The subject of Miller's book is popular culture, although the book's implication takes a step outside of that culture. His ideas are instantaneous and hip and right on and tightly within the context he constructs for them. He questions the dissemination of information, not unlike the way in which it was questioned when Marshall McLuhan wrote his landmark THE MEDIUM IS THE MESSAGE. But Miller describes an approach to information that attends to its complexity & how it flows, specifically in music, in the way we speak, & in the way we know. Everything that has ever come before a certain temporal place in the structure of awareness shapes how you perceive. In order to stay on top, you have to possess " multiplex consciousness". Everything is changing all the time. No stagnancy pervades our existence. Everything folds into itself within the next click of the second hand.
Watch the fluorescence glow as you turn the pages. Respond to the shadow boxing with imagery as you read through the words.
Philosophically, Miller believes in layering as the principle of experience. This is the momentum behind "DJ-ing". How to put experience together in a way that you get the most out of it.
Talking is great, but why don't we eat, listen to music and have a drink in our hand at the same time.
Then change focus, as the CD turns, as the language transforms.
Let's eat and enjoy the food and listen to the music and talk about both later with a drink in our hand.
With a drink in our hand, why don't we look at each other and comment on each other's appearance, and then go dance to the music, and then let's eat afterwards and talk about what we have been doing lately. Interesting, hmmmm?
We travel the globe, we plug in, we respond to the traffic. I mean, what kind is it? Cars, jets, smoke, people, rain? How do we describe the experience...There...that is the object of study. That is the subject of the heart beat.
Man, let's keep going.
This book uses autobiographical material to support Miller's building of his intentions, how the foundations for his process of creation are laid. Miller refers often to his intellectual plunges, which vary substantially one to the other- from books to music to art. His job is to simplify but keep dense his translation of what has the most significance for him.
And as I explained to a friend of mine about this book: "All the words in this book are so meaningful that what I read cannot keep up with my thought processes about creation on my own time. If I have one way of expressing them, it is through my writing, I suppose. As for my visual art, it is pedestrian in comparison with the largeness of my thoughts. The art is almost squelched because I cannot do it fast enough or I cannot express what I want to enough in the art or my response to the talking the art does to me, I cannot hear."
How you pass through time is how you learn. You can make real this education by what you do. The sacrifices you make show up in the choices that the art tells. You will hear the anguish if you can; you will feel the sexiness; you will observe the forest; you might see the trees; you will see the cycle of repetition which becomes the seeming straight line from A to B. Hey, what about "A and 1/2"? Remember that...Jump in. Do what needs to be done. Don't let anything get away. Not a sound, an insight, a conjecture, a truth, a falsehood, an illusion. Even if you do miss something, it will influence what you do later anyway... just find the rhythm again and go.
So Miller reveals the reason that he adopted the moniker "DJ Spooky, the Subliminal Kid". But you know what? I ain't telling.
"Get my drift?"
"No path lasts longer than one step."
And each step is as real as the one before and the one that will come afterwards.RHYTHM SCIENCE is a book. Yet, it takes on a life of its own and behaves like a performance. The design of Miller's book works on visual, aural and tactile levels. The text challenges cognition, recognition, focus, and comprehension. The accompanying CD brings to us the sounds that indicate his writings.