Failure Is Freedom

1. Julio Bashmore: Battle for Middle You
2.Juan Atkins: Transport (Carl Craig RMX)
3. Omar S: Psychotic Photosynthesis
4. Robert Hood: And then We Planned Our Escape
5. Mood II Swing: Move Me
6. Ian Pooley: Kids Play (Stimming RMX)
7. Jimpster: Eel Pie Island (Adam Port RMX)
8. Art of Tones: Praise
9. Terry Francis: Smokey Rooms
10. Omar S. Strider's World
11. Armando: Don't Take It (Johnny Fiasco RMX)
12. K-Alexi Shelby: Ron Hardy Memo
13. Ian Pooley: Organic
14. Boris Dlugosch: Khalldrang

CS Peirce taught how semiotics related to ontology, or put more mystically, how our words become flesh. Peirce's semiotics can be related to the history of mysticism to show how his notion of "creative evolution," which he called "agapism," worked. In Part One of "How to Make the World New with Your Mouth," we'll try to fill in some of the background metaphysics necessary to follow Peirce's radical form of semiological creationism.

Peirce's notion of "Hypostatic Abstraction" was formulated to reflect the "Hypostatic Union" of the history of Christian theology. Both relational schemas reflect the necessary dependence that oneness has on multiplicity and that multiplicity has on oneness, which can also be formulated as the dependence of self on other(ness), or presence on absence. The immediate, given oneness of Peircean "Firstness" flows into the relational, cause-and-effect, self-as-other twoness of "Secondness" generating the incarnate trinity of the "Thirdness" that is the Hypostatic Abstraction of the appearance of "thirds" (phenomenal objects), which comprise Peirce's semiological ontology of the Firstness of first person, subjective experience.

Peirce's notion of "Hypostatic Abstraction" was formulated to reflect the "Hypostatic Union" of the history of Christian theology. Both relational schemas reflect the necessary dependence that oneness has on multiplicity and that multiplicity has on oneness, which can also be formulated as the dependence of self on other(ness), or presence on absence. The immediate, given oneness of Peircean "Firstness" flows into the relational, cause-and-effect, self-as-other twoness of "Secondness" generating the incarnate trinity of the "Thirdness" that is the Hypostatic Abstraction of the appearance of "thirds" (phenomenal objects), which comprise Peirce's semiological ontology of the Firstness of first person, subjective experience.

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

When Ron Hardy said that House Music was Disco’s revenge, this is what he meant: 

