| Dream Theater – The Ministry of Lost Souls Lyrics | 13 years ago |
| It is somewhat intriguing that alot of people saw Persephone in this song. I think there are many more parallels between Eve and Adam, because she's waiting at the 'water's edge' and her suffering is a vanity or over vanity, whether willfully or not is left vague. Emmanuel Swedenborg would say she is in the World of Spirits being given the Door to Heaven by an angel. But she's 'stuck' between planes, waiting at the water's edge. The analogy is also taken up again to say something about perception in general. Always though it was 'walked into this other place, a place beside you,' seemed like something more visceral to describe since it majorly gives a feeling of perceptual logistics between Heaven and the World of Spirits. Oh, and 'take her soul now, the decision has been made' I think could be seen as an agreement to make love, that's the only place from where i get a sense of them being a couple. But, this song can also be seen briefly in certain parts as a communication from Dream Theater to their fans with lines like 'remember me' and 'i gave you life', sometimes lines like these make me feel that the artist is making a second sweep for some recognition. "Even in death, I gave you life" i think means to be reference to himself being a dead soul wandering as well, still he has a connection with heaven, and calls down the Heavens in an attempt to save her. This song reminds me of "Behold the Nightmare" by the Smashing Pumpkins, to me its about the exact same relationship. | |
| Nine Inch Nails – Piggy Lyrics | 13 years ago |
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The song does use two subjects to speak i think that much is clear. It is made ambiguous to allow for various reflections. I get the sense the 'organism' is looking in a mirror when having this conversation. I would say the first hey piggy is the universal subject calling to the unit subject. It had its fears that the unit subject would become 'used up' and 'bruised' now the universal subject is left behind the unit subjects consciousness and can, under these conditions, no longer be instantiated. The little piggy which is refereed to from the universal to the unit 'just needed something new' hmmmmm, nothing can stop me now is the DELUDED unit subject mantrizing himself while the universal subject sees a pig. The second half gets interesting, now the unit refers up to the universal as a pig, everything begins to appear piggish, his phenomenal world has changed because of what he planned and failed to do. I do think that the next line 'there were alot of things i had hope you'd help me understand' solidifies this reading as the universal subject knows the secrets behind the looking glass. 'What am i supposed to do i have lost my shit because of you' is the self-centered blame attitude which caused the first 'pig' address, the unit can only revert back to it without 'seemless co-habitance'. Lost my shit is likely a remark to his level of sanity, but its up for grabs. In the units subsanity he doesn't care anymore, and he refuses to acknowledge that anything can stop him (the root of his being less than completely sane). The last line resists an 'it couldn't be otherwise' reading. "you don't need me anymore" hmmm, the sound of the song will shed light. The unit subject always does sound desperate, erratic, laissez-faire, snake-like and on the verge of a cackle, while the other sounds solid, calm, forthright. I'd say the last voice, as it is fading into the distance while still highly upright, is the universal subject moving away. The piggy's greed has caused his own self-expulsion from God presence within his own mind. Now he is alone, below the sanity level, without a solid voice of advice, with his plan for something new, thinking that no one can stop him now and not caring anymore. THE DOWNWARD SPIRAL, I'll leave it open what 'something new' could be. |
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| Nine Inch Nails – Mr. Self Destruct Lyrics | 13 years ago |
| I will do a metaphysical identity analysis knowing it may destroy the whole of what is being said just as well as it may bring clarity. This I that is speaking is, in physicalist terms, the right brain subject, entirely. It is the absolute being that Reznor's, as unit subject, consciousness has expanded to incorporate. The absolute being, in Zoroastrian terms, for Reznor inhabits both all good and all evil. Both and shadow self and the true self is tied up in that other subject, when Mr. Self Destruct rears its head. I do think that Mr. Self-destruct is what Reznor would identify as being rooted in the pure, innocent past self, the self of childhood and the self of bliss who had its own set of feelings, and a simpleness of mind. I say this because that is what Mr.Self-destruct wills for himself, a return back to unitary consciousness where he can clearly identify what is himself, what derives from himself, or else he will take the whole ship down with him. Needless to say the I which is speaking to Reznor through his own mouth is the universal subject. Reznor speaks through it to himself about it, trying to organize what is exclusive to himself as psyche and what are collateral mental phenomena of his expanded consiousness, as a conscience, as a romancer, as the hater of all that is spoilt, soothsayer, denial's guilt and fear, the bearer of the prayer's of the naive, the bullet in the gun and the silence machine. The ultimate sense, is that this larger subject founds all his own thinking, action, and wants to be instantiated through Reznor, whatever Reznor then is. I think Mr.Self-destruct is well beyond trying to convey that he himself is not god but rather is horrified at what he himself might be in relation to all outstanding mental phenomena which he cannot account for as being his own. The chaos is agonizing, he wills to self-destruct. | |
| Iron Maiden – Don't Look To The Eyes Of A Stranger Lyrics | 13 years ago |
