Wednesday, September 19, 2012

Friday, July 27, 2012

The Sun Never Sets Here (Summer Concerts and Other Causerie)

I am in Scotland right now.  I was with Graeme Smith in way up in Orkney for the last week, walking around, drawing, and writing.  It was great to camp for a week.  It was amazing to finally get to see a place where the sun almost never sets.  Now I am back in Edinburgh.  I am pretty excited for the performances to start, but I am also enjoying what is going on in the moment, modifying my synth stuff and making music.

This is part of the Ring of Brogdar, a neolithic stone circle thought to have been built between 2000 and 2500 BC, totally great.

Here is another stone age house, this one was hidden on the coast, and not on the maps:

Below is a favorite of mine, slime mold.

there are similarities across everythings

The schedule of performances as it stands right now is below.  More could be added (get in touch if it looks like I am near your area, we can see what is possible).  Its not a tour, its just experience.  Lets do that.

Edinburgh, Scotland, August 31 at Banshee Labyrinth


The sound of tapes, voice, gizmos and Euan Currie (Muscletusk, Unverified Records).
The sounds of many things and Rhian Thompson (Hockeyfrilla, CK Dexter Haven) and Stuart Arnott (Smear Campaign, Total Vermin)



The sounds of guitar, tapes and Graeme Smith (Goodnight Press)

next, its a poetry reading of all things.  Visual Poetry, Sound Poetry, an exhibition of poems, drawings, graphical materials, and performances accompanied, punctuated and punctured by projections, projectiles, projecticons, insults, lambaseds , lambrusco, and lambswool:

Exhibition opens at 5pm
CAESURA #5 kicks off at 7pm
Edinburgh, Bond No 9, Commercial Street 84
7-10pm – entry by donation

starring myself and:

nick-e melville
nick-e melville is a visual and found poet with books and exhibitions to his name.

Greg Thomas
Greg Thomas is an Edinburgh-based poet. He has made some visual poems and some ones about body parts.

Graeme Smith
Rest-adverse local writer and racket maker with poems for eye and ear.

moore informations:

after that its:

arrggghhh, not a Blood Stereo/Core of the Coalman trio.  Gast. And what of this other stuff?  oh no.

Missing Twin presents:

Scotch exiled spousal therapy unit twiddle thumbs with US/Czech strings n circuits man. Featuring Dylan Nyoukis (Prick Decay/Decaer PInga/Chocolate Monk), Karen Constance (Smack Music 7; Polly Shan Kuan Band) and Jorge Boeringher (Caroliner etc).
Unknown quantity…please stay tuned
Ludd twins flank cassette donkey, with hilarious results…Featuring Ali Robertson (Giant Tank), Malcy Duff (the world’s best at drawing) and Euan Currie (Muscletusk, Unverified Records)
Come and see and hear at this place:
The Garage
Basement Flat
51A Northumberland Street
Edinburgh EH3 6JQ
Please note EARLY SHOW 7 pm – 9 pm

Then I go to Ireland.

More information may well be added here, when I know it, but I think there will be two or three shows there.

The first is in Carrick on Stanton,

Followed by Galway on the 14th

and then Cork

like I said more information later.

Then its Back to England.

Leeds, Fox and Newt, Sunday august 19, with Ashtray Navigations, and Cm nG

I am very happy to be playing a show again this summer in Leeds.  I like so much what Kieron wrote about me that I have to include it here:

“Jorge uses his rig of viola, electronics and voice to create deep and engrossing electroacoustic patterns and psychedelics. He was last seen in Leeds last September, whipping up a foot-stomping storm with dizzying layers of rhythmic loops and searing viola pyrotechnics. “


Ashtray Navigations’ Phil Todd doesn’t make alternative music: he creates alternate universes. Via a dizzying array of bands, projects, alter egos, labels, fanzines, concert promotions, distributions, collaborations and ad hoc groups he has spent the last two decades extrapolating What If? histories using derided, unfashionable and forgotten elements gathered from the dustbins of rock’n’roll’s chequered history, reimagining how things might have been in less reverent – or career-driven – hands. As a key figure behind the UK’s DIY underground, he was forging links between like-minded fringe musicians and releasing a constant stream of bewilderingly consistent material long before the internet made such activities easy or commonplace.
Cm nG (Stoke)
New electronics, tapes and percussion duo of Andy Jarvis (First person label, Asymptotem, Sculptress, A Warm Palindrome) and Michael Walsh.
+ one more tbc.
£5 Entry
This will be the last show Kieron be promoting at the Fox and Newt,  and I am super happy to be able to be part of it.

