Dear Subscriber! Audio Pervert presents The Counter-Intuitive!
July 2023 the old Audio Pervert website counted 5.14 million page views by visitors from 84 countries. The website had also reached a structural limit, unable to grow any further or provide new engagement to the readers.

Called " the counter intuitive " the new website is 100% open source + you can also support me if you wish with a small annual subscription ❤️ Weekly Updates. Check out stories, essays, videos and interviews covering Music, Sound, Climate Justice, Ecology, Human Nature or sometimes just about anything which resonates in our Poly-Crisis World! Welcome to 'the counter-intuitive' by Audio Pervert on Substack.

"Time to say goodbye to this Jurassic interface (never expect any better from Google to be honest) FTT "

Since 2017, Fembot5 has been consistently publishing research, data, narratives, info-graphs, stories and dialogue, all pertaining to empowerment of female talent in music. Focus being India. The Fembot5 initiative started with an anonymous writer and activist putting out the primary manifesto to combat gender inequality via research, advocacy and action. Two years in the making, the initiative has grown rapidly with the generous help and contribution from more than 40 professionals, artists, musicians, DJs, designers and even academics and activists across the world. The daunting challenge of bringing empowerment models and resources to millions of aspiring female talent in India - in a democratic and sustainable way, instead of the institutional populism which is mostly cloistered in nepotism, cherry-picking and brand sponsored agendas. Upper class cultural justice is token and branded. At best, as of now, a bunch of well-to-do women clinging unto their careers and privileges. The on-going exchange between mentors, experts, writers and activists, has decided on a key-change, that was needed to bring this initiative to manifest itself in reality, in India. Change being the keyword in this context. Introducing FEMWAV!




Fembot5 has transformed into FEMWAV. The new name mirrors the rise of feminist activism becoming a globally visible movement. FEMWAV is synchronous to the rise in conscious feminist actions which are taking place in many forms allover the world, to question, combat and dismantle gender bias and inequality. WAV being a standard attribute in audio-technology. A new website, social media outposts and formation of the core team marks the official launch of FEMWAV.



Uvika Wahi, heading the FEMWAV editorial and content states "FEMWAV gives me the opportunity to live out my personal goal of practising feminism through an inclusive lens - in a broader capacity. In writing, collaborating, and deliberating over ideas for FEMWAV, I am only doing what needs to be done. The idea is to steer clear of bathos and forge a standout community for trans women, cis women, and non-binary people and cultivate a terrain where they are not afterthoughts or tokens or mere witnesses". In its new form FEMWAV will expand in manifold ways - Elevating the conversation about gender inequality and bias in music. As a host of 'foothold' actions in India, FEMWAV is focussing on electronic music and arts. Expect a range of tangible opportunities, boosting public participation and creation of independent spaces for female talent (2019-2020)

"I was in India recently, and having met many female artists (amateur and or professionals) engaged in the question of empowerment, representation and independent music - It has become quiet clear that most institutions, festivals, media outlets, nepotistic tastemakers, privileged 'industry' men and women do not really care. Nor understand the need for empowerment, for cultural and social justice. Consequently failing to cause any real change. The utmost need is empowerment which is democratic, tangible and pertinent" states Audio Pervert, now a part of the FEMWAV team. The Audio Pervert blog remains committed to the Inclusion Rider, launched by Fembot5 earlier in 2018 - providing equal space to both genders in terms music and content. Stay tuned for more updates,  and participative opportunities to be launched by FEMWAV in 2019 and 2020...

'Extinction' is the 7th independent album by Audio Pervert. The album [duration 34:10] is dedicated to Climate Justice and the 6th Mass Extinction. The sound is a reactionary outcome to the on-going sacrifice of the ecosystem and the planet for the continuation of industrial civilisation (human progress). An audio-narrative, call it Post-Techno, using minimal resources made of analog instruments, field recordings and virtual processing. Splitting the attention between tone, modulation, rhythm and space. Speaking of a release date? Alexander Robotnick is about to release it on his label. ▶️ Download The Extinction Crude_Out ▶️ Stay Tuned!