| I think this song is warning people not to look at 'the small', because sensations transfer very quickly in a short time and when the sun goes down when that 'small' is reflecting on their truth they will have your presence in your mind and it might prove to be a drain for you. I only get this reading because of the use of the world 'stranger' and 'fool'. I don't think there is tooo much in this song. | |
| Iron Maiden – When Two Worlds Collide Lyrics | 13 years ago |
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I may be flat out wrong. But, I always instantiate Iron Maiden songs into the first person perspective. I always feel they have something to say about the complexity of mental life, and speak in highly analogous ways about the arrangement, splay, flux of how (one) psyche inhabits the mind. I feel there is, in most cases, enough support for the impressions I get from Maiden songs. 'my telescope looks out into the stars tonight' equates to I am looking out through my peep hole at many others, miasmic darkness illuminated by infinite points of light, things being perceived illuminates a world which would be black without beings to illuminate it, 'a little speck of light', relatively, that is the speaker, 'seems twice the size tonight' is interesting, something along the idea of I squared, I am perceiving at double intensity or clarity, 'calculations are so fine': i have rationalized this feeling, i cannot deny it, it doesn't seem likely i am imagining it, 'can it be growing all the time': upon perceiving this exponentiation within myself, every time it seems more and more intense. To say, it would not be coherent to rationalize myself into some form of acceptance only to doubt the truth of this sensation on the next prompt. "it is happening", you do this every time. 'now i don't know what to do, and i can't believe its true' resumes this, 'for the hundreth time i check...' you get it. "now the fear starts to grow, as i check the computer (by this I think he means interface, the image before himself, and exponentiation goes wild as he is able to see the same phenomena happening behind the interface of others), "its happening take no other view" to mean yes, yes, you had better believe it, doubt is your enemy. And when you encounter another, this will be happening, an unaccountable collision course, sparks flying everywhere every sensation irrationalizable but present, and you better believe its true. What gets interesting, is the anger and pain of all those who remain. Maiden has an intricate view on the psyche. My stab |
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| Iron Maiden – The Thin Line Between Love And Hate Lyrics | 13 years ago |
| I get a different reading from this song. 'When a person turns to wrong, is it a want to be, belong?' I think resumes the specifics of what the song serves to speak about. Not everyone finds fulfillment in the same mode of being, the song is exploring the 'darker side' of the psyche. Upon realizing the importance of serving all that is good, what then after makes a person turn to wrong? 'Is it a want to be', is highly ambiguous: it might mean to say is it a natural inclination to want to be otherwise, to not want to subsume some accepted or aspired to mode of being; 'belong' has it that a person's turning to being outwardly wrong is another way of fashioning a persona and through that persona the person gains a sense of belong as that thing which is naturally deviate from the more regular drive to be good. This 'fighter spirit' does duty for what I have called being good. This song seems to be from the point of view of someone who has chosen good encountering another who has chosen a different path, who does not display the same fighter's spirit, and is reflecting back on when and how it was that they themselves came to deciding to being a certain way. The reflection leads this guy to decide that he who has chosen the 'wrong road' is not bad per se, that there is a large ambiguous grey zone of possible reasons, drives, motives, sentimentalities... that could have caused this other to choose the wrong road. The song, in one fugue, speaks of acceptance, but in the other, 'my soul will fly and I will live forever', to me, it seems that the right road the speaker has chosen is hoped to lead them to or maintain for them their immortality. So, again this grey zone, the righteous path is neither wholly selfless. What is then being called to choose the wrong road, let's imagine a road of decay, indecency, callousness, surliness, might have its roots in apprehension, delicacy, preference or straight out fear. In certain senses the wrong road is in some cases not a deliberate choice, but a suspension of one, while the man reflecting realizes that he at one point or other decided to be how he is. | |
| Iron Maiden – Childhood's End Lyrics | 13 years ago |
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I do think these readings are too particular and as usual maiden always speaks of an internal climate, always what is really occurring within the mind in common behind the illusion of the material world. Again, having said that, my reading may prove to be highly personalized. I will try to keep it as general and abstract as possible. I'd sail across the ocean I'd walk a hundred miles If I could make it to the end Oh just to see a smile The speaker is admitting a genuine wish, I'd endure an eternity of toil and turbulence if I could reach 'the end' is whatever condition, just to see just such a smile from you. You see it in their faces The sadness in their tears The desperation and the anger Madness and the fear I do think that this is in reference to whomever is relatively in a state of obliviousness. You see unrest in their faces, sadness in their tears, desperation, frustration, perverseness, anguish and fright over not being able to breach the surface of reality. No hope, no life, just pain and fear No food, no love, just greed is here Again, they suffer no sense of hope, no life in a certain sense, there is this greed which wells up. The way in which it is said in the song, has me second guessing myself as to what this greed is really over. Starvation and the hunger The suffering and the pain The agonies of all-out war When will it come