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Titanium playthrough

This collage poem. An analysis of sorts. Ghost town and haunted love. Musicological and social science analysis are unhelpful here i.e. trying to translate sonic content into a system. First-person self-referential writing won't cut it either, because such an approach produces reductive fictions of experience, and makes for boring prose. Let's go for something more and less faithful to the personal... poetics as an excavation of experience (sonic, online, social), overturning of personhood via internalising black-hole focus. Poetics sets in motion meaning-making as play as meaning-making... What do I hear? 'Titanium (Ti) is a lightweight, high-strength, and highly corrosion-resistant metal with atomic number 22, widely used in aerospace, medical implants, and automotive industries.' X listened back to this track via headphones many times, alone at home and on the move, and each time, this time, being no exception, the digital, sonic space-form and spatial textures initi...
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I write this directly to you because... 'i never felt this way for no one' listening to music in 2025 is bringing me closer to my self which is the same as bringing me close to you and further away from myself, from any self. Further from self and deeper into incompletion, into intersubjectivity, to a non-subjective some thing, more-than self. Might personal listening radically reshape the space-times of experience, with intense and excessive reference to its own circumstance, direct reference to the trials, tribulations, experiences, and transformations of selfhood? What are the limits of possibility of being a person, of being you? (unlimited?) What does a notion of 'you', of being you, set limits on? (everything?) How might troubling those possibilities and limits impact upon your relations with others, with individual and collective agencies? How is a sense of freedom, of escape from violence, and of participation in, perpetration of, violence, obliterated by the ve...
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 'Yeah, I wanna dance to me me me me me me' internet drek, or 'warholian', and reflective of a braindead online culture? Charli says its both listening to me me as you to 'we' as me the me in the mirrors dancing with them selves 'when you're in the mirror you're just looking at me' first-, second-, third- person really imaginary inter-subjective you-me-they alive in headphone selfie space 'by way of hip-hop' circulating lip synced clips 'fucking is the other' enacted and activated reflecting, refracting, transforming, cannibalising, defamiliarising, fleeing, hyperembodying spasm and burnout, highs and lows, deafening noise and ambient drift the oddly ubiquitous audio-cultural work of selfing on the internet...
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