Twenty years ago, licensing a rock song in a TV commercial would be met with immediate cries of “sell out.” But within the last decade, commercial syncs are providing an additional source of income as record sales continue to slump — so it’s no surprise that the number of classic rock songs in advertisements has increased. As AC/DC (whose music is now in an Applebee’s commercial) once pointed out, “Money Talks.”

Songs carry emotional information and some transport us back to a poignant time, place or event in our lives. It’s no wonder a corporation would want to hitch a ride on the spell these songs cast and encourage you to buy soft drinks, underwear or automobiles while you’re in the trance.

Tom Waits

Think of Iggy Pop’s “Lust for Life” in a Cruise Ad a song about heroin (the mother of all addictive drugs) which opens with a William S. Burroughs reference as a fitting song to sell family cruise trips. Even if you miss the heroin-specific references (including the cringe-inducing “Of course I’ve had it in the ear before”), there’s the repeated “Liquor and drugs” line — which Royal Caribbean turned into “looks so good” when they tapped the tune for a series of commercials.

The Western canon’s aura makes it just the thing for pitching luxury brands like the Lincoln Motor Company, whose 2017 holiday ad unfolded over a track of Shostakovich’s swoony Waltz №2. GNR’s breakout hit “Welcome to the Jungle” is a harrowing warning about Los Angeles to newcomers,(“If you got the money honey we got your disease”) and selling your soul to make it (“you can taste the bright lights but you won’t get there for free”). At least, that’s what it was about in 1987. In 2016, it’s about Taco Bell’s quesalupa.

Creedence Clearwater Revival’s “Fortunate Son” in a Jeans Commercial

Like Bruce Springsteen’s “Born In the U.S.A.” and Ronald Reagan, the true meaning behind John Fogerty’s “Fortunate Son”was a biting critique about the privilege and hypocrisy of rabidly patriotic politicians for a denim ad. The fact that they axed most of the lyrics (lines prescient of George W. Bush’s adult life) but kept the “oooo that red, white and blue!” part showed that Wrangler was either willfully ignoring the song’s real message.

Then you have Viva Las Vegas” by Elvis Presley vs. Viagra. An Elvis classic ruined for the rest of your natural life and Mercedes-Benz” by Janis Joplin vs. Mercedes-Benz with the car execs hitching a ride to the point on Janis’ satirical take on materialism.

What we see here is how Capital uses music to carry out its teleogicla purpose utilizing music a sort of stand-in for this late stage capitalism. These advertisements can sometimes be funny, and often even move (that David Bowie’s “Starman” Super Bowl).

REIFICATION

Of all the terms that have arisen to explain the impact of capitalism, none is more vivid or readily grasped than “reification”-the process of transforming men and women into objects, things. The principle of reification, emerging from Marx’s account of commodity fetishism, provides an unrivaled method for understanding the real effects of capital’s impact on consciousness itself.

Our point is that contemporary perceptions of sense and reality have been reified, and that esthetics can express why this is the case, with major consequences for understanding the role of music. If you can harness the trappings of a style — taking its surface level idioms and cliches, while deliberately leaving behind any emotional authenticity to be a backing track that helps someone sell something, you’re probably half the way there.

Reification signs are proliferating around us-from the branding of products and services to ethnic and sexual stereotypes, all manifestations of religious faith, the rise of nationalism, and recent concepts such as ‘spin’ and ‘globalization.’

Reification is a process where an abstract concept is turned into something concrete or tangible. In the context of music, reification can refer to turning an art form into a commodity that can be bought and sold. Licensing is the process of granting permission to use intellectual property, such as music, in exchange for a fee. While licensing has its benefits, it has also led to the reification of music, where artists are forced to create music that can be easily licensed and sold rather than creating music that is true to their art form.

The rise of licensing can be traced back to the 1960s, when the music industry realized the commercial potential of music. Music became a commodity that could be marketed and sold, and record labels saw the opportunity to make money by licensing their music for use in films, TV shows, and commercials. This led to a change in the way music was created, with many artists and record labels focusing on creating music that could be easily licensed and sold.

The reification of music led to the homogenization of the rock and roll genre, where all the music sounded the same. Record labels were more interested in creating music that could be easily licensed rather than music that was true to the art form. This led to the decline of rock and roll, as people lost interest in the genre that had once captured their hearts.

Another way licensing killed rock and roll was through the commercialization of music. Record labels and artists were more interested in creating music that could be easily licensed and sold rather than creating music that had artistic value. This led to the rise of manufactured bands, where record labels would put together a group of people who looked good together and could sing, and market them as a band. These manufactured bands had no artistic value and were only created to make money through licensing and merchandising.

