How Music Works

 How Music Works

By John Powell

 

This book is inspiring for the full spectrum of music lovers.  From those that create music to those who enjoy music.  In my house music on Pandora is always playing thanks to the many Alexas placed strategically.  The book begins with the science of music, specifically how sound works.  Touching on subjects such as frequency and decibels, which transitions nicely to notes, pitch, perfect pitch.  The author spends time on the difference between noise and notes.  This difference is foundational as he moves in to the instruments that make the notes, describing the features of different instruments.  This part is later appreciated later in the book as he discusses the thought and effort in composing music.

In composing music, the reader becomes aware of the building blocks of creating the desired outcomes in terms of mood, the prime objective of music.  These blocks include

1.       Harmony

2.       Scales

3.       Chords – Major and Minor

4.       Rhythm

5.       Choice of instruments

Its interesting to learn in this book how relatively new, in terms the history of civilization the composition of western music is.  It is suggested that this evolution began in the fifteen century.  Beginning with what we now term as orchestral classical music and moving forward through jazz, and pop/rock.  I take a humorous note that Rap is not mentioned in this book of music.  Using the word humorous to lessen the blow, following the authors style to add his sense of humor.  A mood to keep the reader engaged from the front to back of the book.  Net-net this book will definitely give the reader, no matter how enmeshed he is in music, to have an even greater appreciation for music.

One of the key reliefs in this book is while it goes in to great detail of the structure, construction, composing, and listening of music: the author expresses that music is about feeling, and if a rule is broken because it feels good…it ok.

 

Notes:

·       Page 14: we are not designed to hear our own voices too loudly, in case they drown out any other noises …like lions, avalanches Sticking a finger in your ear improves the feedback between your mouth and your brain helps you monitor your own pitch

·       Page 23: Music notes are different from non-music noises because every music note is made up of ripple pattern which repeats itself.  …  Our eardrums flex in and out as the pressure ripples push against them. However, our eardrums can’t respond too quickly or too slowly – we can only hear patters which repeat themselves more than twenty times a second but leass often than 20,000 times per second.

·       Page 34: The general rul is that any note is made up of fundamental frequency together with its “twice frequency”, its “three times frequency”, its “four times frequency”.  and so on.  All these frequencies are called harmonics of the note.

·       Page 39: The basic sound of each instrument is called timbre.

·       Page 43: Differences between instruments when a not is just starting …  these start up notes are known as transients.

·       Page 44: There are many more frequencies involved in most real notes, so these ripple patters have different timbres is because the produce notes which contain different mixes of these harmonics

·       Page 45: The technical name for the collection of favored frequencies of an instrument is called format.

·       Page 57: it is now generally accepted that it takes 10,000 to achieve expert level in almost any activity.

·       Page 65:  The pipe organ gives us lots of choice in timbre, but the great thing is that groups of these different sets of tubes can be played at the same time to give you hundreds of possible combinations …  For the big finale you might want all the tubes on the organ to join in – which will require you to pull all the stops, which is where the phrase comes from.

·       Page 71: When composers are writing something for an orchestra to play, they have to bear in mind the thee timbres of each instruments at their disposal and then distribute the musical jobs accordingly.

·       Page 76: It is interesting to realize that quiet piano notes have a different timbre to loud ones because you hit a sting harder you get a different mix of harminics … which gives the notes a more complex harsher sound.  This means that pianists have some timbre control linked to their control of loudness.

·       Page 77: The piano was invented in 1709 … and was continuously developed over the next hundred years or so.

·       Page 78:  Another problem is the fact that if you set your synthesizer to produce a certain ripple pattern, the timbre will remain the same over the whole range of notes from high to low – and as we saw earlier real instruments don’t do that.

·       Page 79:  Even if the loudest – strongest component was 33Hz, the overall pattern would only be completing its dance 100 times – so the fundamental frequency is 110Hz.  … This is because only the 110Hz can be the head of the family which may include 220Hz, 330Hz etc … If you hear the following collection of frequencies: 220Hz, 330Hz, 440Hz etc, you will hear it as a tone with a fundamental frequency of 110Hz.

·       Page 85:  If we have two instruments, we only get double the effect if the Up-down-up-down pressure ripple are perfectly in step with each other – so they can act together to give an Up-Down-Up-Down pressure ripple.  But this synchronization never happens.

·       Page 96: the human hearing system is more sensitive at some frequencies than others.  This means that a 32dB high note from a flute will sound to a human than a 32db from a bass guitar.

·       Page 102: The child is now using scales, that is limited numbers of recognizable jumps in pitch.  These jumps are called intervals.  … 

·       Page 102: The careful choice of notes which sound good together gives us chords, and chords are the basis of harmony.

·       Page 103: As we shall see, harmonies are not always harmonious and it is the composer’s job to build up tension and occasionally and then relax it.

·       Page 103: Film composers often use only three of four tunes for an entire film, and they need to change the feel of the melody to match the moods of different scenes.

·       Page 103: Composers often deliberately choose a sequence of anxious- sounding chords to build up tension before easing it with some harmonious combinations – composing is rather like telling a story or a joke, in that the composer needs to set up a situation and then resolve it in some way.

·       Page 105: the higher note has a frequency which is exactly twice that of the lower note – and the interval between such notes is called an octave.

·       Page 106: So if we hear the 110Hz note first and then both of them together, the brain is not provided with any new frequencies – it just gets a double dose of some of frequencies it heard in the original note.

·       Page 110: notes that are too close together produce harsh combinations.  Consecutive notes on a scale are either a semitone or a tone apart in pitch… notes that are a semitone apart compete for our attention rather than support each other.

·       Page 111: Chords and harmonies form the backgrounds to the melody and also support the punctuation of the phrasing of the music.

·       Page 112: A chord played as a stream of its individual notes as calle appreggio and this is the basis of popular folk guitar.

·       Page 113: this method of playing the same tune after a certain delay is called a cannon.

·       Page 114: Composers have to use a lot of skill to write counterpoint- and a piece which relies on the interplay of counterpoint as its main content is called a fugue.  …One distinctive feature of most fugues is the involve tunes that have an easily recognized beginning.

·       Page 118:  the link between the terms of “scale” and “key”…Lets take the C major as an example.  The scale of C major involves a specific group of seven notes but they are only called aa scale if you play them one after another.

·       Page 119: Sales are based on a series of intervals, which are divisions of a naturally occurring interval called an octive.

·       Page 119:  Musicians don’t generally use more than about seven different notes at a time – even if the octave has been divided up into more steps than this.

·       Page 120: the limit of our short term memory is about seven items

·       Page 123: To get a decent sounding scale we want to have a team of notes which have five frequencies which are related together. … The top string needs to have a fundamental frequency which is twice that of the lowest string. – and everything is based on this naturally occurring interval. …for the optimum teamwork, the strings should also have frequencies which are related to the frequency of the lowest string.