After that is probably Manchester, more info TBA, and then, wow, Brighton, one of my favorite places on earth.  I will be there for a few days with Ian Murphy and hopefully we will record somethings and walk around the coast, cook some good food, and maybe go visit Rowan in the woods!

This show is going to be great.  According to the info (below) I am being augmented.  I look forward to that experience.


on a rare visit to UK…….

augmented by Brightons finest




8PM – 12AM

Then its off to Holland and Belgium for a handful of things:

first will be a show in Brussels

 31st of august @ Karel ball

Gael Moissonnier will be playing that night, hopefully the modular synth stuff like he did in Prague a couple of months ago!

I will add flyers and pictures and information as I have them, the rest of the

after that I will again visit Maastricht, Holland where there will be a concert on the 2nd September at B32, again, more info soooonnnn

and then, the last thing I have planned is to perform at a festival in Liege being curated by the very dangerous Philippe Cavaleri of the seminal Bruitale Orgasmne.  I am not sure what day I should be playing but I think it will be between the 5th and 9th of September.

(look, the west coast of the Orkney mainland looks like northern california)

Then I am back to Czech R, to take this years new students to Slavonice for the start of the year trip (its too weird to say a “start of the year retreat”, you can’t retreat before you start!)  If anyone sees someplace in this mess that they would like me to come visit and maybe play a show or something, let me know, I am pretty flexible!

it happened, after all

Thursday, June 21, 2012

Vosel v Jidelne v nedeli, a MasterFaders ve Stredu

Join us for an early show in Meet Factory this Sunday!  It will be the first show of my new collaboration project Perky Buttons with Jari Suominen (Jarse, Shogun Kunitok, Kiila).

Concert is free and coffee and cake will be served.  What could be better?

Přidejte se k nám na brzkou show v Meet Factory tuto neděli! Bude to první vystoupení z mých nových projektů spolupráce Perky Buttons s Jari Suominen (Jarse, Shogun Kunitok, Kiila).

Koncert je zdarma a káva a koláč se podává. Co může být lepší?

but it is an early show/ ale pozor to je brzy konzert

Sunday/Nedelle, 17:00, Meet Factory Artist in Residence Floor

Free Enterance/Vstup Zdarma


Esel Durch Wiederholung

Perky Buttons


Ke Sklárně 15, 15000 Prague, Czech Republic

__________________________________________________________________________________________________________-for futher information:

 Esel Durch Wiederholung 
.... is a musical collaboration of MeetFactory resident Alex Neuschäfer and his visual artist friends from Germany and Switzerland. Purely based on improvisation, the only aim of this collaboration is to create an open soundspace that leaves maximal freedom for the performers as well as for the audience. Beautiful melodic sequences, chaotic brutal noise or even whole spontaneous songs may emerge out of this setting. Unlike the traditional "Jam session" constellation, Esel Durch Wiederholung do the best they can to avoid traditional known musical structures - diving deep into sonic chaos in order to search for a new kind of musical intensity. Similar to creating an abstract painting, each player in this "soundgame" contributes a part of the sonic puzzle which serves as an inspirational trigger for the actions of the others. Nothing is planned, and everything is permitted.

Perky Buttons

...."In between the seasons, the vines of green light grow steadily through the forest. A small child is stunned by a bee. Good morning, capitan."

expect viola and synthesizers, little else but what you bring to it.


 Also, please join us Wednesday June 27 at K4 in Charles University, for MasterFaders, a presentation of new works by my two sound classes from Prague College

 I have really enjoyed working and learning with these inspiring students at  this semester and am excited for them to be able to share their works in public, in many cases some will be performing live in public for the first time.

 The classes cover such topics as recording, the anatomy and construction of sound production tools such as microphones and speakers, sound synthesis, acoustics and elementary psychoacoustics, real time processing, composition, performance, applications of sound in interactive media, sampling, history of synthesis, visual programming, and other nonsense.

The group has a lot of diversity in terms of technique, method, and subject matter.  Please join us for this informal and hopefully surprising evening!

( a dolu muj spatna preklad)

  Jsem si opravdu užil práci a učení se, inspirující studenty v tomto semestru a jsem nadšená pro ně mohli sdílet své práce na veřejnosti, v mnoha případech některé vystoupí živě na veřejnosti poprvé.