Yes, that is one of the consequences of reification. When an abstract concept, like music or art, is transformed into a tangible commodity that can be bought and sold, it loses some of its original meaning and becomes associated with materialistic values, such as consumerism, status, and profit. This transformation can be detrimental to the authenticity and creativity of the art form, as it is now driven by commercial interests rather than artistic expression.

SIGNIFIER, SIGNIFIED, SIGN

Good Vibrations” by the Beach Boys vs. Sunkist

The 1966 “pocket symphony” by Brian Wilson cost a record-breaking $50,000, along with his health. It went on to market a carbonated orange beverage. According to Swiss linguist and semiotician Ferdinand de Saussure, there are two main parts to any sign:

1. Signifier: This connotes any material thing that is signified, be it an object, words on a page, or an image.
2. Signified: The concept which the signifier refers to. This would be the meaning that is drawn by the receiver of the sign.

The example below shows how this can be understood.

A great example of effective use of semiotics is found in the use of metaphors. These commonly understood concepts tend to resonate easily with your target audiences. For example, “a glass half full” is perceived as a sign of optimism and positiveness.

In 1978, the original “Good Vibrations,” sung by the Beach Boys, was used to introduce consumers to “The Sunkist Soda Taste Sensation.” In 1981, Sunkist Orange Soda became one of the ten best selling carbonated soft drinks in the United States. Today, the tradition continues; Sunkist and Diet Sunkist, sold by Cadbury Schweppes Americas Beverages.

For this ad, a strong message is effectively communicated without the use of much words.

Music is different to the spoken language in many ways, but possibly the most important way is that it can communicate without pointing to something in the real world or having a precise meaning. In other words, it has a degree of non-conceptuality.

Reification is the mental process of transforming the non-concrete into something concrete, a ‘fact.’ The US national anthem will be a perfect example of a reified piece of music. And by explaining this reified music we say first of all that its meaning is solidified:

The mind does not go off on an interpretive journey when we hear it — this music means USA. Consider for example the popular use of the anthem at Woodstock in 1969 by Jimmy Hendrix, generally viewed (probably incorrectly) as an act of anti-war sentiment. This interpretation was possible only because there was no doubt what the melody meant-it wasn’t an ad lib set of notes, like a free jazz solo, it was the national anthem-something that was identifiable.

Let’s focus for a second on words. Think about what happens when you talk for a minute. Words denote different things and provide us with a shortcut to convey information. If we combine words to explain something, we create a very unsatisfactory depiction of nature. Consider of the difference between asking you what it’s like to be in a car accident, or kissing someone, versus the real reality of being in a car crash or kissing someone. Actual experience is almost nothing like hearing a first-hand account.

One of the reasons for this is because spoken language is itself reified — used to construct an approximation of experience — to work around the limitations of our senses and leaving out a whole world of information in doing so. Worse still, there are more than likely facets of knowledge we are not yet in a position to understand or interact.

Music is often thought to have a stronger link with the non-conceptual for a few reasons. It can provoke vague and difficult to define emotions. It can exist without communicating anything specific. It can mean different things to different people. In fact, many say that the allure of music is that you can say things with it that you never could with spoken language.

So, if you’re wondering where I’m going with this — here it is. A shorthand description: When music is reified, it behaves a lot more like a spoken language. It means something specific. It can be described easily. It is unable to change because its meaning (or for semiotics people, its signifier) is fixed. The melody of the US National anthem doesn’t require me to engage with the non-conceptual. I know what it is.

So one good way of telling whether a piece of music is overly reified or not is if you’re able to describe it easily in words. They have all in different ways become a thing. A known musical object. This is of concern to composers because we recognise the value of the abstract nature of music, which allows us to communicate in a way that the spoken language is often unable to do.

If you have problems wrapping your head around this how the iconic banjo duel scene in the movie ‘Deliverance’ caused a powerful association with his instrument that has overpowered how audiences listen to it ever since.

In this case, it’s not any particular melody or song that’s reified but the instrument itself and it’s also worth noting that it’s happening against the musician’s will. In the example of the banjo — it is no longer free to communicate musically — instead becoming a humorous shorthand for backwardness. And the US national anthem represents its country so strongly that it can’t be mistaken for anything else. In all these examples, interpretation is resisted and the music is unable to change.

There are so many other ways that music can be reified: rules for example can lead to reification — for example the idea that chorus must always follow verse or that the opening movement of a symphony must use sonata form.

Over-reliance on rules or patterns may create repetitive musical artifacts that do not engage the listener but merely remind them of what they’ve heard before. Especially in music, lyrics are a kind of reification by people like Taylor Swift who use them to convey to the listener what they should feel, in case they turn their brains on to perceive meaning for more than five seconds.