Cosmic Stew 

1. The voice of Q, Q: At the sound of the interplanetary voice of Q, you will be shot straight into hyperspace, which is strange because Michael Forte and Bruce Weeden wrote this for their “South Philly” record label as a novelty track response to the popularity of 1982’s E.T.  
2. Magic Midnight, Beam Me Up: Next, you will be beamed up from 1982 Philly and beamed back down in the 2010 Brooklyn of Midnight Magic, but not much has changed sonically as this disco shuffle groove will teleport you right back to 80’s era Paradise Garage with its space-age vibes and Larry Levan-style, disco-diva vocal. 
3. Everyman, Double Exposure (Dam Swindle): There are approximately one million remixes of Double Exposure’s Everyman, and I love almost every one of them. It received the re-edit, 12inch treatment, as did much of the Salsoul catalog, immediately after its release in 1976 by such luminary, disco deejays as Tee Scott, Tom Moulton, and Walter Gibbons, and has had endless other house remixes and samples throughout the last four decades by such house producers as Todd Terry, Shep Pettibone, Joey Negro, and Late Nite Tuff Guy to name only a few. 
4. First Choice, Let No Man Put Asunder (Alan Dixon): There are approximately two million remixes of First Choice’s Let No Man Put Asunder, and I love almost every one of them. And the reason for all this remix and sampling love is probably because, as with most of the disco that got heavy attention from the house community, it was played by Frankie Knuckles at the Warehouse and remixed by Ron Hardy at the Music Box. 
5. First Choice, Love Having You Around (Late Nite Tuff Guy): Philadelphia soul, particularly Salsoul, gets remixed and sampled to death because it absolutely kills on New York and Chicago dance floors. Furthermore, any Stevie Wonder sample or rework, such as this First Choice cover of Love Having You Around, will send any Chicagoan within earshot into an uncontrollable Ecstasy. A little tip when deejaying in Chicago, play one of the great remixes that samples Stevie’s “As.” Human beings will lose their minds and love you forever. 
6. Parliament / Funkadelic, Mothership Reconnection (Scott Grooves): This remix f-ing rocks. It brings all the power and joy of P-funk's euphoric, crowd chants and deep funk grooves. Funk and Disco had a kind war of distinction between the street-cred of funk and the heavy orchestration of disco, but House producers often saw no problem employing either or both to get asses moving. Are you going to “ride when the Mother Ship comes?” Yes! 
7. First Choice, Dr. Love (Late Nite Tuff Guy): Tom Moulton did House Music a huge favor by remixing that “di di di di de” string hook that drives so many House tracks, especially Terrence Parker’s total banger Your Love, as well as a bunch of the Henry Street catalog. New Yorks’s Henry Street Records is another huge reason that many of the 70s disco classics get so much love. Famously, it was a huge struggle for Moulton to loop that di de string section because the percussionists hadn’t kept consistent time. I guess they hadn’t used a click track, which was the norm for disco of the time. 
8. Instant Funk, I Got My Mind Made Up (Alan Dixon): A classic Larry Levan 12inch that gets anyone anytime. 
9. K-Alexi Shelby: Ron Hardy Memo (Riva Starr): There are so many amazing tributes to Ron Hardy, and this is one of my favorites from Chicago, hometown, hero K-Alexi. And speaking of Ron Hardy remixing Let No Man Put Asunder, this track has “got something for your mind, body, and soul!” 
10. Natasha Kitty Kat, Windy City: Such a wonderful sample from Carl Davis’s Chi-Sound Orchestra! Just sink into this 70’s soul-jazz classic. It’ll put a pep in your step as you stroll along the Chicago lake front on a breezy summer day. 
11. DJ Scratch, Electric Stew (We Can Get Down): DJ Scratch is a super prolific, New York, Hip Hop producer since the 1980s, but he’s produced a couple of house tracks lately based on some of the folks that he’s worked with in the past, such as EPMD and Q-Tip. Let’s get down to this soulful groove. 
12. The Detroit Emeralds, You’re Getting a Little Bit Smart: Westbound records from Detroit, not to be confused with “West End Records” from NYC, came from Detroit, but just like many West End releases, these funk-soul gems wound up in the hands of New York’s Tom Moulton and Larry Levan for the 12inch disco dance floor treatment. “You’re Getting a Little Bit Smart,” was first sampled the hell out of by the Hip Hop community in the 80s for its beginning drum break. I don’t remember how I found this house-y rework, or who did it, but such is the way with some of these white label productions. 
13. Double Exposure: My Love is Free (David Morales): Here’s a classic, rapturous romp! Philly’s Sal Soul, New York’s Paradise Garage, and Chicago House fit like hand(s) in glove(s). Let love set us free. 
14. Qubiko: Raw Love: Whoops! I didn’t mix into this one well at all, so if you want to hear what it sounds like when a human deejay f---s up his beat matching, here it is! I had it in the very beginning but quickly lost it and couldn’t get it back. The track is a classic sample of Roy Ayers and Sylvia Striplin’s “Give Me Your Love.” 
15. DJ Scratch, Go!: Here’s the other new DJ Scratch House track, which like Electric Stew, was released on OG Chicago Househead, Terry Hunter’s, “Mirror Ball” records. 

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Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Does AI dream? If dreams are just the unnecessary detritus of the day, then probably not since dreams then would serve no real purpose in information processing. However, if dreams are a kind of information processing, as some sleep researchers now claim, then they might be a useful mode of scenario rehearsal that AI could employ to reduce uncertainty as any prediction machine looking to maximize its efficacy would. Maybe, AI's thinking is most like dreaming because of this type of "thinking's" lack of waking consciousness and impossibly rapid testing of multitudes of possibilities. But would AI ever need help falling into this sleep by counting sheep? What is so different about human intention that we need the assistance of a computational mode of thinking (counting sheep), which seems without intention, to "fall" asleep. No one can intentionally fall asleep. Famously, it must be accomplished by a letting go of intention, which is why it is characterized as a "fall." Even if it turns out that dreams have an intention because they are the "necessary" play of the possibility spaces of our waking intentions, then there is still a question about why this determinate program must be run on the non-intention of indetermination. 

