hi res: (standard tuning) guitar scale sheet
251 frank jazz . com
I wished to be King of the world... I didn't realize, we'd each have our own worlds..!
Adam Gissin's band
Distant Wailing
Full Set--> Distant Wailing
tracks for download or play:
stained glass rhythm -- in my dreams -
- underground cavern -- pyramus and thisbe
the films of David Christian Baird, on YouTube
the music of David Christian Baird:
Full Set --> Collection One
individual tracks for download or play:
beauty is clean (guitar wizardry)
bleeding
keys cognitive enhancement
create to
destroy -- an early effort
for children of late--->
i see the system's
face
envelope
filter?-->
birthday jam
like a
bee <-impulsive
over-dubbing
become the
way <-acoustic
high keys
<---coming from a high place
intentional
distortion <---pleasing once the distortion
ends
xblues
<--our blood is red (or blue?)
spice tradition
<-acoustic
a
minor <--some like this
old best all is love
alien
<-acoustic
frampton
<---I sound like Frampton?
grune early zappa
<---Chris Gruneberg in early Zappa
grune jerry
zappa
<--full Jerry meets Frank
determinism
drums <--this is what two peeps with a digital
heaviness
<--heavy as in Pink Floyd heavy
real good
<---titled in respect
rock_down <--can
someone define rock?
dream times are here
to stay noisy
experiment for you
to_san_diego_ on his way to San Diego
avant trio two
_mind_control
_time_to_write
joined by: Chris Gruneberg, Jake Breiding, Josh Wulff,
Paul Yelenovsky, Nathan Capenos, Buck McNeece, Bri Beard and Thomas Brophy
Agent Chlorophyl blog: achlorophyl.blogspot.com
the unspoken yes -- a new sight -- a new site for the century -- creationie filmproduktion
db@theunspokenyes.com email
Spoken word:
"So you think and do
-- but life can see through"
"So you think and do -- but
life can see through" text
LSD philosophy?
about Women -- feminist philosophy. Virginia Woolf's Mrs. Dalloway is a beautiful book and you may enjoy reading about it...
Are you interested in Israel Strategy ?
first new story complex_realizations.htm
This is marx versus nozick, judged by me
Why not check out the variance! Today is Only Day, Synthetic Variance of David Baird
A Coherent
Governance
If you frequent wacky peeps who politically "talk shit"
and you'd
like to have an infinitely better approach, read
about
heteropotentialities, and the aggregate-rational state,
and why even
though you have the right to not be killed by a goon with a club,
you should
also have the right not to be let die by a goon with a drug factory
who is
depriving you of medicine you need...
((this paper is a key paper for
anyone on the left))
This is a query I was going to send to the American Journalism Review in 2005:: A_Writing_Query
About the philosop list dispute :: Diasynnexus_Revealed
ultimate conclusions about the academic empire: Syntexy
text: philosop list dispute
This is a philosophy of schizophrenia
Do you want to read about friendship, making life sublime?
For you
because you are human--> an introduction to the most important modern
philosophy:
To See Philosophically:
Introducing the (Publicly) Educated to Immanuel Kant
(written for
high-school "kids", but I would suppose many adults also know too little of
Kant)
I really want people to read about Kant,
especially if they are going to become, or already are, scientists
or artists-- or anyone
really, with a brain that is not familiar with the Kantian critique
of
reality, the most fundamental point at which to begin
a modern philosophical exploration
of one's life and
world....
Poetry: Poems: "some times I want,
too"
"So you think and do -- but
life can see
through"
"Writing to
fight"
Spoken word: "So you think and do -- but life can
see through"
if you do that thing called "thinking," but wonder, "What's
it all about?", then why not
read about the beginnings of it...
David
Baird
“To begin to think”
Beginnings are atheistic. If life is
grounded in god, there are no beginnings. There would be one origin—god—for
everything. All would merely be a continuation, an unfolding, of god’s plan.