• Software pandemic
• tech corps lose your money
• 3d bioprinters
• transparent kitchens
• end of empire aesthetics
• ok boomer<boomer-remover< boomer parties
• Universal healthcare
• millennial inherit boomers DNA, Zoomer inherits Xers DNA
• Consumerism rebrands as mindfulness (stays the same)

• bumper to bumper:  cars mimic the speed and steering of the lead vehicle
• all weather clothing (peltier plates)
• nano particles pandemic
• mass media become anxiously fascistic propaganda became mass marketing becomes propaganda
• electric cars the way of jetpacks

• Infraestructure redux sef-lhealing concrerte
• Tablets < Scrolls
• mass extinctions
• earth scrapers
• compost capitalism
• arcologies
• car handle payments
• IP 3D printing wars
• Ex-Rad
• password obsolescence
• isoprene tires
• free radicals, break down grime into nitrate. washes away in the rain.

• titanium dioxide helps cotton shed stains and eliminate odor-.
• Drone legislation
• zettabytes
• genetic testing Uncomfortable truths
• terminator vision
• nurse jackie still human
• pulse detonation engines
• new siri/alexa is a carpet
• chips via droplets of nanoparticle-infused liquid

• cities for vertical farming
• personal farms
• rental everything
• binge protection
• charitable shopping (new virtue signaling)
• stomach chips
• brain chips
• cultural jamming
• aesthetics of de-growth
• reification of good decisions as new capitalism
• rent seeking rebrands as maintenance

• deep adaptation
• homeless migrations
• Xers become home owners through inheritance – get off my lawn
• china goes hyper nationalistic
• Failed states collapse (doctors & nurses die – no replacement rate – collapse
• Siliconb valley plummets after software pandemic
• netflix ennui
• CGI nausea

• high peasant rules
• starbucks up on caffeine or dies
• Deep state fragments/for hire
• capital its done with fiat, moves on
• deflation
• stagflation
• new currency(still called $)
• Expertise becomes a grift
• star economy dies
• terrible art for a while
• air travel down 50%
• Tik Tok die

• Information Physics
• IDW collapses
• Rock music denies collaboration with late stage capitalism
• Burning man meets Coachella
• 10 terabytes for $1000
• fake Turing tests
• Internet resets to Ted Nelson’s Xanadu
• Google is broken down in Europe
• Alphabet antitrust
• Exponential Thinking fad
• Quantum computers $10000
• Practical Quantum Circuit
• Real State down 50% in 10 years
• 3 speed European Union
• Scottish independence
• Scottish re-union
• MCU 3 flops in a row
• 6 more trillions lost in oil wars
• California goes 65% Solar
• Trump re-elected=8 years of centrism=neofascism
• Disney Bailout
• Texas referendum
• Indian brain drain
• Australia desert
• Florida population down 50%
• Health Coke
• China colonizes moon
• Avocado Politics 
• t-rex goes the way of pluto
• Oil supports $<Gold+Crypto supports $
• Amazon antitrust
• McKinsey hires Greta and AOC
• Probably war 
• Walmart and the meth trade are largest employers in the Midwest and South
• Haptic suits
• Time travel ( a few seconds into the past)
• Haptics
• cowschwitz ca doubles size
• DC comics bailout
• Netflix makes a good movie
• Stock market for untouched nature areas
• Miami underwater
• Fukushima 2
• $721.5 billion up in smoke by swarm drones

Liminal space, by definition, refers to a transitional or in-between space that is neither here nor there. It is a space that exists in the threshold between two places or states, and is often associated with ambiguity, uncertainty, and transformation. This concept of liminality can be found in various fields, such as anthropology, psychology, and art. In my opinion, liminal space can be visualized as a mathematical extension of the concept of three-dimensional space into four-dimensional space.

To understand this analogy, we first need to explore the concept of four-dimensional space. In mathematics, four-dimensional space is an abstract space that extends the concept of three-dimensional space by adding an additional dimension. While three-dimensional space has length, width, and height, four-dimensional space adds another dimension of time. This fourth dimension is known as temporal dimension, and it allows us to visualize objects and events as they change over time.

Similarly, liminal space can be seen as an extension of three-dimensional space, where the fourth dimension represents the transitional and ambiguous nature of the space. In other words, liminal space exists in the threshold between two different states or spaces, and the fourth dimension represents the process of transformation that occurs within this space. For example, a doorway can be seen as a liminal space, as it exists between two different rooms or environments. The fourth dimension in this case represents the act of moving from one room to another, and the transformation that occurs during this movement.

The idea of liminal space as a four-dimensional extension of three-dimensional space can also be applied to art and literature. Many works of art and literature explore the concept of liminality, using it as a way to express themes of transformation, uncertainty, and ambiguity. For example, in the novel “The Metamorphosis” by Franz Kafka, the protagonist Gregor Samsa transforms into a giant insect, representing a liminal state between human and animal. The fourth dimension in this case represents the process of transformation, as Gregor undergoes a physical and psychological change.

