M: It is very nice to sit with you today.
W: Thank you, it is my pleasure.
M: So I wanted to start by talking about your controversial new single, “Destroy the World” Do you really want to see the world destroyed?
W: Well you have to understand that is just music and I am trying to gain fans and twitter followers. I try to diagnose the zeitgeist and come up with something that will be supported by the people who feel they are voiceless.
M: So you are trying to tap into the market of the disaffected and resolutely negative?
W: When I check the Internet I am struck by how negative people are. There is a lot of arguing and a lot of anger that seems to exist for its own sake. It may be hard to be passionate about something, but people still desire to feel passionate.
M: So you sing about the passion for the destruction of the Earth?
W: Yes precisely. Although this may not be something you truly desire, I would think that it is clearly an image we seek. There is a lot of energy swirling around the idea of an apocalypse, the total destruction of everything we hold dear. We crave this image, although it may not be something we desire to actually transpire, we believe that it would be an interesting thing to dream about. There is a difference between image and reality, now more than ever with the widespread popularity of film, and in a way, it has always been there in the promise of dreams.
M: Have you dreamed of a total apocalypse? Is this something you've seen that you are trying to share?
W: The imagination is a powerful function of the human mind. I believe that we are receding from life and are being swallowed up by the imagination. As an artist, I never really feel present anywhere. If i go see a beautiful vista, in a way, it is wasted on me, because my imagination is always elsewhere. I always see double, that which is in front of me and that which I choose to see. I suppose there are sometimes when me and my imagination are in the same locale, but these moments of ecstasy are rare, though they make life so worthwhile.
M: Is life otherwise not worthwhile to you? I mention this because you sing about the glory that will be had in the end of all times. You seem to present a hopeless point of view, and I am wondering how true it is to your life.
W: There are things I adore about life and other things I could really do without. I am hopelessly bored by eating, but there seem to be no way around this necessity of life. I guess I believe it is easier to be negative and in fact negativity may be more productive than positivity. Negativity is certainly easier. It is easier to condemn something than to posit alternatives and solutions. I think with my song I was just trying to demonstrate that there is a problem. The solution proposed obviously doesn't quite work-- or rather does not work at all, but is a hyperbole to stress the importance of what we have at hand.
M: So are you saying that the problem is political or existential? Is the problem in society or is it a basic feature of life?
W: I wish I could say both. There are those who believe that the paths of history are unavoidable and are determined by the same laws that all existence adheres to. I mean like there are consequences of being a material object. The fact that you cannot disappear at will. This seems obviously true, but I would remind you that in dreams a person can move quite freely without following the rules of matter. Though some dreams are more confining...
M: So do you think the problem is a technical one? Do you believe that new technologies that could let a person teleport could solve the problems you face in this material world?
W: I think so. I could imagine that I would be made happy by some technical solutions to the problem of matter. It seems that the worst thing about the world is the violence. Everyone agrees that this is the worst thing that can happen to you.
M: This is interesting because in your song you present a total violence as the solution to the ills of the world. You propose destroying everything.
W: I feel like this is a solution based in comedy. I hope my song is funny, not in an overt way, but in a devilish, ironic kind of way. In another tact towards answering your questions, I feel like the image of apocalyptic destruction is a way of testing yourself and discovering what is important to you. We like apocalyptic images because through them you can discover who we truly are. When I say who we truly are, I mean the things that necessity drives us to. When we have to make important choices, we can see what we would choose. If the scenario wasn't drawn in full color we might not see our own potential. It can be comforting to think of violent scenarios and see yourself behaving honorably and brave. This image in times of stress could help be the foundation of lesser goods, which in an empty plane, may be all that you get.
M: I don't know what you mean by empty plane, you short of lost me at the end there.
W: I mean that there isn't much to be done in this world. There are a few bodily pleasures, sex and drugs, exercise and repose, but this is not always enough for the mind. You can comfort your body and this will help your mind, but a person needs to think to be happy. There has to be mysteries to solve. I have had the pleasure of changing my mind and thinking in entirely different ways. I guess when I started life, I lived against the image presented to me by television. Television presented what I had to assume was normal human behavior. I really had no other measures. I wanted to live by the same values that I saw. I developed a sense of humor above all things. The comedy lifestyle is quite widespread. Everyone wants to makes light of everything. Is this good or bad, I cannot say. It is interesting being human because our behavior is modified in so many slight ways. All the time we are learning and changing. If you are a person who criticises yourself, you are influencing yourself, but in a way, you are being molded by outside standards. Where did you get the criteria on which you ply your critiques? The world of ideas is quite real. We all share many of the same ideas about how people should behave, and we observe these abstractions in everything we do. As I was saying, some of this is quite naturally developed, flowing from the laws of materials. We are as we are because we are as we are.
