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I was thinking, as you do, about the ontological argument. Being an Omega-point mathmo fundamentalist expressed through syncretic pantheism, it’s one of my hobbies, so to speak.
But in the multiverse, everything that can happen will happen. Ergo in the multiverse, the necessary and contingent are exactly equal. This makes the modal approach to the ontological argument rather interesting.
But in the multiverse, everything that can happen will happen. Ergo in the multiverse, the necessary and contingent are exactly equal. This makes the modal approach to the ontological argument rather interesting.
Voter fraud.
May. 12th, 2021 06:13 amGood old Peter Oborne, ex Spectator writer, puts it all into perspective:
twitter.com/OborneTweets/status/1392227953837289474
'there are currently nine open investigations into Prime Minister Boris Johnson’s conduct – more than double the number of voter fraud convictions in 2019.'
twitter.com/OborneTweets/status/1392227953837289474
'there are currently nine open investigations into Prime Minister Boris Johnson’s conduct – more than double the number of voter fraud convictions in 2019.'
(no subject)
Apr. 16th, 2021 04:44 pmWell, I was perusing Eliot's "Wasteland", as you do, and a couplet lodged itself into my head:
"Sweet Thames run softly till I end my song,
Sweet Thames run softly for I speak not loud or too long."
So I mucked around with it, as you do, and worked out it could be a chorus.
So I used it, the chorus, as a bookend and put some filler in the middle to give it some sort of putative context.
The melody for the "Sweet Thames..." is played on slide. Given my slide technique, you can just about work out how the words might fit.
Now I'm spending the rest of the evening combing through the Wasteland looking for other bits to pinch.
"Sweet Thames run softly till I end my song,
Sweet Thames run softly for I speak not loud or too long."
So I mucked around with it, as you do, and worked out it could be a chorus.
So I used it, the chorus, as a bookend and put some filler in the middle to give it some sort of putative context.
The melody for the "Sweet Thames..." is played on slide. Given my slide technique, you can just about work out how the words might fit.
Now I'm spending the rest of the evening combing through the Wasteland looking for other bits to pinch.
Another lockdown thing...
Mar. 10th, 2021 04:32 pmI had an old riff that moved between the Æolian and Dorian modes. I was playing around with it and...
With particular, different, and unusual emphasis on the notes in the riff, when harmonised, it can do outrageously different things.
This is an 80 bar iteration of a riff where nothing much happens with the notes I'm playing. The Bass opens up and has a bit of a dance, and I chuck some chords in, but it's pretty damn linear. Or not as the case may be. It is a bit of a Prog middle 8. But that's not necessarily a bad thing.
With particular, different, and unusual emphasis on the notes in the riff, when harmonised, it can do outrageously different things.
This is an 80 bar iteration of a riff where nothing much happens with the notes I'm playing. The Bass opens up and has a bit of a dance, and I chuck some chords in, but it's pretty damn linear. Or not as the case may be. It is a bit of a Prog middle 8. But that's not necessarily a bad thing.
Work in progress...
Feb. 13th, 2021 07:09 pmNot sure if I want to proceed with this set of ideas.
It's a bit close to "Smells Like TS" and one guitar line is the child of "Son of a Preacher Man" and "How Soon Is Now". "Lucy in the Sky with Diamonds" makes an appearance in the bridge (though I didn't complete the arpeggios when I heard just how they were going to sound) and the chorus is inversions of the same chords as the opening to Stairway, though you wouldn't know it necessarily. Also a walking bassline that is the bastard lovechild of "I Wish" as played by Joy Division's Pete Hook.
This is how artists steal, I guess By consuming, processing, and excreting.
It's a bit close to "Smells Like TS" and one guitar line is the child of "Son of a Preacher Man" and "How Soon Is Now". "Lucy in the Sky with Diamonds" makes an appearance in the bridge (though I didn't complete the arpeggios when I heard just how they were going to sound) and the chorus is inversions of the same chords as the opening to Stairway, though you wouldn't know it necessarily. Also a walking bassline that is the bastard lovechild of "I Wish" as played by Joy Division's Pete Hook.
This is how artists steal, I guess By consuming, processing, and excreting.
I don't have quite the same presence on the interwebs that I once had; nevertheless I'm active on one or two pages - musician's geek pages talking about kit and stuff. Most of them are strictly apolitical and enforce that apolitical stance pretty rigorously; understandably given that most musos come from all spectra of political hue.
However there are some things which overlap unavoidably and the latest of there are:
Covid (responses, gigging, poverty, death, etc)
The present UK/EU situation regarding freedom of movement for musicians; or the new rules and the lack of ability of UK musicians to play in Europe without lots of red tape and prohibitive extra costs.
Anyway, the former problem tripped me up because there are some folk who on the boards who were, let's say, skeptical about the conventional responses to Covid, and to masks, and to the curtailment of their freedoms. It's not that unusual a position among musicians; Van Morrison and Eric Clapton spring to mind.
So... it ends up that on one of these pages I've been moderated by the chaps in charge (in the nicest possible way) because I sort of... went on a rant. It was a moderate and considered rant, but rant nevertheless.
