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TMN: Can you talk a bit about Volume 11 – Millennium? Why is it called Millennium? Who worked on it?
AH: Volume 11 – Millennium has a futuristic and hopeful tone to it which inspired the name “Millennium”. Furthermore, the artwork which was created with my direction by Daniel Kvasznicza, an amazing digital artist who has worked on big projects like 300, The Grey, and many other Hollywood blockbusters, was an inspiration for the title. The music was produced with a combination of real musicians and samples.
originally posted by: EndtheMadnessNow
Trump's recent rallies and public events have been at important Civil War locations. It may not be anything, but thought it was interesting enough to share.
Next Trump rally is on 11/14 at CenturyLink in Bossier City
BC is curious:
- settled by the "Cane" family
- known as "Cane's Landing" & "Elysian Grove"
- see tweets on Elysian Fields, CentruyLink Seattle, HRC
- Civil War Minute Men of Bossier Parish
- 5 missing subs (really!)
A bridge usually sits either between a final verse and a final chorus of a song, or between two final choruses. Its main purpose (usually) is to intensify the energy of a song. But it’s worth really exploring the different kinds of bridges that are possible, and take advantage of the ability a good bridge has to provide a needed variation to the end of your song.
One definition of a hook is "a musical or lyrical phrase that stands out and is easily remembered". Definitions typically include some of the following: that a hook is repetitive, attention-grabbing, memorable, easy to dance to, and has commercial potential and lyrics. A hook has been defined as a "part of a song, sometimes the title or key lyric line, that keeps recurring".
originally posted by: RelSciHistItSufi
a reply to: EndtheMadnessNow
Maybe we should review Q posts in terms of HOOKS (bait) and their associated BRIDGEs.
ALICE=Artificial Linguistic Internet Computer Entity. a.k.a. Bots. Powered by neural nets accesing petabytes in Goog/fb etc databases, Turing Test might be exceeded. Add Quantum computing to the mix... read about P.E.A.R. Consciousness experiments & connection w/quantum physics.
Nearly three decades of intense experimentation leave little doubt that the anomalous physical phenomena appearing in the PEAR studies are valid, and are significantly correlated with such subjective variables as intention, meaning, resonance, and uncertainty. The stark inconsistencies of these results with established physical and psychological presumptions place extraordinary demands on the development of competent new theoretical models for constructive dialogue with the empirical data. But since the contemporary scientific approach leaves little room for such subjective correlates in its mechanistic representations of reality, it follows that science as we know it either must exclude itself from study of such phenomena, even when they precipitate objectively observable physical effects, or broaden its methodology and conceptual vocabulary to embrace subjective experience in some systematic way.
The primary importance of operator intention and emotional resonance with the task at hand, along with the operator-specific structure evident in the data, the absence of traditional learning patterns, and the lack of explicit space and time dependence clearly predicate that no direct application or minor alteration of existing physical or psychological frameworks will suffice. Rather, nothing less than a generously expanded scientific model of reality, one that allows consciousness a proactive role in the establishment of its experience of the physical world, will be required. The challenges and caveats of such a "Science of the Subjective" are explored in detail in several of our publications
One such model has been proposed and developed in "On the Quantum Mechanics of Consciousness, With Application to Anomalous Phenomena," under the major premise that the basic processes by which consciousness exchanges information with its environment, orders that information, and interprets it, also enable it to bias probabilistic systems and thereby to avail itself of some control over its reality.