vimothy
yurp
what do you do for work barty?
This or That.
- Thread starter luka
- Start date
what do you do for work barty?
luka
Well-known member
cant you give us a really clever profound post please?
luka
Well-known member
youre supposed to be in bed watching a steven hawkings documentary :crylarf:
luka
Well-known member
if you point out that its compasses and not a square youre banned btw
sadmanbarty
Well-known member
!!!!!!VIM!!!!!!!!
nice to see you on the fun threads, it’s the silver age of dissensus so you got to do it more. when are you coming for a drink with us?
i write music for companies making films. online adverts, educational videos, promos at trade shows, that sort of thing.
sadmanbarty
Well-known member
what does music evoke (shapes, colours, movements, people, places, smells, etc.)?
how does it evoke it?
why does that feature evoke that feeling?
can we find common ways to express the same thing musically (if i want to express x how do i ‘say’ it musically? what luka calls language)?
for example:
what does it evoke?
amongst a million other things it evokes the feeling of bouncing. of up and down. my head’s bobbing up and down as i listen.
how does it evoke it?
by emphasising the off beats while still resolving on the down beats. the off beats are ‘up’ the down beats are, aptly, down.
why does that technique evoke that feeling?
fuck knows
can we find common ways to express the same thing musically?
yes. these songs all bounce because they emphasise the off beat and resolve on the down beat:
the german way of saying ‘bounce’ is ‘prallen’. the french way is ‘rebondir’. the arabic way is 'وثب، ارتداد’. the musical way is *off beat emphasis*. of course there are more ways to say it than that, in the same way we have more than one word for bounce.
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luka
Well-known member
i would take an extra step on from what barty has said, and i suspect it's that extra step that will lose you all.
not that you are unable to understand it, but because it's a step you won't want to take.
i'm not talking at the level of metaphor as it is commonly understood. i am talking at the level of direct correspondence.
a is not just like b in a 'poetic' sense, but actually shares something essential in common with b. embodies the same
principle.
corpsey was just asking me if dante-milton-blake-yeats
is a continuum and of course it is, in a variety of ways, and in trying to explicate why i hit a stumbling block.
and i remembered that although i take it for granted now to some degree, only a few years ago it was floating
just out of reach. i could glimpse it out of the corner of my eye but i couldn't see the whole thing, as one shape.
even now it's very hard. it comes and goes. i had to teach myself. i've spent years getting to where i am now and
i'm still very much in the learning stage. this thread is partly me trying to pull the whole thing together and
explicate it but it's still comprised mostly of hints and prods and nudges.
not that you are unable to understand it, but because it's a step you won't want to take.
i'm not talking at the level of metaphor as it is commonly understood. i am talking at the level of direct correspondence.
a is not just like b in a 'poetic' sense, but actually shares something essential in common with b. embodies the same
principle.
corpsey was just asking me if dante-milton-blake-yeats
is a continuum and of course it is, in a variety of ways, and in trying to explicate why i hit a stumbling block.
and i remembered that although i take it for granted now to some degree, only a few years ago it was floating
just out of reach. i could glimpse it out of the corner of my eye but i couldn't see the whole thing, as one shape.
even now it's very hard. it comes and goes. i had to teach myself. i've spent years getting to where i am now and
i'm still very much in the learning stage. this thread is partly me trying to pull the whole thing together and
explicate it but it's still comprised mostly of hints and prods and nudges.
luka
Well-known member
i know this wont be everybodys cup of tea but it's the only way i explain what i mean. im going to save myself some effort by copying and pasting the the cantos thread because i recently illustrated this principle there and i think it's quite clear.
"a huge breakthrough for me, last year, was reading this
The Cantos explain historical event through its exposure of a malignancy blocking the creative forces that are also identified and celebrated in the poem. Pound calls the malignancy "Usura." The creative forces are called "amor" and "Eleusis."
and realising that the economics arent a crank adjunct but a crucial outgrowth of this understanding. it is how i came to formulate the concept of Flowy Zoe. "Flowy Zoe is not a Mental State it is a state beyond mental."
his economics are concerned with the flow of money and resisting the urge (anal rententive) to hoard. it's how i came to write my poem
Screenomics. Simple/keep it in motion/
the valve is sphincter/unblock the turd-hoard
tightarse/and burn the surplus/
in celebration.
