(12) New international anthems

(12) New international anthems.

There is no void in the universe. All this apparent silence and emptiness are actually the presence of the most abundant byproduct of our passing, the eternal, enduring result of every imaginable extinction and waste possible: death, has become perceived as crystalline silence and absence to our limited senses.

Before this happened, however, to make room for the presence of ever-growing death, the last bit of whatever goodness, purity, innocence, decency, and, of course, life very slowly rose or lifted out of nothing and very vulnerably collected together to form something sad and beautiful no one saw, except through this humble description.

What did it all add up to"?

"They joined and formed what was left of life, and there, draped in silent, deathlike dying, a tiny, ghastly pale shape of what looked like an abundance horn softly dissipated."

As the last molecule disappeared, the real companions to this mass extinction would make themselves heard, at random, forever, in every direction of the unfolding, ever-growing death.These perfect oddities, hitherto unknown side effects, came from our world.

They are only appreciated out of the atmosphere, in dead suspension, viewing death in its guise as a rotating sphere of eminent mortality. It is here, in this deathly silence that comes at random, that what shoved the last bit of life to dissipation.

These are incredible dead sounds from the visible landmasses transformed in a (still unknown) process of geochemical assessment and electromagnetic radiation together produce distinct "disturbances" that perturb surrounding elements. Their existence was ruled hypothetical until proof was caught on an experimental recording session.

Researchers into the scientific reality of this succeeded in capturing audio of different incarnations of these phenomena. Results are positive in that the scientific and existential reality is indisputable. Differences accountable for discrepancies in style aren't racial.

The variety is caused by factors involving the former state of wealth, degree of despair, and exploitation undertaken in those areas.

What they all have in common are irreversible death and atonality, if it may be named so. Not unlike what many modern composers picked up at times somehow.

Structures of how they expressed it in sound are present on unmeasurably larger scales here. Together, they perfectly blend as wholesale mass extinction

.No one knows why, though definite clusters were made, forming deathlike cysts, instead of simply one great genocide. The truth is, it's all the same.

So for you adventurous of ear, here are a few brief examples you can put together to hear half of what they are. Populated areas gave stinking stillbirth to endless car honking, totally dodecaphonic, dubbed with aleatory crashes, heard backwards. Schoenberg might have liked to hear it.

Sometimes, over other populated parts, this hateful mix escapes. Something like coming out of a ring modulator, the sounds of perfectly recalibrated toilets flushing, fancy dining, and great entertainment interacting.

You should hear what we describe here as the troubled nature—animal cacophony dubbed with a radio tuning of what sounds like another troubled nature—animal cacophony.There might be more layers of it than we think. Anyhow, it nearly kills.

Some areas excrete astounding shorties in length but compensate by their violent regularity. 30 seconds are all this trio of general tonitruism, nuclear cataclysm, and machine gun racket needs to go from inaudible to gigadecibelic and out with something so loud we don't have any word or description for it.

Here's a curious one. We humorously name it Armageddon.It's billions and billions of screams for about 4 seconds—that's all it ever spontaneously lasted. If you thought screams could make hair stand straight on the head, make your skin crawl, or ice your blood, you'd discover also that 4 seconds are all that screams need to kill you.

Sometimes there's a lot of sudden activity. Over what sounded like the stable, amplified hum of all neons in the world, a sudden switch can occur with a struggle of conflicting calamities.When it never ends, we call that chaos.

No matter what sonorities are involved, it's always atonal, chromatic, postserial, and worse still.

Some other spots expire fast forward running sewage, zillion beats per second backward factory poundings, beatings, and completely fatal-sounding slowed-down burpy-squishy accordion-organ sounding nearly glistening at times.

Forever dying, among all this death, are recurrent arborescences Xenakis would understand.

All the poorly populated areas give off distant blares, fogged up in spectral layers of we existed, died, and now nothing. Something we think Varèse and Scelsi might have felt intuitively.

Despite my enthusiasm on how these modern composers would harness the raw data to shape and furnish in sound, a vision of deconstructed infrastructures , invisible to the physical eyeballs.

All this planning of ressources only to conjure the freedom to choose within limited parameters.

The quality of the capture mirrors the quality and means of the inspiration and interpretation.

The composer I would have most loved to hear is K. Stockhausen. He is my academic, musicological , spatial\consciousness and chaos technician\ teacher.

He could have scored another week long, or a complete yearly cycle of the most inspired and technically perfect conduits to the semi aleatoric miracle of creating an infrastructure invested by the passing sounds, instead of trying, by more primitive composers, to rely only on hair splitting note for musical notation symbol dictatorship.

It is the accepted reality. Pioneers like Stockhausen have the merit of exploring the open vastness with only the means emerging from the 19th century that has not evolved much outside of its the limiting constraint of using sound limitative idealogies.

Pioneers used the instruments and tools in different ways following radically different approaches to sound engineering and musical consciousness of the unlimited world of dynamics held prisoner by no artificial limitations.

Sounds mean something, especially a long beep at the hospital. It's either something's finished, stop it, or a machine saying you died. Death is real, recognizes no boundaries, and these consequences are the world's real international anthems.The old national ones were all fake bits of crap anyways. These don't lie.