Nhoj Morley

 

Welcome to FUN with THE TRIOON SCHEME

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Aug 2

 The lights are back on in the Pooka Blind. By the end of this year, the pseudo-symphony The Boy-King at the Battle of Dickland will be its own complete PRCA. This piece was once integral to Beefcake Madness but became too much to tackle in a one long safari. A lot of the mock Epic Doggerel material was lost in the cracks in my hard drive. Clearly, its time had not yet come.

 This Concept Album is all instrumentals (Yay!) but the plan calls for an accompanying story text with little verses and couplets that match the melodies. And maybe match the playing time to the reading time. Maybe that's a terrible idea. Time will tell. The story, like America, was hijacked by you-know-who back in 2016. I started a story of a colorful boy-king who uses gibberish and destruction to conquer all of Dickland. Shirley that will never happen.

 First up is the First Movement in final form. The rest will need some new recording to complete with maybe another ten minutes of stuff I never got to. Time will tell. And then…

I may be fooling myself or digging in my heels, but a proposal for the next PRCA has gotten the green LED. The causal chain will be yanked and seventy minutes or so of undetermined prog rock will be flushed out. I'm looking at Patreon for this project but I don't know… their aggressive pitch is a put-off.

 
This Concept Album will rip-off all the most popular riffs from the forum like free will and determinism, the illusive illusion of self and how to spot morality from very far away. What about those oft-discussed quantum effects? Can I plug them into my guitar? What does the so-called Harris Echo Chamber sound like? What Would Hendrix Do to the Waking Up intro theme? What does rock music sound like from a trolley traveling at near the speed of light? All this uncertainty will be explored in The Better Bozos of Our Nature.
 
The storyline is a tale of a man with no opinions. The causal chain has placed him where he can play a decisive role in worldwide events. Or not. The plot (and the music) takes two vectors; one that takes place outside of his brain, and another that takes place inside of his brain.
 
The Outside Plot:
Slightly in the future, in a devastated Post-Trumpalytic world, the Christian Right, the ex-Veep and congressional leaders have formed a vast conspiracy to fake the End Times. Using the Book of Revelations as a guide, all the key events that lead to The Apocalypse will be initiated or, if necessary, staged. Assuming that people will eventually have nowhere to run except to Jesus, wars and deprivation are encouraged everywhere. The ultimate plan is to stage The Second Coming. The Army Corp of Engineers is secretly building a 900' animatronic Jesus that will be lowered from the space station and rule the world using programming provided by the conspirators. The programming was incomplete but they are certain that they will have taken the plot as far as they will need to before the Real Jesus arrives and seamlessly takes the robot's place.
 
The Inside Plot:
The lads are on a long road trip but actually they are broke and are all living in Hippo's car. They are chasing a distant mirage that talks like Joni Mitchell. They encounter the frightful Nyeep Pool where Mr. Now falls into a coma and faces a magnificent vision. When they finally reach the ghostly Libet Bridge, they find that, despite working together, only Mr. Flashlight can illuminate the mysterious figure that appears upon it. Will it be in time to save the world from the giant robot Jesus?
 
The final result of this PRCA lies fully determined somewhere in the distant causal nexus. Maybe God plays dice. Can I play drums with dice? Will every new choice of reverb settings lead to a multi-verse of PRCA's each in its own unique file format? Can I pretend to have the will to do it?
 

Thank you for visiting.

 
Forget anything you've ever read about Trioonity. It's old rubbish. There is only one definitive piece on the subject now.

P    R    I    N    C    I    P    I    A       T    R    I    O    O    O    O    N    I    C    A

                                           (Principles of Trioonity)

                                            (Principale la Trioono)

This will be a series of medium sized essays that will together comprise the Last Word on trioonity. A fifth installment (one that won't get tossed or turned into a PRCA) is underway.  

 

What’s all this then?

Since no one but the posters at the Sam Harris Forum and the now-retired Project Reason Forum know about this site, you likely already know why you’re here and what you will find.

