ANOTHER ANOTHER ADDENDUM---All this speaking of self sustaining environments got me literally thinking about self sustaining environments. Self sustaining environments both literally, metaphysically, and metaphorically are basically totally foregin ideas to Americans. We're were too spread out, too divded who knows. I feel it is a noble thing to strive for. I start with my art. Anyway, Iceland literally has a self sustained environment. Family owned farms which feed the family and the community and what they dont consume goes back into the animals which goes back into the land and on and on. Much in the same way I consider boxing to be a physical manifestation of all this stuff, its possible that Iceland is a functional social manifestation of some of these ideas. Even the name Iceland is interesting. Ice and land...two seemingly diametric opposites side by side, yet one essentially feeds the other. You can read a little bit about Iceland here http://www.gpiatlantic.org/conference/reports/2107.htm
ANOTHER ADDENDUM---The fascinating Julian Cope wrote a great essay on Miles Davis' electric years. Miles used the RIGID PARAMETERS to create semmingly infinite music of breadth and scope holding the ability to divide and combine pretty much all forms of concept form and content. One again on the lengthy side so heres the link to this insightful piece of writing
Also, over on the right is a link to perfect sound forever. in their archives is an interview with greatly missed Teo Macero. Teo talks at some length about the editing of Miles' tapes and creating new compositions out of endless variations ont he raw material. Once again not point and shoot, but FILMING THE PHOTO. Miles and Teo's ability to use both studio and live recordings to combine aesthetics to transmogrify raw materials all within the system of downbeats landing on the ONE combined with Miles' visionary "voodoo chords" (back to elements and self sustaing environments and also putting elements into direct opposition of each other) makes these two FUCKING GENIUSES perfect examples of all this stuff.
AND NOW THE ORIGINAL POST
To anyone creatively inclined in any area, Bob Dylan provideds a great gift in his book Chronicles. It explains the Lonnie Johnson "Triplet Theory" in detail. MOJO magazine among others have said things like the theory is "vague and meaningless to the layman". Which is bullshit. Various message boards claim the theory is an elaborate hoax. More bullshit. It's about perception, people! Long before reading about Dylan's theory I developed theories and techniques of my own in regard to poetics. My mind did sommersaults when I read Bob's thoughts on this subject. These techniques and applications are certainly not exclusive to Bob Dylan or Lonnie Johnson. And god knows Im not the first writer to stumble upon this stuff. It's quite obvious (FUCKING OBVIOUS)that the following people operated in very similar areas of methodology and aesthetics---Orson Welles, William Burroughs, Andy Warhol, Pablo Picaso, John Cage, Sun Ra, Miles Davis, Frederico Fellini, Bryon Gyson and many many many others. At any rate from a musical standpoint here's a link to an interesting breakdown of Bob/Lonnie's theory in more or less practical musical terms. I didnt just cut and copy cuz its pretty lengthy.
Added ten minutes later---
oh yeah theres this