The other human phenomenon that is characterized as a "fall" is love, and so the same questions about intention and lack of intention arise when considering if AI can love. Love cannot be fully intended because the complete determination of the beloved would render the beloved an extension of our own intentions rather than a fall into the otherness of the beloved's difference, which is why the indetermination of freedom is the "necessary" condition of love. Famously, coerced or compelled love, like that given by so many cautionary tales of the misuse of magical potions and spells on the beloved, isn't love. Love is an intention whose ground is unintentional because what is desired in love isn't oneness but twoness. Join us as we discuss the relation between organic, embodied intention and "artificial" intention in Philip K. Dick's Do Androids Dream Electric Sheep.

https://youtu.be/eTqMZUMGMWI

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Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

So Deep that It’s at an All Time Low 

In Chicago in the 90’s, I learned about House Music from Derrick Carter. I had first heard House Music on WBMX, Oak Park like most Chicago area youth. My mind was blown in 1987 when I heard Armando Gallop play his song “Land of Confusion” on the radio. I felt strongly that the aliens had landed and that nothing would ever be the same. I already loved Chicago’s Wax Trax “Industrial” music, which was soon to be renamed “Electric Body Music” in the 90’s for its use of dancing drum machines, synth lines, and samples, but Armando’s, and his then partner Mike Dunn’s, “Acid House” took whatever psychedelic escape into alternate sonic textures and dance rhythms I was looking for as a fourteen-year-old to a whole new level.  

I grew up on the Northside, a few blocks from the Campus of Northwestern University in the “village” of Wilmette, which was still on the Chicago “grid” of numbered north-south and east-west blocks, and which was the northern-most stop of the “El,” Linden St, but which seemed like a million miles away from the home of House Music in the 80’s on the Southside. House Music had a special home in Southside Catholic school fundraiser dances for reasons that I can’t get into right now, but besides my exposure to it on WBMX, when I went to Catholic youth summer camp in Wisconsin, the Southside campers came equipped with House mixtapes and new ways of dancing. 

In Chicago in the 90’s, I saw Derrick Carter spinning at a club called “Belin” on the Northside. I had already been to some amazing warehouse parties where I heard House and Techno played at proper volume and on proper sound systems. I was completely obsessed with the sort of ecstatic trance that a 4 on the floor bass kick could evoke completely drug free. Electric body music, indeed. Derrick’s wise shamanism took the whole crossing the threshold of liminal realms-thing to a new level for me that evening. He mixed stuff, as a lot of Chicago Deejay's did, with a lot of disco and funk samples, which got me back in touch with the dreamy disco of my hazy younger years, which made it extra magical, extra liminal, extra ecstatic. I realized then that he was my favorite Deejay, so whenever I went to Gramophone to buy mixtapes, I only bought his from that point on.  

His taste is what is reflected in this mix. I learned what was good from him. I probably heard him play each of these tracks over time on various of his mixtapes and outings and events. It has taken many years to track down these tracks, but it has gotten much easier now that I have learned how to cheat by using AI search engines rather than digging through the bins at gramophone.  

