Even statements that appear, at first glance, to address musical issues are often lifestyle statements in disguise. I've learned this the hard way, by getting into detailed discussions over musical tastes, and discovering that if you force pop culture insiders to be as precise as possible in articulating the reasons why they favor a band or a singer, it almost always boils down to: "I like [fill in the name] because they make me feel good about my lifestyle."
This might explain why [mediocre hipster band] is so popular, but I think he's exaggerating the problem. We have more freedom to choose what we listen to, and a wider range to choose from, than anyone in history, but it's like any new power: people use it badly before they learn to use it well. Also I think he's being unfair in asking people to say precisely why they like something, as if reductionism can reach the heart of beauty.
This reminds me of a parable I came up with last weekend when I tried out the vaporizer: A civilization sends out a space probe filled with recordings of its most beautiful music; another civilization receives it, and they try to decode it as a message in symbolic language. What do they not understand?
I'm going straight into music links early this week. My new favorite band is Electric Moon. That goes to a playlist starting with a typical example of their sound -- the word "song" doesn't really apply. Musical innovations begin with someone, in the context of the old style of music, doing something new for a few seconds. Then someone else notices and stretches the sound out longer. Eventually someone says, "Why can't we play like that all the time?"
Electric Moon, almost all the time, plays improvised space rock jams. I would define "space rock" as steady hypnotic rhythm, optional analog synth, and lead guitar with distortion and phase effects. Here's a textbook example of the space rock guitar sound from the last three minutes of Hawkwind's Space Ritual live version of Space is Deep.
A more interesting example of Electric Moon is their 40 minute Live At Epplehaus version of Doomsday Machine. It's not streaming online anywhere, but the bass is trying to be as deep and sludgy as good stoner doom metal. Here's my favorite example of that, Mind Transferral by Electric Wizard. Unlike most stoner metal, it's not ruined by vocals, but notice how the lead guitar is totally metal, not space. Now check out a great contemporary space guitarist, Ripley Johnson of Wooden Shjips and Moon Duo, playing the song Escape. But the backing music is nowhere near sludge, and the jamming doesn't really start until halfway through. Coincidentally, Electric Moon combines what I like most about Electric Wizard and Moon Duo, but there's room to do it better, and more of the time. As for why I like that particular sound, that's in the realm of the ineffable.
According to new brain research, The future of depression treatment may come from inducing worse depression. This makes sense to me. As a general rule, if you're stuck in something, it's good to try pushing in many directions, not just the direction you eventually want to go.if you allow everyone to seek out and find their own niche, regardless of its permanence, temporariness, perceived importance, etc., and don't place value judgments on them, the important jobs will get filled, and the ones that people don't actually want to do, will either become communal tasks (everyone cleans up the bathroom when they see it's messy), or machine-assisted/automated tasks.
Psychedelics should be viewed like climbing a mountain. The mountain peak has its appeal with the sublime feeling of standing atop it if one is daring enough to get there. And while some may find the experience meaningful a lot of people will only find themselves way too fucking high on a big rock. But most important is how the mountain does not move, it does not feel or love, and so it does not care if you live or die on it. The only feelings it will give you are the ones you reflect off of its steep faces.
KF2 explains depression with a role-playing game metaphor, in which a magic cloak gives you immunity to everything bad and also everything good, so you feel nothing and stop caring, you can't take the cloak off, and your original injuries can't be healed.
Depanneur defines fascism, using a narrow definition that confines it to the early 20th century. Basically fascism tapped into the alienation of industrial society, the longing of WWI veterans for the strict order and community of military life, and the desire of the middle class to participate in a revolution without losing their perks. Of course the alienation of modern life remains unsolved, so we could do something similarly scary in the future, but fascism would not be the right word for it.
James-Venn imagines a technological singularity that is similar to the Great Oxygenation Event more than two billion years ago:
Through us, the process of life itself is escaping the biological limitations of 'life'. What may be around the corner isn't artificial life. It is life, just in a new form. Life is a mathematical process currently operating on biological material. It is a process which could operate far more effectively on digital and mechanical life forms.
I like the general idea, but his weakness is being unable to imagine the existence of something for which he can't imagine the particulars. I think mechanics would be a step back from biology, and digital logic processors are unalive no matter how big they get. But our computers might serve as tools to create a new kind of physical medium through which some deeper principle of aliveness could manifest. Or computers could help us create a new technology that would enable our "selves", our continuity of perspective and memory, to transcend the world as we know it.
For a lot of deep thinking on this sort of idea, check out this Ribbonfarm post from last month, Immortality in the Ocean of Infinite Memories.
]]>I'm trying not to order from them, since hearing the radiolab essay on their fulfillment centers. Which, of course, are independent companies on contract, so Amazon proper isn't liable for abuses that occur there.
One thing Amazon has in common with Google, which may end up playing a larger role in evil than their mail-order business, is their effective joint monopoly on cloud computing. Its not just local newspapers and small businesses that run on EC2 servers -- a majority of bioinformatics computation worldwide is clouded to Amazon as well, and probably heavy-lifting computation in a number of other fields. Even companies that could (and for privacy or espionage reasons probably should) run their own data centers don't, meaning that Google and Amazon set the costs for high-end data analysis.