The zeitgeist of our times is indeed paradoxical and full of disruptive cultures. The existential crisis of a seething roaring mass of millions and millions is flooding the internet. As a league of 'psychopath' world leaders quibble and quarrel over resources needed for the survival of industrial civilisation which is clearly in chaos and jeopardy, youth sentiment and public out-rage soars. Visible and felt allover mainstream internet, taking on forms unseen before, reflected via memes, text, video, underground music, propaganda and sensationalism. The ethos of locally concocted digital disruption. Opposing sides of the political spectrum seem equally weaponised with resources, band-width, music, cloned avatars and oodles of childish line-art. Deleuze and Gauttari, post-modern philosophers, had predicted the advent of these self-serving identities, of late-capitalism, at least 30 years prior to global manifestation.

Hauntology (a word-play between haunting and ontology) is a concept coined by philosopher Jacques Derrida, He introduced the term in his seminal book Spectres of Marx, written in 1993. Hauntology refers to the situation, or age of temporal, historical, and ontological disjunction - in which the 'apparent presence of being' is replaced by a broken non-origin, represented by "the figure of the ghost, which is neither present, nor absent, neither dead nor alive." Living the past? Dreaming of a future which would look and sound like the past? A past you were never a part of. Two decades later the theory lingers on, yet it's manifestations are seen allover popular music and culture, in genres of art, music, video games and emerging digital technology. Art and Music Pre-occupied Pre-packaged. This temporal disjunction defined by a "nostalgia for lost futures." We are living in the 'Retro-Future' for reasons unquestioned and untold. We are playing instruments and using production tools which remind of us some by-gone (golden) era. We are yearning and wiring sound to be like some 'other' age. We are making up genres (bogus) based on tides which long crashed in the 80s, 70s, 60s and so on. Are we using all these vintage emulation synthesizers because of Hauntology?

Climate change is real. As real as the very earth we live in. Our actions, our choices, consumption,  competition, greed and ignorance has lead to this global break-down of the 'natural order'. An undeniable impact which is being felt today in many parts of the world, set to escalate and worsen for the future generations. Our children and grand-children (and their's) are set to suffer the consequences of unlimited growth, rabid consumption, industrialisation and globalisation. The amount of carbon 'pumped' by us is simply killing the planet and it's inhabitants. Humongous forest fires in California, Finland, Portugal, Spain and Greece. Epic hurricanes in Florida, Puerto Rico, Jamaica and Cuba. Flash floods in France, China, India, Bangladesh, Honduras and Mexico. Ice caps melting at 'a never before' rate in the Arctic, Antarctica, Alps and Himalayas. Acute ground-water shortage and erratic rainstorms in Central Africa, India, USA and Honduras. The oceans rammed with polymer and industrial acids. The extinction-rate of birds, animals, fish and insects is higher than ever. Two in seven children suffer from respiratory diseases in the biggest cities of the world. The list of catastrophes that rises every year has set a wild-fire of fear, speculation and alarm amongst thousands of scientists, academics, activists, policy makers and citizens [of all faiths and none] in many nations : those who realise the morbid symptoms of a planet which is clearly sick. So sick of it all?  So what does music have to do with climate-change? What does a Polar Bear have to do with Carbon Emissions? What do bees have to do with your holiday package? Does popular music react to the biggest threat facing the planet (since the discovery of the N-Bomb)? How can music make a difference in this war against extinction? Do we as artists, care about awareness, survival and counter-action?  Increasing number of artists do, however as always, the action is at the margins. The answers not easy and we are left with little time...


