Welcome to FUN with the TRIOON SCHEME
and Nhoj Morley's music site!
Brought to you by Nuance.
Take a long look at Nuance. You'll appreciate the extra attention to fine detail and its memorable flavor.
Regular use develops the stamina to see things through when others run out of substance. You'll be chewing the meaty facts while others hide their embarrassing craving for sugary tidbits.
Time is everywhere. Find some and try Nuance today.
Since 2013, no one but the patrons of the now ancient Sam Harris Forum and the now-retired Project Reason Forum knew about this site and why it is here. It was the forum sideboard and held the in-house podcast along with the music chronicled in a thread/diary and was a safe place for the Trioon Scheme. The forums were the only links I knew of but now this home page needs to open its doors to a slightly broader world.
If you have strolled in looking for semi-humorous politically topical Progressive Rock Concept Albums, they're here. I invite you to stroll through some trioonity. If you came curious about trioon stuff, there is some whacky music to check out. I guarantee an intriguing possibility of how we think and perceive. The music is prog-rock with a silly edge and has no warranty.
That's it. Music and Trioonity. One of them should work out. Thank you for visiting.
Site Headlines: New PRINCIPIA page- The Malarkey Scale of Human Reasoning & updated tracks for Better Bozos. Migration to Bandzoogle has taken place and the place is a disaster. Hours of tutorials are consumed and I still cannot control italics. Bandzoogle's track repeat function is not defeat-able and very irritating. On the plus side, external links no longer play compressed tracks. Why is sqeezie compression something that must be turned off for each track? I apologize for any inconvenience. .
What in the efin' foolishness is Trioonity and what will it cost me?
Thankfully, trioonity is not just more internet foolishness. As a long time discussion forum sheriff, I should know. I've handled ring bearers and grail finders and the spiritually connected and even The Mabus. I've seen the depths of delusion that our imagination and some weird info can produce from well-meaning folks. It is ironic that I find myself stuck with an idea-mission-monster that could put me in a specimen jar on the nutter shelf next to the grail-bearers.
Trioon is a picture of how we look at ourselves and imagine what is going on inside our heads. It is a picture of an imaginary machine that can be seen at work when watching and listening to people talk. For the many who enjoy imagining what consciousness is and how it works, trioon has no answer. Instead, it offers a different picture to imagine with and demands certain changes in the inquiry. One might ask, why do I need a trioon picture and where do I put it? It turns out that we all have a fine place for it. It is where your current picture of how we look at ourselves and imagine what is going on inside your head hangs. I did not know I had one until trioonity presented an alternative. Trioon does not refine the old picture. It replaces it after making it appear as an easy mistake to make.
Our manner and method of imagining ourselves and others could be a vestige of a religious mind. The old picture shows a person as they would be constituted in a religion or metaphysically-based system. You can see a soul in the picture whether or not you believe one is there. If you do, then you need that old picture to believe it. Trioon's picture has no soul no matter how hard you look. If you insist on a soul, you will have to build one from scratch with some new parts. Likewise, we can all still have FUN with IMAGINING GOD but with a shorter list of possible attributes.
Trioonity brings no challenge to current brain science or its highly educated participants like my forum patron, Dr. Harris. The challenge concerns the picture that everyone carried with them into the schoolroom. Science does not support the old picture and suggests that half of it is a puzzling illusion. Science supports the trioon picture and its complete lack of spiritual realms, primordial consciousness, coaching deities and any handy imagining of new energies. Try it in suspension and let it hang next to your preferred picture. I ended up swapping.
"oon" may sound silly but it looks slightly like a pair of glasses so trioon means three perceptions. Not like three different EYEBALLS but three distinct gleans of our senses.
Trioon has been presented in many forms over the years. The whole evolution of it is included here in the form of essays, forum-posts, and free-form comedy. 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 a book-size project written between 2001 and 2010 that describes how becoming conscious humans could be only one small step in man's evolution and not a sudden giant leap in intelligence. FUN with YOUR EYEBALLS is an ongoing series of articles about perception in general that takes a close look at vision. FUN with YOUR EARDRUMS features a follow-up to the podcast Better Know Time.
The current trioon project intends to replace them all.
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)
the Last Word on trioonity.
Like us, concept albums are held together by their sides. Back in the days of the turntable, playing a side was twenty minutes of listening without having to fuss with the tone arm. Double-albums had four sides so one of them could be really strange. In keeping with this tradition, all on-site PRCA's are presented in full in an album-side format. Our modern digital era has made an odd number of sides no problem. These PRCA's were made in a fruit-cellar studio called the Pooka Blind. Holidays and vacation time from work were spent on all-in musical safaris where deprivation and self-punishment would eventually inspire a competent track. Or as close to one as I can get. The whole story is here.