·       Page 135: They didn’t have a theory for their tuning method, because you don’t need theory to make good music.  (this must be sarcasm or else throw this book away)

·       Page 142: Music composed in major keys sounds more self-confident and generally happier than music composed in minor keys.

·       Page 143: The group of seven that make up a major scale (or key) are the most closely related group from the original choice of twelve.  This makes them sound good and strong together.

·       Page 143: Minor keys involve substituting a couple of the major scale notes for less supportive of the original group of twelve.

·       Page 145: Moving from one key to another during the course of a piece is called modulation.

·       Page 149: When the “almost there” notes appear in the melody or the harmony it makes a fairly clear demand to get “there” so the listener has a feeling that the next note should be the key note.  In fact, this effect is so strong that the technical term for the “almost there’ note is the leading note.

·       Page 150: The technical term for any phrase ending in music is a cadence.

·       Page 152: We use all three types of minor scale within a singe piece of music.  We use the original one if the theme is descending, one of the others if the music is ascending: and the third one to make up the accompanying chords.

·       Page 152: Like the major scale, the natural minor scale is one ancient modes called Aeoloan.

·       Page 153: The natural minor scale was found to be just right for the parts of melodies which were descending in pitch, so it is called the descending melodic minor scale.

·       Page 157: When we eventually get to the end of a phrase the music is likely to relax into a simple major or minor chord.

·       Page 163: in major keys, note 5 occurs most frequently and will be played about four time as of the as note 7, the least common member of the group. There are other relationships which hold true in most tunes.   

Page 179: 1. Major keys are a team of seven notes which are strongly related to their team leader.  The punctuation of phrases in major key music is generally clear and decisive

2.       Minor keys have a couple of different notes depending on weather or not the tune is going up or down in pitch.  The team of notes is not as strongly related as a major ket team and the musical experience not as decisive and clear cut – particularly at the end of phrases.  We have to associate sadness with this more complex interrelationship of notes

3.       Music changes from major key to major key to keep our levels of interest up, and the same is true from minor key to minor key.  Certain changes increase the brightness of the music for a short while, and others can diminish the brightness.  The effect does not last long because it is caused by the change itself.

 

·       Page 181: The tempo of a piece of music it the pulse rate – how often you tap your foot to it.  The meter is hoe often you would emphasize one of the foot taps. Rhythm is the pattern of long and short notes being use at a particular time.

·       Page 195: Some rock group songs keep the “one two three four” emphasis for the tune but deliberately emphasize beats two and four with the bass guitar and drums, a technique known as “back beat”

·       Page 214: The two most common types of classical music which involve an orchestra are the symphony ( hundred Instruments) and concerto ( few instruments)

·       Page 214: The only difference between a symphony and a concerto is that a concerto also involves a soloist who sits or stands at the front of the stage. 

·       Page 218: Most symphonies have four or five movements.

·       Page 219: Sonatas are almost always pieces for one or two instruments and are generally in three to four movements.

Out Of The Silent Planet

 Out Of The Silent Planet

By CS Lewis

 

Ransom gets kidnapped by two villains and taken in a spaceship to a near by planet called Malacandara.  In the first days on the planet the three are challenged by habitants.   There is a clash and Ransom finds himself freed from his captives to discover on his own the workings of the civilization which until his arrival didn’t know existed.  He initially befriends the Hrossa , people involved in in the initial clash.  Over the course of quick time Ransom begins to learn their language and the lay of the land.  He learns of the destination in his quest to meet the planet’s god Oyarsa, to learn of his fate on this new planet or a journey back to earth; and his new friends attempt to escort him there.  On his quest after leaving the company of Hrossa he comes across an new clan of people call Hanakra.  It turns out the Hanakra are just as helpful as Hrossa in escorting him to his final destination.  And finally, along the way Ransom becomes aware of yet a third clan on the planet call pfifltriggi.  These creatures were mainly responsible to all creatures the making of things on the planet. 

While there is animosity amongst all creatures they all lived in relative harmony.  This comes out in the end with Ransom and his earthing capturers are interviewed by the planet leader Oyarsa as they learn their destiny.  As it turns out Oyarsa make the earthlings well aware of the civilization on earth as he point to the sky where earth is, and its close.  The moral message that Lewis was attempting to achieve was If we could even effect in one percent of our readers a change-over from the conception of Space to the conception of Heaven, we should have made a beginning.

Notes 

·       Page 37: Space was the wrong name.  Of thinkers had been wiser when simply named the heavens – heavens which declared the glory the:

Happy climes that ly

Where day never shuts his eye

Up the broad fields of the sky

·       Page 47: He wondered how he could have ever thought of planets, even of Earth. As islands of life and reality floating in a deadly void.  Now, with a certainty which never after deserted him, he saw the planets-  the earth’s he called them in his thought – as mere holes of gaps in the living heaven …

·       Page 48: you cannot see things to you know roughly what they are.  His first impression was bright. Pale world – a water-colour world out of a child’s paint box

·       Page 60:  “Hullo Ransom,- he stopped puzzled.  No, it was only himself: he was Ransom.  Or was he?  Who was the man whm he had led to a hot stream and tucked up in bed. Telling him not to drink the strange water”  Obvioisy some new-comer who didn’t know the place as wel as he.  Bust whatever Ransom had told him, he was he was going to drink now.  And he lay down on the bank and plunged his face in the warm rushing liquid.  It was good to drink.  It had a strong mineral flavor, but it was very good. He drank again and found himself greatly refreshed and steadied.  All that about the other Ransom was nonsense.

·       Page 70:  The thought of parting from the Hrossa could not be seriously entertained; in its animality shocked him in a dozen ways, but his longing to learn the language, and, deeper still, the shy, ineluctable fascination for unlike, the sense that the key to prodigious adventure was being put in his hands – all this had really attached to it by bonds stronger than he knew.

·       Page 86:  Hyoi, if you had more and more young, would the Meledil broaden, the handiamit (land) and make enough plants for them all?

“The seroni know that sot of thing.  But why shod we have more young?”  Ransom found this difficult,  At last he said: “Is the begetting of young not a pleasure of the Horossa?”  A very great one, Hman.  This is what we call love”.  If a thing is a pleasure more ofteh than the number of young that can be fed.’  It took Hyoi a long time to get the point.  “you mean” he said ‘that he might do it not only in one or two year of his life but again?”  “yes”

·       Page 87: “a pleasure is full grown only when it is remembered.  You are speak, Hman, as if the pleasure were one thing and the memory another.  It is all one thing.  The seroni could say it is better than I say it now.  Not better than I say it in a poem.  What you call remembering is the last part of the pleasure, as the crah is the last part of a poem..  When you and I met, the meeting was over very shortly, it was nothing.  Now it is growing something as we remember it.  But still we know very little about it. What it will be when remembering it as I lie down to die, what it takes in me all my days till then – that is its real meaning.  The other is only the beginning of it. You say you have poets in your world.  Do they not teach you this?