M: I'm not sure I follow you. On the one hand you say that we can change and on the other you say we are as we are, which leaves no room to change.
W: Well, I guess I am saying there is a difference between what we are and what we do. I guess there is not really anything that is, but only things that do. It is a basic fact that things maintain their integrity. If something behaves in a particular manner it is likely going to continue to act that way. Now this is true of chemicals, but people do change, though one could say this might be a chemical change. We don't know what a person is made up of. They can contain different nutrients, different chemicals that could lead them to behave in a different manner. It is not the case that the minds has nothing to do with the chemicals that make up a body. Different experiences lead to different chemicals being present in the brain. The brain is the main behavioral organ in the human body. To judge a person by how they behave may limit the ontology of humanity, but in a violent world it is necessary.
M: You seem to be going a long way to rationalize your negative approach. Do you rationalize your insistence on the use of poetry as a lens for the world?
W: Well yes, the arguments on which our whole universe were very broad, but expressed concepts that were limited in space. The first premise on which our civilization was born was “everything is water.” Loaded with this proclamation is the number one. “Everything” is a singular term, but it is a striking concept presented by the multiplicities we know and feel from experience in the world to a single name to refer to it all. It denies the notion of time. Things actually exist one at a time, leading along a path. I privilege the reality of the experience that happens behind the eyes. The objective world certainly exist, but in an outer shell that wraps around the dense nexus of activity that is the human experience. Religion is a dense technology. It was developed using a method similar to science. Religions are rationally constructed. But I'm not rejecting science. It is a better approach, though the method should be turned into itself. The mind would be an excellent machine if harnessed and used for a productive purpose. I am interested in poetics because I have rationalist beliefs in the use of repetition in inducing ecstatic states.
M: Do you really mean ecstatic states? I ask because you have behaved very rationally in this interview. This would lead me to believe you as a moderate.
W: You can't hear what life has to tell you if you are only tuned into the middle frequencies. Or perhaps you can hear just fine-- should sound like a telephone--and the words come across clear. I believe modulating the body through exercise, the mind can tune into different waves of the thought. Everything is unfolding and everyone can see it. Things start making more and more sense. Things that seem to be disparate suddenly connect. You learn to trust yourself and the chaos inside you. There is a knowledge that exists that comes from being born. We know something that can't be expressed in words. It could be that this knowledge is the source of our words. I believe that with words we can alter biological and physical reality. I truly believe that the more you say, within or without, the better you will be. We know what our DNA holds. Our complete being is within every cell in our body. There is not a part of the body that does not know about the whole. I mean “know” in the realest sense. Knowing is embedded as a physical necessity. Everything else is fuel for the fire. A person is a combustion machine. They burn prepared biological agents in order to generate and reinforce concepts. It has been seen that concepts lead the way for reality to follow.
M: This is getting pretty heavy. You seem an urgency to convey the differance between your reality and one you suppose exists. You engage in the world of idea-products, so aren't you getting in the way of people's true knowledge of themselves?
W: Culture is the process that selects what kind of products should be created. I mean particularly, human-products. It is hard to say what someone should do with their life. I believe I live in a way that works for me, given my metabolism and habits of mind. I believe that I can infect others with a piece of my essence through contact, and that my essence will alter their essence, and that my essence is good.
M:I figured you'd be beyond good or evil. Do you claim yourself to be good to counter the feeling I have that you are bad? While your song is conceived with artistry, might it contain a message that has a bad effect on people's essences?
W: Yes I wonder that too. But if my essence can alter others, than of course others can alter me. In a way, recording that song was a way of opening myself up to the world. I am closer now to everything. It is a very positive effect on me. Hopefully we work harmonically and this is good for both me and the limit of everything.
M: So this truly was a crass, negative record as a way to boost yourself?
W: Yes. You must be a person who is envious of others' very clear successes.
M: We don't know how this story ends. It could be that you are weaving your destiny with bad luck.
W: The idea of recording a negative record that reinforces rational boundaries, the separation between the self and the world, seemed to me as a moderate action. I wasn't preaching the joys of having abortions. I do not see this record as a very original idea-product. It is a technical exercise in the crafting of popular rhymes and the setting of music. I do, however, plan to press the boundaries of what can be said in a song and in the type of messages people receive.
M: Do you care to share the direction of this future work?