Třídy se témat, jako je nahrávání, anatomie a výstavbu výrobních zvukových nástrojů, jako jsou mikrofony a reproduktory, zvuková syntéza, akustika a základní psychoacoustics, zpracování v reálném čase, složení, vlastnosti, aplikace zvuku v interaktivních médií, odběr vzorků, historie syntézy , vizuální programování, a jiné nesmysly.

Skupina má hodně rozmanitosti v oblasti techniky, metody a předmět. Přidejte se k nám pro tuto neformální a doufejme, že překvapivý večer!



ve Stredu Cerven 27/Wednesday June 27

K4, 20:00, Celetna 20

Karlovo Univerzita/Charles University

Vstup Zdarma/Free Enterance

Monday, June 4, 2012

if it is raining where you are, here are some things to listen to along with that

Well, I was making on some things for work, trying to figure out some demonstration patches to explain some synths, and I ended recording the rain outside my window, which was coming down in sheets, echoing along the aluminum roof on the garage next to my window, and resonating all over the place inside.   I mixed in into what I was doing.  It has been raining amazingly here off and on all weekend.

I am not sure what happened but I also recorded some dogs or animals or ghosts or murder or something by accident.  They must have been sounds coming in through the garage and bouncing around...then later some organ parts, and I guess at some point some resonant filters got involved...suddenly I realized it sounded like a cover of Angelo Baldalamenti and David Lynch doing their thing.  Well, that's fine, because I really like those guys! (but really, the imitation unconscious:) Well, then I watched Mulholland Drive again, which I hadn't seen in a very long time, and it totally freaked me out.  If it is raining out your window like it was mine, maybe there is some harmony to be had with these dark forces.  and here we are, far from perfect but it is what it is:

[soundcloud url="" iframe="true" /]

Two or three weeks ago I recorded an entire record at home really fast.  I had to get some things off my.  The whole thing was a real  experience, and the record is a total mess.  It has versions of some new songs on it, ones I have been playing a bit here and there, like I played at LePlacard and at Daniel Vlcek's opening.  Also some instrumental tracks.  I did the whole thing really fast, leaving the parts unfinished around the edges, only cleaning up what really bothered me, and leaving the rest.  I just tried to finish what seemed most important.  I let the tunings be themselves ("out of tune" except when it didn't work).  There is no sync, nothing to sync to.   I let some edits be audible, I like that too.  I'll never understand why it is ok for edits to be visible in cinema but in sound it is "unprofessional" for editing not to be "transparent".  Anyhow, I wish I had more time to mix it is all, because there are issues, but maybe there is an honesty in it because of that.  Maybe I would like to do it with some better microphones, in a better room, and with a lot more time to mix someday.  I don't know, maybe no one will ever hear it.  Maybe I will redo it later in the summer!  One thing I can say, is that I did what I wanted (except I would love to mix it better).  I had to do it fast too, because it had to be finished in time for something...anyway everything has been super intense, too intense. Now that all that is done, I have to do something else.  Its all interconnected somehow.  Here is a picture of the, uh, "tracking area".  If you think this is funny, you should see the "editing suite"

the sound might actually be a bit better quality than the picture.  There is a construction company on the other side of the wall.  Sleeping and recording there are interesting, but I like sleeping there.

anyway -

Since then, the last two weeks I have been working on making sound about nothing.  Noise clears the air.

Here is a picture of a swimming pool.  Swimming pools clear the air too, even small ones.

I like this quote by Gerard Grisey:

"We are musicians and our model is sound - not literature, sound - not mathematics, sound - not theatre, visual arts, quantum physics, astrology, or acupuncture."

(interview with Grisey here, by the way)

I also don't want it to be about anything other than it is itself.  This track isn't so special, but I made it with this with a new synth I made in Pure Data, and some feedback, viola, vocals, etc, the usual.  Its just a test, but I think it is itself, so I would am posting it.  Its nothing like Grisey, unfortunately, but whatever it is, here it is:

[soundcloud url="" iframe="true" /]

I am looking forward to when it is clear again and I can watch the sunset with a cowboy hat on

Thursday, May 31, 2012

you have only your own hand to hold on to

watching myself thinking my thoughts

changing my thoughts by watching myself

changing myself by changing my thoughts

changing my thinking by thinking

watching myself change by


Saturday, April 28, 2012

8 Skeptical Truths, 1.8 Odder Mysteries

I have decided that this blog will remain the semi-secret, pseudophilosophical one, or the one for rants, whereas this one, I guess, the more modern one with all the nice links, will be where I post most of the art-related things.