·       Page 89: "‘Oh, but that is so different. I long to kill this hnakra as he also longs to kill me. I hope that my ship will be the first and I first in my ship with my straight spear when the black jaws snap. And if he kills me, my people will mourn and my brothers will desire still more to kill him. But they will not wish that there were no hnéraki; nor do I. How can I make you understand, when you do not understand the poets? The hnakra is our enemy, but he is also our beloved. We feel in our hearts his joy as he looks down from the mountain of water in the north where he was born; we leap with him when he jumps the falls; and when winter comes, and the lake smokes higher than our heads, it is with his eyes that we see it and know that his roaming time is come. We hang images of him in our houses, and the sign of all the hrossa is a hnakra. In him the spirit of the valley lives; and our young play at being hnéraki as soon as they can splash in the shallows.’"

·       Page 92: perhaps, too. There was something in the air now breathed, on in society of the hrossa, which had begun to work a change on him.

·       Page 95: with such companions or with none – he must have a deed on his memory instead of one broken dream.  It was in obedience to something like conscience that he exclaimed.  "It would be a strange but not an inconceivable world; heroism and poetry at the bottom, cold scientific intellect above it, and overtopping all some dark superstition which scientific intellect, helpless against the revenge of the emotional depths it had ignored, had neither will nor power to remove."

·       Page 102:  "It would be a strange but not an inconceivable world; heroism and poetry at the bottom, cold scientific intellect above it, and overtopping all some dark superstition which scientific intellect, helpless against the revenge of the emotional depths it had ignored, had neither will nor power to remove."

·       Page 111:  "‘That is not the way to say it,’ it replied. ‘Body is movement. If it is at one speed, you smell something; if at another, you hear a sound; if at another, you see a sight; if at another, you neither see nor hear nor smell, nor know the body in any way. But mark this, Small One, that the two ends meet.’ ‘How do you mean?’ ‘If movement is faster, then that which moves is more nearly in two places at once.’ ‘That is true.’ ‘But if the movement were faster still – it is difficult, for you do not know many words – you see that if you made it faster and faster, in the end the moving thing would be in all places at once, Small One.’ ‘I think I see that.’ ‘Well, then, that is the thing at the top of all bodies – so fast that it is at rest, so truly body that it has ceased being body at all. But we will not talk of that. Start from where we are, Small One. The swiftest thing that touches our senses is light. We do not truly see light, we only see slower things lit by it, so that for us light is on the edge – the last thing we know before things become too swift for us. But the body of an eldil is a movement swift as light; you may say its body is made of light, but not of that which is light for the eldil. His “light” is a swifter movement which for us is nothing at all; and what we call light is for him a thing like water, a visible thing, a thing he can touch and bathe in – even a dark thing when not illumined by the swifter. And what we call firm things – flesh and earth – seem to him thinner, and harder to see, than our light, and more like clouds, and nearly nothing. To us the eldil is a thin, half-real body that can go through walls and rocks: to himself he goes through them because he is solid and firm and they are like cloud. And what is true light to him and fills the heaven, so that he will plunge into the rays of the sun to refresh himself from it, is to us the black nothing in the sky at night. These things are not strange, Small One, though they are beyond our senses. But it is strange that the eldila never visit Thulcandra.’"

·       Page 118: The remote horizon seemed but an arm’s length away.   The fissures and molding of distant slopes were clear as the background of a primitive picture made before men learned perspective.  …  He was on the very frontier of that heaven he had known in the space-ship, and rays that were air enveloped worlds cannot taste were once more upon his body.  He felt the old lift of his heart, the soaring solemnity, the sense, at onve sober and ecstatic, of life and power offered un asked and unmeasured abundance.

·       Page 122: They were astonished at what he had to tell them of human history – of war, slavery, prostitution.  It was because they have no Qyarsa, said one of his pupils.  “It is because one of them wants to ba a little Oyarsa hum self” said Augray.  “they cannot help it” said the old sorn.  “there must be rule, yet how can creatures rule themselves?

·       Page 135: "Even allowing for the strangeness of the subject from a Malacandrian point of view and for the stylization of their art, still, he thought, the creature might have made a better attempt at the human form than these stock-like dummies, almost as thick as they were tall, and sprouting about the head and neck into something that looked like fungus. He hedged. ‘I expect it is like me as I look to your people,’ he said. ‘It is not how they would draw me in my own world.’"

·       Page 137: “Then you must make every bent work/  How wold a maker understand working in suns’ blood unless he went into the home of the suns’ blood himself and knew one kind from another and lived with it for days out of the light of the sky till it was in his blood and his heart, as if he thought it and ate it and spat it?”

·       Page 146:  "‘For the first question, Oyarsa, I have come here because I was brought. Of the others, one cares for nothing but the suns’ blood, because in our world he can exchange it for many pleasures and powers. But the other means evil to you. I think he would destroy all your people to make room for our people; and then he would do the same with other worlds again. He wants our race to last for always, I think, and he hopes they will leap from world to world… always going to a new sun when an old one dies… or something like that.’ ‘Is he wounded in his brain?’ ‘I do not know. Perhaps I do not describe his thoughts right. He is more learned than I.’ ‘Does he think he could go to the great worlds? Does he think Maleldil wants a race to live for ever?’ ‘He does not know there is any Maleldil. But what is certain, Oyarsa, is that he means evil to your world. Our kind must not be allowed to come here again. If you can prevent it only by killing all three of us, I am content.’ ‘If you were my own people I would kill them now, Ransom, and you soon; for they are bent beyond hope, and you, when you have grown a little braver, will be ready to go to Maleldil. But my authority is over my own world. It is a terrible thing to kill someone else’s hnau. It will not be necessary.’ ‘They are strong, Oyarsa, and they can throw death many miles and can blow killing airs at their enemies.’ ‘The least of my servants could touch their ship before it reached Malacandra, while it was in the heaven, and make it a body of different movements – for you, no body at all. Be sure that no one of your race will come into my world again unless I call him. But enough of this. Now tell me of Thulcandra. Tell me all. We know nothing since the day when the Bent One sank out of heaven into the air of your world, wounded in the very light of his light. But why have you become afraid again?’ ‘I am afraid of the lengths of time, Oyarsa… or perhaps I do not understand. Did you not say this happened before there was life on Thulcandra?’ ‘Yes.’ ‘And you, Oyarsa? You have lived… and that picture on the stone where the cold is killing them on the harandra? Is that a picture of something that was before my world began?’ ‘I see you are hnau after all,’ said the voice. ‘Doubtless no stone that faced the air then would be a stone now. The picture has begun to crumble away and been copied again more times than there are eldila in the air above us. But it was copied right. In that way you are seeing a picture that was finished when your world was still half-made. But do not think of these things. My people have a law never to speak much of sizes or numbers to you others, not even to sorns. You do not understand, and it makes you do reverence to nothings and pass by what is really great. Rather tell me what Maleldil has done in Thulcandra.’ ‘According to our traditions – -’ Ransom was beginning, when an unexpected disturbance broke in upon the solemn stillness of the assembly. A large party, almost a procession, was approaching the grove from the direction of the ferry. It consisted entirely, so far as he could see, of hrossa, and they appeared to be carrying something."

