(long, but hopefully worth it)

[wearethestories]

I think this is a brilliant post: http://toolnavy.com/showthread.php?t=76145

I started reading the above post while I was listening to the song, and finished around the same time, and I had a small breakthrough.

This is what I see:

The song is in three sections, separated by (and concluding with) "move by will alone". The first section, lyric-wise, is completely concerned with beginning (and I agree with your assessment of "beginning of time" ambience). We are pure (from sin/death/human selfishness) in the beginning, and this by our own will and ability. Here we simply spiritual beings, seemingly content with our lot. Once we see the earth around us ("stone"), we use it to our advantage in order to build ourselves shelter from the elements ("gather, place, and raise"). Yet this same earth that gives us protection also gives us the ability to, for the first time, OWN something (our little plot of land). Not only that, but the earth, now our home that we wish to protect because it protects us, gives us WEAPONS ("throw to stay the stranger") to use against anyone we don't recognize because they might wish to have our home and we FEAR them taking it from us.

The second section concerns itself with the further advancement of "technology" and is a sort of "middle" portion of the song, meaning simply, between the "beginning" of mankind/song and the "end" of mankind/song. Here, humans discover fire, and at first it is incredible. The spark here not only leads to fire, but to imagination and hope - two of the noblest thoughts of man. We now have both warmth (physical) and light (spiritual) in order to survive and thrive. Taking the Prometheus myth into account, the "gods" have given us not only the earth to live on, but now physical fire to keep us alive ("warm this hope we occupy"), and spiritual fire to guide us to truth ("light the way"). Yet this, too, fails (just as earth did) in the hands of humans. We covet everything we have, and very soon this fire that was meant for good now turns to another weapon with which to not only defend ourselves. But now that this group of humans has an element of significant advantage (one that no other group would have... they might still be stuck with the stones), we can "forge a blade... [and] take whatever we desire". We become offensive rather than simply defensive and decide to steal and dominate.

The third section is by far the most optimistic (though I'll debate this in a minute). It comes just as the first section did: with a sense of purity. It seems to be either a gentle plea, a prediction/prophesy, or simply a hope. The purity of mind/body that existed in the beginning should exist as we leave. This seems to connect the whole song as sort of a life-cycle: the beginning was purity, until the elements allowed us to be selfish/violent. Then we learn new ways of violence with our innovations/adulterations on earth's design. Finally, after seeing that these don't bring satisfaction (?), we SHOULD realize that the purity and unity of the original connectivity was what really mattered - that we should desire to "return to one".

This last section (should we take "Intension" and "Right In Two" to be pieces of the same song), is closely followed by the severe pathos evoked in "Right In Two". It would seem that the theoretical hope at the end of "Intension" is taken over by the blunt (one of the reasons some seem to not like "Right In Two") reality of the inability of humans to "move by will alone" in order to transcend differences and selfishness. In this case then, "Intension" is merely the false hope of restoration that is quickly discarded by the truth of human depravity, making it then one of the most depressing and sad songs of the entire album; it creates the illusion of peace in the reality of eternal war.

I think the final thing I wanted to say about the song is the ambiguity of the line: "move by will alone". As a transition from section to section within the song, it is positioned such that after each corruption of the "pure" tools [more on that?] we are given (earth and fire), it is by our will alone that we can "return to one", meaning that it is the will alone that allows us to go back to a state of purity that is without conflict. After each of the first two sections, this acts as a positive transition into the next section. The ambiguity comes at the end of the song, after the "false" hope, where once again we are told to/should "move by will alone". This can either mean that the end result of "Intension" is positive - that we can and should still attempt to "move by will alone"; or it can be quite negative (especially linked with the "Right In Two" connection) and the line here takes on a sarcastic quality - i.e. before, moving by the will has led to a renewal of purity, yes, but it has also THEN led to more advancement in weaponry and harmful selfishness; therefore, keeping "moving" by your will and see where it gets you to divide everything "Right In Two".

That was REALLY long, but thanks for having patience.

[wearethestories]

really?

no response?


hokay... maybe just a waste of time.

[goatboystrikesback]

Nice observations, intension has definitely evolved into an understated masterpiece for me.

(thought you deserved some response for that post!)

[Apachana]

this was worth it.

Great post. ! kudoz

Eternal conflict kinda saddens me. I guess one always longs for a peaceful life with a girlfriend. But I guess the Parabola (girl) besides the boy (parabol) always means conflict.
Except in sex, where both wills are combined in pleasure: In the act of creating a new moving will-bearer child.

reminds me of stephen king quote.

Born in Sin
Come on in.

Nirvana equals stillness. oneness.

Being born (cut by ego out of one) means conflict.
which we love deep down (ergo Vicarious). Since oneness is so boring. haha

[amenorakumo]

yea this, along with the other quoted thread, should get stickied. very solid ideas...