again? Unable to know what will bring replenishment, there is starvation, suffering, agonies from all-out war within, when will a sensation of clarity come again. The struggle for the power A tyrant tries again Just what the hell is going on? When will it ever end? Here is that peculiar greed again, 'the TYRANT tries again' hmmmmm, 'just what the hell is going on' is right. Although the obliviate is struggling for power they wish their desire to become tyrant will come to an end. There is serious confusion at play here. You see the full moon float You watch the red sun rise We take these things for granted But somewhere someone's dying Again, a sense of reality is lost. Everything is just as it appears to be and could be nothing other or more. Why the song is called Childhood's End, I'm having trouble seeing stark correlations with the novel, is, I'll hazard a guess, is in that after the laissez-faire innocence of childhood one enters a vaporous state between actual innocence without being able to claim its rights and a lack of experience. Corruption comes easily in this sort of state. |
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| Iron Maiden – Brave New World Lyrics | 13 years ago |
| 'Dying swans twisted wings' I think is a nod to souls, beautiful, who are on their own trajectory but spawned into the 'brave new world' find themselves in uninhabitable conditions, over time their wings are twisted and they no longer are able to inhabit some plane of reality they toiled to arrive at. Lost in a 'garden of fear', there is a far-off imprint of paradise in the mind, but no one is seeing straight, walking in the shadow worlds of others instills a peculiar sense of fear, splicing, anxiety, uncertainty over what is what. "Wilderness, house of pain" consolidates this, the shadow world is a world of confusion, conflicting impressions, futile inner conversations, which is the reality of the situation, has become a house of pain, miasmic. 'What you see, its not real, those who know will not tell', dying swan are among us but silent trying to ride out an ecstatic dream while so many are lost in Hades. "Silent screams laughing here, dying to tell you the truth" speaks of the same theme. | |
| Iron Maiden – Out Of The Silent Planet Lyrics | 13 years ago |
| The point of the novel out of the silent planet was that earth has become 'the silent planet' because human being thrown into isolation vied to host the whole world within their minds, to become 'oyarsas' themselves is the term the novel uses. The 'oyarsas' on other planets were being who occupied an upper tier which they merit for having authentic wisdom, who were in mediate contact with a godhead and whom hosted forums for the community. On a planet where this is the state everyone imagines themselves to be, there is an apathetic attitude towards communication and nothing amasses. Maiden always does refer the cause of this to the 'brave new world' structure of current society. And 'the punishment for all who, wittingly or innocently, contribute to making the planet silent are punished naturally with 'death'. They become dead souls over time. I think the song is also trying to up-scope an effect of a mass of deadened souls as being the 'fermentation' of new 'demons of creation', which would be those who vie for 'decimation', a grand redux of complexity back into a single point, a desire to just go 'home' and be done with. 'Haggard wisdom spitting out the BITTER taste of hate' would be from those already molded by that sort of predicament who chose temperance and perseverance, among other things. And the silence goes on as the two mentalities demonize each other without really knowing who is who, in passing by. The conversation is suppressed yet no one 'has a disguise' since in these conditions 'mindless projection' is instinctual. Self-loathing is the off-shooting point, no one wants to see the other, needless to say see right through themselves. Everything is dandy as it is, and everyone is perfectly placid hosting the world within their own mind as is imagined. In short, decimation has already taken place. | |
| Fields Of The Nephilim – Vet For the Insane Lyrics | 13 years ago |
| someone who, it started innocently enough, wanted to live a 'seemless' existence | |
| The Church – Reptile Lyrics | 13 years ago |
| you too, silly cheeks? its gehenna, a req if i have you at all pegged: fields of the nephilim | |
| The Church – Reptile Lyrics | 13 years ago |
| This song is getting at that same damn thing. 'too dangerous to keep, too feeble to let go' the speaker's relation with that same object of the imagination that stares back at you with 'diamond eyes'. 'you want to bite the hand', the hand that feeds is that alterna subject within but this certain object, feeding it, is robbing this subject of what it wants to do. 'should have stopped this long ago' consolidates this. and yes, if you ask you will be extricated from it, but alas you were too feeble to let go, but it is too dangerous to stay suspended about it indefinitely. and yes, in another month or so you'll come back to gorge on it, which has to do with I it was never you, in the first place. | |
| Fields Of The Nephilim – Vet For the Insane Lyrics | 13 years ago |