·       Page 149:  The voice of Oyarsa spoke for the fist time to the two men

“why have yu killed my hnau?” it said

Weston and Devine looked anxiously about them to identify the speaker>

‘God” exclaimed Devine in English. “ don’t tell me they’ve got a loud speaker”

“Ventriloquism” replied West in a husky whisper.  “Quite common among savages”

·       Page 181:  If we could even effect in one percent of our readers a change-over from the conception of Space to the conception of Heaven, we should have made a beginning.       

·       

The Anunnaki of Nibiru

 

The Anunnaki of Nibiru

By  Gerald Clark

 

There is a planet named Nibiru outside the orbit of Pluto, now a non-planet, that is home for an advanced civilization called Anunnaki.  Nibiru has an elliptical orbit around our sun and come close to earth every 3,500  years.  The Anunnaki were already accomplished astronauts by the time of their passing of earth thousands of years ago.  They landed on earth in search of a commodity to help them achieve eternal life, gold.  They found it in the south of Africa.  They started mining it themselves and came to realize that the work was killing them on a planet that had 365 days per orbit thus shortening an Anunnaki life span.  So they conscripted ancient primitive man as their slaves to do the mining for them.  In figuring out how to master them they used advanced technology for communication. 

To complement the technical footing the author adds history through of Sumerian people using Cuneiform clay tablets found in Mesopotamia.  As the story goes The Anunnaki bred with the humans.  Enki and Enli , brothers akin to Cain and Able battled each other for power.  This story is colored in with biblical and Jewish story giving credit to man’s accounting and concurrence corroborating with the Sumerian cuneiform tablets.

This book spends an inordinate amount of energy explaining the technology to set the reader up for the final theory.  Anunnaki DNA exists in our human race today and is evident in our world leaders who are still being influenced by Anunnaki.  Imagine your spine as an antenna and the chakras receptors of messages from the Cosmos  (Anunnaki) as we are comfortable believing. 

The book is in serious need for an editor which diminishes to some degree the author’s credibility.  Yet he asks a lot questions and provides a lot material for the reader to explore.  Given this dynamic the book is at least entertaining and great fodder for a casual speculative party conversation.

Take a listen;  ·       The FULL STORY of The Anunnaki – Every Spiritualist Must KNOW This - YouTube

Resilient

 

Resilient

By KimDianne Rogers

 

This book is effectively an autobiography of KimDianes life.  A life that begins in a family where her father placed expectations on her that she struggled to step up to.  While she did her reward was to be seen.  Seen as herself, not necessarily in the identity her parents measure he for.  She started breaking out with a teen student exchange trip to Chilie.  The friendships she garnered there further lit the spark to be seen as herself.  Then this was tamped down when she went to university and became entrenched in the rules of the Church of Latter Day Saints.  Her and her first husband were devout Mormons where her identity was snuffed out by conformity to rules.  In this suffocating environment she slipped into an affair that led to divorce.  The affair and resulting divorce left her with a second husband and again her true self was stymied.  Later in life in mid forties she once again is set free in divorce only to find a third husband.  And he too came with problems in terms of money management leading to her make life choices out of circumstance and not fully of her choice.  This folly of husbands found herself at 53 finally single and free to be herself.  She spends the last forty pages of the book circling back on all the lessons learned from living at the effect of others and finally charting her own course.  This course finds her happy and seen.  It seems the men of her life stole her identity.  And now she is her own woman.

When the Light of the World Was Subdued Our Songs Came Through

 When the Light of the World Was Subdued Our Songs Came Through

By Joy Harojd

This book is a 450 page collection of poems, by Indian authors.  Each author is present in the introduction of their poem.  Each author is allocated up to three poems.  The bio for each author includes an impressive academic resume. While they have been steeped in our Western structure of words and language, their culture and moral fiber still survives.  This makes this read, a tipi dweller happy.  Below is a poem that speaks to language while it tells a poignant story about the Dakota 38.  The darkest is moment is President Abrham Lincoln ordered the execution of 38 Dakota men by hanging.  I made that order in the same week he published the Emancipation Proclamation.  

Read the poem below so you can genuinely acquire the feel for this American Indian author, Layli Long Soldier (Ogala Loakota).  She is joined by over 100 other poets of the same culture.    My posting this keeps that culture alive.  By the book, read and enjoy.

38

By Layli Long Soldier

 

Here the sentence will be respected.

I will compose each sentence with care minding the rules of writing dictate.

For example, all sentences will begin with capital letters.

Likewise, the history of the sentence will be honored by ending each one with appropriate punctuation as a period or a question mark, thus bringing the idea to (momentary0 completion.

You may like to know, I do not consider this a “creative piece.”

I do not regard this as a poem of great imagination or work of fiction.

Also historical events will not be dramatized for an interesting read.

Therefore, I feel most responsible to the orderly sentence, conveyor of thoughts.

That said I will begin.

You may not have heard about the Dakota 38.

If this is the first time you’ve heard of it, you might consider, “What is the Dakota 38?”

The Dakota 38 refers to the thirty-eight men who were executed by hanging, under the orders from President Abraham Lincoln.

To date, this is the largest “legal” mass execution in U.S. history.

The hanging took place on December 26 1862 – the day after Christmas.

This was the same week that President Lincoln signed the Emancipation Proclamation.

In the preceding sentence, I italicize “same week” for emphasis.

There was a movie titled Lincoln about the presidency of Abraham Lincoln

The signing of the Emancipation Proclamation was in the film Lincoln; the hanging of the Dakota 38 was not.

In any case, you might be asking, “Why were thirty-eight Dakota men hanged?”

They were hanged for the Sioux Uprising.

 

I want to tell you about the Sioux Uprising, but I don’t know where to begin.

I may jump around and details will not unfold in chronological order.

Keep in mind I am not a historian.

So I will recount facts as best I can, given limited resources and understanding.

Before Minnesota was a state the Minnesota region, generally speaking, was the traditional homeland for Dakota, Anishinaabeg, and Ho-chunk people.

During the 1800s, when the U.S. expanded territory the “purchased” land from the Dakota people as well as other tribes.

But another way to understand that sort of “purchase” is: Dakota leaders ceded land to the U.S. in exchange for money and goods, but most importantly, the safety of their people.

