micz:doppler

My first 12 inch vinyl. All white.

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    Images

    Figures of speech

    text printed on the record

    ... a lot of text

    at the beginning of the 20th century the concept of time was seriously endangered. einstein proclaimed in his theory of relativity the speed of light as a universal constant and turned time into the individual experience of the beholder. speed remains constant and time has to be measured by the pulse of light. time passes more slowly if the pace in which the individual moves approaches the speed of light. in figure 1 i try to explain. back_to_micz:doppler SueMi Home

    in the static box light has to travel the distance 'x' to go from the bottom to the top. if the box moves from left to right light has to travel the longer distance 'z'. imagine the travel distance of light from bottom to top would mark one year of experienced time, the static observer would have lived a year of his/her life, whereas the moving observer would still be in the middle of her/his year of life (i.e. 'z' is longer than 'x'). so the theory of relativity turned time into an individual experience based on the speed at which one travels.

    time is a godlike creation. time has been created as the universal constant framework in which to place the world. time is the anchor of comparable existence. in order to keep the universe together god had to create reserves of time underlying the world of relativity. therefore he invented vinyl. on the vinyl record - which is placed in the material world of relativity - one can demonstrate the phenomenon described earlier. the oscillating needle vibrates faster if it is speeded up - the pitch goes up (called doppler-effect, see figure 2).

    the same can be demonstrated with the radiation of planets moving in relativity to the terrestrial observer (see figure 3). if the light we perceive is being shifted to the shorter frequencies it appears bluish (analogous to the higher pitch) - if the planet moves away it appears reddish. that phenomenon of the material world, explained by the theory of relativity accounts for both sound/pitch and light/colour.

    but vinyl carries the universal time within and underneath its surface. by listening carefully one can hear the energetic interface of the two worlds. the crackles and accidental noises, the quirky sounds and breaks are the energetic discharges created by the collision of the two worlds. their pitch is not affected by the speed of the vinyl, speed it up, slow it down, they remain the same pitch - sounds not subjected to the physical laws of the universe. the fact that vinyl carries music is irrelevant but intended. by arranging it that way god intended for us humans to deal with the production of time reserves ourselves. and so we produced vinyl, masses of vinyl.

    evil spirits, also recognising vinyl's popularity amongst humans used it to access the human world by layering devilish messages onto the material (ciphered in an inverted time axis). this happened very fast and forced god into taking hasty action. so the solution developed was not as thought through as the concept of vinyl. god invented the cd. the cd only contains digital information. one cannot play it backwards, one cannot heighten or lower its pitch, ergo the devil could not infiltrate it with any evil messages. to this extent it was a successful concept and god made sure humans would find the cd superior to the vinyl - but he forgot about the production of time. the cd contains data and nothing else. the gaps on the cd are nothingness. towards the end of the 20th century time has become endangered again.

    to counteract this we need to produce time. we need to build time reserves for the 21st century. if we stop producing vinyl time will disappear on the 31st of december 1999. this is why this record has been produced.

    risks need to be taken with the devil but one can minimise the danger. i have used the metaphor of the sinless beauty by applying the sinusoidal oscillation of the vibrating string (see figure 4). it is its own mirror image and therefore the forward-backward problem does not apply. using gods digital technique as a rhythm assistance i was safe in that department. finally, the distortion effect was used as a tool to compress an infinite number of sinusoidal swings into one sound (see figure 5).

    therefore it functions as a prayer and has falsely been related to satanic music. the record itself mirrors the sinusoidal structure. the songs appear from and vanish into the vinyl surface (see figure 6). what appears above the surface are the songs, hidden underneath are my thoughts and the platforms of yours.

    micz:doppler was first released in 1996 as a limited edition of 200 LPs on white vinyl by:

    landspeed records
    p.o.box 11321 / london n1 8sz
    LP 4901.01"