The really secret one will just stay that way, but that is ok because there is no content there.  Or maybe I will use it for the new
ah, right, its secret, so never mind.

ok, here is my latest list of what I have to sort of base reality on to not go completely crazy, what with everything and all.  I am very tired.  I can't sleep at all.  So if this is typed strangely, that is fine with me, hopefully it will be fine with you, whoever you are.

These are in no particular order:

1. Time goes in one direction, mostly.  I know, I know, I have seen "Into the Wormhole" with Morgan Freedman, and I have been informed that according to various theories that I enjoy (theories which I do not understand due to my rudimentary grasp of mathematics) that other possibilities are suggested.  Ok, I am not ruling it out, but in my experience, and I have had a lot of weird experiences, it seems to go in one direction.  See "The Speed of Time" , and its cousins, for my idea of why. Anyway, I would probably liked if it where more navigable, or maybe not, I like this sense of freedom from determinism, even if it is an illusion.  Still, until I experience something like time travel, awake, I am going to operate as though we are in this broken symmetry, going...(though with a certain amount of elasticity, see number 3)

2.The future is complex, yet at times events can be predicted, or even influenced by our actions.  We all do it.  Hungry?  eat a sandwich.  This means in the future (5 minutes from now) you will no longer feel hungry, most likely.  Obviously we can try and influence bigger things too.  Sometimes even using "odd-er means of influence" I would like to investigate those more deeply, because they seem to be everywhere, but as I do not understand the nature of any of that, it is fairly well outside the bounds of this skeptical cage I am building to lock my perception of reality into in order to not freak fucking out.
"otter influences"

3.Subjectively, time does not move at a steady rate, and in fact its elasticity pretty controllable.  Objectively, it is hard to say whether it even exists or not, there are many many famous arguments for both "perspectives".  Even when trying to view it "externally" using mechanical means, our subjective bias is enough to make it "wobble".  Now I will stop using so many quotation marks, because they are making me feel like an asshole.

4.There seems to be no direct evidence for a god, and I have had no direct experience of a god.  Nor would it seem comprehensible that if one of those existed it would need my adoration.

5.The question of fate, that is, whether or not the future already exists is paradoxical.  I like listening to experts talk about new theories around this (see number 1) however, in our daily lives we have every appearance of a certain degree of "free will".  At least that is something.  I am going with that, because (see number 2) otherwise I would starve waiting for the universe to feed me.  The "odd-er moments" where I feel these interactions (like deja vu or some dream things) in which one is led to think that maybe things are structured on some other level of hierarchy invisible to us, or that time is a folded dimension and we are sometimes touching future layers briefly, or that there can be (Jung) acausal connections from which meaning arises, or that (Schopenhauer) that such coincidences or synchronicities are do to a common causal root located previously (sometimes very far in the past), or that through the chaotic dynamics of statistical determinism in complex systems seemingly disparate things are brought together that are not really at all disparate, or  or or...these cause me to wonder what is really going on, and I want, like I said to investigate, but in the meantime I must behave as though I have free will, otherwise I would be very upset that things were set up this way because it just isn't fair, is it?
otter moments, when not caused by us/me, seem to happen to us/me.  is this caused by the collective aggregate of individual actions of others?  It is surprising that the willful action of a single individual can emerge out of this complex environment at all, and yet sometimes they do, and can even change the whole course of the system.  I would like to investigate the cause of this.  I don't think there is the same sort of oddness to this particular topic, but complexity is odd enough, and maybe some of those other phenomena are products, or bi-products of that complexity.  I would like to know how much direct influence we can have over this, with respect to our own lives.  I mean direct, not by trying some magic.  That is fun, but it hasn't worked for me yet.

7. The present influences, if not creates the future.  That includes direct actions, those experiences that happen to us (see last one, above) and our reactions to those actions, to the environment.  One must define one's goals and act accordingly, reacting with firmness and flexibility (language borrowed from nonskeptical source) to one's environment.  One must be aware of what is operating in one's environment in order to try and predict it's future state and act accordingly.  This is where many people, less skeptical than I am today, start to use the "odd-er informations and oracles etc"

here is a big one, it was acting according to its environment when this picture was taken:

8. It would be curious to know, and this is probably a repetition of something said earlier, if there is some way to encourage more positive influence/feedback from one's environment.  If there were strategies of thought or behavior that would make certain outcomes more likely, in a general sense.  These exist in games, right?

