The Intelligent People's Thread

ass

Atomic_Rooster wrote: unfortunately rileydog ate all the salmon egg (and bull penises) so we've got some prime rib and filet mignon that my dog found!

Edited by JJLehto - May 02 2007 at 22:36

One of my best attributes is that I would never want to join anything that says it's membership is superior to others.

Indeed, and mini cheescake is nothing without some salmon egg.

rileydog22 wrote: Copenhagen isn't confusing.  It's just the opposite; it's a cop-out.  "Ummmmmm.....stuff happens?  and we don't know what it is, so it's obviously impossible to konw what happens!  So let's stop thinking about it!"

Actually thats why I like it.


FOUND THE MINI-CHEESCAKES!

1.- I'm brown (my skin is smart ebough to have pigmentation highly resistent to UV radiation.

2.- I'm small (need less energy, fit in small places, like the subway in pic hour).

3.- I'm cuncuna. I can answer anything.

4.- I like prog, but I don't have problems with the opposite sex at all.

5.- I know what crostini is.

rileydog22 wrote: A poll to the quantum scientists out there: What's your take on the wave-particle duality?  Copenhagen, hidden variables, multiverse, sum-over-histories, or what? I'm a DeBroglie guy myself, I think his hidden variables theories make a lot of sense.  Sum-over-histories is also an interesting theory, and I think it's actually sort of similar to the DeBroglie model, or perhaps could be the mechanism behind the "hidden variables." Hmmmm.....that's an interesting idea.  I'm gonna mull that over a bit.

A poll to the quantum scientists out there: What's your take on the wave-particle duality?  Copenhagen, hidden variables, multiverse, sum-over-histories, or what?

I'm a DeBroglie guy myself, I think his hidden variables theories make a lot of sense.  Sum-over-histories is also an interesting theory, and I think it's actually sort of similar to the DeBroglie model, or perhaps could be the mechanism behind the "hidden variables." Hmmmm.....that's an interesting idea.  I'm gonna mull that over a bit. 


Edited by rileydog22 - May 02 2007 at 22:17

Atomic_Rooster wrote: The Wizard wrote: Atomic_Rooster wrote: The Wizard wrote: Personally I find myself to be an intelligent person. The vast expanses of my brain are full of the wealth of knowledge and there's stil room for more. In my spare time I take the company of my comrades, listen to experimental rock music, indulge in literary pleasures, write prose and poetry, as well as play music with my band. To me imagination and creativity is more important than knowledge, but knowledge is still a very important thing because it is the enemy of ignorance, the ultimate plague upon society. Imagination and creativity on the other hand are enemies of the plague that is conformity and those dedicated to producing it. The tool used to battle conformity and ignorance is the ultimate from of human expression - language. Language is the most effective method of changing minds and swaying the ways of the public. The goal of a democratic society should be to ensure that all it's members learn to use this tool and use it as the tool of unlimited free expression it is.     If you can express that as a 5-point bulleted list, your in. 1. Imagination and Knowledge are good 2. Conformity and Ignorance are bad 3. Language is powerful 4. It is the ultimate form of expression 5. Democracy should teach those under it to take advantage of this good enough for me; have some bull testicles!

NAMLOOK, PETE — Shades Of Orion 2 (with Tetsu Inoue)
Review by Ricochet (Victor "Philip" Parau)
Special Collaborator Electronic Prog & Art Rock Specialist

— First review of this album —

Fast continuations, within Pete Namlook projects that shine or simply nerve the music, are of a tone that’s diverse and ample as possible. The many efforts stand for a thing’s quantitative euphoria; also many or the expressions of a success or of an excess, in music, style, musicianship special fluidity or a motive’s special character, if prolonged intensely. Now some projects have their guest in recent relented albums, for which the debut or the beginnings have savor, but also sepsis. Others however evolve their perfection in the midst of the first personal (and even avant-gardish) moments, for the continuations to evolve craft and variations – being that rarely a project is of the same taste, it doesn’t get either to being a complex switch. From artifice to pure imagination, the immensely concentrated material has the only fault of thickening the creative line.

The second common asset from the gamma which, in total, extends to three present albums, Shades Of Orion (the third album is more modern, and, paradox, more rare) have the features less deep, more weakly expected. The couple, possibly genial, of Namlook and Inoue work on a project of full epic part sided music (meaning music of a long time, apparently fragmented into more clear parts, which contain from soft melody changes to themes thorough levels), so that Shades Of Orion 2, with a piece in 14 un-delimited parts named Orion Transfer, is a “transfer” of text and context, of memorized stamen or percolated improvisation, of sound and effect, of rudimentary yet obscure vision. Impressive is the structure’s composure, while stranger it is the intelligence of a true charisma or base slides’ act. The entire pâté of deep (eclectic, most likely) sounds reminds me of Dark Side Of The Moog 2, realized with Klaus Schulze (though that one, outside a middle that breaks into trance, is silent serenity) or 2350 Broadway’s second CD (though that one stands organic); and the style, out of all the references, is of an usual and methodic value, as like a “vintage” and “plainage” quality.

Shades Of Orion is an exhilarant accent on chill empty, virulent meditation, harmonic composition, astral spirit on dead pulses, as if the 70 minutes exceeded great fun wouldn’t be enough, making a descriptive and cerebral luscious organ of contemplative, contemplated also, music. The style is cold, called chill or ambient plethora, because in its essence the practice darkness is long enhanced in opposition to a peaceful background or an inventive ritual, the silence-soundflush combo being elevated to a active-passive state; the artists, working in a filigreed manner of smallest elements exposure, control and exclude the static of a passion in wires and in shadows. The cool chalked experiment’s limits do exist, yet that means, at least, that the drowning shade nuance came to a grand proportion. The possible divide in 14 tenacious illusive fragments isn’t necessarily understandable, since the dark album is, in its strongest value, whole and un-dispersed; plus the fluid infinite manner catches the life of noise oscillation only once, towards the 50-60 minutes. A large dilemma can’t be anything else than how technical is a deep ridden material, and how involuntarily complex, satisfying the most restless tastes. The answer being inconclusive. Shades Of Orion 2 fascinates the immensity of a so-said scission void, secondarily being the disruptive emotion of a tight trance, with the occasional syrup; and thirdly standing the magic of a totem modularly construction, or of that fluid rustle electronic music can really perfect.

Between a trance perspective faint and a future thrilling ambiance, I believe in the supposition that Shades Of Orion is, one at hand, the most consistent possible shine of electronic affliction (basic terms, nothing above or under), two at hang, the coldest modesty of effects and aspires, and three at hand, the hardest to swallow long pleura pill. This is something for fans, but for the Namlook(-Inoue) big conscience too. Fully northing.

Posted Tuesday, May 01, 2007, 12:1