Monday, May 17, 2021
hey, listen - i think that eventual contact with extra-terrestrial life is quite likely, and i consider aliens to be a naturalistic explanation, rather than a supernatural one. that's my position, and we can debate that if you like, but you know i get irked by the strawmen, and the smugness when attached to positions that are actually not that bright.
and, i actually think most physicists would have a general agreement with these statements, rather than a disagreement.
but, if you ever hear some smug physicist start writing off aliens, ask them about dark matter.
today's post is the dvd box set for the 5th record.
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purchasing this release comes with the immediate download of the release that you linked to it off of. be sure you make the right choice.
inri038: written and recorded, 1999-2001. track 3 was reconstructed out of existing sound in june, 2004. initially sequenced on jan 12, 2014. expanded with remixes from 2014-2017, re-released with a newly remastered lead version and subsequently finalized on oct 5, 2017.
inri043: written late 2000 & early 2001. the renders present here are all from after 2013. minor instrumentation changes to facilitate a small wind section were implemented in late april, 2014. live guitars were layered into the final version over may, 2014. released in a single volume on june 7, 2014. four new orchestral mixes were added in late may, 2015. re-released in a single volume on may 26, 2017. this release was split into jazz and orchestral volumes in early oct, 2017. two renders were then added to the jazz volume, while three new mixes were created for the orchestral volume. re-released in two volumes and finalized on oct 12, 2017. a
inri044: written early 2001. drastically rearranged in june, 2014. rendered, arranged and performed over june and july, 2014. released on july 21, 2014. six new mixes were added in late may, 2015. re-released on may 28, 2015. four new mixes were added in mid october, 2017. re-released & put on indefinite hold as to status on oct 15, 2017.
inri045: recorded in the first part of 2001. initially released as a bandcamp upload in august, 2010. re-released on january 18, 2014. finalized on oct 14, 2017.
inri046: written in the spring of 2001. lent out for a different project in jan, 2004. reconstructed in the first quarter of 2006, especially over march. released as a one track single on april 1, 2006. expanded with alternate mixes and re-released on july 23, 2014. the vst mix was added on jan 10, 2015 and the two guitar mixes were added on may 29, 2015. re-released on may 29, 2015. finalized as symph005 on oct 15, 2017.
inri047: written one day in june, 1998. re-created on another day in june, 1999. reimagined on yet another day in june, 2001. a failed remaster occurred at the end of 2013. slightly rearranged and re-rendered at the end of july, 2014. released in a single volume on july 25, 2014. re-released in a single volume with a new string orchestra mix on may 30, 2015. this release was split into two cds on oct 15, 2017, with the first disc being composed solely of the process piece. four new tracks were added to the second disc. re-released in two volumes and finalized on oct 16, 2017.
inri050: written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. released oct 3, 2014. the string mix was corrected for clicks on june 1, 2015, but unfortunately left accidentally inverted. this was corrected on oct 21, 2017. the lead track was re-rendered with the clickless string mix on oct 21, 2017. disc finalized on oct 21, 2017.
inri052: tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and rendered in 2014. tracks 1-7 were sequenced on sept 9, 2014. final completion date is oct 3, 2014. refinalized as lp011 on oct 22, 2017. this is my fifth official record.
originally created from 1999-2001. this compilation is dated to dec 15, 2001. slowly remastered, reconstituted, compiled, reconstructed, released and finalized from 2013-2017. compilation finalized on oct 23, 2017. as always, please use headphones.
released december 15, 2001
j - electric & acoustic & classical guitars, ebow, effects, bass, synthesizers, electric piano, organ, orchestral & other sequencing, drum & other programming, vocals, vocoders, sound design, sampling, digital effects & treatments, digital wave editing, loops, composition, production
the rendered electronic orchestras variously include piano, acoustic bass, electric bass, synth bass, upright bass, distorted electric guitar, clean electric guitar, other guitar effects, steel string acoustic guitar, nylon string classical guitar, harp, sitar, banjo, violin, viola, cello, contrabass, pizzicato strings, mellotron, french horn, trumpet, trombone, tuba, soprano saxophone, generalized brass section, oboe, english horn, bassoon, synthesizers, synthesizer effects, synth pads, clarinet, flute, piccolo, bamboo flute, xylophone, glockenspiel, vibraphone, music box, clavinet, kalimba, detuned piano, woodblock, tubular bells, bells, orchestra hit, jazz drum kit, hand drums, melodic toms, orchestral drum kit, hammered percussion, marimba, taiko drum, synthetic percussion, drum machine, pc card and electronic drum kit. they also include choir.
Sunday, May 16, 2021
no, listen. it's important that we get this right - because the world has a history of getting this wrong, and what happens when the world gets this wrong tends to be rather terrible, if continually repeatable. specifically, let's make sure we understand who the bad guys are here, let's make sure that we're not scapegoating, let's make sure that we get it - and not repeat the mistakes of those that didn't.
israel is roughly the size of new jersey and has population demographics roughly the size of it as well, meaning it would be the sixth smallest state in the union, if it were a part of the union, which it functionally is. and, i believe that that calculation includes the west bank. while it has a capable military and relative technological superiority that gives it substantive power in the region, it is nonetheless a relatively small country (slightly larger than slovakia, and slightly smaller than el salvador.) with relatively limited influence outside of it's immediate scope. it has no allies in the region, and few allies out of it.
the united states remains the global hegemon, with unrivalled global military dominance, including unmatched air supremacy. it remains at the top of the hierarchy of all of the global dominant military, economic, financial, intelligence-sharing and cultural institutions, as it designed the world to exist after the second world war - institutions that, as it happens to be, do not include israel as a member state, but rather as a distant second-rate also-ally.
these are merely the facts: the united states runs the world, and israel isn't even invited.
so, what exactly does it mean to suggest that the united states needs to stand up to israel? what do those words mean? it's a conspiracy theory, and it exists outside of any remote concept of reality.
and, so this is what we have in front of us with this conflict - neither side exists in reality, bases it's arguments around reality or references reality when it analyzes the situation, or presents solutions to it. that is where we are with this, and it's exceedingly dangerous.
bernie is closer to reality when he points to the massive american military subsidies that israel requires to exist, but he states it without the necessary context, namely the importance of the hegemonic power having a dominant military presence in the oil-producing regions, and the importance of keeping the groups indigenous to the region in constant conflict with each other, to prevent them from utilizing that wealth to challenge the hegemonic power's hegemony.
but, if you really want to actually understand this, you need to read bernie's source, which is chomsky. chomsky will tell you the truth, which is that israel will not act outside of the hegemon's control - and that it constantly, always, seeks approval before it strikes. something like what we're seeing in gaza today could not and cannot happen without biden signing off on it, first.
there's a naive reading to this, which is that this person is just a kid and she doesn't understand what she's saying, and i'm still leaning in that direction, which should be obvious. but, such an analysis has an expiry date, and there are plenty of signals that it should be retired, in this case for a much more sinister reading: which is that she's being sent out to blur the narrative, in a very historically predictable way.
i don't quote the ayatollah often, but remember - israel is merely the little satan. the great satan is the president of the united states.
and, we need to understand the balance of power as a first step if we want to do anything about this - and stop pretending that america gets it's orders from israel. it's absurd.
the irony is that the only real solution is carbon transition, and this won't end until we get off oil - if the palestinians don't merely get wiped out, first.
so, i just pasted my first chart into the document and it immediately became apparent that i can't convert this to 5x8. i flipped it over from 8.5x11 to 11x8.5 and that didn't make sense, either. the width of 8.5 should be fine, in the end, but i may have to extend the length. i'm not going to, yet.
that means these documents may appear crowded for a while.
i actually want to pick this up.
ok, so i got up to the end of august done, which means i'm just about at the linkage point and it's time to stop to eat....yesterday's breakfast. yeah.
i knew when i designed this meal that i wouldn't eat every day, but at least i'm eating a lot better. and, if i'm back to longer days, maybe it'll matter a lot less.