W: Well I think there should be smaller subjects. I think time frames could be shorter. I guess I have a lot of theoretical work to do. It is difficult to establish the nature of “good,” but this is the goal I am tracing. I am working with mapping the good as an aspect of duration. Good may certainly just be a feeling. I am trying to develop a physics of the consciousness. More and more it seems like I am less a physical presence than an effusion of words. To give priorities to the fountain of language that represents the truth over the experience of flesh which is but a shadow is to make your way through a bushy path.
M: You seem to be very wise. Have you ever considered opening a school?
W: I detect your note of sarcasm, but yes I do consider the experience of teaching. It seems to be a problem with this world that the people with the most innovative ideas don't seem to pass on their knowledge. Maybe they consider it effusisible and inescapable, but I think we could accelerate the production of knowledge if people were to give higher focus on the smaller aspects of being. A teacher can teach more than about books. There was a practice before the invention of books and time went into a fritz. In a certain way I do look forward to the destruction of our inheritance. It is fascinating to consider, but I have certainly been consumed in the recollection of things past. I have a longing for more experience, though I don't know what this would look like. I am still exploring the best way to continue. As you may be able to tell, I am an active process with concepts gliding into consonance and friction with one another. There is something disagreeable with the world. Everything eventually works, but for enjoyment it takes up time. If it weren't for time, everything would be over already and we wouldn't experience anything. To experience something there is a context which is essential to its meaning. This is the main source of complexity of the individual. It is interesting to see the distances the mind can span. I believe teleportation is a possibility because I have experienced similar phenomenon in my mind.
M: It is interesting to see you get carried along. My questions don't seem to be given proper attention to.
W: Well, I understand what you're saying. Though it isn't technically a question, it has the same effect as one. If we were to consider a grammar based solely on the cognitive effect I think we would have a clearer, more aesthetic view. The aesthetic is of essential purpose to how I live my life, but I wonder if it isn't standing for a deeper ideal? To think in terms of intensity of eye movements in another way of expressing duration, which I having been toying with as a key to the good. It is amazing the access we have to the world. We can engage reality in so many different ways. We can sing, we can sleep, read, eat, view, converse. So many different end-points. You may be able to tell that I am a bit ambitious.
M: Yes, this is obvious, but inspiring. What explicitly are some goals you've set for yourself.
W: I hope to slip into death slowly. I would like to take more trips as a pure spirit until I am more fit to be a spirit than a being. I can imagine the course my attention will take. Some see this process and call it Alzheimer's, but I think it is a very positive process that makes death much more approachable. I hope to achieve such a rapport with the shell of existence that we pass effortlessly between one another. I have felt in my life the boundaries between me and the world grow thinner. I know I am on my way to both of these goals. Plus, I'd like a Grammy.
M: I find it fascinating that you on the one hand talking about another world while still clinging to culturally-derived purposes that seem a little hollow.
W: I admired culture as a machine to distribute energy and attention to different beings. I am happy to participate in the front-end of the machine. I think my work is valuable because I draw attention to the fact that culture is all mechanically produced. In this way I honor the substance, which I believe the substance appreciates.
M: Now you're giving the attribute of spirit to non-thinking substances. This seems to contradict earlier expressions you have made.
W: It is important to contradict yourself. If nothing was contested the world would surely end. The more things are contested then the better off we will be. There will be more to experience. This is an ancient view that serves as a foundation of rationality and science. I do consider myself in the modern tradition. If we honor this tradition and follow down its path then we may find ourselves in a new territory. A whole new dimension of time may appear, as I believe it has appeared to me.
M: You seem genuinely optimistic. I guess we have already talked about how this contrasts with your song?
W: I appreciate your insistence on bringing the conversation back to the song. As you may be able to tell my mind is elsewhere. Or rather, I am have had such experience with this song that it has spread itself over a vast domain. It is a forested area with animals lurking, hiding behind trees.
M: Well I am very happy to listen to you. You seem to be an interesting and interested woman. I enjoy spending time with you. What do you think I intend?
W: I am guessing you are asking whether our sexuality is natural or a learned cultural habit. Culture has everything to do with reproduction. We are born of culture. Culture is the real force that programs our behavior. Our parents are just acting out of their roles. So much of the time we interact, we are dealing with ideas. It is very interesting to hear the objects that are lifted in any conversation. This one, for example, has a very interesting power dynamic that is being negotiated. I hope to tell you that I am very pleased with this interview. Your comments may have crossed thresholds of politeness, but you must know that this fact pleases me greatly. I am happy that you insist on criticizing my speech-actions. More can be produced when friction is offered. Everything may be a form of fire. It should be controlled, but this setting has different rules than most conversational contexts. Though I speak theoretically, I believe more in practice, and in the practice of theory. I believe theory cuts us deeper than we know. Concepts have a way of showing up in everything. I realize that I have once again gotten away from the task at hand and am making this interview different from what is typically expected. I suppose most people don't want to be as self-important as me, but I give as I take.