Even so, the godly claim beginnings–ahistorical beginnings–divinely inspired
origins. But beginnings in writing arise from the real natural context of the
writer, not from god’s grace. Or as Said says, “we consider
literature[/criticism] as an order of [historical] repetition, not of
[ahistorical] originality—but an eccentric order of repetition, not one of
sameness—where the term repetition is used in order to avoid such dualities as
‘the original versus the derivative,’ or ‘the idea and its realization,’ or
‘model/paradigm versus example.’”(Beginnings, 12) (He rightly implies that an
idea’s realization is as close to the “idea” as we can get (other people)). So,
to be ahistorical is to pretend to be a source of meaning, and not a (mutable)
confluence of the flux of pre-existing meaning. It is to deny the past, and have
us believe that one’s meaning is from the eternally-based present, not from
temporally finite history. Or to perhaps claim a dynastic descent, leaving out
the adjacent field of infinite totality. Said holds that there is “a necessity
at the beginning for [modern literary writers] to see their work as making
reference, first, to other works, but also to reality and to the reader, by
adjacency, not sequentially or dynastically.”(10) The whole world counts, not
just one’s (metaphorical, literary) family/nation.
An historical beginning is made by a writer who
is freely realized within a complexity of forces and knowledges. Not realized
with respect to univocal theory. Said says “the critic is aptly characterized in
Lukacs’ epithet for the novel as being transcendentally homeless [or
aparadigmatic]. He begins each work as if it were a new occasion [not bound to
his (illusory) ‘cultural identity.’]”(11) The critic’s beginning has everything
to do with history manifested now, and not some ideal model, or “home.” A
beginning is a transformation of the current possibilities for being, for
nomadism. Following Valery, “the tremendous undertaking of philosophy [is] an
effort to [begin–to] transmute everything we know[, our history,] into what we
should like to know.”(61) What he should like to know is close to what he would
like to read, or have others read. In Said, “the writer declares his ambition to
make the reader see [what s/he has never seen.]”(25) Such text cannot be known a
priori or automatically, else there would be no struggle, no life, in writing.
Whereas beginnings are sublime. Valery thinks that “we say that an author is
original when we cannot trace the hidden transformations that others underwent
in his mind; we mean to say the dependence of what he does on what others have
done is excessively complex and irregular.”(15) Unpredictable or incalculable.
The mind is not likened to a computer, which can manipulate data, but not make
the data into part of its mental force. The mind is infinitely potentialled,
with death as its horizon.
A beginning intention is not of
objective desire, but subjective desire. In Said, it has a “field of play,” or
theatre of action, and no immutable objective. Each step we take is itself an
unpredicted goal. Nietzsche thinks truth is not ideal, “not something there,
that might be found or discovered—but something that must be created,” and doing
this is “an active determining—not a becoming-conscious of something that is in
itself firm and determined.”(152) When a beginning is played out, we look back
and map the transformations accomplished—though we could never have hoped to
accomplish exactly them in the beginning. Rather, we could have, but didn’t.
A beginning is always historical, like
everything else. But humans can be ahistorical in the sense of (actively or
passively) forgetting history. If we forget the beginnings of life, we instead
posit (imaginary) origins–posited, yet impossible. Teleology is also
ahistorical. A reverse ahistoricality—positing future ends. But as open
nonteleological critical (important) writers we seek to keep thinking alive. To
make not a monument of it, but give it its theatre of infinity in which to
function/play/exist. To not stop. We do not believe the promise that death will
bring life. This promise, this denial of death, is ironically deadly, and denies
life’s reality. We wish to avoid all of death’s manifestations, such as
‘death-in-life’–the curtailment of possibilities of liberation from repressive
forces that would have us (or have us choose to) be less than fully alive.
Beginnings are to Power threats–they would abandon
Power’s supposed divine origins, and approach new modalities of (subversive)
life. Those in power were not chosen by god, but are historical accidents. As
such, their ways of thinking are often warped, and attempt to justify this
deathly scene. Ahistorical Power is that which sees itself as universally valid.