...and inri052 is my fifth record, finally sequenced as it is here for the first time in 2014, from material written over 2000-2001.
everything on the record was previously posted within inri043-inri048 & inri050, with 'stress' initially appearing on inri038 (as an alternate version of that recording), in addition to inri048 (which is why it was recorded, in this form). so, in hindsight, thanks to jon for convincing me to make that recording, even if it wasn't how he intended it to be. but, these versions are the most final, complete versions from each of those recordings, sequenced together into a traditional rock-era "lp" that comes in around 80 minutes, the length of a cd - or two vinyls.
i mention that because the thing splits at about 40 minutes, roughly. the first forty minutes are mostly abstract jazz, and songs that cam be cleanly separated into each other; the last forty minutes is dominated by scored sequencer parts, and runs into itself as a giant piece of twisted electronic music.
there are some aleph discs to follow, and then we shift into 2002, which was dominated by rabit is wolf, and eventually culminates in the sequel to this record, at the end of the year.
=======
this is a full record of material documenting tracks written in 2001 that were in a more "serious" style and completed from 2001-2014.
the intent with the core of the material (1,3,6,7,8) was for it to be performed by live musicians one day. in early 2014, i came to the conclusion that this was not going to ever happen and was pleasantly surprised to learn that the technology had improved enough for a realistic presentation of the material using sequencers. these versions of (1,3,6) also include live guitars.
tracks 2 and 5 were salvaged from an aborted project meant to reinterpret classical guitar music as modern noise. the project was permanently aborted due to the loss of the sheet music that was necessary to finish it.
track 4 is an electric folk tune with heavy counterpoint that i was playing live as a party trick at the time.
the ordering is roughly chronological, based on the date the track took the form it exists in. tracks 1, 3 and 8 were written in 2001 and reinterpreted and completed in 2014. tracks 2 and 5 were interpreted and completed in 2001. track 4 was written in 2000 and reinterpreted and recorded in 2001. track 6 was written in 2001 and completed in 2006. track 7 was written in 1998, reinterpreted in 2001 and... more
released december 1, 2001
j - electric piano, programming, classical & acoustic & electric guitars, ebow, digital & analog effects & treatments, organ, synthesizers, sound design, sampling, vocals, digital wave editing, loops, production, composition.
the various rendered electronic orchestras include acoustic bass, electric bass, synth bass, distorted electric guitar, clean electric guitar, steel string acoustic guitar, nylon guitar, trumpet, trombone, brass ensemble, orchestra hit, violin, cello, viola, contrabass, piano, synthesizers, mellotron, organ, bamboo flute, clarinet, flute, voice, music box, bells, clavinet, kalimba, drum kit, hand drums, drum machines and electronic drums.
Saturday, May 15, 2021
i actually don't have much criticism around the idea of israel taking out senior members of hamas, even if i'll agree that it's likely futile. if the israelis were to change their tactics from indiscriminate saturation bombings to targeted killings of terrorists, i wouldn't have a lot left to say about it.
but, i mean, everybody that is aware of what's happening on the ground knows that what they're doing is a genocide in slow motion, and that that kind of projection is delusional in character.
i'd be happy to see them prove me wrong, though.
again: i oppose lockdown measures. but, i'm not sure the anti-lockdown groups are really the kind of temporary allies i'm looking for. and, i don't know what the point of protesting in the park is.
it reflects this kind of enslaved attitude, as these people seem to require some kind of validation or something. no, really - that's what it has to be about.
if you don't want to wear a mask, don't wear one. i don't. the rules are far less strict than you think, and they only exist because people are passively allowing for it. if you really want to oppose the mask laws, then just go about your life without one.
likewise, if you want to throw a party, then throw one - although i'd advise taking specific precautions to avoid getting raided.
this isn't a collective issue, where we need to get together to pressure our governments to act, it's a question of individual choice. and, the way to undo the tyranny is not through a protest movement, but by just discarding the authority of the state as overreaching it's constitutional bounds.
so, it brings up questions about what their motives really are, and whether or not what you're seeing is really what are fairly shady groups with pretty bad politics essentially trying to take advantage of the scenario. we're living in a dark point of history, where the left has essentially abandoned science under the force of immense statist brainwashing, so what i would like to see - the left taking advantage of the crisis to build solidarity - has essentially been co-opted by the right, who at least seem to see the potential value of the moment. so, in a sense, i have to applaud the right for actually doing what the left should be doing, and this is just the latest example in a kind of trend of that occurring. but, it doesn't make these groups any more appealing.
i know this is a lonely time, but it's better to stay away from these kinds of groups than think you can co-opt them. they're more likely to get to you than you are to get to them.
so, that's my advice - protesting is the wrong tactic, here, because this isn't about the collective will, it's about personal choice; it's a social issue, it's not a political issue. and, you don't need anybody's approval or validation, in life. just go out and do what you want.
hey, we spent some time a little earlier setting up my maxxed out windows 98 pc, on a psb-f from 1998 that i got for christmas in 1999. i've had to swap out everything except the board, power supply and case, but it still runs.
i have a 64-bit pc in a box that i haven't built yet and really need to soon....
...but, i fully expect that this 32-bit machine will last another 10 years, at least.
so, i'm pretty sure about the known good gb of ram in the suspected bad slot - that's been stable.
i'm going to try a second gb of suspected good ram in parallel, to close off the first two slots.
this board can take 8 gb of ram, but it's running a 32-bit os (and will continue to do so for the foreseeable future), so i put 4x1 gb sticks of gold-plated ocz in there, but i built it in 2007, so it's getting a little bit old.
i've had to rescue it several times, and i've put a bd-r in it and swapped a few things around, but i've only ever had to replace one of the four hard drives in the machine over the last fourteen years. that's it. so, let's hope the ram is fine, after all.
i tend to like the stuff that's less pompous, and more focused on songwriting, in whatever abstraction - or more psychedelic. so, i like genesis, crimson, floyd - although i actually prefer oldfield, or tangerine dream, to the bulk of it.
i tend not to like the geekier or more randian stuff, like rush or elp or zeppelin.
and, when you bring the macho poseurism or show-offism that is more indicative of metal than prog in, i just tune out altogether. so, i just can't get into stuff like dream theatre or slayer for that reason, although the major problem with later dream theatre is less that it's too metal and more that the singer just ruins it. there's a short time window of dream theatre stuff that i've found instrumental japanese imports of, that i can actually get into.
so, i made fun of him for listening to hair metal, too. i didn't just take that shit.
i think i got him a little into tortoise, which is the kind of thing he ought to have liked, although he seemed to prefer mcentire's work with the sea and cake, and i know he enjoyed tool when given the opportunity to, as well.
but, i never saw him play. not even once. rather, it was myself that ended up playing these kits that were always sitting around...
where did i learn about sound recording?