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fields of the nephilims serenade now dead souls who have a legacy with a desire to reinflate a new concatenation. they sing in a time where sleeping gods are scoffed at. these dead souls have a trauma and are unable to think at a what would be a natural rhythm for themselves to try and arrange their affairs. it does not quite speak to disgruntleness nor resignation upon beholding others maintaining a paradise, rather to a deep seated anxiety THAT WILL NOT BE SUBSIDED WITH TOPGLOSSING SLOGANIZED SAYINGS like 'think positive', 'just be', 'relax', 'everythings going to be alright', 'you are in the same boat as everyone else'. 'disheartening dreams' of past selves struggling with being in a state of suspended animation, being expected to come home when you are so very far away 'hard to relax, just relax, its a crime to sleep'. it would be an understatement to say there is a major misconstruction being imposed on this species of... being. 'you got to hold onto your past' the higher self is being 'tender', ME i'm going to pull it to pieces. Again suspended animation image cause by a deeep rooted inner turmoil, which threads through every thought, motion, perception, reaction. The human subject as a parcel would like to pick up and live a 'seemless' existence, happy to be. the conflict leads to catatonia at its best and corrupt all that is natural for the psyche to 'debarass' and be. 'so sad, so sad' the higher self endulges and romances. psyche and higher self are inexact but their is a description of mental interaction, whether you prefer right hemisphere and left hemisphere interlace is to your taste. ME i want to go home, back to yawning chaos, so sad so sad there is nothing that can be done, 'look what you have put me through' the collective subject makes an aside as it is left 'smothered' away from being. 'walls gather round' the solid, infrastructure of the cosmos seems rigid veering on cruel, resounding, the majority rhythm is hostile, threatening. then, 'what am i here for?' an intensionality like ME who vies that existence is only satisfying and worth for 'that prize, only for, knowing me, this again'. This is an ooooold rhythm. More people should comment on these songs, if this has helped anyone, i'm, let sorry suffice, i am unable to see you too. |
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| The Smashing Pumpkins – Behold! The Night Mare Lyrics | 14 years ago |
| This song is not about any love for anyone literally dead. The sensation I get from this song is that the narrator himself IS in a place beyond the beyond looking out at this girl in the fathoms of her deep. Quiet suitor's siege might mean to refer to usual dating rituals, where neither really ventures anything of real importance. That he pulls down the heavens just to please her shows the real discrepancy. This girl may be serene and melancholic, but the narrator seems to be in a different place altogether. It seems a delicate pain for this character to evoke a world as a heaven for this girl, as more than pleasantry, but out of a sort of duty or chivalry. The wind blows and I know: there is a breadth of gaping infinity about them which he leaves rest and reflects on. Can't go on digging roses from your grave: now's where interpretation may get dicey and is unresolvable. The girl is alive and right before him in the situation the song romances. He can't keep lifting her up out of the fathoms of her deep, searching for beauty or amity inside her. Now he makes reference to where he stands lingering on, beyond the beyond, where EVOCATIVE GOTHIC IMPRESSION of despairing infinite existence and a womb which self-perpetuates for what is no longer seen as a feasible purpose. And here strikes the nightmare. | |
| Tool – The Grudge Lyrics | 14 years ago |
| 'Saturn comes back around. Lifts you up like a child or drags you down. To consume you until you CHOOSE to let this go' hardly seems at odds with the reading I gave. This song is a jab at a crack you may slip into while climbing. It is to say we climb, we all do and it is what there is to do. Come now, if you have a pick axe show it to me, explain it to me, allow me to try it on for size, as of now I too am open for business. It'll be a slow, arduous climb. | |
| Tool – The Grudge Lyrics | 14 years ago |
| The most general and cohesive reading I can give to The Grudge is the grudge one could unwittingly have toward the existence of others, even more pronounced when the other emerges an inhabits your OWN being 'unable to forgive your scarlet letterman'. This may be someone who gives you a heads up. It progressively rears its head on you, the grudge, and then you realize you are begrudging others for inhabiting their OWN being. The realization that one can slink into this is cause for self-reproach, moreover. That others possess content identical to your own makes you not only question the grounds for your own self-identity but strikes at something even more fundamental: do I really OWN anything I think? Is it a product of my own adeptness or more likely do things just occur to me in too similar a character as it does for all if not many other beings. He can realize he is being seen as someone with a grudge. Trying to cling to some last shred of something substantial or all his own, he 'wears his crown of negativity'. Get an image of Jughead's paper tapped crown... 'yes, and?' So he sets out provisionally, awkwardly and with abandon to reconstruct his character (which can never be anything more than a self-percept) about this grudge. It doesn't seem to be a move made to advance ground with any scarlet lettermen, it is a move made in last dash for an inward sense of peace. Hang on or be humbled again, likely what should be inferred from the scarlet letterman's prompt. I have read briefly that Saturn is usually evoked as a symbol for the epithets 'the opportune moment for harvesting from life' and 'the death of old ways'. Also, more abstract and generally designated meanings of authority, steadiness, construction, integrity. So, yes the grudge could be spawned from someone keeping you in check. What spins the grudge tighter is your lacking the grounds to utterly hate them based on a smooth, kindred, genuine delivery they made for you, with whatever that sentiment is. Some specific species of love. The grudge and concomitant self-loathing is escaped from temporarily by denying of others their real inhabited being, 'justify denials', which is to go back to a state before the letterman spoke, where the now grudge-holding was conceiving himself or simply reclining into the self-percept of being the master of the show. While this might have something to offer in other spheres, when it enters into issues concerning realizing or evoking, if you are an idealist, the presence of others it can cause some problems. While it may be true of you it is just as well true of the other, in like character. The letterman called your behavior, preconscious or calculated, into the open maybe. Cause for soreness or indignation, seems to be the case in The Grudge. This is not someone with any immediate desire to seek a sort of penance. A sort of penance is the way out. Perhaps the grudge has an inherent recursive structure, meaning it rebounds or linearly, thought about the character of the grudge causes its character to get more pronounced. One has met a blockade which may be rerouted or assuaged with some ol' integral penance: acknowledgement of self-deceiving behavior and appropriate recompense in a spirit of seriousness. The fact that the grudge holder can understand himself to be occupying this pending position incites them to resign themselves to smoldering in fecklessness. | |