The Doomsday Song!
Antonio Gramsci, Italian theorist and writer, circa 1920, wrote "Humanity has a choice in the twentieth century : do we continue to serve the machines and masters or do we stand, work and live as equals? That should not be a difficult choice for most people" Gramsci's question, almost a century later is still as valid.  Billions hooked on the internet, feeding and serving algorithms owned and controlled by Google, Apple, Microsoft and Facebook. "The information systems are created to promote business, sales, full of click-baits geared for increased consumption. Therefore we see little space dedicated to conservation, awareness and information about climate-change on Facebook and Twitter. Google Ad-sense tells us labels like "Christmas" and "Black-Friday" is more 'profitable and attractive' than words like "Climate-Change" and "Carbon Emission" Emma Grienger speaking at the Impact Of Climate-Change Summit UK 2017. Scientists, politicians and academics are at war, over climate change and future risks as time runs out. We are at the tipping point now, as more ice melts and global temperatures soar. The call of the rational is about action - not be an alarmist nor live in the fake bliss of denial. "Where did all the blue skies go ...got poison in the winds that blow" sang Marvin Gaye in 1971 in his soul-hit 'Mercy Mercy'. Big industries, coal and petro-chemical giants and vicious capitalists (the likes of Donald Trump, Shell, BP and Exxon) continue to deny climate-change and their responsibility in the on-going destruction of the planet's ecosystem. It's mutually assured destruction. Spells MAD! Mainstream media-bells are ringing the doomsday jingle every once a while, however failing to provide any cohesive reforms or recourse. Mainstream culture has very little 'space' for addressing extinction, instead dancing away to the death march of acquisition and consumerism. Most pop-artists, major record labels, music festivals and popular blogs remain silent or oblivious about the subject. A large part of their content is instead looping on brand hype, icon-worship, merchandise, tickets and discounts, as seen on twitter, instagram and facebook. 'Rock and Roll Gods' and 'high-profile Divas' have voiced solidarity for the protection of the environment,  however it mostly serves their public-image and career, sans any real sacrifice or tangible effects. 95% famous DJ's and EDM superstars flying around the world are 'mute' or clueless about climate-change. World Tours and tens of thousand watts running on fossil fuel economy. The 'petro-billionaires' keep counting their profits. The crux of artist activism and environment based music is at the fringe, the 'up-standers' scattered in countries like Canada, UK, France, Germany, Brazil, South Korea, South Africa and USA. At an intersection of arts, science and activism. We are hearing emerging voices, music, rap, dance, poetry inspired by climate-change and the environment - concept based compositions, installations, video and code using climate-data. 'Disruptive Culture'. The old social paradigm, now digitally re-activated via people across the world, is engaging in 'non-violent disruption' - aimed for real change and as a possibility to avoid mass extinction!





'And Then?' Art by The Climate Music Project

Progressive Extinction Rebellion?
"You cannot use the word hope if your not going to resist" said writer, journalist and public activist, Chris Hedges at the annual Oxford Debate in 2017. "We are in a herd-mentality under mass hypnosis of sorts. Why are we waiting for the state and industry to intervene? when evidence shows 'they' have done nothing to stop fracking, mining, coal emissions, nuclear threat and industrial pollution" asks Gail Bradbrook of Extinction Rebellion. 'Grandfather of climate-science' and environmentalist, James Hansen puts it out straight - "As individuals, if we are not going to reduce our carbon-footprint, we are adding to the problem, making it worse every day. Our pollution, plastic, carbon-di-oxide and emissions directly effects the climate and everything connected to it. Think again about those cheap airline tickets, duty-free shopping, the trash on the beach and tourism. It's all connected". Radical change may not happen, nor is impending doom going to disappear by denial or mere hope. Folks who deny climate-change are similar to those who believe in a flat earth. The progressive side of change is in the assertion of individual and collective will, which translates into action, on a daily basis, however small or fringe. "The Dramatis Personae, are deficient as well, being us. Too many villains can mar a plot as easily as too few, and “starring everyone with a car” is a large cast indeed. We don’t much want to be told that we’re the problem, primarily because it implies we would have to change some of our ways" says Bill Mckibben, pioneer climate-scientist.  The Monsanto Years, Niel Young's 2015 album and the Crazy Horse live edition titled 'Earth' speaks of the devastation done in the name of agricultural science, progress and the downside of rabid consumerism. Artists & Climate Change is an action group founded by Chantal Bilodou which is building various strategies, engaging in discussions and advocating pro-active options for a cleaner, healthier and organic future. The Climate Music Project, is a new movement which combines disciplines from science, arts and activism. The team's aim is to combine the talents and expertise of scientists, composers, musicians, artists, and technology visionaries to build effective solutions to combat climate-change and environment protection. Recently Daniel Crawford, from the University of Minnesota, has written music for a string quartet that uses data and computation charts from rising temperatures since the 1880s. The composition was performed by various classical-musicians at the Smithsonian Museum as a 'Song Of Our Warming Planet'.  A study done by Impetus Global this year states "The words 'baby', 'honey', 'booty' and 'love you' were repeated 124,331 times inside 610,000 odd tunes, while words like 'environment', 'extinction' and 'pollution' showed up less than 800 times." David Viner, working at Climate Resilience states "The economic repercussions caused by global climate-change will eventually impact all sectors of human life, which includes arts and music as well. If we don't activate 'climate conscious values' within cultural and educational institutions, artists and musicians, consequently a large part of the population will not pursue progressive changes and habits."