Some say the Dakota leaders did not understand the terms they were entering, or thet would have never agreed.

Even others call the entire negotiation, “trickery”

But to make whatever-it-was official and binding, the U.S. Government drew up an initial treaty.

This treaty was later replaced by another (more convenient) treaty, and then another.

I’ve had difficulty unraveling the terms of these treaties, given the legal speak and congressional language.

As traties were abrogated (broken) and new treaties were drafted, one after another, the new treaties often reference old defunct treaties and it is a muddy switchback trail to follow.

Although I often feel lost on this trail, I know I am not alone.

However as best I can put the facts together, in 1851 Dakota territory was contained by twelve-mile by one-hundred-fifty-mile-long strip along the Minnesota river.

But just seven years later in 1858, the northern portion was ceded (taken) and the southern portion was (conveniently) allotted, which reduced Dakota land to a stark ten-mile tract.

These amended and broken treaties are often referred to as the Minnesota Treaties.

The word Minnesota comes from mni which means water; and sota which means turbid

Synonyms for turbid include muddy, cloudy, confused, and smoky,

Everything is in language we use.

For example, a treaty s, essentially a contract between two sovereign nations.

The U.S. treaties with Dakota were legal contracts that promised money.

It could be said, this money was payment for the land the Dakota ceded, for living within assigned boundaries (a reservation) and for relinquishing rights to their vast hunting territory which, in turn, made Dakota people dependent on other means to survive; money.

The previous sentence is circular, which is akin to so many aspects of history.

As you may have guessed by now, the money promised in the turbid treaties did not make it to the hands of the Dakota people.

In addition, local government traders would not offer credit to the “Indians” to purchase food or goods.

Without money, store credit or rights to hunt beyond their ten-mile tract of land the Dakota people began to starve.

The Dakota people were starving.

The Dakota people starved.

In the preceding sentence, the word “starved” does not need italics for emphasis

One should read, “THE Dakota people starved” as a straightforward and plainly stated fact.

As a result … and without other options but to continue to starve – Dakota people retaliated.

Dakota warriors organized, struck out and killed settlers and traders.

This revolt is called the Sioux Uprising.

Eventually, the US Calvary came to Minisota to confront the Uprising.

More than one thousand Dakota people were sent to prison.

As already mentioned, thirty-eight Dakota men were subsequently hanged.

After the hanging, those thousand Dakota prisoner were released.

Hpwever, as further consequence, what remained of Dakota territory in Minisota was dissolved (stolen).

The Dakota people had no land to return to.

This means they were exiled.

Homeless, the Dakota people of Minisota, were relocated (forced) onto reservations in South Dakota and Nebraska.

Now every year, a group called Dakota 38 +2 Riders conduct a memorial horse ride from Lower Brule, South Dakota, to Mankato Minisota.

The Memorial Riders travel 325 miles on horseback, for eighteen days sometime in sub-zer blizzards.

They conclude their journey on December 26^th, the day of the hanging.

Memorials help focus our memory om particular people of events.

Often memorials come in forms of plaques, statues or gravestones.

The memorial for the Dakota 38 is not an object inscribed with words, but an act

Yes I started this piece because I was interested in writing about grasses.

So, there is one other event to include, although it’s not in chronological order and we must backtrack.

One trader named Andrew Myrick is famous for his refusal to provide credit to Dakotas by saying, “If they are hungry let them eat grass.”

There are variations of Myrick’s words, but they all are something to that effect.

When settlers and traders were killed during the Sioux Uprising, one of the first to executed by the Dakota as Andrew Murick.

When his body was found,

                                                          His mouth was full of grass.

I am inclined to call this an act by the Dakota warriors a poem.

There is irony in their poem.

There was no text.

“Real poems do not “really” require words.

I have italicized the previous sentence to indicate inner dialogue, a revealing moment.

Bit, on second thought, the particular words “Let then eat grass” click the gears of the poem into place.

So, we could say, language and word choice ar crucial to the poem’s work

Things are circling back again

Sometimes, when in a circle, if I wish to exit, I must leap.

And let the body                                                            swing.

From the platform.

Margins of Reality

Margins of Reality

By Robert J Jahn and Brenda J Dunne

 

This book is basically a doctoral thesis on the role the conscious mind plays in reality.  It’s at odds with today’s classic science that insists on taking the experimenter out of the experiment.  It takes a very academic/scientific two-step process.  Step one is to describe a theory in a way that can be scientifically tested in a lab or in the outside ‘real’ world.   Much of the material faces an obtuse scientific community as they tend to rebuff the notion that consciousness has a crucial effect on the real world, mental and physical. 

A primary challenge in putting any claim to the consciousness play on reality is the enormous amount of data required and then the statistical analysis methods that could make any sense around any final thesis.  Hence, the first one third of the book is ladened with statistics.  In the end the stats on their own fall short of a winning argument.  Which only spurs the team in PEAR Team at Princeton to delve into quantum concepts, and finally into consciousness particle waves.  I think the most fascinating areas discussed were Precognition and Parapsychology…ESP and telepathy.

 

As usual in my book reviews I include notes of which will be forthcoming by end of September.   Promise!!! 

A Fools Journey

 

A Fools Journey

By Carli Munoz

 

This book is an autobiography of the life of a mid-level Puerta Rican who rose to prominence in life in the world of the arts.  First was piano, with thanks to his father.  A father who provided love and space for Carli to hold a degree of self-confidence to jump headlong into new things.  His music to flight with a local band in San Jaun.  He took it to a larger scale in New York City where LSD took him down a deep dark hole.  Where only the strength and self-confidence instilled in him by his father gave him the ladder to climb out of.  He landed on his feet in Los Angeles finding a ten-year gig with the Beach Boys.  It didn’t stop there as Carli stepped in to a new space of producing movies, where a couple of bad turns in life found him producing commercials.  Not happy with this, he returned to San Jaun and opened his nightclub/restaurant where you can find him today playing excellent jazz on the 88s.  The food is great as well.  The book is motivational, inspiring the reader to step out and pursue your dreams.

 Reflections on Time and Politics

by Nathan Widder

A bazar mix of subjects.  Widder brings the together in a subtle way.  To sum it up:  Otherness in the terms prescribed by will to truth –  as either an oppositional difference compatible with identity or an excessive, unmediatable difference that may be elevated to divinity or reduced to chaos and materiality, but in either case is treated as a difference lying outside the boundaries of identity – this sense presents itself as the immanent differentiator that disjoins differences, folding together heterogeneous but mutually imbricated domains.  This untimely excess arises with discursive practice.  In functioning this way however this excess can also help us modify our practices and ourselves.  All is wrapped up with discourse around Heidegger’s thesis that temporality is the horizon of being.  Where I've been exposed to it through Landmarks Forum (EST of the 70's)

The following are ten pages of extract notes touching on metaphoric descriptions of the reality of TIME as the surface tension of temporal man and his relations t to the material world around him as the surface tension of water where the deeper you go the less tension there is.  