...and he would constantly reference it in making fun of me for recording by myself, something that shows up here and there, tongue-in-cheek, if you look for it.
i have taken a handful of courses both in high school and at carleton, but i don't think it helped much, and both were after i'd been recording for years. the actual truth is that my dad was a useful resource, here.
i actually wish he'd have written some kind of biography, so i could order his own life a little better; i wasn't born yet when he was in his early 20s, and he seemed to view that period of his life as something to take a bit of a step away from. but, what i was able to piece together is that he spent some time in the late 70s as a drummer and sound engineer, mostly dealing with local metal bands in and around ottawa.
now, he was a prog guy - his drum heroes were like terry bozio, bill bruford, phil collins, neil peart, that kind of thing. he was a big mike portnoy fan later in life. and, he had this kind of zappaesque disdain for punk rock as overly simplistic, although i think i was able to help him understand a little later on that the point of punk was political rather than musical. it was actually on his suggestion that i check out the dead kennedys, after i brought home a new offspring record, at the age of 13 - although he then made fun of me for listening to it.
i think this fundamentally warped his concept of punk rock for life:
but, he wasn't exactly an expert or a working musician, either - he often insisted on owning a drum kit, but i never saw him actually play it, so i can't offer any kind of informed opinion about what he could actually do on it. i saw him noodle around on a bass a few times, and it was clear to me (as a seasoned guitarist, even at age 15) that he had no idea what he was doing. but, he fancied himself a drummer in his mind, anyways - and those were the musicians he followed, drummers in prog bands.
but, it was enough to get me started, and that's really the most important thing, right? my concepts about microphones, about room acoustics, about equalization, about recording gear and even about guitar effects are rooted primarily in questions i asked in my mid to early teens, and while i know today that he was actually even flat out wrong about a number of things, that starting point was really invaluable.
......but, only up to a point.
i'm not a digital native, but i'm the very last gen xer and i had a computer with (dial-up) internet access in my bedroom before i turned 17. so, i'm not a digital native, i had a learning curve, but i'm just about at the end of the cusp of it - there are no doubt even people my age that would consider themselves digital natives. so, i was able to take these basic things i learned from my dad, and this glossary of language i understood, and just yahoo search it. this was before google, actually.
i toyed with going to school to be a sound engineer, and in hindsight i sort of wish i did, but my dad's apprehension about that period in his own life meant he wasn't going to pay for it, and the student loan system in ontario wouldn't cover it. these were expensive programs, too - $10,000/yr on base tuition, compared to around $1,500/yr at the local university (this was still the late 90s). so, i ended up stumbling through a math degree, instead, just due to the realities around me...
i don't think i'd have ended up working in a studio, though. i fundamentally can't deal with other people, and it sort of doesn't matter what my education is or might have been - i would have run up against this same brick wall of social awkwardness, regardless. it took me a long time to kind of figure that out. i would have enjoyed it a lot more, though, and i would have no doubt walked down a very different path and had a very different journey, even if i ended up in the same place, in the end. and, we're all dead, in the long run.
but, as a path, that's not something that was available to me, due to finances and the sort of societal perspective that it's not a vocation of much actual value. i was born poor and raised poor and found myself middle class due to marriages in my middle to late teens; regardless of where i started, the government will send poor kids to school to be doctors or lawyers or professors, but they won't send them to school to be sound engineers. you need substantive capital to invest up front if you really want to do that, and it just wasn't available to me.
so, i often sound like i have a fancy sound design degree, but i actually don't - what i actually have is a math degree, although i studied physics for a while, i took a handful of sound design courses and i went deep into the computer science and law programs, too. it's more that i grew up around gear, and learned about it by actually using it, and by asking functional questions, as a child does, to my dad, who owned the bulk of it.
inri051 starts yet another new project, the political noise project fuel true anarchy in the americas (stylized as the ftaa). this is just a minor tease of a few short experiments i was toying with over the fall of 2001, as reaction to the event that occurred at the time. while the concept only develops about 70% of the way, a record is constructed in 2004 out of odds and ends pulled from other projects. a second record is constructed in 2017 called spoke that finishes the thought properly.
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i don't have an exact date for these files, so i'm picking november 11th. as others were, i was concerned about the president abolishing the magna carta after 9/11 and congress doing little more than helping him do it. however, this was meant to be a more encompassing project that combined harsh noise with political sampling that was pushing an anarchist agenda. the name of the project (ftaa) was chosen as a pun - it could either be the free trade agreement of the americas or about fueling true anarchy in the americas. i ended up dropping the sampling aspect and just focusing on the noise for the project's completion (inri079 ), so i'm going to upload these two pilot tracks (with the sampling in tact) as an introductory single and place them in this more topical chronological space.
in hindsight, i think there's something profound about juxtaposing the fair trade movement with the 9/11 attacks as, looking back, it really sucked the life out of the movement.
created in the fall of 2001. sequenced and released on sept 7, 2014. disc finalized on oct 22, 2017. as always, please use headphones.
these tracks appear without samples on my seventh record, ftaa (inri079): jasonparent.bandcamp.com/album/ftaa
they also now appear, with samples, on the spoke compilation (inri067): jasonparent.bandcamp.com/album/spoke
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2014, 2017).
released november 11, 2001
j - noise generators, cool edit, sequencers, guitars (electric, nylon, acoustic), mandolin, effects & processing, digital wave editing, sampling, production
Friday, May 14, 2021
so, what happened?
i don't know. google hasn't communicated with me, yet. but, as before,
1) google told me what it did.
2) google reacted when i pushed back.
i suppose that it could be some kind of ploy to lead me down a path, but all evidence suggests google is on my side, here - even if it ends up being pontius-like, in the end.
rather, it seems like somebody else other than google is coming here, getting upset and flagging posts, and it is simply unclear at this point whether this is law enforcement or just some random moron that i don't care about, and have no interest in the opinion of.
whomever you are, get this through your head - i don't care what you think. i don't care whether you're offended. and, i have no intention of being silenced by you. go away....
but, tell me who you are - because as far as i'm concerned, you're a fucking coward. you sit there and hide behind your computer and tattle on me because i said some bad words. it's juvenile.
your opinion is of no concern to me, and of no consequence to anybody.
grow up. fuck off. go away.
and, feel free to kill yourself while you're at it.
the way the system is designed is that any fucking retard can make any stupid accusation they want, and the system reacts first and then investigates after. and, then there's no consequences of making a false report.
that needs to change - people need to be held responsible for harassing people like this.
this is what they sent in order to justify their deletion of the item:
Hello,
As you may know, our Community Guidelines
(https://blogger.com/go/contentpolicy) describe the boundaries for what we
allow-- and don't allow-- on Blogger. Your post titled "" was flagged to us
for review. We have determined that it violates our guidelines and deleted
the post, previously at
http://dsdfghghfsdflgkfgkja.blogspot.com/2021/05/this-is-obviously-utter-nonsense-so-i.html.
Why was your blog post deleted?
Your content has violated our Malware and Viruses policy. Please visit
our Community Guidelines page linked in this email to learn more.