Similarly, in the artwork of M.C. Escher, we see a representation of four-dimensional space in his famous “Ascending and Descending” lithograph. The artwork depicts a staircase that seems to lead both up and down at the same time, creating a sense of ambiguity and uncertainty. The fourth dimension in this case represents the perspective of time, as the viewer is able to see the staircase from different angles and moments in time.

In conclusion, I believe that liminal space can be visualized as a mathematical extension of three-dimensional space into four-dimensional space. The fourth dimension in this case represents the process of transformation, uncertainty, and ambiguity that occurs within the liminal space. This analogy helps us to understand the complex nature of liminal space, and how it can be used to express themes of transformation and change in various fields of art and literature.

One of the hallmarks of great fiction, whether in film or literature, is the ability to present complex and nuanced characters. While it may be tempting to present characters as clear heroes or villains, the best fiction often eschews this approach, instead presenting characters that are more true to life. These characters are not necessarily good or evil, but rather are simply acting in accordance with the logic of their system, pursuing their own interests without regard for the consequences or for the greater good.

There are many examples of this type of character in fiction. In Martin Scorsese’s film “The Wolf of Wall Street,” the protagonist Jordan Belfort is not presented as a traditional hero or villain, but rather as a complex and flawed individual who is simply pursuing his own interests. Belfort is a stockbroker who becomes incredibly wealthy by exploiting loopholes in the system and engaging in illegal activities. While his actions are certainly unethical, he is not portrayed as a cartoonish villain. Instead, the film presents him as a complex individual who is motivated by his own desires and who is willing to do whatever it takes to achieve them.

Similarly, in the novel “American Psycho” by Bret Easton Ellis, the protagonist Patrick Bateman is a wealthy and successful investment banker who is also a serial killer. While his actions are clearly evil, the novel does not present him as a traditional villain. Instead, it presents him as a product of his environment, a wealthy and privileged individual who is completely detached from the world around him.

This type of character is not limited to contemporary fiction. In William Shakespeare’s play “Hamlet,” the titular character is a complex individual who is motivated by his own desires and fears. While he is often presented as a hero, he is also capable of great cruelty and violence. His actions are driven by his own desires for revenge and his fear of the unknown.

Keith Johnstone’s theories on spontaneity, storytelling, status, and mask work are well-known in the world of theater and improvisation. His ideas on improvisation go beyond simply teaching actors how to think on their feet; they explore the deeper psychological and neurological mechanisms that underlie creativity and performance. In this essay, we will explore Johnstone’s theories through the lens of neuroscience and psychology, and see how they fit into our current understanding of the mind and consciousness.

One of the key ideas behind Johnstone’s theories is the concept of spontaneity. According to Johnstone, spontaneity is the ability to act without conscious thought, to simply allow oneself to be carried by the flow of the moment. This is a concept that is well-understood in neuroscience and psychology, where it is often referred to as “flow” or “the zone.” In this state, the prefrontal cortex, which is responsible for conscious thought and decision-making, is quieted, allowing other areas of the brain to take over. This can lead to a sense of effortless action and a feeling of being “in the zone.”

Masks signaling spontaneity:

1. Anonymous masks used by members of the hacktivist group Anonymous to conceal their identities while engaging in online activism and spontaneous protests.
2. Masks used by street performers such as mimes and buskers to draw attention and create a spontaneous atmosphere in public spaces.
3. Masquerade masks used in parties and events where participants are encouraged to act spontaneously and engage in social interaction without revealing their true identity.

Another important concept in Johnstone’s theories is storytelling. Johnstone emphasizes the importance of creating compelling narratives in performance, and he encourages actors to tap into the power of archetypes and mythological themes. From a psychological perspective, this is an important aspect of human cognition. We are wired to understand the world through stories, and our brains are constantly looking for patterns and narratives in the world around us. By tapping into these innate cognitive processes, actors can create performances that resonate deeply with audiences.

Masks signaling storytelling:

1. Masks used in traditional theatre performances such as Noh and Commedia dell’arte to represent specific characters and emotions in a story.
2. Masks used in storytelling traditions such as Native American and African tribal cultures to represent characters and spirits in folktales and myths.
3. Masks used in contemporary theatre productions to represent metaphorical or symbolic concepts such as death, love, or fear.

Status is another important concept in Johnstone’s theories. He argues that status is not simply a matter of social hierarchy; it is a fluid and dynamic phenomenon that is constantly shifting in response to social cues and context. From a neuroscience perspective, this makes sense. Our brains are wired to be acutely sensitive to social cues and status hierarchies, and we are constantly processing this information on a subconscious level. By understanding the nuances of status and social dynamics, actors can create more believable and nuanced performances.