9.Other minds, other people.  Though at times predictable (rationally or through "odder means") seem in my experience largely unknowable, though we can share happiness together.  I can take the metaphor of my own mind and paste it on other people, but it only goes so far until their behavior convinces me that our minds are not really all that similar.  sigh.  Its lonely, but then at least I have some privacy in here.

togetherness seems to exist.

So the real question once I move god and paradoxes about fate off my epidemiological shelf, and put the very interesting issues about the direction, perceptibly, and existence of time on hold (that is kind of appropriate), and disregarding for now the sometimes seductive "odder aspects" which seem so incomplete and unknowable that it is hard to say that they exist or what they are, the real question for me is, why is it that I happen to be talking to myself in first person?  Why am I here now?  There is the solipsistic thing, which is super weird, you know, where we are all "in here" in first person, really for ourselves in some way the only one fully there.  What do I do with that?

If I go to sleep then maybe I won't exist at all (in terms of this self-consciousness I am discussing) and that won't be so bad.  I will have to stop writing, which is probably best anyway.  I will go to sleep.  I will think about otters.

After a long pause, I will play a Core of the Coalman set this Tuesday at Final Club in Praha.  I am playing new things.  First some steady and moving states made with generative sheets of wind (to replace that which seems to have vanished unexpectedly), and the usual viola, resonant filters, and other electronic stuff.  I am also playing a new guitar piece I am about to send Job Collin for a tape on his Winebox Press label.  The tuning of this is special to a lot of the music I have been working on recently (to replace the vibration, or whatever, uh, nevermind..)

if you want to read more about fabulous fucking me, best is to check the links on the top of this page, there is a lot of music, some videos etc there

then, of course, the compulsory FootBlock page:

there is also a page for the event here

The headlining band, Jarse, from Finland are totally amazing.  I think that Jari Souminen, who played solo here under this name last year, is one of my favorite musicians.  Now they are a duo, with drums (Jari played mostly keyboards and lights last time).  I am very excited to hear this!

Here is text they wrote about it:

A power duo from south coast of Finland, Jarse has been preparing for a psychedelic revolution since 2009, drawing inspiration from the psychedelic music from all decades, from dark prehistorical age to the distant future. In 2011 first official Jarse release, 7” single Alas (Fonal Records) saw daylight. It holds a record of being one of the fastest productions in the history of Fonal records, process from composing to the test pressings took less than two weeks. As the single was cut live at the tiny bedroom in eastern Helsinki with 13 session musicians, it also holds the record of being physically the tightest session in history of audio recording. To celebrate these achievements in summer 2011 Jarse played 6 week long European tour through central Europe, Scandinavia and even Iceland. Performances in pitch dark venues with a custom built flicker machine producing hallucinogenic vibrations left astonished audiences behind. While Jarse was forced to do this tour with a one member lineup, currently Jarse will manifesting their jaw-dropping version of modern day psychedelia as a two piece unit. The history of members of Jarse contains many notable bands such as Shogun Kunitoki, Rauhan Orkesteri, Kiila, Pymathon etc. Year 2012 will see the release of first Jarse full length album that has been perfected slowly since early 2010 in their remote cottage studio in Lapland, just under the arctic circle.

They have a facebook page


It goes like this:


od 20:00

za 150

v pražském Finalu

(Příběnická 8).

or alternately:


8:00 pm, 150kc

Final Club, Praha

Pribenicka 8

this show was produced by Klangundkrach and Letmo Productions

Innerly independent people can afford to be generous, and are therefore empathic towards other people.  Self-centered behavior, especially the chronic type, seems to come from fear and often is reflected in desperation or violence.  Its output is often visibly lacking in empathy.

But which approach is "better" for the individual?

Though in general I am for Sade rather than Rousseau (at least in literary terms), and don't want to talk about human nature (should it even exist) or "states of nature", not in the least.

Still, I see people, companies, and governments entering the lives of other people and destroying them, only to leave again having gotten what they wanted.  It is a very efficient strategy.  Ironically too, it seems to be most often individuals that do this, and individuals who are the ones who at any moment can refuse to do what their company is telling them to do.

this Rousseau is ok:

It is difficult to think of a real advantage to empathy for the individual, but I think that the chronically self-centered, unempathic person must eventually find themselves very alone and without the inner strength that naturally develops in the truly innerly independent individual.

Thus, there could be a selfish case for selflessness on some level.