NOTES:

1.       Page 5:  Heidegger’s thesis that temporality is the horizon of being and Deleuze’s declaration that repetition in the eternal return is the “for-itself” of difference invert the standards priority so that instead of time being modeled on movement, movement is modeled on it.

The feeling we have is that the present disappears into the past without bein able to prevent it.

2.       Page 7: The inversion of time and movement relates to another contemporary philosophical project: the achievement of immanence.

3.       Page 10: And for Freud and Nietzsche, it I the domain of unconscious drives of instincts that function with no notion of linear time.

4.       Page 12:  In all these areas, time’s structure is the guarantor of the thinking and novelty that Nietzsche associates with the revelation of values.

5.       Page 13: The “now” in this sense, pertains to time, but is not part of time.  On the other hand Aristotle holds the “neither time be  if there were no ‘now’ nor would ‘now’ be if there were no time … time owes its continuity to the “now”  and yet is divided by reference to it.  Here the “now” is essential to time’s being.  Taken together, these claims suggest a fundamental metaphysical aporia (a logical impasse or contradiction), whereby time does both and does not exist and the present “now” functions ambiguously as both limit a transition, dividing and connecting sequence past and future “now”

6.       Page 15: Despite certain interpretations, then, finite periods of any continuum, spatial or temporal, are not infinitely divisible but only potentially infinitely divisible.

7.       Page 17: like a cut made into flowing water.  Time being perceived only with movement of change, but unlike movement, existing everywhere rather than relating only to a particular moving thing, indicates that “time is neither identical with movement nor capable of being made separated from it.”

8.       Page 20: Aristotle upon the precise and identifiable limits of time, one relating to the process of change – and the other concerning the structure of time itself.  With respect to the first , Aristotle maintains that change terminates an an individual instant, but no instant can be identified when it begins.  A divisible segment of time during which a change is completed contains a period when change is still taking place and one when it has already finished. This segment can be divided into smaller segments until reaching a “now’ that no longer contains both states.

9.       Page 21:  while nothing can move or be at rest in the present “now” it is undeniable that the passing of future into the past does not indeed occur there.

10.  Page 23: Thus, the infinite divisibility of space gives no ground for denying that space is composed of points.

11.  Page 25:  While “resort to geometric intuition” is exceedingly useful Dedekind argues that is bases irrational numbers directly upon the conception of extensive magnitudes – which itself is nowhere carefully defined – and explains number as the result of measuring such a magnitude by another of the same kind.  The lack of correspondence between the rational number set and the points on a straight l has led to the recognition of the existence of gaps, of a certain incompleteness of discontinuity of the former compelling an account of completeness able to provide a scientific basis for investigation of all continuous domains.  The incompleteness of rational numbers may be indicated geometrically, but to avoid introducing non arithmetic notion, we must endeavor completely to defining irrational numbers by means of the rational numbers alone.

12.  Page 33: Concepts are syntheses whose components are distinct, heterogenous, and yet not separable.  Moreover, contra Russell, these irrational point-folds organize the domain: Concepts are the archipelago or skeletal frame, a spinal column rather than a skull, where as the plane is the breath that suffused the separate parts.  In relation to continuous time and space, the concept’s intensive movements seem to travel nowhere, but only demonstrates how they cannot be fully localized in terms of these continuities.  Or put differently, their location is always revealed to be the state of discontinuous excess and plurality, These characteristics mark concepts as events.

13.  Page 35: the transition from the temporal and historical dialectic of the phenomenology to the eternal becoming of logic – clears the path for a positive nondialectical difference able to complete immanence and underpin a concrete ontology of sense….. Sense is the wonderful word which is used in two opposite meanings.  On the one hand it means the organ of immediate apprehension, on the other hand we mean it by the significance, the thought, the universal underlying the thing.  And so sense is connected on the one hand with immediate external aspect of existence, and on the other hand its inner essence.

14.  Page 37: The first is the transition to self-consciousness, which completes the dialectic of consciousness.  Here upon reaching the stage of Understanding, consciousness remains detached from the world…thereby finding itself in its object …. When consciousness is no longer burdened by some alien other.

15.  Page 39: the relation between ontology and empirical man is perfect lt determined, but not the relation ontology and historical man.  …Logic is not concrete truth, that of the Idea nature or in spirit, but pure truth, the development of the concept in its actuality and of actuality in its concept, the life of the concept..

16.  Page 40: From Aristotle to Bergson. Time’s continuity is consistently derived through analogy with local motion: the simple undivided movement of an object tracing a line, the lifting of a hand.  Conversely, the metaphor of music – with its varied layers of rhythm and tempo, melody and counterpoint, staccato and legato – renders fullness the effect of hatched lines discontinuity.

17.  Page 42: Creativity coming from the impulse of elan vital (Élan vital refers to the creative force within an organism that is responsible for growth, change, and necessary or desirable adaptations.)  of the virtual past compressed and propelled forward, allows no independent role for the present instant.  The present can do nothing.

18.  Page 43: But Bachlard’s instant is not a marker of a continuum.  It is an immanent as against a transitive time and a time of thought and choice running perpendicular to durational time.  …time has several dimensions.  Time seems continuous only in a certain density, thanks to the superimposition of several dependent times.  The instant contains a dialectic of duration, which is not logical but temporal and which is littered wit lacunae populating both lived time and the higher orders of thought time.

19.  Page 47: relativity exposes an essential discontinuity between the two times, and so the irreducibility of one to the other.  The result: quanit does not rest on quality: one is not relative and the other absolute.  …A counted time perceived through movement is used to measure movement; but local motion also points beyond itself to an image of duration as an ever-changing open whole.

20.  Page 48: time is no longer the measure of movement but movement is the perspective of time.  Time now becomes an unchanging form of what moves or change.  The direct time-image duration is that of coexistence of virtual past and actual present

21.  Page 48: time: It concerns the series of time, which brings together the before and the after in a becoming instead of separating them.

22.  Page 55: Reminiscence too depends on this order of time, which connects memory specifically to the past, its basic premise being “that what we call learning is really recollection … what we recollect now we must have learned at some time before.”    Yet the role of reminiscence is not to recall past memories – an operation representing at best only its most generic sense – but rather to provide a route a route beyond time to the eternity that time copies.

23.  Page 56: and as absolutes are not given to the sense’s knowledge of both physical truths and absoluteness requires recollection of knowledge the soul had before embodiment.  … Precisely because the body, which is lacking, cannot apprehend its refilling, desires basis must be found in the soul, which apprehends the replenishment, and does so obviously through memory.