Masks signaling status:

1. Masks used in ceremonial or religious contexts to represent higher beings or deities, such as the masks used in the African masquerade tradition.
2. Masks worn by high-ranking officials and dignitaries during formal events or ceremonies to signify their status and authority.
3. Masks used in traditional cultures to represent social status or caste, such as the mask traditions in Bali, Indonesia, where masks are used to represent royalty or warriors.

Perhaps the most fascinating aspect of Johnstone’s theories is his work on mask work. Johnstone argues that masks can create altered states of consciousness and even induce trance states or amnesia. From a neuroscience perspective, this is a complex phenomenon that is still not fully understood. However, we do know that our consciousness is not solely located in the brain. Our bodies and our environments play a crucial role in shaping our subjective experiences, and our sense of self is deeply intertwined with our physical and social contexts. By using masks to alter these contexts, actors can create performances that transcend the boundaries of normal conscious experience.

THEORY OF MIND

Johnstone’s theories on improvisation and performance rely on a situated cognition and embodied theory of the mind. This approach emphasizes the importance of our bodies and environments in shaping our subjective experiences, rather than viewing consciousness as solely located in the brain.

Situated cognition is a theory that posits that knowing is inseparable from doing by arguing that all knowledge is situated in activity bound to social, cultural and physical contexts.

Situated cognition is a perspective that argues that cognitive processes are not solely determined by internal mental representations, but are also influenced by the context in which they occur. This means that our cognitive processes are situated in our physical and social environments, and that our environment plays an active role in shaping our subjective experiences. Johnstone’s theories on improvisation and performance are consistent with this perspective, as they emphasize the importance of the actor’s physical and social context in shaping their performances.

Embodied cognition is another perspective that emphasizes the importance of the body in shaping our cognitive processes. This approach argues that cognition is not just a matter of mental representations and computations, but is also grounded in the body and its interactions with the environment. Johnstone’s theories on mask work are consistent with this perspective, as he argues that masks can create altered states of consciousness and induce trance states or amnesia. By altering the actor’s physical and social context, masks can fundamentally change the way they experience and interact with the world.

NOTES

Notes: Keith Johnstone, “Masks and Trance.” (Impro, Theater Arts Books, Routledge, 1992)

“It’s true that an actor can wear a Mask casually, and just pretend to be another person, but as Gaskill and myself were absolutely clear that we were trying to induce trance states. The reason why one automatically talks and writes of Masks with a capital ‘M’ is that one really feels the genuine Masked actor is inhabited by a spirit. Nonsense perhaps, but that’s what the experience is like, and has always been like. To understand Mask it’s also necessary to understand the nature of trance itself. ” (143-144)

“Masks seem exotic when you first learn about them, but to my mind Mask acting is no stranger than any other kind: no more weird than the fact that an actor can blush when his character is embarrassed, or turn white with fear, or that a cold will stop for the duration of the performance, and then start streaming again as soon as the curtain falls…Actors can be possessed by the characters they play just as they can be possessed by Masks…We find the the Mask strange because we don’t understand how irrational our responses to the face are anyway, we don’t realize that much of our lives is spent in some sort of trance, i.e. absorbed. ” (148)

“The Mask…exhibited without its costume, and without film, or even a photograph of the Mask in use, we respond to it only as an aesthetic object. Many Masks are beautiful or striking, but that’s not the point. A Mask is a device for driving personality out of the body and allowing spirit to take possession of it. A very beautiful Mask may be completely dead, while a piece of old sacking with a mouth and eye-holes torn in it may possess tremendous vitality. (149)

“Many actors report “split” states of consciousness, or amnesia; they speak of their body acting automatically. or as being inhabited by the character they are playing. Sybil Thorndike: “When you’re an actor you cease to be make and female, you’re a person with all the other persons inside you. (Great Acting, BBC Publications, 1967.) Edith Evans: “…I seem to have an awful lot of people inside me. Do you know what I mean? If I understand them I feel terribly like them when I am doing them…It’s quite odd you know. You are it, for quite a bit, and then you’re not.”

“In another kind of culture I think it’s clear that such actors could easily talk of being possessed by the character. It’s true that while some actors will maintain they always remain ‘themselves’ when they’re acting, but how do they know? Improvisers who maintain that they’re in a normal state of consciousness when they improvise often have unexpected gaps in their memories which only emerge when you question them closely….Normally we only know of our trance states by the time jumps. When an improviser feels that two hours have passed in twenty minutes, we’re entitled to ask where he was for the missing hour and forty minutes. ” (152)

“Most people only recognize “trance” when the subject looks confused–out of touch with the reality around him…I remember an experiment in which deep trance subjects were first asked how many objects there had been in the waiting-room. When they were put into trance and asked again, it was found they had actually observed more than ten times the number of objects than they had consciously remembered.” (153)

Ocean waves have fascinated humans for centuries, serving as both a source of inspiration and a formidable force of nature. But the principles that govern the formation and behavior of ocean waves are not unique to this particular type of wave. Waves of all kinds, whether they are historical, migratory, or scientific in nature, share similar underlying principles that govern their behavior.