M: You seem to have trouble focusing on a single line of reasoning. You make wide jumps and break off in tangents. Is this somehow essential to your method?
W: Thank you for the question. Yes, my belief in the equality of things leads me to the substitution of objects in my line of reasoning. I see everything as its frequency in my thoughts. I do posit that the mind is greater than system of objects, but only as a layer of complexity inside the greater reality. The life as it appears to the spirit is a symphony. It isn't about the instruments, its about their functions. This may be a minute differentiation, but when investigating the existence of time with a reductive approach, this becomes a foundational concept that, when you learn to see it, appears everywhere. It is a belief that has the power to change the durations of time as they appear to you. This is a great way to let your spirit hear intense music. The modulation of intensities is a good feeling.
M: You could just go on and on all day?
W: Yes. I am choosing not to take your sarcasm as a reproach to my behavior. I do have the confidence in myself. Achieving a successful record is a big part in my decision to come forward as someone who thinks. I don't think I should be ashamed about the reconsideration to afford everything. Situations are constantly changing and I think the change goes in both directions, from ideas to the world and from the world to ideas. One thing that appears as clear is that everything is a song. It is natural that I chose music as the medium on which I placed the most importance. I think the founding belief moving forward is that “it is music”. Music has been a product of practice, but the concept is flexible. I am interested in the movement to change the idea of what constitutes music. People are opening up the emotional range for what music can sound like. There is more and more music that is neither gay nor heavy. It is important to praise things that are indifferent. Developing indifference is the key to living in harmony. It might be a reconsideration of what is harmony in the first place. It is going to be a relative answer. Harmony is to be taken in the light of the sonic backdrop.
M: I guess I am developing a feel for what you're saying. There seems to be something cohesive in your insistence on abstract terms.
W: And you seem consistent too. You're a bit grouchy about going along with my effusions, which you don't let up, nonetheless. You seem to hear what I'm saying without becoming to attached, which I see as a positive quality of yours. Really you are behaving perfectly towards me, though I wouldn't mind if you didn't want to spin the theoretical wheel. This doesn't have to be an interview. It could be a dialogue. Perhaps that is why you are grouchy. You don't understand why I am the subject and you are the object, as you are outside the subject. Perhaps you would like to be an object too?
M: No, I think that would be overstepping the boundaries of this assignment.
W: No really I insist. If I am to take a transformative role in this society, I should begin with transforming the present aspects of my life.
M: Well I don't know where to start. I think everything you're saying is bullshit. I mean I work hard, and I expect to see some benefit. I think I am an extraordinarily simple machine. I mean, I will work for money. I clearly need money to live and I'm doing what it takes. I do what comes best to me. I may have a objective point of view. Maybe that's why I am having a difficulty in responding to you. I don't think you understand that I work differently from you. I don't think I should be changed. If you remove the scaffolding before the building's done, you're going to have workers clinging to the ledges. What am I saying? I don't know, but I think I'm done.
W: You're done speaking or you're done the interview?
M: I think you purposefully misunderstand me. What technique are you employing?
W: Yes, I was engaging in a taunt. What can I say? Taunting is a great deal of fun and gives me pleasure. I should think you enjoy a good taunt, though really you are such a serious man.
M: I suppose I am, but this is an interview and it's about you, unless you wish to hear my angry digressions.
W: I think you said something interesting, as inchoate as it was. It is true that there is little place for money in my view of the world. Perhaps money should be the foundation of my thoughts. In a way it is. I try novel approaches to the world sourced from the monetary value given to the novel and original. I suppose that if i want to be paid for my wisdom it should be something that sheds new light on the universe. We all have access to the ancient wisdom and it seems like these approaches are made obsolete by new technology. What we view as real has been changed through the use of optical illusions. We live in a much larger world that has different values. There may still be use of good and bad as in the ancient tradition, though we have a less austere aesthetic in these days.
M: So how often does the world change? How often should you turn over old ideas? Either it is happening all the time or not at all.