We encourage you to review the full content of your blog posts to make
sure they are in line with our standards as additional violations could
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=====
so, that's completely ridiculous, and this is just google trying to shut me down, plain and simple.
i've been telling you for years that the intelligence agencies are keying in on me.
i suppose the truth is that i must have posted something that upset somebody in power, somewhere, and they tagged me as a hacker in retaliation.
but, what i need to do is cycle this machine and see if it makes a different.
earlier study: antibodies are only observed after a single dose of vaccine if a previous infection already occurred. so, you’re probably only immune after one dose if you were already immune anyways.
current study: more antibodies are produced by delaying the second dose than by sequencing the two doses in the manner that the science suggested would be most effective. so, the science was all wrong and the government got it right, after all. gee. how ‘bout that.
so, what’s the conclusion if you put these things together? is it:
1) you should wait longer between doses because your body reacts more aggressively if the doses are spaced in greater temporal distances, via some unknown mechanism that defies both reason and common sense or
2) people that wait longer between doses are more likely to catch the virus while they’re waiting, thereby stimulating the natural immunity that appears to be the most effective strategy in building immunity to any particular strain?
the media, no doubt via government prompting that is trying to justify the approach it was forced to take due to low supply, says (1). i might suggest that (2) is a far better hypothesis.
i’m not trying to argue that vaccination is pointless – i advise vaccinating yourself if you’re at risk. but, this is the time of year when flu shots stop working, and this first dirty run through a covid vaccine should be expected to be less effective than booster shots in future years will be.
and, from what i can see, the science is clear enough – while getting vaccinated is at worst probably a harmless placebo, chances are that you’re going to beat the initial collection of strains on your own, even if you do get vaccinated.
so, i’ll hold out a little longer, thanks.
greyhound is done in canada, which is going to be annoying in the short run but might work out in the long run.
the greyhound station in downtown windsor is also the city’s main bus station, including the start and stop point for the tunnel bus. i’d guess the city will have to buy it, but i doubt it wants to shell out the cash. i wonder if it can even just seize it.
the context is a little broader than the pandemic, though. ontario has recently announced plans to allow for competition in the intercity bus market (greyhound previously enjoyed a near monopoly), which is the kind of inefficient competition in the face of a natural monopoly that just leads to market failure – there’s simply not enough of an intercity bus market to allow for meaningful competition, nor would it be desirable to have competition in bus services, so you’re going to end up with ten unprofitable firms operating routes at 30% capacity, rather than one profitable firm operating at 80% capacity. it’s a typically economically illiterate decision by a typically economically illiterate provincial conservative party, but this one doesn’t even seem to be driven by corruption, as so many of them are – this is just dumb, flat out. this is what happens when you elect people that are driven by a backwards, irrational economic ideology that operates outside of empirical bounds. there may be a price drop in the short run for certain routes, if you can find a route at all, but it’s not going to be sustainable, and more likely is that most routes just won’t operate at all, because they’re just not profitable to operate. that’s the point of having the monopoly. so, in the end, we’re going to need to re-establish a monopoly with government subsidies if we want intercity public transport at all and this experiment with the inefficiency of markets in a natural monopoly will need to be undone. this is especially regressive in the face of the need to focus on less wasteful forms of transportation in the face of imminent catastrophic climate change. and, here in windsor, we might end up cut off from the rest of canada until the train gets extended here, and that could be upwards of ten or even twenty years.
it’s going to dramatically increase our reliance on detroit.
and, i’m probably going to need to get used to hitching if i want to get to toronto – including to appear in court.
thanks doug.
an epic battle between the oceans and the vortex would be an interesting sound art project, wouldn’t it?
i’m closing my discography off in 2013, under the assumption that i‘ll be lucky to even get there, but what happens if i do? i should really go over all of this writing, in fact starting earlier than that, and start pulling out ideas to convert into sound art projects, and then date those properly.
in the end, my post-2013 sound art might be a soundtrack to this blog.
i had to crash this morning, but that was a more normal amount of sleep for me after what was three normal/”long” days. the weather is stabilizing and that always helps, with me – i’m most productive when it’s hot and humid out, and these pressure system rollercoasters just drive my insides haywire. we’ve been all over the place this spring, from record heat to frost advisories, which is reflective of the flux going on right now, where the oceans may be fighting a final, epic battle against the vortex, for the next hundred thousand years. the north will no doubt rise again, but our species may not survive long enough to see it.
so, i’m feeling a lot more “normal”, and i think whatever was wrong with me seems to be clearing itself up. i’m expecting more normal ferritin levels when i do the test on monday, but i can’t get cocky about it and need to follow through. it’s annoying, but i get it.
i got the blood lab in the mail yesterday, but i’m going to wait until early in the week to do it. i did not get the fit sheet in the mail yet, but that was only requested on tuesday. i’m going to cal the gastric specialist like now. i’m also going to call an imaging specialist back about doing a bone density test for osteoporosis.
the diet document is now updated to mid july 2020, and i want to focus on that for the day. it flips over to actual work on the issue in september, meaning the introductory chapter is going to end up being about 100 pages.
covid cases in ontario should indeed continue to fall with the rising temperatures, lockdown or not. but, i don’t expect substantive restrictions to lift until next spring. last summer wasn’t actually that bad here – unless your social lifeline happens to be concerts in small venues, across an international border..
i would be surprised if phog even opens at all before labour day.
if you want to be a composer in today's world, there's no room for you in the school system - you need to go join the underground, instead.
that's the stark, actual reality - it's a system that sells false dreams of pop stardom to mostly talentless rich kids, while discarding anybody interested in the topic in an academic sense as unmarketable.
it really is reflective of the backwardsness of modern existence, though.
out of all of these kids in the class, i was probably the most interested in writing actual classical music - as one would expect from a first-year arts course, the class was half-filled with poptarts and half-filled with just rich kids that were flat out losers, all around.
and, what the school told me in not so many words was that it wasn't interested in students that were interested in being composers - it only wanted students that were interested in performing pop music.
maybe i should provide just a tad bit of context around the satanic choir.....
this isn’t why i failed the course; i failed the course because i didn’t even show up to the singing exam, because i knew i couldn’t pass it. but, as mentioned, the more correct way to look at it is that i lost interest in the department because they were forcing theory students to pass singing exams, and i disagreed with that on principle. i’m a little more moderate than i was back then; back then, if i found myself up against some systemic stupidity such as this, i just walked off and looked for something else to do. i didn’t have time to argue with them, i could just read up on the theory on my own. so, when i realized i had no choice but to sing whether i wanted to or not, i just got totally bored and disinterested and tuned out. or, you could look at it this way - if i realized that i had to pass each course separately to get the pre-req, i would have dropped the course before i failed it, rather than hope i could get 95% on the theory, 35% on the singing and have it balance out., to allow for the pre-req. i mean, that’s not ideal, but it’s how you deal with irrational requirements in first year pre-requisites – you just kind of plug through it, until you can get to more interesting material. that’s not how they calculated the grade, though...
so, when i said i picked all of the wrong notes, i mean that i did exactly what i was told not to do, and i did so in a systemic manner, across the piece. the initial piece was about forty seconds, or something – it’s slowed down here to whole notes across the board, and the tempo is cut to the lowest option in the scorewriter. so, at each opportunity that i had to fill in a note for the voice leading, i did it exactly wrong, and i did this systematically – always the worst note possible, every time, no matter what.