In August we published an article about empowerment of female talent in Indian music. Scanning current projects by activists like Fembot5 plus new programs launched by institutions like Synthfarm (Kolkata), The Wild City (New Delhi), Better India (Mumbai), Padhmanabh (Bangalore) and Care India. To an extent, the globally engaging issue of gender imbalance has finally hit the shores of mainstream culture in India. Better late than never? The #metoo campaign is just about rearing it's head in India, where rampant discrimination and abuse of women exists - inside Bollywood, entertainment and media industry but majorly internalised and hushed-up or at best 'scandalised' by the tabloids. Online media in India is currently abuzz with various independent voices raising the issue of women's rights, security and participation. Singing and dancing girls and top hats of the media industry seen on TV are not going to change anything, in any nation. The gender imbalance and lack of empathy exists in many forms depending on class, involved economics and balance of gender itself in all small and large institutions. The most recent example of such violation and suppression is seen in the detailed expose of OML's litany of abusive incidents against women working in the company.

Most popular artists, singers and musicians in India are aloof or silent about #metoo and about the need for empowerment in India. However the real action is at the margins. Regional and unconnected efforts are springing up in urban India in ways not seen before. The Fembot5 initiative is the first-of-it's-kind raising awareness, recording narratives, busting myths and moving towards the creation of a 'Sisterhood of Artists' in India. However beyond the advocacy, activism and all the available data, we are expecting real change and action. The participation of women in Indian music, be it pop, indie, rock, electronica, jazz including DJs remains abjectly low and the growth rate meagre. The female sector of artists is dominated by upper-class good-looking english-speaking industry-approved divas. Question being, what do these privileged women offer to those thousands who are not-so-fortunate ?  European institutions, festivals, agencies and activists [with big out-reach and budgets] are mostly mute or ignorant about the scope and situation in India. Post 2010, many institutions and festivals in the EU are finally opening doors to gender equality and diversity. Yet beyond the doors and conferences, we witness the succession of 'cherry-picking' exotic stereotypes available and emerging within Europe. An 'internalised' culture of exclusivity and privilege persists.

The issue remains clearly complex and 'hard to measure' in India, embedded with varying opinions, mostly ignored or dealt with at a token level by the government and private sector. In India, we find a complete lack of research and policy making in this field. However the potential is simply massive when viewed as data via research. The size and span which points to a vast untapped unheard part of Indian society. No 'Occam's Razor' available for this vast demographic of female talent and representation yet. Take a look at some of the emerging data and information.

