>>168
>Tor doesn't help even a bit for your anonymity as to whether the local authority can detect whether you're using Tor.
Yes I know that. The police will know the location, and whether or not Tor is being used.

I think I really didn't make it clear what I mean. The "regional" network I refer to refers to a public network rather than a private home network. A public network means that many people are using it at the same time, and more users do mean that individual traffic will no longer glowie in the dark. What I envision may be that in a regional public network, there will be really a large number of people using the tor network at the same time, which makes the anonymous method completely effective… (assume that biological threats including cameras and monitors are not within the scope of discussion)

But you know, of course I doubt whether people can get this place, but I don't think it should be so difficult in Europe. The tor network still needs more publicity and popularization, so I want to use it more. If you think that I only allow visitors visit my bloated website over tor will cause a waste of bandwidth, a better way may be that I shrink more media content, but this becomes very strange again for me. It seems to me that it is an unnecessary restriction. I would rather become more "unethical" and be a "user" (but then again, I don't think I have ever done any actual action to pay for foss commmuuunity or tor network)

>>171
As for my using of home network which totally makes me glowing, ich finde that in fact, when cops cannot access the inside content, they will not care at all, since they're clumsy and lazy. Another possibility is that cops are no longer planning to watch me now. Because the previous situation of being watched by cops was in SH, I later found that outside that place, including Guangdong and Fujian, that kind of situation would not occur, especially Fujian.
So I gradually came to the conclusion that in addition to give up using the internet, the way to be truly anonymous is to not let any glowie user/group/platform know about myself.

Well, maybe I have added more unimportant details now.

>>171
Oh it still doesn't make sense to me because using Tor itself is just "dangerous" even if you're in a public network unless you do something about your MAC address etc. and I think you already know that. You individual traffic will always be glowing in the dark and when Tor is popularized they'll just crack it down completely. Using Tor is of no help. China works just different from the States, the "threat model" is completely different. You're confusing the case in China between the case in the States or EU. It's just totally different.
In China simply being a Catholic can make police contact you, and using Tor is no different from being a Catholic. They may not know what you're doing on Tor, but they don't care. In the first place they're doing this not mainly for censoring but for the sake of creating an isolated economic system so that the big techs in the States won't be able to monopolize the market and make Chinese internet dependent on the States.

>>172
In the States and possibly EU they really want to know what you're doing, but in China they just don't. It is not that when cops cannot access the content they don't care, it is that since normal user won't access your site they'll no longer care.
But still I don't understand why they are shaming themselves by lol watching even you. They're too rich maybe. There are plenty of people hosting websites on an oversea server, in Beijing or Shanghai, but I've never heard similar stuff happening.

>>171
And again why so personal? I'm not saying that your site is problematic. I just don't let any media to be played on Tor and it's unreasonable to connect to, say, piped, over Tor, that was my point. The crucial point was piped, not your site which I doesn't care. Whether you host a clearnet site or not I don't care. Whether you do anything on Tor I don't care, but the point simply is, to stream video over Tor is totally unreasonable and strange and I can't think of a single reason to do that. And that was that and no more.
But on the other hand the claim that Tor introduces anonymity regarding Chinese authority it just doesn't make any sense. Over a proxy they'll never be able to know what you're doing on the net, except that you're connecting to a proxy, so it's no different from Tor, and maybe better since stuff like v2ray can obfuscate more completely than obfs or snowflake since they're specifically designed for that.
The picture you attached and stuff like that it's really about the case in the States. They normally won't watch people simply because someone uses Tor. Even if you're the only one using Tor in a public space to really get you they'll need to first trace back from, say, a black market activity, and google search logs (which are stored like for 10+yrs), and isolate that area out, and then they'll be able to catch you because you're the sole one over Tor. But that requires hell more work and is much more precise than what the Chinese are trying to do.

>>149
Mika Vainio is the one I'm least interested in. His music lacks a minimal amount of complexity that will make me keep interested. His music is energy-driven, but I'm totally uninterested in this "guttural" aspect of music. Characteristically Vainio's music is very Hindu and without much Logos.
Alva Noto's style is bourgeois but he can create rhythms with a lot of drive and force. It isn't something bodily, isn't associated with literal dance; he's really good at making broken passages, his breaks while repetitive are always violent and at the same time never groovy. I think Ikeda's rhythm is also not "bodily". I don't like traditional electronic music rhythm that "makes you want to dance" or whatever that reminds me of club since I hate club. For example I don't like ultratronics 07, 08, 09 but I love ultratronics 02, 04, 13.
When Noto works with Vainio or Ikeda they create great music. For example mov.4 and mov.10 in Live 2002 was impossible without Noto.

