Author Archives: d.perry

“An ultimate simulation needs an ultimate computer, and the new science of digitalism says that the universe itself is the ultimate computer — actually the only computer. Further, it says, all the computation of the human world, especially our puny little PCs, merely piggybacks on cycles of the great computer. Weaving together the esoteric teachings of quantum physics with the latest theories in computer science, pioneering digital thinkers are outlining a way of understanding all of physics as a form of computation.

From this perspective, computation seems almost a theological process. It takes as its fodder the primeval choice between yes or no, the fundamental state of 1 or 0. After stripping away all externalities, all material embellishments, what remains is the purest state of existence: here/not here. Am/not am. In the Old Testament, when Moses asks the Creator, “Who are you?” the being says, in effect, “Am.” One bit. One almighty bit. Yes. One. Exist. It is the simplest statement possible.”

https://www.physics.princeton.edu/ph115/LQ.pdf

‘In that text, you write about life and nonlife: not as two distinct categories, but rather, as “time-bound oscillations.” You mention, for example, that seeds sometimes turn to stone if you wait long enough.’

An electric light bulb doesn’t give off a constant light, it pulses but we don’t perceive it as pulsing. There are actually constant very brief instances of darkness.

-Tom Ze

“Suisalu reminds us that historically, lawn has been a symbol of power and wealth as it required substantial upkeep and unused land. Today, it still indicates wealth, but is mainly maintained by the owners themselves. This puts us in a schizophrenic situation where we strive to be privileged by taking the role of the servants.”

—Kevin Shields has a habit of making it sound like the most reasonable thing in the world one minute – bands are loud, he shrugs, but most gigs are “laughably quiet … something you’re consuming, not being consumed by” – then admitting that My Bloody Valentine reached a point where they were playing at such volume that they were causing structural damage to venues. “Chunks were falling out of the ceiling. It sounds like an exaggeration, but I’m serious – we were really concerned that eventually some roof was going to fall down,” he says. “It was a matter of time before a serious accident happened.”

Not everyone was impressed. There is a bootleg recording circulating among fans of a late 80s London gig degenerating into chaos – the sound man has given up and fled the building. Shields says that was one of the less extreme reactions. “At one gig, a butcher was literally chasing my sister with a cleaver – he wanted to chop the cable because it was shaking his shop so much when we were doing You Made Me Realise. The police turned up and arrested our tour manager during You Made Me Realise. They arrested him, put him in the car, questioned him and let him go and when he got back we were still playing it. Countless, countless situations.”—

Henry Birdsey interview excerpts

(https://www.15questions.net/interview/fifteen-questions-interview-henry-birdsey/page-1/)

HB: “Sound is innately terrifying and haunting. And it holds this magnetism over us because of that. We’re talking about physical pressure waves that are invisible and inescapable.”

…HB: “I think making music might be closer to the work of archaeology or geology than anything creative or constructive like sculpture or carpentry or something like that … with sound and music it seems like the game is uncovering things that are buried already, within this strange frame of time …”

…Interviewer: “What can music express about life and death which words alone may not?”

HB: “Well I won’t waste too many words, but making music is the same as engraving the markings on your future headstone …

Excerpts from “Towards an Ethics of Improvisation” by Cornelius Cardew (https://www.ubu.com/papers/cardew_ethics.html)

1). Elaborate forms and a brilliant technique conceal a basic inhibition, a reluctance to directly express love, a fear of self-exposure.

2). …for these are, so to speak, suburbs of our language. (And how many houses or streets does it take before a town begins to be a town?) Our language can be seen as an ancient city: a maze of little streets and squares, of old and new houses, and of houses with additions from various periods; and this surrounded by a multitude of new boroughs with straight regular streets and uniform houses.

It is easy to imagine a language consisting only of orders and reports in battle.-Or a language consisting only of questions and expressions for answering yes and no. And imnumerable [sic] others.- And to imagine a language means to imagine a form of life.” [quoted from Philosophical Investigations by Wittgenstein]

3). Love is a dimension like time, not some small thing that has to be made more interesting by elaborate preamble. The basic dream -of both love and music- is of a continuity, something that will live forever. The simplest practical attempt at realising this dream is the family. In music we try to eliminate time psycholgically [sic] to work in time in such a way that it loses its hold on us, relaxes its pressure. Quoting Wittgenstein again: “If by eternity is understood not endless temporal duration but timelessness, then he lives eternally who lives in the present”.

4). My most rewarding experiences with Treatise have come through people who by some fluke have (a) acquired a visual education, (b) escaped a musical education and (c) have nevertheless become musicians, ie play music to the full capacity of their beings.

5). Integrity What we do in the actual event is important -not only what we have in mind. Often what we do is what tells us what we have in mind.

The difference between making the sound and being the sound. The professional musician makes the sounds (in full knowledge of them as they are external to him); AMM is their sounds (as ignorant of them as one is about one’s own nature).

6). Life is a force to be used and if necessary used up. “Death is the virtue in us going to its destination” (Lieh Tzu).

E.C.C.O. (John C. Lilly)

There exists a Cosmic Control Center (C.C.C.) with a Galactic substation called Galactic Coincidence Control (G.C.C.). Within which is the Solar System Control Unit (S.S.C.U.), within which is the Earth Coincidence Control Office (E.C.C.O.). The assignments of responsiblities from the top to the bottom of this system of control is by a set of regulations, which translated by E.C.C.O. for humans is somewhat as follows:

To all humans
If you wish to control coincidences in your own life on the planet Earth, we will cooperate and determine those coincidences for you under the following conditions:

1) You must know/assume/simulate our existence in ECCO

2) You must be willing to accept our responsibility for control of your coincidences.

3) You must exert your best capabilities for your survival programs and your own development as an advancing/advanced member of ECCO’s earthside corps of controlled coincidence workers. You are expected to use your best intelligence in this service

4) You are expected to expect the unexpected every minute, every hour of every day and of every night.

5) You must be able to maintain conscious/thinking/ reasoning no matter what events we arrange to happen to you. Some of these events will seem cataclysmic/catastrophic/overwhelming: remember stay aware, no matter what happens/apparently happens to you.

6) You are in our training program for life: there is no escape from it. We (not you ) control the long-term coincidences; you (not we) control the shorter-term coincidences by your own efforts.

7) Your major mission on earth is to discover/create that which we do to control the long-term coincidence patterns: you are being trained on Earth to do this job.

8) When your mission on planet Earth is completed, you will no longer be required to remain/return there.

9) Remember the motto passed to us (from GCC via SSCU):

“Cosmic Love is absolutelely Ruthless and Highly Indifferent:
it teaches its lessons whether you like/dislike them or not.”