Synthfarm, India's leading residency for electronic music, modular science and sound production has initiated new programs, scholarships and faculty for 2019 and 20. The bi-annual residency has transformed into an annual event, now a formal institution initiating empowerment and development programs in the field of electronic music. Indian talent, emerging artists and sounds being the focus of this international effort (co-funded and managed in India, Switzerland, Spain and Germany). The new website features the first sound library titled 'Sound Farm' and scholarship offers for female talent plus 13 short video narratives from various participants and faculty. The partnership page contains the call for funding : a detailed document outlining the achievements, challenges, future plans and distribution of resources. The residency set in a garden estate inside the lush tropical canvas of West Bengal, is a bright example of creating music education and fostering creativity : electronic music and technology which is 'open to all'. Synthfarm 2019 is on 1st, 2nd and 3rd February.



Synthfarm's ideology, hedged on 'inclusivity and openness' clearly departs from most formal music institutions in India, which are charging exorbitant prices and offering industrial grade training in return. Past 4 years of persistent planning, networking and activism has lead the project to take off  to an extent. "The idea behind synthfarm was borne out of celebrating creativity instead of copying and learning given music technology. We as an older generation of producers and synthesizer lovers in India, felt the need to create a space for learning, sharing and caring - centered around electronic music" states Lionel Dentan, who heads the modular synthesis course at Synthfarm. "At Synthfarm, i learned aspects of electronic music in an organic way using practical and theoretical engagement. Outside the traditional classroom with teacher scene" says Sameeruddin, a bollywood music producer based in Mumbai. "The students here are not afraid to ask questions or engage their doubts nor are the teachers tired of explaining simple things..." says Ryan Ossiv, a DJ and newbie producer based in Orrisa, attending the residency earlier this year. "I am very curious about synthesizers and wanted to learn how sound is created and manipulated on-the-fly. I learned how to make a small synth in 3 days" says Dhanya Pilo, a visual artist, editor and sailor based in Mumbai speaking about her experience at Synthfarm. "It feels like a great place, where we can find peace of mind, space to set up equipment and have fun with friends, producers and synthesizer lovers" states  Matt Black of Coldcut fame and one half of the seminal UK based label Ninja Tune. Matt presented ‘Ninja Jamm’ - An iOS and Android based app which creates instant music using sampled sounds with loop sequencing. "I was here last year and i had a strong feeling that i want to part of this again and again" says United Machines, a live electronica artist and producer based in Mumbai. "It's a beautiful flowering of almost 30 years of Indian electronica that has come together as synthfarm, as a community and a residency" says Darren Sangita, a producer and psy-artist from the UK.



The Synthfarm PR note states, "The cost of education is subsidized at Synthfarm in order to attract more students as well as create diversity (of classes, gender, geographies and practices). A majority of urban music schools and tech-institutions in India charge exorbitant prices (often unaffordable for most amateur artists). Our ideology has gradually succeeded in it’s objective due to appropriated funds and resources of curators and grass-roots planning. Yet sustainability over long term remains insecure, as it did when we started out. Empowering participants with access, education and DIY tools is a vital part of  Synthfarm. We are now reaching out to institutions, patrons, brands and synthesizer experts allover the world in order to create a larger impact and reach... " 




Next Synthfarm will be held 1st, 2nd, 3rd February 2019. Apply Here. For funding options and scholarship details download documents here. Visit http://synthfarm.in/

Let's broaden our horizons beyond the limits of our screens, the presets and the VSTs . Have you ever noticed that creative people can be sad? Even depressed, frustrated or angry sometimes? Or why certain artists dwelling on darker side of life come up with brilliant music.  Same is the case for movies, literature and art. Is there a link between sadness and creativity? Some folks have even correlated the relation between creativity and 'nuero-divergence'. A fancy term to explain that certain brains are 'statistically less common'. Less not in capacity yet merely in occurrence. A bane and a boon in the making. We take a fresh look at creativity in music and it's relation to production. The emerging idea that an "uncommon mind" is the key to creative pursuit and fruition of talent.