Historical waves can refer to significant events or movements that have had a profound impact on human society. These waves often arise in response to cultural, political, or technological shifts, and can be traced back to specific moments in time. For example, the wave of industrialization that swept across Europe and North America in the 19th century transformed the economic and social landscape, creating new opportunities for wealth and growth while also exacerbating existing inequalities. The wave of decolonization that followed World War II similarly reshaped the global political order, leading to the emergence of new nation-states and the recognition of previously marginalized cultures and identities.

Migratory waves, on the other hand, refer to the movement of large groups of people from one region to another. These waves can be driven by a variety of factors, including economic opportunity, political instability, or environmental disasters. For example, the wave of immigration from Europe to the United States in the late 19th and early 20th centuries was driven by a combination of factors, including the promise of economic opportunity and the desire to escape political persecution. More recently, the wave of refugees fleeing conflict in Syria and other parts of the Middle East has put significant strain on countries in Europe and the Middle East, highlighting the complex geopolitical and humanitarian challenges that can arise from migratory waves.

Scientific waves refer to the gradual accumulation and dissemination of knowledge and understanding over time. These waves are driven by the curiosity and ingenuity of scientists and researchers, who build on the discoveries of their predecessors to develop new insights and technologies. For example, the wave of scientific progress that began in the Enlightenment and continues to this day has transformed our understanding of the natural world, leading to breakthroughs in fields ranging from medicine and engineering to astronomy and cosmology.

In a Deleuzian sense, waves could be seen as a constant process of becoming. They are never static and always in motion, with each wave representing a unique moment in the ongoing process of differentiation and transformation. Waves are also characterized by their infinite variability, constantly changing in response to the environment around them.

In addition, waves can be seen as a manifestation of the virtual, representing the underlying potentiality of the ocean’s movements. The virtual is the realm of pure possibility, containing all the potentialities that have yet to be actualized. Waves are a concrete expression of this potentiality, the embodiment of the ocean’s capacity for movement.

Furthermore, waves are always in relation to other things in their environment, with their form and movement constantly affected by external factors such as wind, temperature, and currents. In this way, waves can be seen as an example of Deleuze’s concept of the “rhizome,” a network of interdependent entities that continually interact and influence each other.

Finally, waves could be understood as a form of difference, both in their individuality as unique expressions of the ocean’s movements and in their ability to create difference in their environment through erosion, deposition, and other processes. Waves are constantly transforming the shorelines they encounter, creating new forms and structures through their movements.

Overall, in a Deleuzian sense, waves are not simply physical phenomena but are instead an expression of the ocean’s capacity for movement, potentiality, and difference, always in motion and constantly transforming in relation to their environment.

Despite the differences in their origins and contexts, all waves share a common set of principles that govern their behavior. Waves are created when energy is transferred from one medium to another, whether it is wind energy being transferred to water in the case of ocean waves or ideas and values being transferred between cultures in the case of historical waves. Waves can also exhibit properties such as frequency, wavelength, and amplitude, which can be used to describe their behavior and predict their effects.

As more energy is transferred deeper into the water, waves have better ability to sustain that energy and travel great distances across oceans. The way to measure wavelengths is by measuring swell period, the time between successive wave crests as they pass a stationary point Waves decay and get smaller the farther they travel. In the middle of a storm there is a confused mix of sea states. Various waves of different heights, directions and swell periods turn the ocean surface into a chaotic mess. We call this the wave spectrum.

All of these waves are the result of different cycles of the storm, with the short-period waves generated by current winds in the local area and the longer period waves generated by winds earlier in the storm’s life that have had a longer time to develop. As the waves move out of the storm they decrease in size within the first thousand miles (+60%) and slowly thereafter. Three factors: short-period waves and chop dissipating rapidly; directional spreading of waves as they move away from the storm at different angles and the separation of waves as they travel forward at different speeds after leaving the storm area. This initial wave-decay process allows the long-period waves to move out from beneath the short-pein the middle of the storm. Once these longer period waves break free from the storm’s confusion, they are easily identified as a organized wave train, we call it swell

SWELL

Swell is a type of wave that has a more uniform shape and size compared to the chaotic mix of waves found in the middle of a storm. Swell is created when the longer period waves generated by the storm travel away from the storm area and become more organized. This wave train can travel thousands of miles across oceans and can be felt even when the storm that created it is no longer present.