Six years of distant safaris in the Pooka Blind have bagged a modest set of Progressive Rock Concept Albums. Four 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 composed of slightly updated tunes from the Reagan Era that addressed the social and political issues of that time. Thirty years later, well… there we go again. Songs and incidental music are filled with sounds from the archives of C-SPAN. In speaking to the future, voices from the past warn us about the present. The music accompanies the story of Strumbozo and Ahklem- a rock musician and an Afghani freedom fighter who cross America heading for Washington DC to change politics forever. They arrive just in time to embark on an outer space adventure. The songs are prog-rock show-tunes delivered with the impact expected of a lad from Detroit who started in garage bands and radio-comedy at age eleven. Finally, there is hard rock and high-end silliness in one convenient package.
An accompanying sci-fi-satire-story-scenario thing is presented here.Cast the doubters from the list Cast a stone if they resist Say the words and we'll forgive Think these thoughts and you can live
Beefcake Madness is a weirdly-vulgar misandric satire of misogynistic culture set to over-reaching symphonic prog-rock made by one lad in a fruit cellar studio.
The title is a term invented in a pizza parlor in the late seventies to describe the culturally infused insanity of the average lad's understanding of females. This concept for a concept album festered in my mind for decades. The project kicked off in 2015 and consumed me for 18 months. In that stretch of time, Trump went from campaign freak-show to President-Elect. Some of the album's frequent skit segments are taken from the Republican debates. Others feature patrons of the Sam Harris Forum, where a chronicle of the project can be found. The music is inspired by many Russian composers. Particularly Arabian Nights type of orchestra-intended stuff like Scherezade. Tracks 5 through 8 are The Legend of the Calendar Prince done as a western saloon song. Granted, those were Ruskies pretending to be Arabs pretending to be Supermen. So what? I will only add to the pretending. Keyboard-triggered synthesizers will pretend to be orchestra instruments. I'll pretend I'm a power trio and that I know what to do with Prokofiev's Scythian Suite. While many items are vulgar enough to warrant an explicit advisory, it is all done with comedic intent and heavy sarcasm.
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
The Boy/King at the Battle of Dickland was started in the spring of 2015 with a plan to create an epic poem that lyrically fits an orchestral piece but is not heard with the music. The story of the golden haired boy-king who dominates with destruction and gibberish was outlined before candidate Trump came down the escalator. It was inspired by President Reagan whom I remember well. In the story, a fire turns the boy-king's hair a crimson red. In a Reaganesque context, it was satire. There was no avoiding Trump twisting the tale into a documentary. There are no specific characters assigned to instruments though the boy-king is often portrayed as a single piccolo. There are real guitars and drumsticks at work with a keyboard triggering sampled orchestra sounds. Imagining a real orchestra might be a stretch so instead, imagine a rock band with an elaborate theater organ sounding a jungle of voices. The goal was to make something melodic and playful with the rock instruments in a mostly secondary role to the orchestra sounds. The music matches the more heavy-handed sibling album Beefcake Madness made at the same time.
Welcome to the puppet showhere we dangle to and fro painted eyes painted world strings are pulled fists are hurled spin a verse we'll rehearse that's all we know Let us pray the verse is an old cliché We are just the dangling parts we take the course the body charts if we take things one by one then we'll know what must be done
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. The layout and sound were inspired by Edward Gorey's Gashlycrumb Tinies… a grusome way to learn the alphabet but an often-told tale of children destroyed by the world that raises them. Lyrically, the songs tell the tale of the letter A and the events that led to her unfortunate escalation.This expedition tracked a particular specie of vintage progressive rock- pre-synthesizer and pre-sequencer- where everything was played in real time and bands explored new sounds out of their dad’s old jazz and R & B instruments. Likewise, no half measures here. No, this is prog rock. There’s lots of half measures. And, like most concept albums, there’s actually only five songs that have been jumbled together seventeen different ways.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. TV and film were made inevitable the day Muybridge took his famous horse pictures. Both would turn out to be essential to our self-destruction.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?"
What comes next? If there is a next PRCA, it will be one of two plans.
One of them 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 trioon lads known as Mr. Hippo, Mr. Now and Mr. Flashlight 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?
If you perceive a certain silliness in all this, don’t worry. It’s actually there.