which is about economics in both the conventional and libidinal sense.
it then threw light on why his hell canto is full of shit"
"a huge breakthrough for me, last year, was reading this
The Cantos explain historical event through its exposure of a malignancy blocking the creative forces that are also identified and celebrated in the poem. Pound calls the malignancy "Usura." The creative forces are called "amor" and "Eleusis."
and realising that the economics arent a crank adjunct but a crucial outgrowth of this understanding. it is how i came to formulate the concept of Flowy Zoe. "Flowy Zoe is not a Mental State it is a state beyond mental."
his economics are concerned with the flow of money and resisting the urge (anal rententive) to hoard. it's how i came to write my poem
Screenomics. Simple/keep it in motion/
the valve is sphincter/unblock the turd-hoard
tightarse/and burn the surplus/
in celebration.
which is about economics in both the conventional and libidinal sense.
it then threw light on why his hell canto is full of shit"
luka
Well-known member
CANTO XIV
Io venni in luogo d’ogni luce muto;
The stench of wet coal, politicians
. . . . . . . . . . e and. . . . . n, their wrists bound to
their ankles,
Standing bare bum,
Faces smeared on their rumps,
wide eye on flat buttock,
Bush hanging for beard,
Addressing crowds through their arse-holes,
Addressing the multitudes in the ooze,
newts, water-slugs, water-maggots,
And with them. . . . . . . r,
a scrupulously clean table-napkin
Tucked under his penis,
and. . . . . . . . . . . m
Who disliked colioquial language,
stiff-starched, but soiled, collars
circumscribing his legs,
The pimply and hairy skin
pushing over the collar’s edge,
Profiteers drinking blood sweetened with sh-t,
And behind them. . . . . . f and the financiers
lashing them with steel wires.
And the betrayers of language
. . . . . . n and the press gang
And those who had lied for hire;
the perverts, the perverters of language,
the perverts, who have set money-lust
Before the pleasures of the senses;
howling, as of a hen-yard in a printing-house,
the clatter of presses,
the blowing of dry dust and stray paper,
fretor, sweat, the stench of stale oranges,
dung, last cess-pool of the universe,
mysterium, acid of sulphur,
the pusillanimous, raging;
plunging jewels in mud,
and howling to find them unstained;
sadic mothers driving their daughters to bed with decrepitude,
sows eating their litters,
and here the placard ΕΙΚΩΝ ΓΗΣ,
and here: THE PERSONNEL CHANGES,
melting like dirty wax,
decayed candles, the bums sinking lower,
faces submerged under hams,
And in the ooze under them,
reversed, foot-palm to foot-palm,
hand-palm to hand-palm, the agents provocateurs
The murderers of Pearse and MacDonagh,
Captain H. the chief torturer;
The petrified turd that was Verres,
bigots, Calvin and St. Clement of Alexandria!
black-beetles, burrowing into the sh-t,
The soil a decrepitude, the ooze full of morsels,
lost contours, erosions.
Above the hell-rot
the great arse-hole,
broken with piles,
hanging stalactites,
greasy as sky over Westminster,
the invisible, many English,
the place lacking in interest,
last squalor, utter decrepitude,
the vice-crusaders, fahrting through silk,
waving the Christian symbols,
. . . . . . . . frigging a tin penny whistle,
Flies carrying news, harpies dripping sh-t through the air.
The slough of unamiable liars,
bog of stupidities,
malevolent stupidities, and stupidities,
the soil living pus, full of vermin,
dead maggots begetting live maggots,
slum owners,
usurers squeezing crab-lice, pandars to authori
pets-de-loup, sitting on piles of stone books,
obscuring the texts with philology,
hiding them under their persons,
the air without refuge of silence,
the drift of lice, teething,
and above it the mouthing of orators,
the arse-belching of preachers.
And Invidia,
the corruptio, fretor, fungus,
liquid animals, melted ossifications,
slow rot, fretid combustion,
chewed cigar-butts, without dignity, without tragedy
. . . . .m Episcopus, waving a condom full of black-beetles,
monopolists, obstructors of knowledge.
obstructors of distribution.