Swell is a crucial factor for surfers, as it determines the quality of waves at a particular surf spot. When swell travels across the ocean and encounters underwater features such as reefs or sandbars, it can create waves that are ideal for surfing. The size and shape of these waves are determined by the characteristics of the swell, such as its period and direction.

In addition to its practical importance for surfers and sailors, swell also plays a critical role in shaping the earth’s coastlines. Over millions of years, the constant pounding of waves on the shore can erode rocks and reshape coastlines, creating iconic features such as sea stacks, arches, and cliffs. Swell can also deposit sediment and create beaches and sand dunes.

NAVIGATION

For sailors, understanding the direction of the wind and swell is crucial to navigating the open waters. They use a unique system of true degrees with north at 0 or 360 degrees and then moving clockwise to east at 90 degrees, south at 180 degrees, and west at 270 degrees. When sailors report wind or swell direction, they report it as the direction the wind or swell is “coming from,” not the direction it’s headed.

Sailors also take into account the swell period, which is the time it takes for successive wave crests to pass a stationary point. The swell period is often overlooked but plays a significant role in the eventual size of a swell. The longer the swell period, the more energy the wind has transferred into the ocean. Long-period swells are able to sustain more energy as they travel great distances across the ocean and are less steep so they can easily pass through opposing winds and seas. Conversely, short-period swells are steeper as they travel across the ocean and are more susceptible to decay from opposing winds and seas.

Swell travels as a group in the form of wave trains. As the wave train moves forward, the wave in the front will slow down and drop back to the rear, similar to a rotating conveyor belt that is also moving forward. The speed of a swell or wave train can be calculated by multiplying the swell period times 1.5. For example, a swell or wave train with a period of 20 seconds will be traveling at 30 knots in deep water.

Long-period waves move faster than short-period waves, so they will be the first to arrive at a particular location. These initial waves are known as forerunners, and they contain swell periods of 18 to 20 seconds or more. The main body of the swell containing the peak energy usually follows in the 15- to 17-second range. The swell period will steadily drop during the life cycle of the swell as it arrives at its destination. The farther a swell travels, the greater the separation of arrival time between the forerunners and the peak of the swell. Often the forerunners will only be inches high and are very hard to see with the naked eye. Surfers with a sharp eye can often sense forerunners as the ocean seems to be moving with extra surging and currents.

In conclusion, sailors have a unique system for identifying wind and swell directions, and they use the swell period to understand the eventual size of a swell. Forerunners play a crucial role in predicting the arrival of swells, and understanding the speed and direction of waves is essential for navigating the open waters.

One approach that could be considered is to use a musical palette similar to that of the legendary composer Ennio Morricone, particularly as seen in his collaborations with director Sergio Leone. Known for his work on spaghetti westerns like The Good, The Bad, and The Ugly, Morricone’s music often incorporated unconventional instruments such as the melodica, tubular bells, and aeoliphone to create an eerie, atmospheric sound.

Leone and Morricone incorporated unconventional instruments and techniques into their music, which helped to create an eerie and atmospheric sound that perfectly complemented the director’s gritty, violent vision. Some of the instruments that they innovated with include:

1. Melodica: The melodica is a small keyboard instrument that is played by blowing air through a mouthpiece. It has a distinct sound that is often used in Morricone’s music, particularly in the famous theme from “Once Upon a Time in the West.”
2. Aeoliphone: The aeoliphone is an instrument that produces sound through the use of air. It is similar to a harmonica or a concertina, and it has a haunting, ethereal sound that is perfect for creating an eerie atmosphere.
3. Electric guitar: While electric guitars were not a new instrument when Leone and Morricone started using them in their scores, they were not commonly used in Westerns at the time. The use of electric guitar in Morricone’s music helped to create a modern, edgy sound that was a departure from traditional orchestral scores.
4. Whistle: The use of a simple tune whistle was also a hallmark of Morricone’s music. It has a simple, almost childlike sound that creates a sense of innocence and vulnerability in contrast to the violent imagery on screen.
5. Human voices: In addition to traditional choral arrangements, Morricone also used human voices in unconventional ways. For example, in “The Good, The Bad, and The Ugly,” the choir sings nonsense syllables instead of words, creating a unique vocal texture.

These are just a few examples of the instruments that Leone and Morricone innovated with in their music. By incorporating these unconventional sounds into their scores, they were able to create a unique sonic identity that set their films apart from traditional Hollywood Westerns.

By incorporating these instruments into the score of a show like The Mandalorian, the tone could be shifted towards something more unsettling and otherworldly. It would also serve to differentiate the show from other Star Wars media, which has often relied on John Williams’ traditional orchestral style.