But what I'd like to know - and maybe this is relevant to the process of healing the divides that exist between factions in certain polities - is how does one go about trying to combat both overt and covert politicisation by other folk, or even oneself? I mean I find it personally objectionable if someone states up is down as a serious position; to me that is deluded. (Satire is another matter; but the sort of satire available to geeky musicians may be an acquired taste.) How do you suggest to someone that they're wrong in a way that gets them to examine exactly what it is they think anew?
Obviously, I've failed again; but next time I want to fail better. Suggestions please. (Also I don't want to burn the house down, so to speak - going all Malcolm Tucker on eleven isn't really my modus operandi here.)
However there are some things which overlap unavoidably and the latest of there are:
Covid (responses, gigging, poverty, death, etc)
The present UK/EU situation regarding freedom of movement for musicians; or the new rules and the lack of ability of UK musicians to play in Europe without lots of red tape and prohibitive extra costs.
Anyway, the former problem tripped me up because there are some folk who on the boards who were, let's say, skeptical about the conventional responses to Covid, and to masks, and to the curtailment of their freedoms. It's not that unusual a position among musicians; Van Morrison and Eric Clapton spring to mind.
So... it ends up that on one of these pages I've been moderated by the chaps in charge (in the nicest possible way) because I sort of... went on a rant. It was a moderate and considered rant, but rant nevertheless.
But what I'd like to know - and maybe this is relevant to the process of healing the divides that exist between factions in certain polities - is how does one go about trying to combat both overt and covert politicisation by other folk, or even oneself? I mean I find it personally objectionable if someone states up is down as a serious position; to me that is deluded. (Satire is another matter; but the sort of satire available to geeky musicians may be an acquired taste.) How do you suggest to someone that they're wrong in a way that gets them to examine exactly what it is they think anew?
Obviously, I've failed again; but next time I want to fail better. Suggestions please. (Also I don't want to burn the house down, so to speak - going all Malcolm Tucker on eleven isn't really my modus operandi here.)
One person...
Jan. 5th, 2021 09:23 pm...Asked why I post my rough music on here from time to time when it is work-in-progress?
With lockdown I suppose we all need some sort of external validation. I'm not getting up on stage at the moment - neither is anyone else much. I don't have a proper YouTube page put together. I use SoundCloud because it's easy.
I guess the reason I put it on here is I like showing off to Patrizia; she's the only one who ever reads me and I did promise her I'd post the odd bit here and there. :)
With lockdown I suppose we all need some sort of external validation. I'm not getting up on stage at the moment - neither is anyone else much. I don't have a proper YouTube page put together. I use SoundCloud because it's easy.
I guess the reason I put it on here is I like showing off to Patrizia; she's the only one who ever reads me and I did promise her I'd post the odd bit here and there. :)
More Home Demos...
Jan. 4th, 2021 10:36 amBecause I just can't help myself...
Some folk will get the joke in the title. I may lose the coda. The slide parts, rather than the coda, were an afterthought - but one that has put the coda in question and changed the whole feel of the track. Shame, because when I blew over the coda I had a blast. But even so; too many notes.
I may try to craft a slide part over it; but the feel has changed so much.
You add one idea and the whole structure is up for question. Such is.
For recording purists I know the acoustic rhythm guitars were recorded too hot and are compressing and it's all unbalanced and unedited. But demos are about ideas rather than perfect execution.
May you all have a Happy Christmas
Dec. 25th, 2020 01:59 pmHappy Christmas to one and all.
Boris has pulled a dilapidated bunny out of his top hat. He is full of surprises; but the deal ain't quite as good as Mrs May's. But once the smart money realised it couldn't pull the whole edifice of the EU apart despite having a good crowbar or two... well I suppose a deal was always on the cards. The plague has rather put things into perspective. And the problems at the ports and on the Kent motorways have really emphasised just how bad it will get. So deal we have. Thank the gods.
I have got an Empress Effects Zoia for Christmas, and since I don't have the kids with me until Boxing Day I've spent the morning playing with the presets on the beast. I've managed to integrate it into a small pedalboard:
It has very interesting possibilities. Here is my first test. I think it will appeal to those who like atonal stuff. Very Ravel influenced with bits of Bartók and touches of Stravinsky; but mainly tonal and a conventional time signature.
Boris has pulled a dilapidated bunny out of his top hat. He is full of surprises; but the deal ain't quite as good as Mrs May's. But once the smart money realised it couldn't pull the whole edifice of the EU apart despite having a good crowbar or two... well I suppose a deal was always on the cards. The plague has rather put things into perspective. And the problems at the ports and on the Kent motorways have really emphasised just how bad it will get. So deal we have. Thank the gods.
I have got an Empress Effects Zoia for Christmas, and since I don't have the kids with me until Boxing Day I've spent the morning playing with the presets on the beast. I've managed to integrate it into a small pedalboard:
It has very interesting possibilities. Here is my first test. I think it will appeal to those who like atonal stuff. Very Ravel influenced with bits of Bartók and touches of Stravinsky; but mainly tonal and a conventional time signature.