Producers, musicians, professional arrangers (those who make beats, design sounds and mix) and singers are often working inside a particular frame of mind with habitual practices for most part of their creative lives. Fame and money makes sure that most of us don't question our abilities once a certain status, or comfort level has been achieved. That's why many electronic music producers get boring really fast. Yet for the persuasive creative mind that is not enough. With enough evidence many of us find the practice of celebrity rather perverse, fake and predictable. For the artists who wish to question, dwell, take risks and eventually cull out an original narrative, creativity is a life long pursuit. Not often in this age of icon worship we hear a talented producer say "I am just not good enough to be ... " or a singer state "My songs are not really up there to ..". But the feeling actually persists amongst many artists, especially in the less than 35 age group. This is the curious case of 'Impostor Syndrome'. Many artists feel difficulty to internalize their achievements and talent. Though it is not classified as a mental disorder or medically treated ailment, psychologically it plays a big role in the life of an artist (regardless of race, economic and social background) To accept that you have done well can be a problem. Given the amount of pressure generated by the internet, peers, society and given inequalities, many artist find hope in remaining demure and quiet, while the center-stage is decked with mediocrity and hype. Women are more likely to feel this syndrome more than men suggests one study. In his book Master And His Emissary by Ian McGilchrist  describes that the right hemisphere of the brain is responsible for sparking creativity as well triggers feelings of sadness, fear and anger. Yet it's not as simple as connecting dots, especially in an age where the artists (much like everyone else) is prone to increased digital exposure, competition, anxiety and activity. The romantic notion of the "tormented artist" being super creative is as bogus as music therapists beating gongs and rubbing Tibetan bowls to heal folks off their misery.


Lets consider creativity to be personal as well as vulnerable. As artists we may question (sometimes excessively) that 'Is there any value to what I create?'. As we chase models of success in our careers, the process makes us vulnerable. Yet to be vulnerable in an honest way helps us confront ourselves: creates individuality and helps understand our limits as an artist. As artists we copy methods of success, ape ideas of instant fame, control and change 'our art' to match 'industry standards' and in process forfeit (or sell) our personal instincts and creative urges. This process on the downside makes us believe many not-so-nice folks, who exploit our weakness for a penny or thousands of dollars or for plain free labor. Personal creative desires that get cast aside by vulnerability can be seen manifesting in many ways today. Institutional or corporate or even indie. An artist who is constantly hankering for ways to increase his/her followers or a producer who is spending more time on instagram posting cats laying on synthesizers or the rappers who are battling other rappers on snapchat into a 'death-match' of verbal diarrhea : Hours and days playing upon our vulnerability. The examples of vulnerability exploitation can be seen inside the business of software, propaganda agencies, festivals, bookers, blogs, sampled sound vendors and tech-publications all aiming for profit maximization, using hundreds and thousands if not millions of musicians and artists every day for their end-goal. Enrichment programs and content which is sold to us has never been tried nor tested on anyone before. There is zero proof that all this 'exclusive' expensive content is of any value to build creativity or artistic improvement.


Creativity is not Production. The two words are often interlinked by academies, institutions, software companies and many bogus experts in order to create a shroud of 'discourse'. Production and technical knowledge (boils down to speed and accuracy) are very effective options when we want increase our chances in succeeding inside a factory. Alas not in music nor any creative pursuit. We must have X'new' plug in or Y'new' sample-library of Z'new' software every year. We must check out the new (yet very needless) gadgets that hit the market like a treadmill every year. We must chat about the 'latest new whiz controller' (pieces of plastic and circuits assembled by nameless wage slaves in China, Vietnam, Romania and Indonesia). A lot of the new software(s) we use everyday to produce and mix music is not breaking new grounds and is actually rehashed ideas with better looking visuals and buttons. Hundreds of 'faith based academies' offer thousands of courses about Ableton, Logic, Pro-Tools, Reason, On How to Mix/Master/Make techno, house, glitch, trap, dubstep, rap etc etc to emerging artists (at exorbitant prices), in process converting fresh minds into industrially certified button pushers. We will not name these bogus alters of learning simply because there are way too many, yet artists should be aware of the hoodwink claims and pitfalls of wasting their time and  money. Every pioneering software eventually falls into the routine of stereotype production, almost like an organized religion. Creativity has no particular value yet Production does tend to put a value on everything. "Technology has a clear bias simply because it was made to achieve a very clear goal" says Tristan Harris, an ethicist based in San Francisco. While one is clambering to cope with new technologies and production tools, creativity much like a bird, sits out on a tree singing, waiting, for a wave of fresh air. Creativity has clear no end-goal given it's elusive nature and function. Many times, these 'hoodwink experts' are merely exploiting your 'existential angst'.