I wonder what it would look like on a social level if this happened to a whole society, for example to capitalist society, as a whole?  I look forward to that funeral.  Maybe, like Gatsby, no one will come to the funeral.  They won't even be able to hire anybody to be there.

Would society simply medicate itself with things to make it not feel badly?  But I think it is really time to reject that, to put aside these tranquilizing and sedating strategies and religion too, and all systems of fake meaning and padded experience, and embrace the universe with whatever insecure joy we have inside of ourselves, and express that.

"So we beat on, boats against the current, borne back ceaselessly into the past." Fitz

On a side note:  I think empathy is much larger than guilt.  It can even make people feel better, which guilt rarely does.  Somehow, the two have been conflated too often, and we forget that the "contact high" we get from other people is derived from an empathic basis.

I also don't think empathy and guilt are the same thing.  I think that guilt can sometimes be caused by a species of empathy:

("I shouldn't kidnapped and eaten my neighbors children because they are people just like me")

but that it is often caused instead by obsessive behavior:

("I am such a bad person because I smoke bags and bags of potato chips and they are bad for me")

or religious mania:

("I am such a bad person because the god who supposedly created me, who I have no evidence of the existence of whatsoever, created me with sexual feelings, and then told me I am not supposed to express or use them" )

or even selfishness - when mixed with religious mania:

("Now that we have used our insurance company to steal all the money from the orphanage after the hurricane, we will never get into heaven, we had better donate something to charity")

or when selfishness enters into a temporary partnership with some degree of empathy between players, but which eventually gives way to one side being overcome by selfishness, then feeling guilty about it:

("Maybe I shouldn't have stolen the last of her painkillers while she was sleeping after the operation.")

still, the religious guilt has got to be the worst, and that really needs to go

 Jean Koppen: "Crucifixes are best conceived handles to flush our toilets"

this one, I think, from 54 Rue du Chateau, Paris where Tanguy, Prevert, and Duchamp lived

Guilt aside I wish that people would just tell the damn truth.

Monday, February 6, 2012

Right Now: Gallery Skolska28 Live Stream of Favorite Sounds of Prague Record Release

Sunday, January 29, 2012

New Radio Work commissioned by rAdioCustica&Cesky Rozhlas3, to be aired 25/2

Saturday, December 31, 2011

Wednesday, December 21, 2011

Thursday, December 15, 2011

Score for At Their Own Rates II (for Saturday’s concert at Gallery Skolska 28)

Thursday, December 8, 2011

links for concert at Skolska saturday

Sunday, January 30, 2011

Damned To Fail

We pay the government taxes and fees to provide services to us. In the absence of competition or any motive other than altruism for innovation or efficiency, the work done, the product, or service provided, is often substandard or nonfunctional.

Private enterprise offers another way to recieve services. Since private enterprises must make a profit to survive, they compete with one another for customers, and customer's money. On the one hand, this can lead naturally to innovation as a way of attracting customers. This can also lead to effiency as a means of avoiding waste and overhead costs. On the other hand, often private enterprise results in other strategies such as lying, cheating, and manipulation in order to make a profit, reduce thier overhead costs, and/or attract customers. Thus, the work done, the service, or product, provided by private enterprise is often substandard or nonfunctional.

