You're a songwriter in space it means you must be brave it means you just have today until eternity You're a sound slinger in void calculations your avoid the worlds just a mirror of toys you exploit when you're stuck in a place like this you start to act like an atlas

every signs alive sifting in the space flowing down a wire at the gardens pace information flows and the ideas know then they start to grow a song works like a wheel a snake eating its tail in worn wood by the weed a nature gave to recede "it's so long" yeah, about that i see through you Aimless wandering eye, omg A, N, S, A, R, U, N love Aimless one i see through you

METAPHYSICS OF EFFECT PEDAL DESIGN: A Pseudo-Science Of Your Very Own! A proposition can be: True, Untrue, Both or Neither. 1.1 This is known as “the four corners” of Buddhist logic it is supported by the scientific notion that a particle can be in two places at once, that nature doesn’t follow a principle of non contradiction in its behavior. 2. Equipment are their own theory of reality 2.1 every tool bases its ability to be useful on a reality that supports the presupposition of its function ex: hammers hit hard things, hard "matter" exists because hammers exist, ex2: microscope bends light through a magnifying glass (the microscope is a system built upon a theory of light AND how light works with glass). equipment poses as both cause and effect for this theory, and thus with each blow of a hammer (or each chord of a guitar) our minds are cemented in a certain worldly mode of being. 2.2 Your equipment thus reflects epistemological choices made for you, they structure your activity and contain the user in the illusion that they chose to perform such a task! 2.3 effect pedals structure the ways musicians think about dynamic uses of texture devices of atmosphere in their compositions: the sum of this effect is the construction in the musicians mind of the song as an abstract form rather than a concrete activity. music then becomes more an activity based on constructing forms and reproducing them rather than a lively and complex interchange of new non linear forms. 2.4 there is as much a larger cultural frame as technology frames this particular cultural activity, but this should stand to show that containers and tools - although they pose neutrality - are active participants and testaments to the validity of their surrounding ideology : the closest thing we have to living proof of its existence. 3. Numbers and data can be used to justify anything because we live in a culture that values THAT type of rhetoric. 4. 3.1 Oftentimes we think in terms of straight lines and squares -- but know simultaneously — that this is too simplistic to describe nature in its entirety. nature moves and changes and science presents “theories” as the sum of static facts (or the emergent nature of fact?) to be received by static containers (school image, students brains being drawn as receptacles) rather than allowing to humanity occupy a mode of being geared toward the present moment and thus see oneself and identity as existing between ever changing scientific paradigms. John Locke called this the difference between Primary and Secondary qualities: the primary being quantifiable, and the secondary being Qualia; the qualitative aspects of our experience of reality ex: color, sensation, and consciousness. 3.2 the problem with this type of thinking is that although we can describe and separate parts of reality into their own separate containers, we still haven't gone to where this scientific description of reality aids our ability to make meaning of it! -- this is in many ways the role of the artist in today’s ever changing world! 3.3 A TWO MINUTE CASE FOR OPTIMISM: Stephen pinker wants you to shut up and eat your burrito, don’t like the world? COUNT SOMETHING UNTIL IT MAKES YOU FEEL BETTER. 4. Effect pedals mimic the effects of sound in nature. they are devices of atmosphere for the musician, just like that of the painter. 5. Although effect pedals mimic devices of atmosphere found in nature, the algorithms that initiate their effects are based on a non natural system of “randomness” rather than a more empirical notion of non linear chaos. “randomness" is regularity within an infinite series or repetitions, while chaos is irregular and non linear: far richer in complexity. (Make a table or graph here) 6. Nature is not “out there,” you are it. 6.1. someone once told me “you make your surroundings” 7. Much of the way we think about the meaning made in our lives is due to our tendency to see ourselves as existing between juxtapositions of different cultural fragments: by observing fragments of culture in art forms as culture itself (the mash up) our minds generates a false sense of a “network sourced” omnipresence of culture. this phenomenon of feeling partially omnipresent lives deep within us: for much 7.1 Cubism vs The Mashup 7.2 Tinder and the scientific love life 7.3 Facebook and the “neutral container” 7.4. Big Data and Rationalist Epistemology 7.5 BEING DUMB 7.6. punk patches being coordinates on imaginary lines of ideology. 8. (top secret) 9. We all make Mazes for the moon to marvel in! 9.1 life is a maze we construct and participate in, but this trail we leave behind is not made up of media or the residue of the technocratic globalist empire (within which we indubitably reside), this maze of reality is structured by the correspondent reality that we co-costruct througho the creation / recreation of language! 10. Computers are formulated on a master slave complex 10.1 there is a part of me that desires its own oppression this desire has been implanted within me by my culture, i must learn to unlearn this fact. 11. (top secret) 12. To be Free is to be free of any notion of past or future, to see history as a movement of humanity always occupying the present moment. 12.1 this insight is constructed in the hopi indians tribes language; since it lacks both a future and present tense. 13. Sun Pedals: Celebrates the undocumented unity of our experience / ontology as existing within flows of information rather than within a predictable fixed material and mechanical world. this is an anti dualist materialist rationalism! 14. When you play the guitar immaterial flows of melodic abstractions (that are “in your head”) become concrete in material flows of sound, thus the primary qualities of the abstraction (the waveforms of the sound wave) can be “read” or “decoded” as that OR aas its secondary qualities of sound which are HEARD. 15. We become the sum of our smallest choices, there aren’t any big choices left. what i remember more than the grand comrodery and genuine sense of positive competition + discourse between myself, joe striani, and steve via was that feeling the day dime bag darrell died, i remember ripping out a fresh slice of notebook paper writing "rest in peace dimebag" pasting it to my chest wearing a bulls eye turtleneck parading myself through the halls of grade 8 the community felt between the blinking nodes of guitar world subscriptions are intersectional in nature, yes. that it is also an advertisement is true, yes. That each attribute can be named and then differentiated to one another, uh huh. Now exhale There ought to be a point before performance Where all the musicians synchronize their watches and enter their own time anyway fuck it all , half a flute flook floken off the rails again! Toot hoolering and the kind you hear about it dreams Where a letter becomes the spoke in a word kallidescope that’s running on 4x4 gears in Subaru heaven Who love to be embittered in righteous fury, An eternal flame, A love transformed into a contest Of moral superiority Im a stone in your mind I haven’t turned over in a long time And because of that I am rife with secrets beneath my surface.