Magnifique improvisation 👌😊😉👍💕🙋

noxpox - SCHMIERLAPP

noxpox - pimpf

#expermental #rock #electro #expermental #indierock #indie #pop

Life is a long funeral

and no one to ask 8.6.25

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Caught in the Non Act: excerpt upcoming "a Rock-or-Die Opera"
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music: beats and tune by szalap  @kacper-razdwarazdwa
// ...and additional samples
by fictionalive
/

lyrics written and 
narration provided by fictionalive
// 

excerpt of:
The Stage On Which You Perform: a 'Rock-or-Die' Opera 
https://soundcloud.com/fictionalive/a-rock-or-die-opera


fusion of it all - fictionalive with the popoems series and the hyper media reports
//


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dropped
Thursday, August 8th, 2025
time - 10:39 AM Central European
Hot Summer Time Zone
today: chaos unfolds —
clouds weep showers of sorrow,
laughter born from disbelief

/
/
// keep shining, crazy little diamond

/
// *

/

"Caught in the Non Act"

At first glance, the phrase seems paradoxical—a riddle whispered in smoke. To be “caught” suggests interruption, perhaps even exposure, yet what is unveiled is the “non act,” a moment defined not by what is done, but what is left undone, unwilled, unexpressed. Here, systems of intention and volition collapse; the actor is held—and holding—precisely at the threshold of action.

I. The Paradox of Presence and Absence

To be “caught in the non act” is to be present at the site of absence. This title evokes the liminal: a threshold where anticipation, hesitation, or silent refusal takes the stage. It aligns with Zen thought—the uncarved block, the sound of one hand clapping—gestures toward meaning that reside in emptiness, stillness, and restraint.

II. Agency in Inaction

Is inaction itself a form of agency? Existentialist thinkers such as Sartre argued that even not-choosing is a choice. To be caught in the non act is to dwell in the suspended animation of potential—the lived tension before choice crystallizes into commitment. Here, the subject is not powerless but powerful in withholding, sabotaging the momentum of events through refusal or hesitation. The non act radiates with possibility, every moment of not-acting echoing futurities never realized.

III. Surveillance and Self-Reflection

“Caught”—by whom? By others, or by the self? If the non act is witnessed, it takes on the texture of surveillance: the fear or thrill of being seen not doing. It is the existential snapshot of one’s truth in the gap, the moment between mask and face, a zone often more revealing than any overt gesture. Inwards, it becomes conscience—self-apprehension at the point of procrastination, moral paralysis, or pure contemplation.

IV. Contemporary Resonance

In an era pressed by productivity and ceaseless motion, “Caught in the Non Act” resists the cult of doing. It honors withdrawal, indecision, the strategic pause, and the mysterious freedom in simply not complying, not reacting, not perpetually performing. To be caught in the non act is perhaps to find, at last, a clearing in the relentless forest of demands—a sacred ambiguity where the self can listen more closely for the next true move.

V. Aesthetic Echoes

The phrase dances with ambiguity and negative space. Like a photograph of a ghost, it suggests presences that can only be glimpsed obliquely—what remains hauntingly unfinished, the beauty in longing rather than attainment. It is the space between musical notes, the silence that frames the utterance, the spell before awakening.

Final Reflection

"Caught in the Non Act" thus stands as a quietly rebellious banner—an enigma that encourages us to ponder the riches of stillness, hesitation, potential, and refusal. It asks us: what, in this stopped moment, have you discovered about movement, intention, and meaning itself? Sometimes—the non act is the truest revolution.

Caught in the Non Act: excerpt upcoming "a Rock-or-Die Opera"

osintsteri

Hall Of Mystery

Backing track provided by JamTracksChannel ==> https://www.youtube.com/watch?v=2r1w6HFc2ig   ....Strange where songs go sometimes....
ONE WAY TO HEAVEN
There’s many ways to get somewhere
Havin’ more than your share
But there’s just one way to Heaven
And I don’t think I’m goin’ there
Sins, I’ve had more than my share
And eating too much Jewish-leaven

There’s many ways to get your thrills
Havin’ more than your fill
But there’s just one way to Heaven
It ain’t chokin’ down pills
It ain’t for the love of frills
And it ain’t eating too much Jewish-leaven
Jewish-leaven!

[Music]

CHORUS
There’s just one way
One way
Just one way to Heaven
Walk the straight and narrow
Shoot straight as an arrow
And in the Book of Life pray like hell that you are

There’s many ways to get somewhere
You don’t need to play fair
But there’s just one way to Heaven
And I don’t think I’m goin’ there
Sins, I’ve had more than my share
And eating too much Jewish-leaven

CHORUS
There’s just one way
One way
Just one way to Heaven
Walk the straight and narrow
Shoot straight as an arrow
And in the Book of Life pray like hell that you are

© 2025 Renee La Chapelle – All Rights Reserved

ONE WAY TO HEAVEN

Rough draft of "Sweet Sweet Lies" with M.R. Arocho's vocals. Added instrumentals via FL Studios and vocal distortion, mastered ambient version.

Sweet Sweet Lies

FL Studios s08152025 (Draft #1 vocals)

A little fun…..a fusion of comedy and music about, what else, burgers.

McDonalds Burgers 🎭

Solo Piano.  Created LIVE in Real-Time at St. Stanislaus Church, St. Loius MO.

Photo provided by Greg Carr, my brother.

Year of Music XIC

Year of Music: September 1, 2025

I make music because it is where I let go of the have-to’s, and become part of something larger than myself. The language I speak on the keyboard when I improvise expresses a part of me that only comes out there at the moment of creation - when I’m fully connected and in the flow. In those moments when I disappear in the music, those are where I’m most fully alive. The musical question I pose to myself when I play is largely this: how can I release my inhibitions and let go of patterns sufficient to bring something entirely new, unexpected, and enlightening into the world, with structure, precision, clarity, and depth of expression. These pieces are meditations that are of me, but more precisely, they come through me. When I’m in the flow, I’m channeling the energy and only moderately directing it. The challenge is to be open to take risks while maintaining a structure, melody, and tempo that makes it interesting and satisfying enough to keep listening. I keep doing this nightly because it’s a language, because it’s a connection to something greater than myself, and because it’s very very relaxing.

and no one to ask 8.6.25

Chris Bright

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