Art is never made in a vacuum and it always has some socio-cultural or political context. Techno rose up from the debris of an industrial wasteland. Jazz and Rap was borne in politically divided cities by struggling minorities in post-colonial america. Reggaeton is a product of south american slums and very violent social conditions within. House and Disco have strong links with cocaine and club culture which struck 'gold' in Italy, Spain and America. Without that context music is routine industrial culture : millions of tunes with top-notch production riding on technology based repetition. Like new models of cars, perfumes and fashion, society must have new hit-songs every summer (not new kinds of music nor new kind of songs). A musician can be seen as industrial labor when the number of songs or hits to be produced is directly proportional to the rewards to be earned. Via production we try to achieve creativity and it often leads to frustration or even boredom. Very often we find ourselves repeating the same routines while producing music. It's automatic yet it's not really creative or pleasurable work. What's worse is that many artists peddle their state of mediocrity as their creativity (Many EDM stars and pop-divas are contemporary examples of this phenomena) Are we listening to the sound inside our head? So what about drugs and creativity? Seldom do music writers, tastemakers, elite institutions, radio and festivals speak about the effect of drugs on creativity and music production. The reason is obvious. More than half the 'industry' is consuming marijuana (privately) at least if not higher alternatives. The lifestyles of many famous DJs, singers and rockers is replete with drugs and booze to attain greater creative grounds. Who Wins? We all know that. Social, cultural and scientific research shows that creativity has a close link with drugs: and especially THC, amphetamine and hallucinogenic drugs. Yet that debate (use and abuse) is very wide open to  bias as well as skepticism, depending where you are and what the politics of your society dictates. One can choose to completely reject the field of drugs in favor of meditation, yoga or even physical exercise to harness creativity. Some artists find creativity in nature or amongst animals. Some inside zero visibility rooms, some find inspiration in science and data. Some folks find creativity around friends and peers and a few even hanging around abandoned buildings and rocks. "If your genuinely looking for creativity, chances are it is looking for you as well" Bennet Riemer in his book Philosophy of Music Education in 1970.



In music : rejecting norms, breaking rules, re-inventing and playing with chance is as important as formal education and practice. Society in general tells us otherwise. Software does not boost creativity. There is no evidence to show wether a song will sound better if we use software x or y, if we use instruments A or B or record our tunes in a fancy multi-tracking suite versus a run-down garage studio. There is no reason not to put reverb on a voice. An echo need not be always in perfect time. The same note need not fall on the same place. Quantization can lead to an overkill of space. Many many tracks don't add upto a 'bigger sound' and a 'fat sound' is no guarantee of a hit song. The uncommon mind contains the seeds of creativity and the world is the environment for that very bio-social energy to grow and take root. Creativity has no morals, not at least social or political. Creativity plays with our senses, our bias, ability to change and respond to stimuli. Creativity has no given relation with virtual objects, boxes and lines inside a software. Sugar levels effect creativity way more than a virtual knob on the screen or a piece of plastic called 'Push' or 'Venom'. The uncommon mind is a very good place for creativity. A trained mind can perform better yet for what purpose? Production is a skill that is optional and should not be negotiated with creativity. Technology should serve creativity and not the other way around. Don't let your creativity be caged by fixed ideas, routes, softwares, brands and heroes.