This site will be a repository of material covering a theory of perception called The Trioon Scheme and some wacky music and stuff. It is also an opportunity for forum patrons to share large wordy pieces or their own music tracks.

There is nothing for sale. Posted items are the actual material and not teasers enticing anyone to buy a book or a dietary supplement. 

 

What in the efin' foolishness is Trioonity and what will it cost me?

 The only price there is pay for Trioonity is any fealty to the traditional model of a singular, instant-by-instant personal experience. The one with the illusion of self and no free will that strives to meditate into self-denying states. What you get in its place is model with three semi-autonomous perceptual abilities that use our senses to inform specific functions and or regions of our brains. Each perception is operationally isolated in its own specific frame rate or running speed.

The result is a system that comfortably includes visions, revelations and messiahs without any need for non-physical ethereal realms or spiritual parentage. And keeps its Determinism-Complaint status while describing an inescapable act of volition. In this system, our perceptual abilities communicate with each other (or try to). That doesn't mean that sight talks to hearing but that both sight and hearing inform all three perceptions differently and the intra-communications are between these three perceptual "departments".

 All our perception including language and thought can be ascribed to a specific perceptual ability via its scale and timing. A close examination of rhythm and timing is necessary to describe our intra-perceptual interactions. Each perception expresses itself differently. Each is locked into being a witness of the others. The result is a model that needs no self or free will or a soul or a spirit or any mysterious chair for an inner driver or even a definition of consciousness. Three operations of perceptual wakefulness running in slightly different time frames make one illusion of consciousness. That is, the single-experience model. Of course it's seamless. Until you know where to look for the seams.

Trioon means tri-perceptual and also means human. We might be the only tri-perceptual creatures on earth. Many of our fellow animals are bi-perceptual or Bioon. They have one seam and we have two. Other animals are mono-perceptual or monoon and have no seam, no intra-perceptual communication and hence no illusion of self. The suffix 'oon' refers to 'a seeing' or 'having a perception and responding to it'. And it looks like two eyeballs with an n that one can imagine is a eyeglass arm.

The Trioon Scheme page hosts a primer that covers all the strange terms like Chunk Limit and Mr. Flashlight. 

The Relativist Guide to Reality is an adventure in writing I spent nine years on. I can boast that I have the old cliché book-ambition behind me. Folks tell me they like Chapter Four  known as Why Are We Special?

FUN with YOUR EYEBALLS is an ongoing series of articles about perception in general. The serial items like The Tale of Three Sisters appear on a sub-page.

 

FUN with YOUR EARDRUMS features a follow-up to the podcast Better Know Time.

 

Six years of distant safaris in the basement pooka-blind have bagged a modest set of Progressive Rock Concept Albums. Three are newly gleaned in the digital realm and the rest are old tape-based salvage operations of dubious merit. All of them represent the crazy plans in my head way back in the 70's and 80's. Prog-rock albums made a big impression on me with their broad canvas of media and wide scale of complexity. I know the urge they satisfy. If they won't let me build a spaceship, I can make concept albums instead.

In the War Zone is a ten-part musical-comedy. The story tells a tale of scary geo-politics and living with an impending doom. Many tracks include memorable characters from C-SPAN. In speaking to the future, voices from the past warned us about the present. An accompanying sci-fi-satire-story-scenario thing is presented here.

The story plays out in this setting…

The public is deep in the throes of trying to understand Islam as something other than a native voodoo practice. Videos of ninja-suited swordsmen are scaring everybody. A famous and elderly entertainer with strangely colored hair has moved into the White House. Everyone's attention is drawn toward Russia's aggressive moves on its neighbors. Folks speak about the 'inevitability' of nukes landing somewhere. A new Caliphate vies for attention on the world stage. A grassroots movement rises against the financial elite who are taking too big a helping for themselves. An explosion of new information sources begins to drown the public with agenda-driven formats of truth.

That's right! It's 1983. Or at least, it was when this musical story was born. I was not hard to update it.  

We all hear the talk going around these days. Listen to the sound of the talk and the voicing of it. It's war-chanting.