| Nine Inch Nails – Only Lyrics | 14 years ago |
| It is funny how some do not realize what it is that they are doing all day. Realizing it is what helps you stay abob. Helps you see other people too. The flow beneath the daily motions. Lays sleeping there. We allmost start out as sleepers. Isolation can and does lead to conflation. You are not this ideal you is something you have to realize if you were ever being downcast toward anyone. Open tide, we're all gliding, some skimming, braking, blazing through the trail of time, is my way of being an acidace about it. | |
| Nine Inch Nails – Only Lyrics | 14 years ago |
| We all hear voices and sometimes it becomes difficult to attach to one over another which one is produced by ME deliberately pushing the thought forward. I do believe that, on top of hearing the voices of what others have thought in an esprit de l'escalier (posterior to the event of encountering them), we also hear our own voice in two streams. One of our self-actualized self the other of you in your current temporal dimension with your current stock. This is conjecture or confabulation, if you are also heady, but evoking these entities seems to explain alot about the intangibility of experience, the mental life. Like the seed contains an imprint of the plant it is to be within itself, a being also contains its final state. We hear from this 'voice' all day, it IS you. There are no identical reduplications of this being from an external standpoint. But you are not it yet, you must become acquainted with it and step out in direction towards it. We have encountered those people who speak straight to you, who beyond believing to know you in some high self-regard, actually become you (as you see yourself, they seem to have a grasp of the twice-removedness of consciousness and hack into it with self-relinquishment and delighting effect). They have recompiled themselves, much like placing two acetate sheets one atop the other for a complete image. The being of this self-actualized voice has no bearing on the linear progression of time, though likely it has seen all YOUR behavior before: 'sometimes I see right through myself'. Upon realizing this dichotomy, ME, the only entity, who I have a direct handling of rebels. 'I just made you up, to hurt myself' can equate in a state of distress to 'I cannot be you, my complete experience as I experience it, in the forum', your presence hurts me, I am abysmal in comparison. Another re-prompt of one aspect of present day cognitive dissonance. The problem arises, if you were to ask me, from pragmatic, everyday linguistic practices which have it that the I becomes rendered an object 'me' for practicality sake in conversation. In our own free time none of us can 'stop picking at that scab' of selfhood. Nice places to eat are far and few between, so we chew at our edges. Ever seen a nailbitter really go at it, and rather that become repulsed, explored the prompt 'what has taken hold of him'? Ah people on the metro. In any event, it seems that we are alone as we always were, with company. This language which spawns the problem is called sometimes 'the language of things'. It would see the self as a thing. Perhaps not substantive, but fixed, with parameters and spacio-temporal dimensions. There are other modes of speaking. Of course one must be discrete and unassuming in their practice, otherwise in spite of all intents and purposes one may come off as an utter babbling goon. I covers a wide schematization of entities, likely, all of which belong to that I without being products of the psyche as it is currently. This is an ontology. To any curious to read an astounding examination of the phenomenal self (I in its totality as it appears to me, cap) allow me to draw out Sartre's essay The Look for your pleasure. | |
| Nine Inch Nails – Capital G Lyrics | 14 years ago |
| I would extend provisional belief to the possibility that Reznor HAS seen this world in what can be considered a ..manner.. real, in its most exacting sense, in its spacio-temporal instantiation. It might be only for flair. Yet I have never seen so much of that intangible dimension of my own isolated world comported so concisely, purely and uncannily. Trent is of the upper echelon of artists. I am a fan. I hope Trent finds or gets back to where he belongs. | |
| Nine Inch Nails – Capital G Lyrics | 14 years ago |
| Sometimes I wonder WHO these people are who are dolling out these reductionist, normative concepts of Capital G on a mass scale. Of course not the front-men politicians but the possibility of figureheads of greater power 'operating in the shadows'. Pay attention to world events (the temperature in Guatemala jab) if you want to be considered a good 'wary and engaged'... citizen of the world by your acquaintances. Getting absorbed in your own affairs is a behavior we do not condone around here. They do not want you to swim too far out. Would anyone believe the state-alleged psychotic nowadays if he were to give a passerby the analogy that exploring the mind is something like spending an after at the beach swimming in the ocean. You may wade in the shallow end, you may not even pay any mind to any lifeguards watching you. After some time, if you are either daring, feckless or innocent in obliviousness you might trek out past the lane ropes in search of a more fulfilling time. Many 'schizophrenics' report the same thing: that the state, some 'organization', is listening to