i think that the assignment part ends when the solo philip glass influenced bass line comes in. i don’t really remember.
as the intent of the piece was choral, and the style of music is starkly christian in origin, there are actually religious justifications for the banning of the notes that i systematically picked that go back very deep into greek history, and are ultimately thought to originate in the pythagorean number mysticism cult. christian choral music has a very defined sound to it that we all know well, and the reason it sounds like that is that they restrict the notes you’re allowed to use, and flat out ban specific intervals. like, you could get excommunicated for publishing the wrong harmonic intervals – this was serious shit, partly because the myth (thought real by the religionists) was that the evil, scary intervals were legitimately channelling the forces of evil.
so, when i take a christian choral piece and i load it up with what i’m calling satanic notes, that’s not empty symbolism – there’s something very real to that description, in historical terms. and, it’s exactly why i did it, too. fuck jesus, hail satan!
it may be a tad cliched, in the broader scope, but my defense of such a claim would be that i’m not being haphazard about this – it’s truly systematic, and 100% completely, utterly wrong from a church music perspective. that gives it a little more depth, in that sense.
so, i hope that fills in the blanks, a little.
inri050 is a piece written for electronic choir, which occupied my attention for parts of the fall of 2001 and carries on from "the intersection..." in exploring my disdain for traditional music theory.
=====
this was a piece i wrote up in the fall of 2001. i can't remember exactly what the root of it was, but it had something to do with a voice-leading assignment for what was the equivalent of a course in music theory 101. the root of the piece may consequently come from what was presented to me. i can't recall exactly - but i believe the assignment was to build the different voices up.
my negative relationship with music theory is stated throughout this page and was well established well before the end of 2001. i had an interest in the music theory course for the purposes of deconstructing the theory - in the context of writing, specifically, and not performing. i actually have one of those classic stories - i failed this course. it is actually the _only_ course i have _ever_ legitimately received an _F_ in. hey, if einstein can fail math, i can fail music theory.
the story actually revolves around sight-reading aspect of the course, and specifically it's vocal content. there were three aspects of the course (theory, vocal sight-reading and african drumming which i'm thinking was meant to be a rhythmic component but was really just a ridiculous waste of time). i really wish they would have let me sight read on a guitar, or even a piano, because i'm just simply not a talented singer; i've never had aspirations to become one, and i had a lot of problems controlling my vocals. even with that being said, the reality is that i had a very low level of _interest_ in this. i probably could have passed the course if i spent less time on abstract algebra and more time singing in the mirror, but i just couldn't be bothered...
i really disapprove of the way the course was designed. i was interested in learning about music theory, and needed the course as a pre-req for more advanced courses, which i never ended up taking. i still don't fully understand why i had to pass a singing exam to take further composition courses. the best answer i got was that the school didn't want graduates who couldn't pass a singing exam, but i was at no point enrolled in a b. music so it's a pretty weak response.
anyways, this was a voice-leading assignment that i perverted into something mildly atonal and then built up into something else. you can hear it if you listen, except that it's all "wrong". i'd have to sit down and analyse it to come to a more detailed exposition on it's "wrongness", and i'm not going to, but it's not hard to hear how "wrong" it is, either.
i was clearly listening to a lot of glass at the time, but this goes beyond his medievalism. i'm using so many "wrong" notes that it's ultimately just chromatic - although there's no tone rows or anything that's formally serialist about it. it's not meant to abolish the structure so much as it's meant to just flaunt the rules. that gives it an almost satanic feel, in the context of a vocal piece using "forbidden" intervals.
but, looking back, i think that what the piece really explores is existential anguish. i was in the second year of a math degree (after switching from physics after switching from software engineering) and really had little idea where i was going with it. i was considering switching into music and probably would have had i not failed the singing exam. the thing is i actually knew i was going to fail the course at that point, and was just feeling lost as a result of it. i ended up in math as this sort of default choice, vaguely thinking i might end up teaching somewhere but not having any real interest in it...
so much choice, so few options. i suppose that this is how i expressed what i was feeling about this reality at the time.
i can't remember the exact way this happened, but i believe the piece was initially written for voice (as a voice-leading assignment) and then expanded into further voices and then converted into a composition for nine instruments. i believe the primary reason i converted it from a vocal piece is that i ended up writing well outside a realistic vocal range, but i've kept the electronic choir parts as they are because i'm not really restricted to reality in this way. i've picked halloween as the date, but that's symbolic - it was around then, anyway. it would have been around december that it was put aside, because i don't remember working on it after i moved.
i've included the midi files of the original composition, if you'd like to mess with it on your own.
written in the fall of 2001. rendered, remastered and remixed in late september and early october, 2014. released oct 3, 2014. the string mix was corrected for clicks on june 1, 2015, but unfortunately left accidentally inverted. this was corrected on oct 21, 2017. the lead track was re-rendered with the clickless string mix on oct 21, 2017. disc finalized on oct 21, 2017. as always, please use headphones.
the album version of the track (track 1) appears on my fifth record, jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj (inri052): jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2014, 2015, 2017).
released october 31, 2001
j - programming, effects, mixing, production, composition.
the various rendered electronic orchestras include voice, piano, bells, synthesizer, violin, viola, cello, contrabass, electric bass and guitar.
Thursday, May 13, 2021
i strongly recall there being a lengthy writeup about my day biking to leamington posted at roughly this time, but it appears to have disappeared. while i have toyed with writing a review now, which would be far more comprehensive than this playlist, i'm ultimately not confident that i would recreate the feeling i had over this day in the same way that i did then, and any writeup at this time would consequently necessarily be lacking. so, i would prefer to leave a post here calling out the barbarism of censorship, so that google can experience the shame of facilitating the silencing of a harmless person telling a harmless story about biking to the store to locate estrogen.
it was a good day, and i'm glad i at least filmed it.
but, shame on the entity, organization and individual that deleted this post, and then didn't even have the decency and courage to tell me it was deleted. and, shame on google for allowing them to do it.
so, i've decided that i'm not going to rewrite the review that i wrote.
instead, i'm going to post this playlist here and also post it in sequence to june 19, 2020 with a note that a write-up appears to be missing.
and, i'm going to ask the people that stole my write-up from me to give it back to me.
then, i am going to adjust and ensure this can't happen ever again.
your memory is a funny thing,
i actually sorted through the google history thing and it seems as though i spent most of the morning of june 19th sorting though google maps and retracing my steps – indicating that i was indeed writing something, and using the map as a reference as i was doing it. so, there’s some evidence of that.
google doesn’t keep track of when i visited my blog, and my windows 7 laptop was in shambles so my firefox history stops in march. i checked archive.org, and nothing. so, this is what i have – evidence that i was writing something, and no trace of it.
but, i also vaguely recall deleting it.
we can trick ourselves into thinking anything, right?
let me just rewrite this and move on.
i’ve said over and over that i have a zero tolerance policy for censorship, but:
- i’ve stated repeatedly that i don’t think this is about google because google has shown me what they do to censor files, and it is a process that allows for review. these posts are not just deleted, but the backups in my email are also deleted.
- that means i can’t prove anything, which is of course the point of it. how can i justify shutting down a massive site like this on a hunch?
- because i think it’s law enforcement in some abstraction, and on some order, i have little reason to think that moving somewhere else will make any difference, especially given the sheer size of this site.