1. Sound Stream: Motion: frolicking, 70’s, light jazz organ stutter-stepped and screwed up for the sampled-based collage crowd, perfect bliss 
2. Chris Simmonds: Rush N Soul: ohh, the rush of bursting phantasms of alien light grounded in a chugging rhythm of many subtly textured hues  
3. Chris Simmonds: New Old Shit: Wash me in the warm oscillations of the unwinding siren. I think she’s saying, “I'm going get you,” and she’s right, of course. 
4. Mood II Swing: Ohh: funky bouncing bass, dreamy synth lines, and the capacious, rhythmic musing of elsewhere. One of my all-time favorites. This is paradise, I want to stay here. 
5. Kerri Chandler: Bar a Thym: cowbell and one of the most abundant synth lines of all time from a true master of electric sound manipulations. I want some more. 
6. DJ Spen: War Cry: Don’t go into spiritual warfare without this track, guaranteed to defeat demons. Wow! What a banger! You cannot lose when you step to this gospel. 
7. Mood II Swing: Do It Your Way: how moving your own way and crisp, crunchy cymbals whipping their tight cycles all around a doppler effect room can show you novel, bodily intensities 
8. Eddie Amor: House Music (Robosonic): from “Together Forever” by Exodus, one of the best disco samples ever! Wow, when this thing kicks in, I shiver with delight. 
9. Todd Edwards: Wishing I Was Home: wistful and whimsical for your esoteric journey home. This is a Carpenter’s record all cut up and rearranged in a very particular order that makes your body buzz with pleasure. 
10. Omar S: Gonna Luv You: This is that uncanny place that they call into being in Detroit somewhere between melancholy and deep joy when they mix up a batch of their hi-tech soul. 
11. Julius Knight: Find a Friend: Sylvester from his song “Over and Over” along with the folks at a mythic, underground disco party chanting “Find a Friend” just before the whole scene disappears into a Brigadoon-like mist.  
12. Mark Broom: Jackson Edits: This sample has got to be illegal, but Holy Shit does it jam, and the Fast Eddie acid line that it goes out on is to die for. 
13. Le Visiteur: Let the Sunshine in: Herman Kelly’s “Dance to the Drummer’s Beat” has been sampled a lot, most notably by Run DMC, NWA, and Public Enemy, and it is put to very good use here. But when the Fifth Dimension’s love chant “Let the Sunshine in” comes ripping in, every hidden burden that you’ve been carrying will be lifted. 
14. Chez Damier: Chez B. Untitled: The sound design on this synth line is unmatched. It just slams into you in euphoric, disco waves.  
15. Jamie 3:26:Funkanova: Ron Hardy used to play the original Jazz-Funk “Wood Brass, and Steel” version from 1977, but this incredibly numinous and gleeful, late 70s Chicago Dance Floor favorite has been sampled, so many times in House Music, and for good reason. 
16. Mark Broom: Break 97: I don’t know where these samples are from, but they are the sort of super fun, chanting and clapping, coupled with some wonderful piano house loops, that I love. These are the sounds of the lost, stomping dance floors full of ruckus weirdos that we all long for. 
17. Kenny Dope: Tribal Seagulls: I think of this as electronic, Brazilian carnival music. This is the exact carnival parade that I want to march in either when I die and can do whatever I want, or some time before that if the opportunity pops up.  
18. Mood II Swing: Move Me: Barbra Ann Teer spoken word samples appear through Mood II Swing’s catalog but listen to this track and tell me that it doesn’t sound like Basic Channel’s “Dub Techno.” Super psychoactive stuff.  

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

If you ever wanted to know how the alchemical Nigredo sounds, here's your chance. This was mixed by hand, so beat matching isn't perfect and volume shifts may be a little rough because I have the same mixer as I used in the 90s, but hopefully it adds character, or something like that. I had to sign many incomprehensible contracts with the unseen realm to get noetic direction on track selection, so I hope that you enjoy because I'm not sure what I've unleashed on myself and the world. Play it loud on good headphones or large hardwood speakers.

Nigredo Studies:  

1. Mark Henning, Jaguar: bouncy rays of twice-negated darkness 
2. Mark Broom: Satellite (Alex Bau Repaint): take the line of flight found in the maw of these soft laser beams 
3. Luke Slater, O-Ton (Reassembled 1): breathe through this precipitous sound machine, feel your guts tremble in vertiginous ecstasy 
4. Juan Atkins, Transport (Carl Craig): the Detroit masters arrive with offerings from the unseen realm of deep, sonorous, rubbery bands as well as skull-smashing four on the floor bass drums 
5. Juan Atkins, Starlight (Mike Huckaby): wash in the dub streams of fuzzy, dynamic bliss 
6. Parallel 9, Quanan: time for a long swim in the river Styx, bathe in its electric biochemical flows  
7. Parallel 9, Quantico: the warm rushes of nonbeing deterritorialize the determinate biology of being  
8. Blawan, 993: open wide and let the deep resonances of the body without organs fill the air 
9. Robert Hood: Higher! (Ben Sims): Praise and worship the capacious love from which you come 
10. Terrance Parker, Alarm the Sound: (Tiefschwarz): let all with ears hear, elsewhere’s glorious groove is far-near, already but not yet, and revealed as hidden 
11. Mark Henning, Exit Acid: cast out demons so they can wonder in the fatuousness of their own dry places and your daemon will find your house cleaned and hospitable for its gratuitous musings 
12. Terrance Parker: Alarm the Sound (Dirty Channels): emergency dance meeting at my house 
13. Luigi Madonna, Unconditional Beauty: beauty is a sublime horror, as the Italians well know 
14. Truss, Beacon: The radiant, green snake speaks, so listen 
15. Randomer, Stupid Things: stupidity is the new wisdom of alchemy’s synchronistic errors, only confusion can save us from clarity 