them by means of some metaphysical hookup. Perhaps not at all, thoughts ARE encoded in a substance: EM waves. It is both logically and physically possible that state supervision is far past admissible. From the terminal, the listened-to's standpoint, there is no way to prove this. Sensation is not proof, only indication. The schizophrenic likely does not believe the state is listening to THEM exclusively for some high content all their own, they believe the 'organization' has shanghai'd the collective mind. When one migrates far enough and often enough, one begins to start noticing trends. On the verge of a recollection or a breakthrough a dull complacency-inducing buzz might suddenly erupt, one can at times feel (as a psyche inhabited what ought to be consecrated space, their own mind) a lurking presence about them. Things like this, which are sensate and in trace amount, are difficult to reconcile and rationalize and often go unresolved and forgotten. I already have the worst case scenario in mind. I do not avow it but a allot the time to explore it. These who'es in a position of superlative power, who control the flow of information not only through the internet but through what I can only call 'organic channels' seek to... eliminate competition, plainly. I have little sense of decorum, so be it said: there is a great project to be had and which has been done many times before. Something which upon completion will further complexity, render one a sense of self-completion and replenish indefinitely (in all its splaying, sinuous senses). Beware the pigs who stamp out other contenders unabashedly, revere the snakes who have been at it long enough to want fair game. Take what is your without fear of punishment or persecution and the world will regain its color again. | |
| Nine Inch Nails – Ringfinger Lyrics | 14 years ago |
| We need to take a look at how cannibalistic the state is, which is only in part the fault of those who sustain it wittingly. The problem is close at home also through any who adhere to what the state usually prescribes as a sane perception of reality, usually the same who also pathologically persecute others for deviation out of sheer ridiculousness or bitterness. Any who arrive at a metaphysical system, find justification for it from only the fact that the conception had occurred to them (hence it MUST have been produced by a veritable state of affairs), and have the audacity to prescribe their world picture and dogma to others indiscriminately ought to listen to reason or acquire for themselves a stomach for complexity. The same state, speaking of the same America that strikes Reznor with sick, that prescribes the metaphysical or religious dogma that 'life is sacred' pandemically and indubitably so, is the same state that institutes capital punishment meanwhile committing others to the psych ward for admitting suicidal thoughts. The grounds for this is what could only be presumed to be the state's self-regard of it having entitlement over the life and agency of the individual. Crudely, it is to say 'we claim the right to claim your life should you violate our laws (tacitly, which we do not analyze with any rigor but indoctrinate in the collective for social control) but should you deign the right to be the master of your own destiny or make any 'ungrateful' shows of misery you will be ostracized as a sort of heretic, or worse, as someone with a superiority complex'. All these sorts of things foster cognitive dissonance. It is already a feat to arrive at a sense of feeling at home in the world without having to deal with this overspill of maiming misconceptions. An example, substantial or not, the state may shanghai the Buddhist conception of samsara, always discretely (which of course does not bar the possibility of the state's making any religion more blatant, more popular, counter-intuitively). The leap here should be clear enough. So to get out of samsara (for we know you suffer and this world picture will strike you) you become a good citizen: you treat others with distance and courtesy, you understand rank and file, you WORK FUCKING HARD, and then you die. If you expected any better for yourself, well toots, that's what we call being psychotic (since we the state as good as own psychology too). But things are changing and most likely I speak of a fading world and with naive cynicism. These things differ in their degree of severity, depending on the particular state and the particular individual. I do believe, at this time, that we all come into the world each with a different stock of experiences, intellectual accretions we make over time with patience and reverence, that we have posited over time pieces of ourselves in others and likewise have had the reciprocation and that we all have projects we might have been interrupted from. The sick is in that the state engineers reality so as to cut you off from yourself, so that you do not believe yourself, and so that you call YOURSELF crazy for have a certain species of thoughts which will naturally occur to you. These thoughts will flourish if you nourish them but distort and degenerate if you treat them with resentment or terseness. The narrator of Ringfinger genuinely wants to be good, it seems, for self-cultivated reasons too, but meets with despondency when he realizes he is really another victim of some other's gluttony for control, power, the sins of the state against human dignity and freedom. He is a lamb, Jesus, docile, humble and kindred, who suffers at the mercy of another's sinful behavior. Far removed from him, and being made twice-removed from himself, he reflects on this idea 'ringfinger' to keep himself unified, at peace and primed for what could await after the nightmare of, bref, industrial society. | |
| Nine Inch Nails – Ringfinger Lyrics | 14 years ago |