- so, it’s more like i’m using this method to try to catch them, first. i keep saying i’ll react if i catch them. but, i have to catch them first......
even if i’m completely imagining things, this is still a far safer algorithm, and i suspect i may find it’s far ore efficient as well.
i’m going to do another blogger backup for now and wait it out.
alright, then. this is the first post directly to the archive.
pros:
- no delays on the servers, which was starting to get a little bit annoying
- full range of basic word formatting choices, from the start
- clears up resources on the chromebook
- i have a local copy that can’t be edited distantly
cons:
- the machine is completely offline, so i have to search for things and use the internet on one machine and type into another
- no direct hyperlinks or embeds
- this is fucking stupid, however necessary it obviously is
what i'll need to do is just create a temporary word document and leave it on the usb key, and type right into it, using the format i've been archiving with.
every once in a while, i'll:
1) copy it to the master and
2) posts weeks worth of posts here at a time
i've been moving in that direction, anyways - i'm making archives, not blogs. the blog is just a step in between. so, this is more like a catalyst.
i want this space to continue to exist as it does in some abstraction, but this is the consequence of censorship - people evade the censors.
unfortunately, i can't read this external drive in xp and the chromebook can't read the codecs used by the camera. so, i can either copy the data from the external to a usb key and put it on the xp machine, or i can just upload it to youtube.
i need to reimage my busted up windows 7 laptop before i can even consider repurposing it. so, i'm just uploading it as a playlist to youtube..
and, i can start setting up the production machine for typing, while i'm waiting.
regarding the ram/board issue on the 32-bit system...
i took a known good stick and tried it in all four slots, and there was one that took a few tries, which isn't entirely unusual with old boards - they even just get dusty, sometimes. so, i'm going to try to leave it on with just the known good in the dusty slot and see if it halts or not.
these asus boards don't die (i have one from 1998 and one from 2006 that are both still running, and a third in a box from 2016), but they do get dusty and need to be reseated. let's hope it's that easy.
and, i'm going to have to start typing on the production machine, instead.
i'm going to do the write-up, now.
again: i don't understand why somebody would delete a reflective post about bicycling to leamington, but i have vlog footage and i should be able to reconstruct the day relatively well.
i can't reconstruct reflections or feelings that were lost in the government's censorship, which was done under the cloak of stealth, and neither gave me the opportunity to respond nor informed me of what the complaint was. those are lost, and all that can be done is rightfully accuse the state of engaging in the barbarity of book-burning, under the tyranny of religious zealotry. this is why all religion, and the self--righteousness of moralism and religious zeal in greater abstraction, even without a bankrupt theology, must be opposed and eradicated. this is why we have to fight - they will erase your memories, and they will be arrogant enough to think it's some twisted concept of justice. they cannot have any power, for that reason. and, i don't even like letting them worship in quiet rooms by themselves, as the threat of them enforcing their values on others can never be eliminated until they are eliminated themselves.
this applies across the spectrum - christans, muslims, jews, hindus, and this new conservative moralism masquerading itself on the fake left, through the cover of corporatist domination. the lot of them, they must be destroyed.
that said, my best guess is that a cop somehow got access to this, and just went trigger happy with the delete button, in order to try to delete a lot of evidence; about the only thing that makes sense is that these posts were, in truth, deleted without reading them carefully, because the cops wanted to cover their trail as much as possible. i'm just guessing - they've provided me with no information to go upon. but, to suggest that these particular posts were targeted just doesn't make the slightest bit of sense. the posts had to be deleted as a part of some broader scrubbing process, and this has to be some kind of collateral damage.
but, however they got access to my site in the first place must reduce to a concept of religious zealotry, of overbearing self-righteous moralism, of the insistence that their perception of reality is correct and every other's needs to be deleted. and, i will repeat a claim i've been making for some time, now: identify yourself, you fucking cowards.
if you don't like something i've posted, address me about it so that we can have a debate about it. don't use some legal backdoor to sneak into my account and delete my memories, and then not even tell me about it. that's not just an invasion of privacy, and an invasion of rights, it's all of the above done in the most cowardly and childish manner possible.
now, what does that mean going forwards?
i've been posting here as a temp space, and sending backups to my email address. the intent has always been to archive it over time and rebuild it as required. but, i seem to have some kind of fucking pig listening to me at all times, and they seem to just delete things at random - including backups.
so, i'm going to have to flip this over - rather than post here temporarily and archive it later, i'm going to post directly to the archive, and build it up here over time. and, that shift is going to be almost immediate.
and, i'm gong to have to keep the archives in my pocket when i'm out.
we're really walking down that path in what is supposed to be a free society. but, when even your email isn't safe, it's time to reapproach the internet.
that will be difficult to make sense of, at first, but i'll figure it out.
something very unfortunate happened some time after mid-june, 2020 that affected posts dated from about june 20,2020 to about july 30, 2020 and there was substantive data loss across the blogger platform, and in two of my email archives for posts dating to that period. it might not have been a singular event, but it was worse over that period.
i did not detect any data loss when i was "catching up" over august, 2020.
somebody then tried to cancel my account in nov, 2020 - which is when i made the backup closest to the date, by which time the damage had been done.
so, that's the time window i'm look at for some kind of destructive action, presumably by some police agency - fall, 2020.
so, i'm trying to build a file that documents the substantive research i've put into fixing any dietary deficits i've had, something i've been doing for the last several months, and i'd like to include a write-up i'm sure i wrote about a bicycle ride to leamington to pick up brand name estrace in june of 2020.
but, the post has completely vanished, along with any email references to it.
and, sadly, i therefore cannot do that.
the only way out of this would be to start typing into a word document instead of posting it to the internet, but that defeats a lot of the point.
nonetheless, i'm nearly there.
right now, all i have are very strong suspicions that posts are missing and a strong desire to have them returned. but, should the evidence become strong enough, the place i'm going to migrate the blog to is offline - and i'll post monthly updates to a file at google drive or something, instead.
there's no ulterior motive. there's no angle. there's no master plan.
it's just where i record what i'm thinking, with the purpose of organizing it later.
and, because i think the issue is law enforcement rather than google, i don't think moving platforms would be worthwhile.
rather, i need to request that law enforcement contact me about why they're doing this, so that we can put together some steps to get it to stop. listening in on what i'm doing and filtering my thoughts is exceedingly invasive, and i can't begin to grasp what an end to such a thing would actually be.
if you think i'm a russian spy or something, then present me with the charges and allow the process to work itself out in a court of law - or fuck off and leave me alone.
and, give me back what you've taken from me, which is of no monetary value, of no legal worth and of no sentimental value to anybody but myself.
well, what else am i supposed to do to archive this?
i'm emailing it to multiple inboxes and checking that every post shows up in the inbox. what else is there to do?
should i screenshot it every three seconds, and carry the screenshots in a lockbox around my neck, or my pelvis?
i mean, really.
somebody wants these posts deleted, and is going to extreme steps to be thorough. and, the things they delete make no sense to me....
the other thing that's just baffling to me about all of this is that the things that disappear are just consistently trivial.
what i'm looking for is just a write-up of a day that i went for a bike ride across the region - a simple thing that is really of no value or consequence or remote meaning to anybody else, but is invaluable to myself, as the person writing it, as a memory, as a historical record. to a nerd like me, that write-up is like taking a picture - that's how i remember things, through stories and writings, and not through visuals.
why would anybody decide to erase somebody's memories like that?
i don't understand.
it's one thing to delete something from public view; i may oppose it on principle, but we can debate and discuss that.
it's another thing altogether to go into not one but two separate email boxes and delete the files.
and, i strongly suspect that that is actually happening - but i can't prove it, because the email record is the backup.
i also remember pointing out that i made it home before dark, and also talking about the little towns on the way there.
but, the write-ups for the ride to tilbury and amherstburg are still there. so, why would some government agency delete the writeup for the ride to leamington?
it's just this constant feeling that things are missing, and never being able to find any trace of it...and, if there's any truth to it, if i'm legitimately under that depth of monitoring, there's three things i need to understand:
1) why?