W: I I think that new technologies are the avenue of change. As we develop new functions we should reconsider who it is that we think we are. Revolutions are led by technology, which i think is something that has always been true. The French Revolution was the logical progression of the development of cities. Cities seem may not seem like a technology but there is a great deal of technical knowledge needed to produce a city. There is technique involved in administering a city, doing things like collecting garbage and distributing food. People were in greater communication. There is technique in communication. We saw people with ideas and these ideas had their way.
M: Do you see yourself leading a revolution of sorts?
W: I am using an existing technology in a novel way. Recording and music technology has changed the function of sound in society. Music used to be exquisite. Today it is so pervasive that it does not feel this pressure. Music previously had a high degree of complexity within a relatively short duration. Now I think that it is more complex but over a much longer duration. There are people who listen to music for nearly the whole day through. They are listening to much simpler musics, but of a greater range of style, mood, and intensity. Music in the seventeen hundreds all had the same timbres-- there weren't many more sounds than the violin or the piano. Now we see much more timbres afforded with the invention of the synthesizer. Music today seems to be exploring these timbres and seeing what functions they serve. This is really two different features, quality and function. Music is good so long as it constantly produces differences. I think it would be interesting to meld the former interest in harmony with the new interest in timbre. I think very interesting music could be produced in this manner. But here I am talking about music when I think you are more interested in the poetics of my approach.
M: This is certainly true. I am interested in messages and how they impact lives. Could you speak more about how you take a different approach to propaganda through your art?
W: I do not think that there should be a radically different approach for controlling the messages in music. I think we are refining our ability to tell stories. The main aspect of storytelling I find interesting is the use of time. A completely true story would be unreadably long and the more you are interested in following this path, the longer your story will be. It becomes an infinite task. All stories are imperfect, or perhaps I have trouble in glossing wider themes. I do sometimes get lost in the details. I do not have a mind that works in simultaneity, but rather have my attention focused on one thing at a time, but images do move faster than words. To represent a mental states only in words is reductive. I would be interested in a cinema that made use of internal narratives as well as pictures. I would be happy if there were more movies like Seul. This picture seemed to be the birth of a new genre, though it was hampered by it's dark theme.
M: I'm wondering if I should ask all of my questions until you answer them. Should I insist on these questions until you answer them or should I move on, pretending that I am satisfied by your wandering reason?
W: This question is one you should decide on your own. If you feel that a question is important and deserves redress then you should persist. It seems however that your questions are open invitations for me to respond. It seems that any answer will do. Your motivation is in being able to have me produce a quantity of text to be reproduced by your magazine. My answers all have something of interest in them though they are not largely guided by your promptings. This isn't a criminal investigation-- there is no actions that my response may lead to. For this reason i feel free in responding as I see fit. I could respond more directly to your questions, but I fear that in doing so the force of logic would leave me. If you want to ask a question again I would be pleased to answer it in a different way-- it would be an unusual practice, but this in itself is something I would desire in an ideal interview.
M: Well, then, what do you see as your role in a revolutionary politics?
W: I suppose I would be opposed to a revolution as they have been typically carried out. I see the purpose of the state to be in preventing violence. More could be done and this would be my goal in the purview of politics. There is still a great deal of crime that occurs as the result of poverty, but we seem to be more concerned with the random violence associated with insanity. Terrorism is the sort of insane crime that we seek to stop. It isn't typical to view terrorists as mad, but they seem to me to be unreasonable. I guess I am would say religious fervor is a type of madness, though there is some tolerance given to this particular affliction. The religious tend to offer the excuse that violence is not a part of the practice they espouse, but a record of history accounts a different story.
M: I find it interesting that you attempt to break paradigms of thought but remain normative regarding outside lines of reasoning. Aren't those you term insane attempting to break out of existing logical paradigms, which is something you advocate?
W: Yes, i do believe you have caught me. I support an individuals decision to become mad. There is a difference between making using evidence to support unusual beliefs and choosing an usual belief from default. I think many people classified as mad see the refutation of past theories and outright lying as evidence that nothing is to be believed. When you consider it, much of what we think we know is communicated not through observation, but is reported to us. We rely on the principle that there is a will to express the truth. When people reject this view there is a tendency for their life to come crashing down. As people we are able to do very complex actions. With the phenomenal view of the world that I try on from time to time it becomes very difficult to perform as expected. Taking the view that all creation is a miracle a lot of basic assumptions are overturned and the subject is paralyzed. The higher level assumptions about what society is are not there. I give high value to the phenomenal view and think that it can lead to important revelations about how to move forward with civilization, but it is no way to live a daily life. I find it important to do what is expected of the average American consumer, like watching television, making small talk and posting banal things on the Internet.
M: Thank you for your time. You win.
W: It has been a pleasure.