| We need to take a look at how cannibalistic the state is, which is only in part the fault of those who sustain it wittingly. The problem is close at home also through any who adhere to what the state usually prescribes as a sane perception of reality, usually the same who also pathologically persecute others for deviation out of sheer ridiculousness or bitterness. Any who arrive at a metaphysical system, find justification for it from only the fact that the conception had occurred to them (hence it MUST have been produced by a veritable state of affairs), and have the audacity to prescribe their world picture and dogma to others indiscriminately ought to listen to reason or acquire for themselves a stomach for complexity. The same state, speaking of the same America that strikes Reznor with sick, that prescribes the metaphysical or religious dogma that 'life is sacred' pandemically and indubitably so, is the same state that institutes capital punishment meanwhile committing others to the psych ward for admitting suicidal thoughts. The grounds for this is what could only be presumed to be the state's self-regard of it having entitlement over the life and agency of the individual. Crudely, it is to say 'we claim the right to claim your life should you violate our laws (tacitly, which we do not analyze with any rigor but indoctrinate in the collective for social control) but should you deign the right to be the master of your own destiny or make any 'ungrateful' shows of misery you will be ostracized as a sort of heretic, or worse, as someone with a superiority complex'. All these sorts of things foster cognitive dissonance. It is already a feat to arrive at a sense of feeling at home in the world without having to deal with this overspill of maiming misconceptions. An example, substantial or not, the state may shanghai the Buddhist conception of samsara, always discretely (which of course does not bar the possibility of the state's making any religion more blatant, more popular, counter-intuitively). The leap here should be clear enough. So to get out of samsara (for we know you suffer and this world picture will strike you) you become a good citizen: you treat others with distance and courtesy, you understand rank and file, you WORK FUCKING HARD, and then you die. If you expected any better for yourself, well toots, that's what we call being psychotic (since we the state as good as own psychology too). But things are changing and most likely I speak of a fading world and with naive cynicism. These things differ in their degree of severity, depending on the particular state and the particular individual. I do believe, at this time, that we all come into the world each with a different stock of experiences, intellectual accretions we make over time with patience and reverence, that we have posited over time pieces of ourselves in others and likewise have had the reciprocation and that we all have projects we might have been interrupted from. The sick is in that the state engineers reality so as to cut you off from yourself, so that you do not believe yourself, and so that you call YOURSELF crazy for have a certain species of thoughts which will naturally occur to you. These thoughts will flourish if you nourish them but distort and degenerate if you treat them with resentment or terseness. The narrator of Ringfinger genuinely wants to be good, it seems, for self-cultivated reasons too, but meets with despondency when he realizes he is really another victim of some other's gluttony for control, power, the sins of the state against human dignity and freedom. He is a lamb, Jesus, docile, humble and kindred, who suffers at the mercy of another's sinful behavior. Far removed from him, and being made twice-removed from himself, he reflects on this idea 'ringfinger' to keep himself unified, at peace and primed for what could await after the nightmare of, bref, industrial society. | |
| Nine Inch Nails – Head Down Lyrics | 14 years ago |
| I get a funny reading from the first verse. Hey you, what are you looking at? I realize I am the only one who can attest to the fact of knowing myself, so WHAT are YOU looking at? The gawker who doesn't know where to look goes 'head down'. In the context of both the conversation and the pre-amble of what made you cast yourself away in shame, its too late for that. It doesn't help and it doesn't impress as a show of humility. "What you want, what you GOT" is the gawked-at cutting the crass, I know the look I have been you, what's your stock? Are you even able to share? Know your place, always seems a little strict. A look is hardly a violation. The second verse gets hairy. Hey you, gawked-at calling back to head-downer, a guess. What are you running from? Again, is it me, couldn't be, you can't see me. It is your own concatenation you run from, to which I have been appendaged. It can be much more than impressionistic if it has led you to so much hatred. Something went askew when you smashed from pieces you couldn't fit together apart, just for the fuck of it. And that you never considered such a thing could happen to you made you of course more prone to its happening. Keeping your head down, you are no longer in tandem but in the coils of your own tangential thinking. The behavior is causing the problem to fester. | |
| Nine Inch Nails – Ringfinger Lyrics | 14 years ago |
| Admittedly, when I first heard the song I did hear "GIRL, you've got me working so hard lately". But it is not a song about a romance in any generic sense. Maybe we could speak about Ringfinger without ever equating the term to anything. The next lines give implication-definitions of the term. "Promise carved in stone", without getting too pathetic, poetic, can point to the possibility that Reznor is using 'ringfinger' to refer to a precept. We have concepts, there can precepts. Maybe derivative of primordial intentionality. A precept of engagement, figurative union in unearthing and advancing a cause, I'll stretch an inference, once vaporous now fixed in solidity. "Deeper than the sea". The sea's meaning is always at variance, I usually absorb it as something like... to see the self as a unit of the sea as a transitory conception to apprehend the roiling motion and overlap of water as having some inherent similarity with the viscosity of collective being or consciousness, less inclusive. This precept is something which pressuposes our being as beings, it is a precept of being