2) can i get it back? like, if whoever is doing this just restores everything, i won't ask questions about it, i'll just carry on.
3) is this permanent? that is, is this going to continue to my death and past it? why?
see, again...
i'm almost certain i did a write-up for the bike ride to leamington in june, 2020. i remember talking about how it doesn't really feel like you've left the city, i remember talking about avoiding trucks and biking through dirt, i remember mentioning the wind and i remember narrating the places i stopped to smoke at.
there's no trace of this.
but, why, exactly would somebody want to delete a post about bicycling to leamington? i don't understand that...
so, am i imagining it? is it that i talked into the vlog, instead, and am confusing myself?
there should be a post talking about the bike ride, at the least. alas.
so, what is a right-wing perspective on the encroaching islamicization of western society?
well, the answer is this: read edmund burke, who actually called for the kind of "religious tolerance" that we associate with bourgeois liberalism, nowadays. but, then read marx and put it into perspective as to why.
this spectrum flip isn't unique, but it's endemic.
if burke was writing today, everybody would call him a liberal, and republicans would smear him as a socialist. but, he wouldn't be - he'd be the actual conservative, and the actual conservative position on religion is to be tolerant of it, so long as you pay your taxes and do what the queen says.
today's post is the first rabit is wolf recording with the alternate singer, sean, but it's just a tease, until it becomes my primary focus to start 2002 (which is only actually a few months, even if seems longer in the sequence). pretty much all of the tracks that i finished over 2002 were started in mid to late 2001, but only this track actually gets a release date in that space, as i was finishing up other loose ends and really waiting for the guitarist that initiated the thing, jon, to engage (and he never did). there were other things happening that fall that were distracting, as well - as anybody that lived through it no doubt remembers.
i at least had a larger base of commonality with sean, and had at that point known him for a lot longer, as well. we were in the same group of friends, but we went through most of high school without talking much. the commonalities were always defined by contradictions. so, for example, i was a giant nine inch nails fan at that stage, whereas he was huge into marilyn manson - a commonality, but quite the contradiction, too. we both spent all of our times in front of computers, but i was doing music and reading (and excelled academically), whereas he played tons of video games and did very badly in school. we were both exceedingly introverted, but i was a legit loner and he pretty much always had a girlfriend. i was into tortoise; he was into mogwai. i liked early industrial; he liked early post-punk. etc.
i talk about this a little more on the bandcamp pages, and the story will develop there, but i'm only stopping to take note of this because the presence of an alternate singer - in fact of anybody else in the recording at all - is something that dramatically sets these recordings aside as very different than my mostly instrumental output, or my often tertiary vocal additions, later on. the fact that i was writing for a singer also sets the tracks aside.
in a few moments of honesty, sean admitted that he was often trying to emulate the vocal tracks from my inri period, as he was one of the few people that ended up with a copy of the cds (iirc, by his request). he's also admitted that several of the tracks are actually about me. so, there's something deeper to allowing sean to front these pieces than may be initially apparent.
but, this phase is different, and requires that explanation - i am not singing on this recording (except in the acoustic demo, where the vocals are just meant as a placeholder for sean to eventually pick up on). that's somebody else...
this is catalogued nowadays as inri049. that's how long it took for me to get somebody else on a recording.
====
rabit is wolf arose accidentally from the cynicide project (inri048), but produced far more material in the end. what happened was sean and i showed up to a few jam sessions and the guitarist (jon - it was his band) didn't, so we started writing some material without him...
initially, the intent was to include rather than exclude jon but he quickly developed a disinterest due to a variety of obvious if never fully articulated reasons. i was playing guitar parts on the demos, which he couldn't deal with. we were doing joy division songs, which were outside of his sphere of interest. we were writing without him, which made him feel unimportant. we were talking about songs without drums, which he wasn't interested in at all. etc. however, he did record a guitar part (that i wrote) that was never replaced.
upon release in 2014, this was a collection of demos from the first month of rabit is wolf, which included multiple versions of the title track and a joy division cover. in the end, none of this would be released in the form it's in here (which was only available for download), but it created a cohesive (if short) introduction to what followed that was self-contained in a historical context. stated differently, this was the first (post-punk) incarnation of rabit is wolf.
in oct of 2017, this release was expanded to act as a comprehensive exploration of this track and made available for physical purchase. seven further versions were added: three from 2002, three from 2014/2015 and one from 2010. disc finalized on oct 21, 2017.
i don't analyse sean's lyrics, but the subject matter is clearly that of contemplating suicide - i believe from the perspective of an imagined character.
written and recorded in the fall of 2001. released on sept 6, 2014. expanded, re-released and finalized on oct 21, 2017. as always, please use headphones.
the album version of the track (track 11) appears on the rabit is wolf demo (inri057): jasonparent.bandcamp.com/album/rabit-is-wolf
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2002, 2010, 2014, 2015, 2017).
released october 15, 2001
j - bass, guitars, synths, programming, writing, production
sean - vocals, writing
jon - guitar performance (6-8, 10-11, 13)
Wednesday, May 12, 2021
the leftist analysis here is not that the muslims are coming to kill all the christians and replace you with them.
the leftist analysis is that the atheist elite need to replace christianity with islam and convert you to it, because you've managed to emancipate yourself from christianity and are no longer under their control as a consequence of it.
this equation is not muslims v christians; it's muslims = christians. and, the fight is not between different religions, it's between the religious right and the atheist left.
maybe you'll eventually see through the conditioning. or maybe you won't.
this is why i worry about the elite pushing islam down.
it's not a right-wing position - it's a marxist analysis.
and, i've been as consistent as consistency can be about it.
you're not just confused about this - you're brainwashed into it. your consent has been manufactured. the conditioning is gramscian.
they need a religion to control you with, or the whole edifice of their system of control begins to fall apart - which is what we saw happen in the 60s, before they started to crackdown in the 70s. and, christianity just doesn't work any more. islam is a more violent, more direct, more hierarchical system - and it is still effective as a tool of control, in many parts of the world.
now, i don't think islam is likely to be any more successful than christianity in controlling the population, not in the west, and not in the long run, but that's not what they think. and, we're going to have to fight all the same battles against the muslims that we fought and won against the christians, if we stand back and let them do this.
we need to get ready for this, because it's coming.
and, the far right will welcome it, when it does - leaving a collection of fake left useful idiots strung up in trees, and crucified on front lawns, to show for it. they'll be the first to go - even before the atheist queers like me.