That being said, it would be remiss not to include some of Williams’ iconic melodies in such a score. The “Imperial March,” in particular, is synonymous with the Star Wars franchise and is instantly recognizable to fans. However, by incorporating it into a Morricone-inspired score, the theme could be transformed into something new and exciting. Picture a version of the “Imperial March” played on a haunting tune whistle, creating an eerie and unsettling feeling in the viewer.

In addition to the use of unconventional instruments, a Morricone-inspired score could also incorporate some of the composer’s signature techniques, such as the use of repetition and variations on a central theme. This would serve to create a cohesive musical identity for The Mandalorian while also adding depth and complexity to the overall sound.

In conclusion, while John Williams’ work is undoubtedly iconic and integral to the Star Wars franchise, there is an argument to be made for utilizing a different musical palette in shows like The Mandalorian. By incorporating Ennio Morricone’s unique soundscapes and techniques, the tone could be shifted towards something more eerie and atmospheric, while still retaining the classic melodies that have made the Star Wars franchise so beloved.

Writers are a curious bunch, with a voracious appetite for knowledge and a deep desire to explore the world around them. They are constantly seeking new ideas, perspectives, and insights that will help them better understand the human experience and the world we inhabit. One of the ways in which they do this is by reading widely across canons and disciplines.

The term “canon” refers to a set of works that are considered to be essential or fundamental to a particular field of study or cultural tradition. For example, the Western canon includes works by Shakespeare, Dante, and Goethe, while the scientific canon includes works by Darwin, Newton, and Einstein. While these works are certainly important and worthy of study, they are often not enough to fully capture the complexity and richness of the human experience.

This is where so-called “non-essential readings” come into play. These are the works that are not part of the canon, but which still have the potential to offer valuable insights and perspectives. They may be works of popular fiction, poetry, or philosophy, or they may be obscure texts from lesser-known authors or traditions. Whatever their form, these works can provide a window into the human experience that is often missing from more canonical texts.

As a writer, I have found that some of the most valuable insights and inspirations come from these non-essential readings. By exploring texts from a wide range of disciplines and traditions, I am able to gain a deeper understanding of the world around me and the complexities of the human experience. I am able to see things from new perspectives, challenge my own assumptions and biases, and gain a broader sense of what it means to be human.

Of course, reading widely is not enough in and of itself. As writers, we must also be willing to engage with the material we are reading, to question it, and to push back against it when necessary. We must be willing to take risks, to challenge ourselves, and to explore new ideas and perspectives. Only by doing so can we truly expand our horizons and deepen our understanding of the world.

In conclusion, writers read across canons and disciplines because they understand that the best stuff often comes downstream from so-called non-essential readings. By exploring a wide range of texts and perspectives, writers are able to gain a deeper understanding of the human experience and the world we inhabit. While canonical texts are certainly important, they are often not enough to fully capture the complexity and richness of the world we inhabit. Non-essential readings provide a valuable supplement to these texts, offering new insights and perspectives that can help writers to better understand themselves, others, and the world around them.

The thermostat is a common household device that controls temperature and stabilizes the conditions in a living space. Similarly, Jacques Vallee suggests that UFOs may function as a mechanism for stabilizing the relationship between human consciousness and the complexities of the world we inhabit. As phenomenologists, we must suspend judgement regarding the reality of UFO sightings and focus on understanding the ways in which people respond to stress in these situations.

Vallee’s theory is grounded in the idea that our evolving understanding of the world necessitates a control system that can stabilize our consciousness needs in the face of an increasingly complex and changing environment. UFO sightings, according to Vallee, may serve this function by controlling human beliefs and our relationship to physical reality. The fact that the sightings often take on the form of “little grey men” is unimportant, as it is merely a representation of a deeper underlying control system.

In a sense, this idea is akin to reverse Aphantasia, where individuals are unable to generate mental images in their mind’s eye. In the case of UFO sightings, people cannot generate a clear image of what they are seeing, but they are able to “copy and paste” something from their genetic memory that approximates the sighting and makes sense of it. This may help to explain why the forms and descriptions of UFO sightings are so varied and often contradictory.

While the reality of UFO sightings remains uncertain, it is clear that the phenomenon is real in its consequences. The fact that people continue to report sightings and experiences suggests that there is something significant at play. By understanding the ways in which people respond to these sightings, we may gain a deeper understanding of human consciousness and our relationship to the world around us.

Ultimately, the idea that UFOs may serve as a control system raises important questions about our place in the universe and our evolving relationship to the complexities of the world we inhabit. While it may be tempting to dismiss UFO sightings as mere fantasy or delusion, it is important to approach the phenomenon with an open mind and a willingness to explore its deeper meaning and implications.