pen on a desk. the track also includes hand claps.
these percussion parts were not notated until 2015. this was a careful, lengthy process that required a lot of careful listening, and a bit of napkin math. notating the percussion allowed for a more comprehensive exploration of the track over midi.
this is sequenced for indefinite looping.
i've included the midi files of the original composition, if you'd like to mess with it on your own.
written and recorded in early 2003. transcribed, slightly rearranged, remixed repeatedly and re-rendered repeatedly over may, 2015. all renders finalized on may 16, 2015. as always, please use headphones.
credits:
j - guitars, effects, bass, synth, voice, bowls, claps, tables, ebow, orchestral sequencing, drum & other programming, loops, digital wave editing, composition, production.
the various rendered electronic orchestras include synth pad, synth bass, synthesizer, mellotron, fingered bass guitar, picked electric guitar, bowed electric guitar, guitar noises (fret noises, knocks, pick scrapes), violin, viola, contrabass, cello, string section, piano, celesta, xylophone, marimba, vibraphone, glockenspiel, tubular bells, woodblock, mallet, electronic drum kit, jazz drum kit, orchestral drum kit and choir.
released april 25, 2003
https://jasonparent.bandcamp.com/album/refractions
the just uploaded ambient mix is track 11. you might want to sit down for this, it's something else.
--
some time in late 2002, sean sent me a message over msn or icq requesting that we begin a song based on looped birds chirping. i thought his idea was kind of cliched, but i took to working around his suggestions by converting them into something more musically expressive. i didn't want to write a song that literally climaxes around birds chirping, but i was willing to write something tonal that evoked the feeling of birds chirping.
at the time, i had my sister's electronic piano downstairs. she had a miniature grand upstairs. it was initially written on the keyboard with a very strange timing, which the scorewriter had difficulties capturing - partly because i was inconsistent in performing it. the piece was greatly simplified as it was arranged.
however, i believe the piece sat for a long time before the second section was added to it.
sean and i didn't talk much over the next few months, and the truth is that i just never brought this piece up to him. by the time it was finished, i had firmly placed it in my successor project, the trivial group. it was initially dedicated to sean as a part of the going away disc, but that's really as close as this ever got to being a rabit tune.
i don't have clear memories around composing it, although circumstantial evidence makes it very likely that this happened in the late winter and early spring of 2003. i vaguely recall playing it on the grand upstairs, which could have only happened after sarah moved home to the outer suburbs to get ready for the trip. this was around march. i do remember recording the guitar parts and percussion parts, and am convinced this was in the spring due to memories of the spring sun hitting the bowls. the april 25th date may be a little late, but i have every reason to believe that this was not finished until after exams that year.
the percussion sections in the track are notable. the metallic sounds were created by smashing cutlery into a metal bowl, whereas the woody sounds were created by "playing" a pen on a desk. the track also includes hand claps.
these percussion parts were not notated until 2015. this was a careful, lengthy process that required a lot of careful listening, and a bit of napkin math. notating the percussion allowed for a more comprehensive exploration of the track over midi.
this is sequenced for indefinite looping.
i've included the midi files of the original composition, if you'd like to mess with it on your own.
written and recorded in early 2003. transcribed, slightly rearranged, remixed repeatedly and re-rendered repeatedly over may, 2015. all renders finalized on may 16, 2015. as always, please use headphones.
credits:
j - guitars, effects, bass, synth, voice, bowls, claps, tables, ebow, orchestral sequencing, drum & other programming, loops, digital wave editing, composition, production.
the various rendered electronic orchestras include synth pad, synth bass, synthesizer, mellotron, fingered bass guitar, picked electric guitar, bowed electric guitar, guitar noises (fret noises, knocks, pick scrapes), violin, viola, contrabass, cello, string section, piano, celesta, xylophone, marimba, vibraphone, glockenspiel, tubular bells, woodblock, mallet, electronic drum kit, jazz drum kit, orchestral drum kit and choir.
released april 25, 2003
https://jasonparent.bandcamp.com/album/refractions
at
06:21
Location:
Windsor, ON, Canada
reflections (ambient mix)
i wanted a longer version, but i went a little overboard on the ambient mix, and got a twenty-five minute head cave that sounds like the climax to a sentimental film.
there's a level of randomness to the mix, so i need to listen to a few different renders. as it's 25 minutes, that's a lengthy process. but it will be up before the sun is.
and that closes the period. i just need to go over the last 25 records i finished to try and separate out compilation material.
--
this is the ambient mix, created by slowing the track down, running it through some cut/paste algorithms and putting it through an array of arpeggiators and delay effects.
render from may 16, 2015.
https://jasonparent.bandcamp.com/track/reflections-ambient-mix
there's a level of randomness to the mix, so i need to listen to a few different renders. as it's 25 minutes, that's a lengthy process. but it will be up before the sun is.
and that closes the period. i just need to go over the last 25 records i finished to try and separate out compilation material.
--
this is the ambient mix, created by slowing the track down, running it through some cut/paste algorithms and putting it through an array of arpeggiators and delay effects.
render from may 16, 2015.
https://jasonparent.bandcamp.com/track/reflections-ambient-mix
at
04:58
Location:
Windsor, ON, Canada
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