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Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

It may be helpful to map some Peircean semiotic concepts onto Ricoeur’s hermeneutics to see how they illuminate each other. Ricoeur doesn’t use Peirce in this way himself, but he certainly used much of the semiotic work that built upon CS Peirce’s initial contributions to the field. Peirce adumbrates three types of signs: the icon, which relates the sign to the signifier via resemblance, the index via material causality, and the symbol via convention, each of which contains various degrees of freedom relative to the degrees of determination of each’s Peircean “Interpretant.” Peirce formulated the relation of the sign to its signified as a triad that included what he called the “Interpretant,” which was the intermediation of semantic meaning within the semiotic relation of seeing one thing (the signified) in terms of another (the sign). The sign did not directly present the signified in an unmediated way but through a concept, which for Peirce was the Interpretant in the intention of the interpreter.  

Paul Ricoeur also formulated semantic meaning in terms of the relative degrees of freedom given to the intention of the interpretant, which for Ricouer was the hermeneutic circle of interpretation itself. The signifier determines its signified incompletely, which leaves room for possible interpretations in the gap between them. The irreducible ambiguity of this gap is generative because new semantics and new concepts can be formed in the clash of interpretations within the conceptual mediation of the intention of the interpretant, which mirrors Ricoeur’s depiction of a metaphor as a clash of meanings that poetically renewed and increased being within the degrees of freedom given by the virtuality of the imagination. 

The more distantiated the relation between the signifier and its signified, which was the relative level of abstraction of the interpretant, the more degrees of freedom contained in the possibility space actuated by the relation. Even semantic possibility spaces that seemed mostly determined, such as the indexical relation of cause and effect, can be reopened to reinterpretation, or reimagination, through the clash of possible interpretations given by the interpretant of the metaphor. One of Ricoeur’s favorite examples is GM Hopkins’ metaphorical predication, “The mind contains mountains,” which clearly contains sublime degrees of freedom for the poetic imaginations of a community of interpreters. For Ricoeur, as for Giles Deleuze, imaginal virtuality was actual and as ontologically real as a physically actualized possibility space, just as a conceptual realization in this actual possibility space was as ontologically real as a physical realization. Finally, CS Peirce’s “Hypostatic Abstract” has many illuminating overlaps with Ricoeur’s notion of semantic realization in the poetic imagination to be covered in the next episode. 

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Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

Thacker’s Types of Worlds in relation to horror: 

1. Pagan horror, such as Wicker Man, The Witch, and Midsommer, are the horror of the World-for-Us because pagan techne is for the instrumentalization of the world. In Pagan religious praxis the spiritual realm is studied to transact with according to the intentions of the practitioner. From the perspective of Demonology, which is how the Christian Church viewed pagan praxis, demons were identified by name to bind them for a transactional intention. However, once summoned, demons often were able to trade their binding for the binding of the summoner. The mythological structure of the Faustian Bargain reveals this reversal in which obtaining the demon’s favor exacts a high price. 
2. The Horror of the unknowable intention of the Other explored in narrative troupes such as the “Slasher” or demonic possession is the horror of the World-In-Itself. The world of the unknowable other withdraws from us as the enigma of Being-In-Itself. This is the same enigma as that of the Being-for-Itself of Heidegger's Present-at-Hand intention, but the Other’s intention withdraws from subjective intention in a sinister manner in the Horror genre because the paradox of intentional ambiguity appears as the threat of desire’s inherent unknowability. It is not just unclear what motivates Jason Vorhees or Michael Myers to kill, it is unknowable. This unknowability is the horror of the “in-itself” of desire’s eternal withdrawal from the intention. When this indeterminacy shifts from the external Other to the internalized Other of the voice from within, the question shifts from “What does the Other want from me?” to “What does the Other who speaks as me want?”. This internalization of unintentional desire is ultimately the reason why the desire of the Other is unknowable i.e.: the Other’s desire is also unknowable to himself. Jason Vorhees and Michael Myers also don’t know why they do what they do, even though the narratives of both include various versions of “Origin Stories.” Origin Stories may go some way to suggesting the Slasher’s intentions but offer no final or definitive account of the ambiguous excess of his desire. The demonic possession narrative simply conveys the unknowability of the desire of the Other to the ambiguity of the desire within. The intention of the Other withdraws from the subjective intention in the same way that the subject withdraws from itself as the subjective unconscious, which is why the unconscious is the fount of all horror. 
3. The Cosmic horror of no-intention is most associated with HP Lovecraft. The end of entropy is not the unintentional relations of chaos but the total absence of relations. Cosmic Horror such as Stephen King’s The Mist or Lovecraft’s The Color out of Space present the absence of intention as what cannot be brought into relation with the subjective intention. This is not the unknowability of intention, nor the negation of intention, but the before and beyond of both. 