====
so, my 32-bit recording pc (which i'm still filing, periodically) has developed some kind of ram and/or board issue that i'm also troubleshooting this week. it just freezes randomly.
these asus boards just don't die, so it has to be the ram, or something else plugged into it.
i've unplugged some of the front panel connectors and, now, it seems to be stable with one stick of ram, so i'm going to rotate a different stick into the slot i took out and try it from there...
so, i had what i used to call a normal but now seems like a long - 20+ hours - day yesterday, which was good. but, it meant i had to sleep all day.
is the iron finally working?
i don't know. i know i'll need to make those calls tomorrow, instead.
i should hopefully get a good chunk of that rough diet run through finished today.
it's hard to abstract an idea of what the region needs, because the logical analysis is that the israelis simply wipe the palestinians out, and then that's the end of the conflict.
somebody like a gandhi is a poor analogy, for the reason that the indians had dramatic numerical superiority, and the palestinians do not. gandhi would not have won if it wasn't for the perceived implication of violence. his tactics are not well understood in the west.
but, the palestinian culture - which is a warrior race culture - is a dramatic hindrance to their likelihood of survival moving forwards. their pride will be their undoing, if they can't put a serious check on it and accept the reality, as it exists in front of them.
israel may have all of the power, but that's just the point - it is the palestinians that need to accept a subjugated position, if they wish to survive at all. and, if they choose not to, they will die.
why would yang even post something baffling like that?
because new york has a large jewish community that can swing votes. and, that's all there is to it - an empty suit of a politician saying absurd things to try to win an election.
you should not trust him, and that is the reason you should not vote for him, everything else aside.
it truly is a delusional statement, there's no question.
i'm a realist about this: the palestinians have no path, here, besides trying to outbreed israel, which they have a time window to do. but, i don't support societies that are rooted around religion, language, nationality or ethnicity - i'd like to see a singular secular state, where both religions are marginalized as archaic. both israel and palestine should be abolished, and some concept of greater lebanon or broader phoenecia should be erected in their place - societies where religion and ethnicity don't matter, and people can live modern existences in relative freedom.
as it is, this is the kind of imbalance in technology that has manifested itself repeatedly in history, and which the more primitive society always loses, every time. israel has some of the most advanced technology in the world; the palestinians literally throw rocks at tanks. they have no chance of winning that fight. like, at all.
so, what the palestinians are doing is, tactically, pretty much retarded. they need to find some way to deal with this besides violent retaliation, as it just continually creates pretexts for further israeli expansion. so long as they act like dumb barbarians, the israelis are obviously going to continue to treat them that way - which includes repeatedly tricking them into doing dumb things to advance their own causes. they need to smarten the fuck up, or they're going to end up wiped off the planet.
but, a statement like wang's simply doesn't exist in reality. and, it should make anybody considering voting for him exceedingly apprehensive about how he's willing to discard anything resembling truth to advance his self-interest.
you could see this with his fake ubi, as well - that was never going to happen, and would have been a disaster if it had. that was literally a politician bribing you to vote for him in a demagogic, dishonest manner. and, it's baffling that anybody was dumb enough to fall for it.
today's post is the absurdly layered inri048, which i strongly suggest you listen to through a good system with full range headphones, in order to get the detail on the bottom end. the mp3 compression doesn't help. at all.
i can't even hear the bass guitar at all through laptop speakers, and while that wasn't intentional, it's not an accident either - they can't reproduce the range.
so, this is one of those pieces where you just need to find good enough speakers, or you shouldn't bother.
there are actually....other people....on track 9, foreshadowing the next phase.
===
this track represents somewhat of a refocus, but it never found itself to fruition in the way it was meant to.
over the summer of 2001, a friend of a friend decided he wanted to start a band and asked me to play bass. now, we didn't really have a lot in common besides both being musicians. i was spiralling out into obscure independent music, and he was into all the mainstream rock bands. 2001 was the point where grunge was losing it's last bit of mainstream potential, and giving way to nu metal and various watered down, corporatized offshoots of hardcore. so, i was sitting around listening to tortoise and writing jazz compositions and he was sitting around listening to limp bizkit and writing mtv/radio rock. how could this legitimately work?
there was a small amount of overlap, centred mostly around tool. it so happened to be that tool had just released a new record, we were both listening to it and neither of us really had anybody else to talk to about it. so, something formed out of that.
now, when you're an isolated twenty year old that's never been lucky enough to meet another musician you can start a band with, you take what you can get. it seemed implausible that it was going anywhere, but wasn't that the case for every other band that ever went anywhere when they first started off? i don't think either of us thought we were natural creative partners, but we had a set of common goals and if we could put aside our differences...
see, the thing is i knew that the only way anything was going to happen is if i sat down and recorded a bunch of stuff. but, i also knew that this is a guy that defines himself in terms of his oversized ego and that the whole purpose of it from his perspective was to give himself a way to explore it. that's not the worst trait to have if you want to start a band, either. my overwhelmingly shy introversion hasn't exactly got me filling stadiums, has it? nor is it ever going to, and i realized it even at that stage. so, a natural role would be for me to play the producer (along with the bass guitar) while he throws some stuff at me. if that meant i'd be doing 90% of the actual recording, that would be ok, but i realized i had to let him provide the actual song structures or he'd storm off and pout about it.
so, i waited for him to provide some material. and waited. eventually it became clear that he didn't actually have any serious songs. we did a few demos, but he could barely play what he was trying to demo and the tracks were not of a gigging quality level.
in the mean time, he'd recruited a guitarist. he kept saying he was talking to a drummer (no drummer ever appeared), and he also recruited another friend of a friend as a singer. so, we had what seemed like a full band, if you include the imaginary drummer. what i saw was an opportunity. if he wasn't going to write some songs, i guess i'd have to...
the other guitarist almost immediately dropped out, and the whole project really fell apart rather quickly when the guy that initiated the whole thing stopped showing up to practice. it was several weeks in a row that only the singer and i showed up. i had a few songs i had written, so we started working on those instead and that became rabit is wolf. predictably, there was much pouting.
that leaves this particular song in an isolated limbo. when it was reworked for rabit is wolf (inri057), it took on the epic and experimental nature i was exploring at the time and lost the crux of itself as a stadium rock song. i feel something valuable was lost in this process, if for no other reason that this is so dramatically different than anything else i was doing at the time.
thankfully, i still have the original drum files, and i remember how to play the guitar part, so it's simply a process of recreating it. the raw mix sounds exactly as the track did in 2001. the complete mix takes it to it's final conclusion.
a number of literal remixes were added on oct 16, 2017, including the electronics only mix for the ry30 disc, from dec 27, 2015.
the ep also includes some files from 2001 that are attached to the initial cynicide project.
written in the summer of 2001. remembered over july, 2014. completed august-september, 2014. released sept 24, 2014. expanded, finalized and re-released on oct 16, 2017. as always, please use headphones.
the album version of the track (tracks 1+2) appears on my sixth record, jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj^2 (inri063): jasonparent.bandcamp.com/album/jjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjjj-2
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (2001, 2014, 2015, 2017).
released september 16, 2001
j - drum programming, orchestral sequencing, guitars, effects, synths, electric bass guitar, digital wave editing, sampling, loops, equalization, vocals (8), production
the rendered electronic orchestra includes tuba, saxophone, flute, clarinet, orchestra hit, piano, violin, viola, cello, contrabass and various full string sections.
sean - vocals (track 9)
jon - guitar (track 9)
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