itself which a being naturally moves into when, more than considers, but can stand in the light of being a being for which whom being is at question. The song is conceding, 'yes I would make consecrations of myself for an authentic cause, but what you ask of my is not only arbitrary but deteriorating and deflective'. It also recapitulates on a fact of the current state of affairs that one's comfort is in the hands of those who operate at the helm of social contracting. The point being I should feel obliged to give back to my community not be obligated for any CAPITAL G pseudo-moral imperatives which operate on guilt and provisionally arbitrary misconceptions of heirarchy, rank not based on anything substantial. Relationship to the fear enters when the lines "sever flesh and bone and offer it to me" are read in just such a way. The state has a tacit grip over the individual to such an extant that Reznor can in a tongue-in-cheek manner only ask that his release be offered to him. Cause for indignation. | |
| Nine Inch Nails – Ringfinger Lyrics | 14 years ago |
| I met those almost dolphin chirps 'wooiiuhuh' that take over at the end with a sense that it is, even more than lyrics, the effects of what you could respectively call timber, repetition, rhythm expectation that embody a recurrent attitude in most NIN songs. What I find can help with 'reading' is to deeply consider that initial influx, whatever it was (be it particular memories of your own or just a familiar, or inclusively alien sensations), that first almost intangible, pure impression the first time you heard any (NIN) song. I would say the effects from the music itself are what found the lyrics and the listener's experience. Of course. We remember those scratching sounds at the end of The Beauty of Being Numb after the nice lull and the silence which slams the point of 'it keeps coming from the inside' of The Big Come Down. These songs are all nam-shubs (if you might have read Snow Crash), they are incantatory yes.? Many of them are engineered to help you reflect of your current relationship to the fear and re-prompt you to sort out alot of the 'miasmic' cognitive dissonance that can spawn from living in the current state of affairs. I would venture the claim these wooiiuhuhs are what cast the entire leer behind the part and parcel concern toward an industrial epoch, what is Ringfinger as a five minute soundbite. I couldn't say if Reznor himself were politically oriented toward anarchism, but the impression I get from many NIN songs is that Trent's resolution, proposition to a certain species of insanity (which I define here general as a character of distortion, or pathology when any desire meets blockade) is that the game can be played differently. The end music seems like more than an after thought to me. I read Ringfinger as a plea or sort of treaty Trent is attempting to make with The Big Other, The Man, government, whomever is intently gaining from a state organized to give people a false sense of their freedom. Whether it goes through or not, the final bit gives me a feel of 'can't see me, can't touch me' in any case. You may try to remove me from my nature, suppress my need for a purpose that I will recognize, but I see far enough in some direction to warrant listening to myself. Its all a can do to save myself, in tact if not furthered. It happens too often that I finish listening to a NIN song and the flare goes off 'there I am'. When this happens on other occasion I board, listen to Tool's The Grudge and give myself a tender beating. | |
| Nine Inch Nails – Ringfinger Lyrics | 14 years ago |
| I met those almost dolphin chirps 'wooiiuhuh' that take over at the end with a sense that it is, even more than lyrics, the effects of what you could respectively call timber, repetition, rhythm expectation that embody a recurrent attitude in most NIN songs. What I find can help with 'reading' is to deeply consider that initial influx, whatever it was (be it particular memories of your own or just a familiar, or inclusively alien sensations), that first almost intangible, pure impression the first time you heard any (NIN) song. I would say the effects from the music itself are what found the lyrics and the listener's experience. Of course. We remember those scratching sounds at the end of The Beauty of Being Numb after the nice lull and the silence which slams the point of 'it keeps coming from the inside' of The Big Come Down. These songs are all nam-shubs (if you might have read Snow Crash), they are incantatory yes.? Many of them are engineered to help you reflect of your current relationship to the fear and re-prompt you to sort out alot of the 'miasmic' cognitive dissonance that can spawn from living in the current state of affairs. I would venture the claim these wooiiuhuhs are what cast the entire leer behind the part and parcel concern toward an industrial epoch, what is Ringfinger as a five minute soundbite. I couldn't say if Reznor himself were politically oriented toward anarchism, but the impression I get from many NIN songs is that Trent's resolution, proposition to a certain species of insanity (which I define here general as a character of distortion, or pathology when any desire meets blockade) is that the game can be played differently. The end music seems like more than an after thought to me. I read Ringfinger as a plea or sort of treaty Trent is attempting to make with The Big Other, The Man, government, whomever is intently gaining from a state organized to give people a false sense of their freedom. Whether it goes through or not, the final bit gives me a feel of 'can't see me, can't touch me' in any case. You may try to remove me from my nature, suppress my need for a purpose that I will recognize, but I see far enough in some direction to warrant listening to myself. Its all a can do to save myself, in tact if not furthered. It happens too often that I finish listening to a NIN song and the flare goes off 'there I am'. When this happens on other occasion I board, listen to Tool's The Grudge and give myself a tender beating. | |
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