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sbmac

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Head_prosthesis
I like. That's what I had to do on my own in exams with essay questions. Despite the b.s. I always got a passing grade for the effort.

I should have gone into politics.
Artemis
QUOTE
I build upon the so-called 'colours of choreographic spaces', and transform them into what I term 'acoustic-octatonic hexachord-tritones', which I see as a distinct improvement. As a primarily neo-Romantic artist, I aim to mix the reverberation within discontinuous-leitmotifs, and bring forth a single performance that really influences the most temporal issues. The fact that compositions tend to (at least in their choral state), spectrally deny, even in the presence of a strong noise, is, you will agree, patently absurd. The fact that rhythms tend to (at least in their stylistic state), bitonally re-bar, even in the presence of a strong relationship, is, you will agree, patently absurd. By engaging in sub-postmodern sensing, I seek to overcome the existing absolute models, and establish a more active and choral paradigm.


That's you alright.
Provenance
The old Sokal paper makes yet another re-emergence in yet another form.

Transgressing the Boundaries: Towards a Transformative Hermeneutics of Quantum Gravity
Tibro
Bullshit is bullshit.

That bullshit is not random.

Grab it by the tail.

sixela
QUOTE(Head_prosthesis @ Dec 8 2011, 07:30 PM) *

I should have gone into politics.

Doesn't earn you the same respect that becoming an academic neo-structuralist does.

In a former life, I managed to link quantum mechanics and Umberto Eco's "the Name of the Rose" in a convincing essay, and it wasn't even far-fetched at all and not bullshit at all (we still have the same pitched battles between realists and nominalists, only the arsenal has changed). Then I said, "ah well, but I'm an engineer, aren't I?" and I never looked back.
Provenance
QUOTE(Tibro @ Dec 8 2011, 12:10 PM) *
That bullshit is not random.

Uh…yeah pretty much it was. Really embarassed the academic types who published it.

QUOTE(sixela @ Dec 8 2011, 12:22 PM) *
I managed to link quantum mechanics and Umberto Eco's "the Name of the Rose" in a convincing essay

Hate to admit it, but I'd would like to read that.
Tibro
Academic: No.

Intentional: Yes it was.

Goal oriented.
sixela
QUOTE(Provenance @ Dec 8 2011, 10:01 PM) *

Hate to admit it, but I'd would like to read that.


Can't find it, though it's probably been filed by the Jesuits in some archive.

It's completely obsolete, since the Copehagen interpretation has ceased to be the dominant interpretation of quantum mechanics (though knowing some physicists I tend to believe it's often been superseded by a more pragmatic "anything goes as long as it works and it agrees with experiment" more typical of engineers). I've learned a lot about the QM interpretation zoo since then.

I think I've aged (I was 18 when I wrote that) and I've developed a distaste for overly simple explanations, reductionism and the illusion there is only one truth or description that is always better than all the others (even though my inner neo-platonist will cringe when reading this admission). I suspect I'd really laugh at myself if I were to reread the essay.

On an only tangentially related matter, I had a good laugh last year at Rock Werchter when I realised that E from the Eels is actually the son of the person who came up with the Many Worlds hypothesis. Somehow, that was quite fitting.

But I digress, and I must return to hide in my stern engineer's positivist carapace.

I think Kirk probably now realises to his dismay that outside of it, I make even less sense.
Artemis
QUOTE
All composers should mix a variety of tritones, and (if this transcribes Expressionist works), proceed to visualise contrapuntally until the best result is achieved. Rather than resonantly visualising post-Schoenberg themes, I now prefer mixing innovative types of polyphony, in conjunction with highly discontinuous conflicts. I was first introduced to the concept of 'distortedly-acoustic reaction-pitch-classes' last year, and it has allowed me a greater depth of collaborations, especially whilst premiering the ultimate reaction. I was first introduced to the concept of 'rhythmically-monophonic sculpture-intervals' last year, and it has allowed me a greater depth of gestures, especially whilst examining the ultimate style. I was first introduced to the concept of 'apparently-simultaneous octave-tempi' last year, and it has allowed me a greater depth of illusions, especially whilst rejecting the ultimate meaning.


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