Friday, October 15, 2010

IV. The Speed of Time

We apprehend a three dimensional world in time, and in time it has been since its beginning. From the moment at which the infinitely massive, infinitely dense, concentrated singularity explosively began its expansion outwards, creating space as we know it, the universe had a direction. This asymmetry, this basic directionality in the universe, is called Time
Time is change and change in time is irreversible. Time itself is irreversible, unrepeatable, and whether or not it exists outside of consciousness ,(footnote here regarding theories that time does not exist outside of the subjective consciousness)this principle of irreversibility is what time is. It has one fundamental property: direction. It is even misleading to say that time has a direction, in fact time is direction, and everything that inhabits it, the totality of the three dimensional world, can be described in term s of it.
The measurement of time, and its utilization in human communities throughout the world, in other words, the utilitarian concept of time in common practice, is both different and similar to the existence of time in the sense discussed above, as a universe principle. In the prior sense, time is a dimension, and its effect, that of directionality in terms of itself, is detectable throughout the universe. In our human experience, directionality in time is a fundamental irreversible constant present in every aspect of our experience, and this informs time’s utilitarian applications and our measurement practices regarding it. Commonplace linguistic and practical usage of time referents belie a deeper truth: expandable and compressible spacial dimensions – when describing an object like a planet or a peanut – exist in the medium of time. In the English language, in fact, objects are described as being “in” time, and the use of this preposition, and the inherent inside/outside dualism that it implies places objects within time as as if spacial entities, their developments, and space itself, exist in suspension, floating in a moving river of time, to borrow a common traditional metaphor. In any case, spacial entities, their developments, and space is commonly referred to in terms of time, and it seems as if it must be, as if time with its property of irreversibility, provides a ground on which the figures of spacial articulation, that is three-dimensional objects, interact. Yet a paradox lurks within this idea, for it is the expansion of space itself, outward from its beginning with a big bang, that creates the directionality, the endless change, that gives a future and a past to the universe, and thus creates time, which is this property of movement itself.
So then, looking past the immediate perception of time and thus sidestepping the entire question of whether the perception of time is an artifact of our conscious mind itself, a function of the memories we store as biochemicals in our brains, it is clear that if one adopts a cosmological model of universal expansion – at least for the present development of the universe- than one also accepts that the universe has a shape and a direction. Put another way, it is possible to assume a certain consistency between cosmological scales and human scales of time perception In common practice, given a consistent linearity between time as perceived in our own life experiences, and time as perceived in the earth’s fossil record, for example. In short, the action of time seems consistent across many (foot note ref QED Fenneyman) if not all frames of reference. Such an idea relates our sensation of time not inconsistently to the directionality of the universe as a whole, as implied by spacial expansion in one direction since the big bang.
At least one currently popular cosmological model seems to agree with this (citation). The universe, it seems, and space itself, is expanding, and always has been, since the beginning. Before the big bang time did not exist, and neither did anything else. Judging by recent estimates (citation and footnote) of how much mass exists in the universe, some theories indicate that it should, in fact, continue to expand forever. In such a model reversibility, or repeatability, could not exist on any scale. Such a universe of three, four, or more dimensions exists as a great puddle of change spilling forth from an initial point and such universal, infinite expansion of everything in an outward vector implies direction, at least, from an earlier more inward point. On the other hand, as such an expansion is not an expansion into anything, how can it be said to exist? If reality expands into, as it were, itself, than how can we trace its progress , and would the expansion itself be consistent or variable?
The answer comes along with that energy which itself makes it possible for us to know that such expansion exists. That energy is light. Light emitted by stars represents a broadband, high energy radiation. When it is shifted into the red from the perspective of an observer, this means that the object is travelling away from the observer. Fundamentally, this is very close to the audio phenomena of Doppler Shift, in which, for example, an ambulance approaching an observer at high speed, passing the observer and then continuing to speed away into the distance is heard to emit a siren which, from the standpoint of a stationary observer first rises in frequency (perceived as pitch) and then falls as the ambulance approaches and then passes the observer, respectively. This effect occurs from the standpoint of an observer because the sound waves emitted by a moving object are first compressed in the direction of motion with respect to the listener and then elongated as the sound producing source recedes into the distance. Since higher frequencies are perceived as higher pitches, the spacial compression of the wavelength emitted by the sound producing object (the siren in the example above) results in a higher frequency as perceived by the stationary observing listener, though the sound emitted by the siren itself (or any sound producing body in motion) remains consistent.
In terms of light higher frequencies correspond to the blue end of the visible spectrum and lower to the perceived red end, therefore objects in recession with respect to an observer appear to be redish in color, while those in motion towards an observer would appear blueish. Since, according to recent astronomical observations, all other galaxies appear to be redshifted with respect to our vantage point in the Milky Way, one can deduce that in fact these redshifted structures are moving away from us. All apparent large scale structures moving apart from one another seems a credible argument for universal expansion, for spacial expaqnsion. This becomes more complicated, however, if one considers the question of what the universe, what space itself, is expanding into.