Although it arose directly from a particular cultural matrix, it pretends to be
the ultimate judge of culture. We would fragment the univocal thought of Power
with critique. To have a fully functioning world, there must begin a
literate/literary dialogue among the concerned parties—everyone. One paradigm
can never be proven ultimate. There cannot be a permanent security. Terrorists
will always find vulnerabilities to exploit, especially as the net complexifies,
as the global interrelationships deepen. And our needs change as our lives
change, requiring new ways of political thinking. The world is written, and we
must make its script literary and anti-dehumanized. The world must begin to
think. Life and poesis must intertwine.
In the abundance of water, the fool is
thirsty.
--Bob Marley, Rat Race
if you wonder about "free will", then why not
wonder about the following vignette, and if it can be proved
wrong...
If x, then y. There is only one x, one
present or "now." So there shall only be one y, one future. The only possible
future is the actual future. There is only one possible future, because physical
law is constant. Even if it changes, it will change for reasons. If you beleive
in causality.
You may think you are free. You are free,
to be who you are, to make the types of decisions you would make. These choices
are not your fault--they are the fault of your luck in being born as you, or as
philosophers call it, indexicality. Why are you you and not someone else?
Someone has to be you. If someone else would have been you, they'd be feeling
exactly as you feel now. So you don't really know which soul you are. You only
know you're you.
Is determinism depressing? Or is it
liberating. You can do whatever you want. And it will have been meant to happen.
All you have to do is want it. Humans may punish or reward you, but god never
will. Because you didn't choose to be who you are. You chose, but your choices
were determined by previous causes. Nothing is your fault, good or bad. It is
all god's fault. By giving the gift of life, if your life is a gift and not a
curse, god is saying "I'm sorry for the hell that is the earth I've created.
Here, take this life--for I meant for things to be perfect. And maybe they are.
Pain is to warn of impending or actual tissue damage. Evil is a byproduct of the
realities of neuropsychology. Maybe I try to help where I can. Look at the
signs, the meanings of the elements that make up your world. And decide. Do I
love you?"
V
20.0
<interview> <site to follow below>
Q: "What is this
sight?"
A: "I don't even know that, and I'm the author. I can tell you
it's a sort of outpouring, a way of approaching the surface of reality -- the
horizon of the self, if you will -- a way that unfolds the hidden gaps in our
perceptions to reveal workings beyond apparency -- workings beyond even our
dreams, at times..."
Q: "Who is this sight for?"
A: "The music
can be for anyone with an operational sense of harmono-melodo potentialities...
The lyrics are graphic only insofar as the word 'graphic' connotes vibrancy,
complexity, color, and intensity... The essays are generally at high school
level to Ph.D. and beyond. The fictions, though, _being_ life, and not
just _about_ life, contain the sort of disturbing variables that one would
expect in worlds such as these..."
Q: "What hopes do you have for the
future of thisfeel?"
A: "Persistance, development, substantial
reconfiguration, thematic direction, and all the other things we'll know-knot --
the things, that with dread, major media's know not..."
Q: "Looks pretty
disorganized... Where do we start?"
A: "The haphazardness is
intentional... I want this sight to be as resistant to easy consumption as life
itself is... This is a constellation of textual and media structures, and to
navigate it you just start consuming, anywhere, and see how the vector of your
trajectory of desire is resultantly tweaked... Good luck -- and, may the
force be you..."
The music links will stream these days if you <(right click): open
in new window>.
However, as with all of the net, you do not know that this site will be up tomorrow. A better choice is to <(right click): save target as::> and save these files for future viewing/listening... Saving video files before viewing is even a bit faster than trying to stream some of them.
[Note:: if you are paranoid about saving files because of the potential for viruses, you must know that if your computer is set up properly, it can no more get a virus from a music or video file than a dvd player could "get a virus" from a disc... The computer treats files according to their "extensions" -- (music may be .wav or .mp3 or .wma, etc...) When you go to save targets, you can look at the file extensions... Do not save ".exe" files unless you know what you are doing -- these "execute" when opened, and if you allow strange programs to execute on your machine, you may be in for it...]