24.  Page 64:  Speculative difference, however, must take the form of contradiction.  The Absolute can only express itself only by sustaining its unity through diverse forms to be self determining, it must distinguish itself from the opposition without becoming one pole of this opposition.  Negation must be compatible with identity, and opposition alone sustains both genuine diversity and identity, because a thing is individual only by differing from everything it is not, Opposition is inevitable … because each is in relation with the others or rather with all the others, so that distinction is its distinction.   ….. Only then can speculative thought raise the Absolute from substance, becoming the self-expression of being

Speculative knowledge can be simultaneously knowledge of self being ;and self-knowledge only because to know oneself is to contradict oneself, only because these two moments that we ordinarily separate in order to attribute one to the object, the other to the subject, truth and reflections, being and the self, are identical.  Their identity in their contradiction is the very dialectic of the Absolute.

25.  Page 66: More profoundly, contradiction and negativity are false problems whose expression does not respect differences of nature.  They are retrospective illusions and merely external views of this internal difference but also rise from this difference.

26.  Page 67: force designates the movement from unity to multiplicity and back into the object of perception dissolves.  At stake is how the object can have meaning or sense given that it supposedly has its own content, yet it is defined through its properties, which relates to others.  A as substantive unity, a being-in-itself, the object relates to others, expressing itself in multiple properties, but as these properties interpenetrate and define a substantial whole, the plurality constitutes the unity.

27.  Page 67:This plurality of reciprocally determining, internally related forces reverses the priority of being itself over being another: since force atain unityonly through the relations to other forces, unity becomes a mere moment in a more encompassing movement of being-fof-itself through being-for another.

28.  Page 76: Demand, in turn reconfigures every satisfaction of need into proof of love and there by “ annuls the particularity of everything that can be granted, “while it constitutes the Other as already possessing the ‘privilege of satisfying needs.

29.  Page 77: A subject gets a sense of itself through an image conveyed from without, so that unity always comes paradoxically from a passage through an outside and relation to others.

30.  Page 78: Trauma suggests an original unity that has been fractured – the castration complex thus retroactively gives meaning  to the mirror stage, even while the latter prepares for the former- but this imaginary unity never actually existed. … Metaphor thus “occurs at the precise point of which sense emerges from non-sense.”

31.  Page 79: Tere are thus instabilities internal to language, insofar as its signifies refer outside themselves to other signifiers, so that each one assumes its precise function by being different from the others.

32.  Page 81: Lacan, in contrast, maintains that if feminine desire exists, it remains unrepresentable; hence neither women patients no analysts have ever been able to say what it is.

33.  Page 83: The commodity thus inhabits two positions; one involving an abstract( but representative) value in a dialectic of exchange and the other  involving an enigmatic value that makes commodity stand for the promise to satisfy an impossible, insatiable desire.

34.  Page 84: Masculine logics, maintains abstract the curvature from the mirrors, reconfiguring the difference and making it reappear as the excluded remainder of a reflexively constituted identity.  The result is a feminine conceived in terms of lack, absence, and failure.

35.  Page 85:  …in this regard razes these abstractions by weaving second-order difference into another form of meaningful synthesis, one that links differences without drawing them into unity, thereby securing a place for the feminine withing sexual differences.

36.  Page 88: … passive synthesis of habit, is an empirical repetition. contraction of instants into a line of time, with past and future figuring as dimensions of the present.

37.  Page: 89:Regardless of weather time is considered the objective measure of movement or the subjective counting of the soul, the self is the site where this synthesis occurs.

38.  Page 88: However, the pur past and its coexistence with the present also constitute the present and its passing, and for this reason the pastfar from being a dimension of time, is the synthesis of all timeof which present and future are only dimensions

39.  Page 91: To the degree that virtual past and actual present are distinct dimensions of time, they remain unsynthesized, allowing the past to assume transcendand status.  Duration is the concrete time of the cocrete ego, but it is neverthe less abstract with respect to ontology treats the ego, and identity more generally, a a simulation.

40.  Page 91: While the coexistence of past serves as the transcendental ground of time, resonance around fracture continues time’s undergrounding in the third synthesis

41.  Page 99: Nietzsche says, is to transform every “it was” into “thus I willed it”, more profoundly, “thus I will its return,” thereby expressing the transmutation that makes us worth of what happens to us  …. The ethical transmutation of the eternal return, therefore, is not meant to secure an “I” who wills.  On contrary, the condition of this ethical affirmation is that the “I”, the ego must be taken far less seriously.

42.  Page 100: An Ontology of sense invokes a surface that brings together a coordination divergent realms and becomigs.  It thereby opposes traditional appeals to transcendent Ideas or external teli seeking imminent principles instead

43.  Page 101: Causation refers specifically and solely to the interaction of bodies, but in a specific way.  Causes are not of each other, but are causes to each other.  Causes are corporal and relate to plural bodies.

44.  Page 102: Incorporeal effects are impassive, not of a nature either to act or be acted upon

Effects on the other hand, are attributes having the form not of stbstances, but of happenings.

The actions of external bodies affect or impress themselves on the soul creating thoughts, conceptions, and cognitions which are corporal dispositions of the mind.

45.  Page 103: While incorporeal propositions can be true, truth itself is corporal, referring  to the disposition of the wise man’s soul.

46.  Page 104: Time is also more than an affect on bodies… time is a dimension or interval motion….. a dimemnsio of interval specifically of world’s motion…time that is the structure, not the measurement, of the world’s movement so of movement and change in general.

47.  Page 105: Time is not a cause and does not determine beings or events.  It is rather an empty form that contours beings and their surface events. Giving them their sense.    

The whole of substance is unified by a breath which pervades it all, and by which the universe is sustained and stabilized and made interactive with itself.

Since rational concepts arise from the traces of real beings impressed on the mind, the two sides can correspond; because the surface events of real bodis and the logical incorporeals embedded in language and thoughts are neither bodies nor qualities, thy can completely coincide.

48.  Page 107: the affirmation of a disjunctive synthesis of differences and a fractured structure of time, which together allow sense to merge from nonsense.

49.  Page 109: Events are therefore always submitted to a double relation:  the sense they express derives not only from other bodies and interactions that produce them but also from their relation to other meanings or meaningful events.  The surface therefore retains an independence from the depth it covers.  Events remain autonomous only insofar as the relate to one another distinctly from their relations to bodies.

50.  Page 110: Through the event of sense, the surface of bodies and the surface of thought interact.

51.  Page 111: here speaks of three syntheses of time, analogous to the three synthesis of time, that together form the field of sense: conjunctive, conjunctive, and disjunctive.

