Category Archives: theory

For the past few years of my life I have become increasingly aware of how the worlds you can create in a CD can, on a larger scale, be applied to life, the dreams can come true in every sense that you imagine them to be; that there are no limits in life, which is the temple of materialising dreams. Not just the cover art, but my albums in their entirety have become sigils in a personal sense, in that they help structure the world around my head matrix, which is like my will but uplinked from other people’s heads and the life experiences I am able to create for myself there. For example, I belong to the first church of Lenny Kravitz in West Hollywood. My membership there has helped me with this process: trying to download someone else’s headspace – sometimes the most extreme being that of a virtual celeb image – opened up different aspects of consciousness and life potential and interactions beyond my wildest dreams. I try and bring this to fans of my music via the albums, hoping that the listener will tap into the different worlds represented through the two-step flow of cover art observation to it, then opening up in multiple dimensions through the music joining in, in a progression, to create a virtual reality experience, thereby tapping into their own dream/our dream.

– James Ferraro (https://perfectionofperplexion.wordpress.com/2010/06/09/hipnygogic-poop/)

There’s a famous Chinese saying that “the misery of the state leads to the emergence of great poets” (guojia buxing shijia xing)–or more literally, “when the state is unfortunate, poets are fortunate.” These words come from a poem by the Qing dynasty historian Zhao Yi (1727–1814), observing the phenomenon in which classic works of poetry often appear during times of calamity: war, famine, dynastic downfall, and so on.

“For reasons not entirely clear, many countries around the world now face the same challenge: fertility rates that have fallen below the replacement rate as they’ve developed into advanced economies. This has occurred across a diverse array of political systems, and shows little sign of moderating. Besides immigration, a wide range of policies have now been tried in attempts to raise birth rates, from increased public funding of childcare services to “pro-natal” tax credits for families with children. None have been consistently successful, sparking anguished debate in some quarters on whether losing the will to survive and reproduce is simply a fundamental factor of modernity.”

Wang Huning recorded his observations in a memoir that would become his most famous work: the 1991 book America Against America. In it, he marvels at homeless encampments in the streets of Washington DC, out-of-control drug crime in poor black neighborhoods in New York and San Francisco, and corporations that seemed to have fused themselves to and taken over responsibilities of government. Eventually, he concludes that America faces an “unstoppable undercurrent of crisis” produced by its societal contradictions, including between rich and poor, white and black, democratic and oligarchic power, egalitarianism and class privilege, individual rights and collective responsibilities, cultural traditions and the solvent of liquid modernity.

But while Americans can, he says, perceive that they are faced with “intricate social and cultural problems,” they “tend to think of them as scientific and technological problems” to be solved separately. This gets them nowhere, he argues, because their problems are in fact all inextricably interlinked and have the same root cause: a radical, nihilistic individualism at the heart of modern American liberalism.

“The real cell of society in the United States is the individual,” he finds. This is so because the cell most foundational (per Aristotle) to society, “the family, has disintegrated.” Meanwhile, in the American system, “everything has a dual nature, and the glamour of high commodification abounds. Human flesh, sex, knowledge, politics, power, and law can all become the target of commodification.” This “commodification, in many ways, corrupts society and leads to a number of serious social problems.” In the end, “the American economic system has created human loneliness” as its foremost product, along with spectacular inequality. As a result, “nihilism has become the American way, which is a fatal shock to cultural development and the American spirit.”

“As far as I understand it, they’re egalitarian because they respect the individual so much, right? And you can’t respect other people’s individuality if you focus on your own individuality in a kind of abstract, isolated way. The point is that you are an individual inasmuch as you exist in a social matrix of others who respect your individuality and your right to make choices. That’s concrete individuality: an individuality that recognizes that it owes its existence to a kind of communal respect on the part of all the other individualities, and that it had better therefore respect them similarly.

So an abstract individual is someone who forgot, for some time, that they are part of a larger unit, and owe respect to all the other choosing individuals.”



“It is the only crime we have…To take the choice of another…to forget their concrete reality, to abstract them, to forget that you are a node in a matrix, that actions have consequences. We must not take the choice of another being. What is community but a means to…for all we individuals to have…our choices.

Your…institutions – talking and talking of individuals…but crushing them in layers and hierarchies…until their choices might be between three kinds of squalor.