Many cosmologists suggest (citation) that the cosmos is not, in fact, expanding into anything, but that space itself is expanding. Stretching, as it were, out into all dimensions. However, since space is more or less nothing, how do we map it in order to understand its direction of expansion. Further, how can we know the shape of the universe?
Space is mapped by the energy that it contains, whether this energy is contained in three- dimensional objects or whether it exists as fields of radiation. Light, or electromagnetic radiation in general, can function as an indicator to map out the shape and development of the cosmos. Radiation, including light, interacts with objects, including our telescopes and other instruments, and offers us a way to theorize about the age, size, direction of motion, or behavior in general;, of cosmological bodies. We look to the galaxies furthest from us, receding, from our perspective on earth, at a rate close to the speed of light, as an indicator of the furthest cusp of spacetime, and the edge of the expanding universe.
Here light emerges again, but this time its function is as a limit. As is well known in popular and professional publications (citation) the speed of light sets certain limitations on the realm of human experience. According to the theory of Special Relativity (citation) frames of reference in motion relative to one another account for the difference in the energies and information perceived by an observing system at rest relative to its own coordinate system and those emitted by a system moving relative to the observers coordinate system (whether or not that system is moving or at rest relative to their own coordinate frame. Further, as a moving system increases in velocity relative to an observer at rest relative to its own coordinate system, the moving system would be seen to elongate in space and become more massive. In addition, it would be observed that a clock present in such a moving system approaching the speed of light in relation to one at rest within a coordinate system would tick slower and slower as the velocity approaches the speed of light. From the standpoint of an observer within the moving system, however, all would progress as usual (or so goes the theory), such an observer would not perceive a change in size, mass, and the clock would tock as before, even Stephen, and the moving system could continue to try to accelerate towards the speed of light.
The problem is that this seems to suggest that in fact the speed of light cannot be exceeded. If, upon approach to it objects mass, and size increase towards infinity and time moves infinitely slower, than the situation becomes similar to trying to cross the threshold of a door by taking a step one half the distance of each previous step. Forgiving for a moment the limit of one’s foot size, which would impose itself on the situation rather quickly, one can see how the situation quickly explodes into an infinity of fractions and the doorway would remain forever unreachable. To try to port this metaphor into our experience of objects moving relative to one another and relative to the speed of light is fairly logical since we have information about objects at a distance do to the radiation, the light that they emit. A system moving faster than itself is not possible, and one moving faster than all energy emitted by it would certainly be invisible, not to say bizarre. Movement exists in relation to a coordinate system perceived to be at rest, or a system at rest relative to its own coordinate system, however if the universe itself is expanding as indicated by the directionality of the time dimension, it is difficult to say that stasis exists objectively anywhere.
Further, if the systems of perception, that is, the systems for receiving information are limited by lightspeed for their reception of radiation-energy than it would be logical that to exceed that would be impossible while inside of such a frame of reference. It also seems impossible to adopt another frame of reference, in practice. Any attempts to break out of this one by crossing the lightspeed limit result in the distortions discussed above, or so goes the theory. Thus, it seems that the speed of light sets a limit on the nature of reality in general. It is interesting to consider, however, if this is true across several orders of magnitude.
This introduces a number of problematic situations. First of all, the galaxies furthest from us, those mentioned above whose light we might hope to use to indicate the furthest visible cusp of the expanding universe, in fact seem to be moving away from us at a rate faster than the speed of light! Further, going the other direction along orders of magnitude, very small particles are sometimes annihilated within atomic reactions in which a particle is said to interact with an anti-particle of the same type (citation). In such reactions it has been argued that in fact what happens is that time is moving backwards as these energies are in motion close to light speed.
With regard to the first situation, that of the galactic recession at super light speed, it is possible to consider that the rate of expansion of space itself is in fact faster than the speed the light from the galaxies is traveling towards us. Thus the velocity of spacial expansion is faster than the velocity of light in space. If the spacial expansion can be utilized to explain the directionality of time, than it could be said that the velocity of time is greater than the velocity of light, and that does not, on the surface seem to make sense.
One partial solution to the problem, however, is to consider the coordinate system from which we are viewing these galaxies from. We too, are in motion, and seeing as the light reaching us from these furthest receding galaxies (as seen by the Hubble Deep Field telescope, citation etc) takes a considerable amount of time to reach us, along with the distortions enacted up on by the gravitational fields of massive objects around which light bends along with space itself, which, according to further relativistic theory, is the cause of gravitation (citation). This introduces still more fascinating problems such as how it is possible that the galaxies furthest from us appear to us to recede from us at a value greater than than of the speed of light. Is this due to some change in the value for the speed of light at the edges of the universe? Or could such a phenomena be caused by our observational position with regard to the universe as a whole?
Space and time, though often conceptually separated in commonplace experience, are tightly united physically and cosmically. Is space itself moving, expanding, faster than the speed of light? Since the Hubble constant is a spacial constant but not a temporal one, could it be said that galaxies expanding along with universe itself could exceed the speed of light? Does this mean that the speed of light might itself be slower than the “speed of time”, which in this case the rate of universal expansion itself?