Io venni in luogo d’ogni luce muto;
The stench of wet coal, politicians
. . . . . . . . . . e and. . . . . n, their wrists bound to
their ankles,
Standing bare bum,
Faces smeared on their rumps,
wide eye on flat buttock,
Bush hanging for beard,
Addressing crowds through their arse-holes,
Addressing the multitudes in the ooze,
newts, water-slugs, water-maggots,
And with them. . . . . . . r,
a scrupulously clean table-napkin
Tucked under his penis,
and. . . . . . . . . . . m
Who disliked colioquial language,
stiff-starched, but soiled, collars
circumscribing his legs,
The pimply and hairy skin
pushing over the collar’s edge,
Profiteers drinking blood sweetened with sh-t,
And behind them. . . . . . f and the financiers
lashing them with steel wires.
And the betrayers of language
. . . . . . n and the press gang
And those who had lied for hire;
the perverts, the perverters of language,
the perverts, who have set money-lust
Before the pleasures of the senses;
howling, as of a hen-yard in a printing-house,
the clatter of presses,
the blowing of dry dust and stray paper,
fretor, sweat, the stench of stale oranges,
dung, last cess-pool of the universe,
mysterium, acid of sulphur,
the pusillanimous, raging;
plunging jewels in mud,
and howling to find them unstained;
sadic mothers driving their daughters to bed with decrepitude,
sows eating their litters,
and here the placard ΕΙΚΩΝ ΓΗΣ,
and here: THE PERSONNEL CHANGES,
melting like dirty wax,
decayed candles, the bums sinking lower,
faces submerged under hams,
And in the ooze under them,
reversed, foot-palm to foot-palm,
hand-palm to hand-palm, the agents provocateurs
The murderers of Pearse and MacDonagh,
Captain H. the chief torturer;
The petrified turd that was Verres,
bigots, Calvin and St. Clement of Alexandria!
black-beetles, burrowing into the sh-t,
The soil a decrepitude, the ooze full of morsels,
lost contours, erosions.
Above the hell-rot
the great arse-hole,
broken with piles,
hanging stalactites,
greasy as sky over Westminster,
the invisible, many English,
the place lacking in interest,
last squalor, utter decrepitude,
the vice-crusaders, fahrting through silk,
waving the Christian symbols,
. . . . . . . . frigging a tin penny whistle,
Flies carrying news, harpies dripping sh-t through the air.
The slough of unamiable liars,
bog of stupidities,
malevolent stupidities, and stupidities,
the soil living pus, full of vermin,
dead maggots begetting live maggots,
slum owners,
usurers squeezing crab-lice, pandars to authori
pets-de-loup, sitting on piles of stone books,
obscuring the texts with philology,
hiding them under their persons,
the air without refuge of silence,
the drift of lice, teething,
and above it the mouthing of orators,
the arse-belching of preachers.
And Invidia,
the corruptio, fretor, fungus,
liquid animals, melted ossifications,
slow rot, fretid combustion,
chewed cigar-butts, without dignity, without tragedy
. . . . .m Episcopus, waving a condom full of black-beetles,
monopolists, obstructors of knowledge.
obstructors of distribution.
luka
Well-known member
OBSTRUCTORS right?
so the ethic holds across all platforms. the body, the psyche, nature, the economy, the arts
as i say, there's an underlying principle that holds true across all levels of manifestation (and perhaps pre-manifestation)
this is really what i'm getting at. it's not the circumscribed kind of metaphor you are used to. it opens up to encompass the omniverse.
so the ethic holds across all platforms. the body, the psyche, nature, the economy, the arts
as i say, there's an underlying principle that holds true across all levels of manifestation (and perhaps pre-manifestation)
this is really what i'm getting at. it's not the circumscribed kind of metaphor you are used to. it opens up to encompass the omniverse.
Client Eastwood
Well-known member
how are you pple listening? i don't get to clubs anymore and have some pretty decent speakers (macro elements) which i rarely use - neighbours and kids to get to bed, so most of my listening is by using headphones. speakers give me the physicality but headphones give me immersion and a greater focus on the micro elements.
luka
Well-known member
and what you have someone like blake doing is taking one of those principles, or elements or howevr you might like to characterise them, and writing of them as embodied godlike characters. so when you have a character like urizen or orc, that is something which operates simultaneously at the level of your body, your psyche, your family, your society, history, economics, and so on and so forth.
it holds true across all platforms, at all levels, in all dimensions.
it holds true across all platforms, at all levels, in all dimensions.
luka
Well-known member
yeah well i did say i know this is not everyones cup of tea!