>>152
Any album recommendations for Alva Noto?
By the way, I see you like Atom™. So why is his music not "bodily", his music made me relate to some Nietzsche-blackmetal stuff. Energy. Idk, I'm really impatient when I listen to something like Atom™. Maybe too chaotic sludge metal like this https://kollect.itinerariummentis.org/user/gesang/items/019311c9-97d4-7841-9246-78fd58fdc8a2 would also make me impatient to finish all their tracks. But theoretically I really liked this one.
Okay, I didn't even finish listen Sleep I guess.

>>158
Recommendation? No, his albums are not good, but I learnt a lot by simply listening to him. I just like how he handles rhythm, and only that; I don't like his other choices, especially his choice of tones and the whole aesthetic. You see I always separate the good parts out and when I recommend/listen to something it's nearly never wholehearted.
When he works with Ikeda/Vainio it becomes good, for example Live 2002, and Cyclo. Id. Especially Cyclo. Id. It maybe really hipster but the way the sounds are organized is mind blowing.

IDK how The Body can be related to Atom^{TM} since I sense no connection between them. But neither of them are chaotic.
"Bodily" is something subtle since everything can be "bodily". But for me when rhythms become fixed and groovy like, eh, traditional electronic music, it becomes "bodily". And I need organization.
Atom^{TM}. Wow, why is it chaotic? It's extremely ordered to me. In general I want musicians to restrict the range of timbre/tones they use and organize them well without being too club-rhythmic/groovy.
The Body has a slowly evolving texture and a dynamic. I don't think it is similar to Sleep at all. Sleep is stoner and has great solos but sounds like a jam band, The Body is really more like Sunn O))) but more structured.

For me Nietzsche is really never related to any electronic music, neither to black metal. Keith Jarrett's improvisations, especially Vienna Pt.1, Scala Pt.1, Paris Concert, they're Nietzschean. I'll never link Nietzsche to any subculture-like music but to the grand Western tradition and Americana, etc.
It's really strange to me since Nietzsche for me is a philosopher of value and morality, not a philosopher of whatever will to power. He's an extremely ethical and classical man, and to some extent Deleuze was also an extremely classical man, his philosophy per se never reminds me of any electronic music or subculture but classy Leibniz, Spinoza, etc. I don't understand the connection you makes.

>>160
>rhythms become fixed
I remember once I said that rhythm is important for me, actually my point is that, the focus on the dynamical flowing of rhythm, not a fixed rhythm. Club-like techno electronic music always has a fixed rhythm, that's not what I like. I always think that Subotnick is the one who has a great grasp of rhythm in his music, especially in his Until Spring series. Like a rhythmic metamorphosis.
>I don't think it is similar to Sleep at all
Yes I'm also. I'm not saying that AtomTM is similar to Sleep.
>The Body
Their album is obviously chaotic to me, i.e. layers of digital effects are very rich, and their blending of electronic stuff (A Cloud Broke Open). I feel that The Body is indeed industrial music.
Sun O))) is not chaotic for me.

The premise is that the chaotic I refer to is to the timbre and sound, i.e. chaotic means too much noise. As for the structure, I view it completely separately from whether it is chaos or not. For a industrial example, some of Jun Konagaya's music is chaos, but it is clearly structured, but some of them are purely chaoic. Of course it is the structure that I can perceive.

I guess it should be something of a mathematical intuition for you to associate "chaotic" with the clarity of structure, so maybe this is because my terminology here is not mathematically unified (obviously I am just starting to learn FOL now), but I associate chaotic more with the richness of noise, in music, especially for metal music or industrial music, this should also be understandable I think.
>Deleuze
May have been abused by many electronic musician or Bernhard Lang.

>>161
Oh please don't single out the individual phrases. It's OK for me that they're fixed if they're fixed properly and the fixation doesn't remind me of a certain already-formed, highly stereotyped (sub)culture.
Also I'm constantly updating my conception of music and what I've said a year ago or so won't really work for me. For example one or two years ago I would have thought that music may really be about sound but now I've abandoned that position since I'm constantly being dissatisfied by contemporary music. When I say something is "great" it is not usually admiration but simple approval of a certain germ that I think is present in this something which is worthy of looking into.
The point is still to use the right sound for the right rhythmic pattern and this "rightness" I guess is not an abstract invariant. People like Subtonick have too much going on in their music so it's hard to say anything substantial when we're just going to single out the rhythmic aspect. But let's say, ultratronics 04 versus 02, the former one utilizes sounds that are more "round" and "bouncy", if these bouncy sounds are replaced by harsher sounds like those used in ultratronics 08 it won't work at all. This is not "horizontal", but its more natural for the horizontal expansion of the, say, musical structure, to be more coherent and structured, than when the sounds just are organized for the sake of, say, the richness of the overall soundscape.
If I'm to make analogy to poetry, some poets, though widely liked, are just pure shit to me since they cannot stop using their literary devices and often use them inappropriately. The breath, the flow are simply absent in their poems. For example, even though I like Trakl's poems, his poems are very "idiotic" in that he didn't seem to really notice any of the rhythmic, "metric", aspects of his poetry. Hoelderlin, by contrast, is very conscious of it, so in the "late" poems (written around 1800 not after his madness) he switches between the short terse Hebrew form of metrics and the seemless, flowing, grand metric of Greek poetry, and his language, his literary device, also transforms in accordance to the transform of the formal aspects; and his poetry is always extremely structured. Now, what I'm most dissatisfied with, say, Autechre, is that his music when made analogy to poetry is like poems that are densely filled with metaphors, symbolisPost too long. Click here to view the full text.