We have far less, in the desert. We hunger, sometimes, and thirst. But we have all the choices that we can. Except when someone forgets themselves, forgets the reality of their companions, as if they were an individual alone…And steals food, and takes the choice of others to eat it, or lies about game, and takes the choice of others to hunt it; or grows angry and attacks without reason, and takes the choice of another not to be bruised or live in fear.”

– China Miéville, Perdido Street Station

It is like sewing, the rhythm of stitching by hand, which also exists in country blues. When I last met Keiji Haino, we talked about Syd Barrett’s particular, cutting kind of guitar playing. If only the on-beat is used, the song kind of stands still, but with playing off, or behind or ahead of the beat, it can move forward, like sewing. This kind of discovery makes it possible to animate ordinary songs.



Error itself can not be a purpose. There is nothing better than not to error. We always try hard to play well, and it is legitimate. However sometimes an error may contain more information than music that is commercially distributed. That is not because of the matter of the error itself, rather it is because of the frame of word that is put on the music by forcing the listener to ask the question why the person had failed. That is why traditional music have no error no matter how it were gauche. The error is a modern outcome. The frame of word as information is an unavoidable matter since the occurrence of the tableau down to contemporary music. Error has two aspects. One is that economic and temporal leeway is necessary for acquiring craftsmanship skills, and that is impossible for multitude. Error is a matter of poverty, and its incentive is not to be attributed to individual laziness. We are alienated from a group of “professional musicians” who are dressed artistically indeed, and most of us except who are allowed to stay home as social withdrawal or who withdraw money from illegal dealings, will finish our whole life without being able to even learning how to play heavy metal shred. Therefore it could be said that errors by our side are revenge against society. It alone could not get empathy of fellows, though. So, another aspect of error is a purely musical strategy. Error is an unexpected event, and is a chain of terrorism and its restoration in music. Now, it could be said that a performance without any accident has no social meaning.

– Tori Kudo

The quadrivium may be considered to be the study of number and its relationship to space or time: arithmetic was pure number, geometry was number in space, music was number in time, and astronomy was number in space and time. Morris Kline classified the four elements of the quadrivium as pure (arithmetic), stationary (geometry), moving (astronomy), and applied (music) number.

The Aztecs divide the universe into four separate realms or regions. First, there is Ilwihkaktli’ or the arc of the heavens. This region is symbolized in Aztec altars by a leaf covered arch to which has been attached representations of the sun or stars. The second region is the earth which in Nahuatl is called Tlali’. The earth is the seat of human activity and is represented in rituals by the surface of altar tables. Third is Miktlan or the realm of the dead which exists under the earth’s surface. The souls of all people who die “naturally” go to Miktlan to live a life similar to that on earth. Miktlan is represented in religious rituals by a display which is located on the earth floor underneath of altar tables. Finally, there is Apan or the realm of water where all souls of people who die violently go. Apan is the region that connects all other regions into one integrated whole. The sky is reflected on its surface, streams and springs flow on the earth and yet their depths penetrate to Miktlan, the underworld. In religious rituals Apan is recognized by a display that is set up by a spot that has been designated as sacred to the water.



Rattle dances usually take place only at night and are rather long in duration, sometimes lasting up to one hour. The dances themselves are seen as offerings or sacrifices dedicated to Tonantsi’ and the more energy and effort invested in their execution the more they are appreciated by the diety. In fact, this element of sacrifice is considered to be the primary raison d’etre for the dances themselves. Informants state that throughout the year Tonantsi’ supplies all that is necessary for a good life–food, health, happiness, etc., and thus feel it is only fitting that during the ceremony dedicated to the honor of Tonantsi’, her followers sacrifice as much of their goods, energy and time as is possible in order to show as much gratitude and appreciation as possible. Indeed, informants will state that physical exhuastion in her honor is testimony to her honor as much as physical offerings.

from https://folkways-media.si.edu/docs/folkways/artwork/FW04358.pdf

from Kuki’s Metaphysics of Literature:

“The past is not simply something that has already gone. The future is not simply something that has not yet come. The past comes again in the future; the future has already come into the past. If we follow the past far enough, we return to the future; if we follow the future far enough, we return to the past. Time forms a circle; it is recurrent. If we locate time in the present, we can say that this present possesses as present an infinite past and an infinite future and, moreover, that it is identical with a limitless present. The present is the eternal present with an infinite depth; in short, time is nothing but the infinite present, the eternal now.”