Democracy is no longer a crucible of what we want. It’s a cauldron to boil your enemies in when you win. So few of us really wanted it anyway. For most, it was only a temporary compromise until their Super-Magic-Messiah-Person finally shows up. Every knee shall bow. That way, no one can see to fill in the voter ballot.

Beefcake Madness  is a weirdly-vulgar tongue-in-cheek celebration of misogyny set to over-reaching symphonic prog-rock.  Particularly Arabian Nights type of symphonic stuff like Scherezade. Granted, these are Ruskies pretending to be Arabs pretending to be Supermen. So what? I will only add to the pretending.  (Parental Advisory- Parents may not wish their children to catch them listening to this) It is rather vulgar but we can't make FUN of vulgarity without stepping in it. The fight against the madness has ramped up of late. Cool beans.

Boys, we may think we are fantasizing about women all the time but we are fantasizing about ourselves first. Ideology is not the issue of our times. Tis but a smokescreen and façade. In a fully Type B society, normal and natural male primate behavior becomes the beefcake madness. What exactly is a 'playful wankie boy'? It is a very derisive term for a Type-A-aspiring male hominid who, when it comes to choosing sides between an advancing civilization and his dick, picks his dick every time. They are poor narrators who live within the chunk-limit and think that a society that promises orgasms as a birthright is worth defending to the bitter end. They are the social fodder of the clever boys who can manipulate the perceptions of each generation into building yet another Dickland where Dicks Come First. These playful wankie boys are scared of women who don't fear them. They ask, "If girls go to school and have rights and can have their own lives, what am I supposed to do with my dick?" The current archetype is the Jihadist Fighter but many average Joes and Presidents are wankie boys as well. We wank in darkness.

The world's a mess and we know why
Those playful boys who smoke the sky
They kissed the girls and made them cry
Pity the boys will have to die  

Hats Off tO us All  was the first PRCA to be done in one year's time with regular reports. It appeared in progress as an evolving set of draft mixes while layers of instrument tracks were sorted out. Inspired by Edward Gorey's Gashlycrumb Tinies, it was intended, in the end, to be a complete and semi-polished musical story with vast piles of lyrics. It's a vast pile alright. Whether is truly deserves to be called a Progressive Rock Concept Album is up to you. 

We are the children of the day
we see some light... we go away
we ride a giant spinning hearse
and cruise a puny universe
In a never-ending funeral march
we go round and round the orbit arch
The sky above, the earth below
There is nowhere else to go

A Strange Gesture of Contempt  is a PRCA from fifteen years ago made in my usual fashion of borrowing gear for months or just a weekend and trying to make serviceable demos for a band. I shied from posting it because it is sonically inferior to what the newer Pooka Blind can grind out. This was a chance to update the ancient electric drum voices with less ancient drum machines and replace the electric guitar tracks that were made in less than ideal circumstances. How hard could it be? Several tedious months were spent sorting out the miss-matched old and new system that left most of the items with mutated track synchronization. That means nothing lined up or played in time. Lots of the old tracks are lost for good. It all became a much bigger and engrossing commitment. As any worthy PRCA should be.

Let me show you my resume of pain
it says your respect is my right to claim
cuz I've been hurt by the whole of creation
I'm a shiny beacon and a pillar of salt
Not my fault for this vengeful display
stand aside or be swept away
by the blast as I self-destruct

 

Courting the Apocalypse was assembled in 1995 from semi-coherent solo demos for my bandmates and odd items often made with toy electric drums like a Mattel Synsonics Kit. The songs span from 1982 to 1994. These were worked on here and there during the other PRCA projects. Just a few were still around in multitrack form. Most were only available as mixdowns to which I have added a part there wasn't room for before.

What's this God a-waitin' fer?
Certainly He sees what's goin' on
When will the guilty pay?
When do we get our way?

 

ZUG ISLAND: An American Dream  is a radio comedy about reality and politics and stuff from 1987. There are four half-hour episodes. It’s here because… why not. 

"Mr. President, in your speech, you often mentioned reality. What changes does the administration plan in this area?"

If you perceive a certain silliness in all this, don’t worry. It’s actually there.