Part 1: Prologue (Corypheus Chant Megamix)
TONGUE
THRONG
TONGUE
THRONG
TONGUE
THRONG
Part 2: WALL BARRIER CORDON SEAL PARTITION DIVIDE
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Part 3: Parasitic/noid/social virality: six comments on @dr.kiyasu
WHAT are they nodding about 😭 ¹
I wish I was one of the 7 annoyed people in the audience ²
ok but can we ignore how this sounds for a second this is so impressive ³
Blocking...because I never want to see this nonsense again. Ever ⁴
Dont come to brasil ⁵
It was my birthday in marine corps bootcamp when you did this ⁶
¹ https://www.instagram.com/p/C48BcKtpL64/ [reply]; #theoutsideroftheinsidejoke — Preceding any formalised opinion, this engagement stage pools @dr.kiyasu’s eclectic demographic of recently mobilised, meta-platformed perspectives. From here, it splits off into the post-ironics belonging to the @bradtroemel faction, earnest opinionists followers of @weopen or jaded anti-intellectuals of the @justinbua camp. A soupy deluge of sense-making that is mobilised from base-paranoia as a launching pad for a flight into meaning whereby one asks, ‘Am I being had?’
² https://www.instagram.com/p/DD2e5-qBHhX/ [reply]; #thepara-drive — Borne from positive feedback, the compulsion to experience first-hand the resonant affect of @dr.kiyasu persists even after one might have already decided they don’t like it. The clip is constructive in its algorithmic reach, coercive in its subtle parasitism and hyperstitious in its concoction of productive outcomes, not the least of which is @dr.kiyasu’s prolific career as an internationally-touring musician.
³ https://www.instagram.com/p/DCWl0zvpZxF/ [reply]; #thepara-fan — a case of cognitive dissonance whereby @dr.kiyasu’s audience ideologically advocates for, yet pragmatically stands against, his work. Indeed, the account’s virality may be an indication of a collective tendency towards ‘ignoring how this sounds’ and instead isolating one’s focus to media’s visual performance as a captured and shared content. In light of cognitive science’s predictive processing rhetoric, which views cognition as an uncertainty reducing mechanism, the para-fan’s solution is simple: ‘the easiest way to reduce uncertainty is just to deny it’.
[@abjectmusic, @miguelprad0, @cecilemalaspina and @inigowilkins, ‘SD04 — w/ Cecile Malaspina & Inigo Wilkins — Counter the Bunker Mentality’, podcast by Social Discipline, 9 April 2020, https://soundcloud.com/socialdiscipline/sd04-w-cecile-malaspina-inigo-wilkins-counter-the-bunker-mentality, 16:53-19:46].
⁴ https://www.instagram.com/p/DEU_23zBiCd/ [reply]; #thehater— If one were to categorise @dr.kiyasu’s work under the precarious canons of noise or avant garde musics, then such aggressive responses can be understood as what @cecilemalaspina diagnoses as a ‘catastrophic reaction’ to that which exists at ‘the edge of reason’: noise. This regression, a retreat to the algorithmic familiarity of one’s tailored explore feed, is what is at risk with @dr.kiyasu.
[@cecilemalaspina, An Epistemology of Noise, Bloomsbury Academic, London, 2018, p. 182].
⁵ https://www.instagram.com/p/DFuFlwGperP/ [reply]; #thetroll — Emblemised in hostile meme-speak, there is an unchecked sincerity to fend away @dr.kiyasu’s alterity. More diplomatic than the hater, or perhaps a hater that jests, the tact of the troll comes through in territorialising the local against the noise of the global. Defensive, albeit more adept at dealing with performative and sonic adversity.
⁶ https://www.instagram.com/p/DFULzHIJlUC/ [reply]; #thepassivedoomscroller — For the explore feed nomads, @dr.kiyasu’s videos can function as a port for offloading banal and barely relevant commentary, demonstrating what initially comes across as a perplexing narcissism on audience's part that constructs a hyper-insular echo chamber — one amongst many within the larger parasocial quasi-dialogue of his comments thread. Without committing to actual conversation, this type of engagement crystallises within @dr.kiyasu’s social (media) milieu as a byproduct of his performance’s immense wealth as a widely circulated, high commodity spectacle — a logical parasocial investment for the passive doomscroller. There’re hundreds of videos, thousands of comments and tens of thousands of engagements.
EPILOGUE - mgmgmgmg (est. 2018)
We started with cacophony, or rather, we began in the middle. We sought novelty from difference, outer networks of reference yet seeking modal contiguous grounds. Four entities divided work with little attention paid to cohesion or form. Four sought to deprive themselves of fourness, four a reckless folly of paired monads.
The initial layer of Disambiguation (2025) was generated through a brief improvisation between two players. They employed techniques such as no-input mixing, text-to-speech, feedback, loop and EMF recording. A contact microphone held beneath a tabletop captured the sounds of hands signing the letters 
These ‘inputs’ provided the sonic material to be translated into three acts, transcribed above as three parts. From this point — and in initiating the first act — we invented Corypheus, a leader of the chorus. Traditionally, the leader of improvised chants, hymns and other forms of lyrical and musical expression, the corypheus became the pejorative term for the leader of the chorus in ancient Greek theatre. The resultant ‘play’ was then further elaborated and contorted, in both editorial actions and in the act of commentary.
A snap reaction syncopates us into the second act. A string of random characters and emojis are generated, begat with a gnarled telos: to provide a density-forward, cryptic and arcane horror of void/thickness. We are in direct reference to the work of Kenji Siratori, whose cybertext fictions have often acted as a generative germ to much mg writing and performance. This is our most direct use of his technique, particularly in the spoken translation truncating and splicing Act 2. For the reader, we ask you to take the density of the barrier to feedback into a deepened breathing in the void. Somewhere in the string contains an instruction for breathing, best followed when navigating sonic fogs.
The third act presents six comments on Ryosuke Kiyasu, a Japanese experimental percussionist whose divisive live performances and online presence mobilises para as a prefix to denote relations situated alongside or near one another but still separate. In an attempt to pragmatically commit to the same parasitic, paranoid and parasocial engagement that Kiyasu works in tandem with both on and off stage, six comments were pulled from his viral Instagram videos to be analysed and footnoted. Each reaction presents a distinct yet mutable approach, position or impetus for commenting which has been caught in @dr.kiyasu’s wide-cast algorithmic net, reeled in and deconstructed.