52.  Page 113: Indeed, the paradoxical sign is not one surface sign among others, but is rather a crack on the surface.  The time of this crack is the eternal return, through which difference and divergence return

53.  Page 116:  Dispersion thereby indicates a difference withing the convergence of heterogenous materials.  It is a synthesis of differences but, unlike the commonly accepted synthesis, it does not collapse differences into unity but rather forms the intersection where unities can appear

54.  Page 117:  A discursive formation, then, does not play the rols of a figure that arrests time and freezes it fo decades or centuries; it determins a regularity proper to temporal processes; t presents the principle of articulation between a series of discursive events and other series of events….its not an atemporal form, but a schema of correspondence between several temporal series as the linkage itself is in motion, the regularity must be seen  as a consistency arising from the continuing synthesis of moving series.

55.  Page 119:  The study of discursive information, Focault says, is the study of its rarity, making it a study of both power and politics.

56.  Page 125:  W world without essences or stabilities beneath appearances is “essentially a world of relationships” in which the sum of forces and resistances emanating from every point “is in every case quite incongruent”.  Understood in these terms, drives are relation that do not refer to prior, related terms, and their order of rank is not a fixed hierarchy but “ a pattern of domination that signifies a unity but is not a unity,”

57.  Page 129:  The principle grounding this entire dynamic and its accompanying illusions is the eternal return, the dissymmetrical structure of time and that which changes in time.

58.  Page 143:  IN its out-of-sync character, nihilism expresses more generally the formal structure of time.  But arises only when realization of this condition combines with the failure of will and the inability to fine meaning and sense in this time out of joint.

59.  Page 145:  … that truth is simple, that it is pure; that the the truth of something is that which remains constant over time, unchanging and universal; that truth is good, and that what is good is true.

60.  Page 146:  WE simply need to entertain the possibility that truth is not always good, that evil is sometimes useful, and that purity and endurance are merely similations, in order, to see the danger of this dogmatic stance.

61.  Page 148 Whatever force true discourse now carries comes from nothing other than its truth so that to truth becomes an internal limitation by compelling discourse to tell the truth about itself independent of any attachment to power or a powerful speaker.

62.  Page 149: Plato locates truth in the realm of timeless Form..  He thereby invests truth with a positive and transcendent identity and understands difference in terms of falling away from this identity into opposite, so that ugliness is no more that a lack of beauty and the the realm of becoming is a mixture of Being and its opposite, nothingness.

63.  Page 153: Critical work and political struggle must either be sold or become isolated, compelling frantic optimism in workers’s movements.

64.  Page 155:  Only he … who would have used his own strength, which eh owes to identity, to cast off the façade of identity – would Truely be a subject.  Instead if identity, there is togetherness of diversity – a structure of differences corresponding to time understood as unchanging form.

65.  Page 156: Artists do not sublimate.  That they neither satisfy nor repress their desires, but transform then into desirable achievements, their works, is a psycho-analytical illusion.

66.  Page 166:  “God”is one answer to the question of what this outside force might be.  But another answer is time – or rather that dimension of time’s structure that conditions movement or chanche of entities in time.   This dimension contra Berson cannot be linked to the past is not the outside, that orients time an things in time. … time proposes an existential analytic of Dasein’s Beingin-the-world, which, worked out in temporal terms, lays the groundwork for addressing the meaning of of Being and its temporal horizon.  Temporality does not mean “being in time” but refers instead to the ecstatic structure of Daseins Being and ultimately to the structure of Being as such.  When Daseins’s structure as care – the form of Being- thrown-ahead-of-itself and Being-alongside- entities encountered in-the-world, which accounts for Dasein’s relations to the ready-to-hand and the presen-at-hand, its Being-with others, its states of mind, moods, and understandings, and its falling and absorptionin to the world of “they” – is recast in temporal determinations, it becomes clear that “the future has a priority in ecstatical unity of primordial and authentic temporality.  Anxiety, the state of mind arising from the uncanniness experienced when the world loses its significance, indicates authentic Being-towards-death to be Dasein’s fundamental comportment toward the upmost potentiality-for-Being.  The event of death, which is the possibility of radical nonexistence, is fitural, not in the sense of being “not yet” in time but as something everpresent yet seemingly coming from nowhere.  It is possible because Dasein as being, is always coming toward itself- that is to saying so far as it is futural in its Being in general.  Dasein’s Being-towards-death means that its structure is “whole” bu virtue of including the nullity within it.  In Being-towards this absolute limits Dasein’s Being becomes an issue for it.  It is future-albeit not the future of linear, chronological time -that orients Dasein’s Being.

67.  Page 168: Authentic Being towards-death is also freedom towards death.

68.  Page 169: The articulate the vulger conception of time, the various ways that past present and future rathr than being “not yet” and “no longer existing  instants extending from the present “now”, both have presence in Dasein’s three-dimensional temporality.

69.  Page 169: … the unity of time’s three dimensions consists of interplay of each toward each.  The interplay proves to be the true extending, playing in the very heart of time, the fourth dimension, so to speak – not only so to speak, but in the nature of matter True time is four-dimensional.

70.  Page 169: The event of appropriation is tha realm vibrating within itself, through which man and Being reach each other in their nature, achieve their active by losing qualities with which metaphysics has endowed them.

71.  Page 172: In this way the eternal is defined not as an infinite sequence of “nows” but as a moment of vision that, bending back on itself brings together times three dimensions; past, present, and future and makes them return.

72.  Page 173: Moreover, there arises with this decentered becoming a simulation of identity by which the differentiator disguises itself.  The eternal return is thus a structure in which identity and continuity always float on the surface of dynamic and dispersive becomings of difference.

73.  Page 174: This second move resores innocence to becoming by affirming all existence as worthy of returuning – which is not the same as finding transience unacceptable.

74.  Page 175: As a resonance of series through differentiator, the eternal return effects, a forced movement the amplitude of which exceeds that of the basic series themselves.

75.  Page 175: If the imperative to become what one is has any meaning, it cannot take the form of finding authentic self.  In rejecting such authenticity, the thought of eternal return presents the self as an out-of-sync and dissymmetrical multiplicity that generates illusion of stability and centeredness.

76.  Page 176: But this reworking is the self’s and the world’s differences and discontinuity.  But this reworking is possible only with a revaluation of values, a move beyond morality of good and evil, and redemption from guilty conscience.  For one thing is needful Nietzsche writes: the human should attain satisfaction with himself, whether by means of this or that of poetry and art.

77.  Page 184: This regularity is found in the schema of correspondence connecting the heterogeneous domains of desire and truth, which constitutes desire as a hidden source of truth about self.

78.  Page 185:  Otherness in the terms prescribed by will to truth –  as either an oppositional difference compatible with identity or an excessive, unmediatable difference that may be elevated to divinity or reduced to chaos and materiality, but in either case is treated as a difference lying outside the boundaries of identity – this sense presents itself as the immanent differentiator that disjoins differences, folding together heterogeneous but mutually imbricated domains.  This untimely excess arises with discursive practice.  In functioning this way however this excess can also help us modify our practices and ourselves.