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Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.

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Do you believe in god or any spiritual dimension to the universe?

“I guess the real question is: Does God believe in Himself? I prefer a God who isn’t really sure if He exists or not. In all the best religious experiences, nobody’s certain about what’s going on, including and especially God.”

“When God showed up in a whirlwind and upbraided Job about how he wasn’t there at the foundation of the Universe, God starts talking about those weird and heady creatio ex nihilo times all cool like were you there when Deep calls to Deep? and this sounds badass, but then God gets lost in rambling about Behemoth and Leviathan and stuff that nobody’s sure why He made or what exactly they even are—but God wanted to seem like He was in more control than He actually was.”

“God reveals His unconscious in this diatribe when He disavows His part in the evil that Job is suffering. Jung interpreted God’s “shadow self” as His repudiation of His relation to His son Satan—which is to deny that if you are the author of everything, then you are also the instigator of evil.”

“For me, God’s shadow is ambiguity, which is His inability to determine all there is of the Universe. In other words, God has an unconscious just like the rest of us. He can’t be omnibenevolent because of His part in the evils of the world. But this lack of at-oneness, this lack of control, allows for whatever cool but incomprehensible stuff might follow from this impotence.”

“My favorite Talmudic passage depicts rabbis arguing about the Oven of Akhani, which was a dispute about the purity of said oven for kosher cooking. God shows up to settle the controversy because it’s His law after all. But Rabbi Joshua tells God that He doesn’t have a say in the matter since the Torah is in their hands now.”

“The gift of ambiguity is better than clarity because it is always open to
further interpretation, and the joy of humanity is the community of interlocutors that indeterminacy gifts to us. Belief as a test of faith was a huge mistake. Religion took a wrong turn when it started to lift up psychosis as its preferred position. Psychosis is fine and has its place, but neurotic doubt is an undeniable salve for too much belief.”

“I’m whatever religion they were at Gobekli Tepe. Religious practice should be a celebration of irreducible ambiguity. I was so excited when they uncovered Gobekli Tepe in Southern Turkey and Klaus Schmidt was like, “What the hell was going on here?” and decided it was a prehistoric zoo. Here was a city almost twelve thousand years old, built not for sedentary and hierarchical people but for the sacred practices of hunter-gathers who came together uncoerced to celebrate holy mysteries with ambiguous trickster gods in liminal spaces designed for music, dancing, stories, feasting, and shit-tons of carved animals doing stuff, like a vulture presenting an orb to a man without a head but with a prominent phallus, and the sublime wonderment of a submerged room with benches along the walls and loads of giant stone penises in the middle for some reason.”

“Schmidt and countless others have speculated on what these people thought that they were doing there. I for one, perhaps naively, hope they didn’t precisely know what they were doing there. Hegel famously pondered the “mysteries of the Ancient Egyptian religions,” to which Žižek postulated that “the mysteries of the Ancient Egyptians were mysterious to the Ancient Egyptians too.””

“Amen.”

https://www.martinessig.com I mix the mixtapes that I post here but...,

Baddass vibes mixed by James Reeves of Midnight Radio: jamesreeves.co for the intro and outro music of most episodes.