I don't like making my own furniture like an art student, tbh, it's not because I'm afraid of doing woodworking stuffs, but because I hate spending a lot of time choosing ANY complete sets of tools.[1] Imagine one scenery: If you have to diy furniture by yourself (then put it in an uncertain place), you have to buy those tools (then throw it away).
Of course, after I have my own land one day (and have saved a lot of money at the same time), I will definitely buy all the sets of tools.

[1]: I guess this is mostly due to my childhood addiction to DIY (all girly stuff). At some point you had to throw away some tools in the middle of growing up (it was impossible to not happen), it was just painful.

>>136
But sadly the truth is this. You would never be an aristocratic guy if you overly possessing it. Wagner's compositions were never aristocratic. I totally appreciate him in a dramatic way, which is how I see Wilde.

In fact, Goethe, Wagner and Mozart, their real lives remain consistent in their aristocratic qualities - if we really don't think that poets like Schiller are somehow aristocratic. So apart from some of Mann's really irrational and exaggerated writings on Wagner, there are still clues to these details, these iconic funny and embarrassing moments of these maestros.
If someone didn't know this: Mozart and scatology
It is scarcely only the agonizing poets who are in opposition to the (monastic?) philosophers, but also the aristocrats of this grandiose liberality, and the devout pedagogues. For the last one - devout pedagogues - Steiner is a good example of this kind.

Any works of art that I align to complete me. Bruegel's paintings complete me, an enormous number of compositions complete me. Bohor and so on definitely complete me, but artists or any individuals couldn't complete me in any sense.
An individual's works could "complete" me but this individual cannot. If there is a work of art, of love, a result of love, then it might be possible to complete me in the sense of, art.

>>132
A decent poetry translator should be able to literally re-write a corresponding poetry work, which could reflect and also interact with the original work. It's a mutual permeability.
All footnotes should been written in poetical or philosophical language. We don't need every translation to be accurate and authentic to the original. Etymological or philological interpretation fragments everything.
I'm definitely romanticism in this regard.

>>133
For some particularly ancient works, the authenticity of some works is a topic of discussion. Basically all facts related to the entirety are not unimportant. But for some single random verse, translator in the footnote thought they somehow reflect poet's blah blah emotion —— they even use some daily terms to describe that —— is just ridiculous!

I recently found out that some of the translators of Tolkien's works have killed themselves. Then I checked their blog etc. I don't understand why these translators are so pessimistic about their lives, so worried about all the boring details… Alas, the most disgusting thing is their net friends (editors or fans/watchers etc…) said "don't talk about the reason of their death", because they think it's their respect for the dead! Oh, they even use some Tolkien terms to complete a whole Tolkien cosplay drama to describe the leaving of the dead. This is their life… How magical. How fragil.

The Riverside Chaucer, https://archive.org/details/the-riverside-chaucer.

The Ages of the world, 1815.
Archived at: https://deep-swarm.xyz/share/archive/Schelling.the_Ages_of_the_World_(1815).pdf

Mystics of the Renaissance and Their Relation to Modern Thought, Including Meister Eckhart, Tauler, Paracelsus, Jacob Boehme, Giordano Bruno, and Others, https://archive.org/details/mysticsofrenais00stei.
Archived in https://deep-swarm.xyz/share/archive/Steiner.Mystics_of_the_Renaissance.pdf

永恒回归的神话，The Myth of the Eternal Return, 上海书店出版社 (2022).
Archived in https://deep-swarm.xyz/share/archive/CN/Eliade.%E6%B0%B8%E6%81%92%E5%9B%9E%E5%BD%92%E7%9A%84%E7%A5%9E%E8%AF%9D.pdf

在康德与黑格尔之间，Between Kant & Hegel, 商务出版社 (2013).
Archived in https://deep-swarm.xyz/share/archive/CN/Henrich.%E5%9C%A8%E5%BA%B7%E5%BE%B7%E4%B8%8E%E9%BB%91%E6%A0%BC%E5%B0%94%E4%B9%8B%E9%97%B4.pdf