There are no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false.
Theo Parrish, “Summertime Is Here” (originally released 1999; reissued 2006)
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lagniappe
musical thoughts
[W]hat we find in our mind and our thought is the same as what we find in our ear and in sound: an ocean in constant flux. Just as our ear turns out to be nothing but a construct, and likewise sound, neither can we isolate anything we might call our mind or thought, much less our self.
—The Heart Sutra, translation (from Sanskrit) and commentary (from which this is drawn) by Red Pine, AKA Bill Porter (2004)
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reading table
the whining mosquito
also thinks I’m old . . .
edge of my ear
—Kobayashi Issa, 1819 (translated from Japanese by David G. Lanoue)
Theo Parrish (Detroit-based DJ/producer), live, Spain (Madrid), 2010
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lagniappe
musical thoughts
[I]f you think about it, sound behaves a lot like sculpture except there’s a time limit. Look at that sculpture right there behind you. You look at it and there’s a front, a back, an up, a down, around and through. So you’re talking about volume. You’re talking about spatial relationships.
The thing about sound is that there is a beginning and there is usually an end, there’s a certain amount of space that it takes up, but the big difference is that all of that is merely alluded to. It’s not something that’s concretely in front of you. It’s fluid. You may hear a snare, but the way that it’s presented and the textures that it has, you can bring certain mental images to it. If you’re listening. Ifyou’re listening.
A lot of times you’ll put something on and it’s just another track, but if you’re listening to it you can hear a lot of the nuances that are in there and really start to understand . . . start to really get your head around it . . .
Repetition kind of sets a certain mass in a song. That’s a constant, that’s something you can ‘see’ all the time. Then there’s little bits that come in and out and these changes that kinda shift on that pivot. If you think of it visually, sometimes you’re dealing with almost a mobile-like thing. This is where I go in my head sometimes. Mobile means shifting, spinning, all kinds of stuff.
If you look at it, it could almost be like sculpting air. It’s like you have all of these shapes . . . but you have to rely on a structure, but then again you really don’t have to. So your structure tends to be your time limit—how long your recording is from beginning to end. Anything that happens in that amount of time is on you. Totally up to your creativity.