[endless_nameless]

That was a really good interpretation wearethestories. To me it seems like the first section goes to the beginning and sets the trend for the way humans act, our choices and intension determining the way we grow in the world (like you said). The middle section then represents the exponential growth of this process (humanity, technology and the way humans use technology to divide and rule the world), starting basic and then growing as more instruments are added, culminating in the introduction of Danny's synths to signal that we have arrived at the present, and the whole process is just going haywire. Then the last section returns to the beginning, to the spiritual truth of who we are, but this time the question as to whether we will use our will for good or bad is left unanswered; "move by will alone?", with a minor chord and an upward inflection, as in "what's gonna happen now? Is there still hope?". Then I guess right in two delivers a pretty pessemistic appraisal of what the future of human nature has in store for us.

[timjames111]

Human Nature is a line of bullshit. It wasn't that long ago that we were all in diapers. Pure. What's your excuse for not being a good person. All of these songs on 10K days are co-related.

"The Hero" ---> "Never lived a lie, never took a life, but surely saved one."
"Pure as we begin." ---> "Move by will alone."

Who will follow the path of the hero?

Hello? It's an epic story, of an epic story of who will listen to the message that Maynard received while enjoying some "dead head chemistry."

The message is that we are all severely fucked up. ("The Devil and his had me down.") The media, government, money,sex,obeisity,hipocrasy,stealing,killing. THE DEVIL HAS US EATING OUT OF HIS HAND! Sorry for shouting.

So, when will we go back to "one", symbolizing the beginning? Denounce the devil and no matter what you believe in, (God, Buddah, a big turtle, it doesn't matter) live on purely faith that you are a good human being. "Damn my eyes if they should compromise a fulcrum.....Then I might as well be gone."

Maynard is giving us ideas, examples, eye openers, epic stories, sarcasm and hope all in one album. What are We going to do with it? Knowledge is power. What will We do with the knowledge bestowed upon us. We could all agree that Tool has a certain gift. THey are just members of a community, playing their role. "The messengers" What is your role in the community? Are you the hero that will change the world? Will you/we step up, come together and "Rise to the height of our Halo?" or "divide right in two?"

If we're one then we're two. Power is in numbers.

Silence legion stay out of my way!

[wearethestories]

They are just members of a community, playing their role. "The messengers" What is your role in the community? Are you the hero that will change the world? Will you/we step up, come together and "Rise to the height of our Halo?" or "divide right in two?"

If we're one then we're two. Power is in numbers.

Silence legion stay out of my way!

mehhh....

we're not good people.

we can never be "good people".

DEFINE "good people".

we are all vampires feeding on each other over and over again.

I think what TOOL is saying (and it's not Maynard on some "dead head chemistry") is that we are severely messed up, but there isn't anything to do about it. None of the songs on this album are hopeful (save for Jambi, but that can be argued). Mankind can't win the battle to "be good", people always and everywhere will fall and stumble and there's not much we can do about it.

According to this song, yes, we can "move by will alone" into something better, but that line is so ambiguous (as I stated in my previous post). The will can allow us to turn stones into homes or use them to crush bones, and we DO BOTH. There is nothing about this album that is hopeful or promising... we end on an utter down note (Right In Two) followed by eerie howling (Viginti Tres). There's no Disposition/Reflection here, nor is there AEnima where we are explicitly told not to call the narrator (Maynard) "negative" but "try to read between the lines". Hopelessness is what is left in this utterly sarcastic, sardonic and all-around mocking album.

[timjames111]

mehhh....

we're not good people.

we can never be "good people".

DEFINE "good people".

we are all vampires feeding on each other over and over again.

I think what TOOL is saying (and it's not Maynard on some "dead head chemistry") is that we are severely messed up, but there isn't anything to do about it. None of the songs on this album are hopeful (save for Jambi, but that can be argued). Mankind can't win the battle to "be good", people always and everywhere will fall and stumble and there's not much we can do about it.

According to this song, yes, we can "move by will alone" into something better, but that line is so ambiguous (as I stated in my previous post). The will can allow us to turn stones into homes or use them to crush bones, and we DO BOTH. There is nothing about this album that is hopeful or promising... we end on an utter down note (Right In Two) followed by eerie howling (Viginti Tres). There's no Disposition/Reflection here, nor is there AEnima where we are explicitly told not to call the narrator (Maynard) "negative" but "try to read between the lines". Hopelessness is what is left in this utterly sarcastic, sardonic and all-around mocking album.

Right! Read between the lines. Interpretation is a beatiful thing. How you might interpret this music is your choice. I feel that Tool puts it out there for US and how we use it is our choice. Music is like self reflection in the aspect that you probably don't listen to music that you don't like. So if you like it you listen. And if that is true your telling me that you listen to this album to bring yourself down. Who in the hell's glove box listens to music to kill all hope. No. Maybe to release anger but thats therapudic too. I hope my freind that you listen again, and everyone else for that matter, to motivate new thoughts. Wether those thoughts are anger, fear, hope, flashbacks, enlightenment, ryhme, or reason.

And I hope you share:)

[wearethestories]

Post-modernism anyone?

In both theatre and film after 1960, post-modernism has evolved out of modernism and existentialism, both of which mesh together to form this idea that there is no absolute truth except what you make it. The self must get to the point of absurdity (realizing there is no God and no meaning to life, yet still desiring to live) and choose to create meaning for oneself. The self creates meaning and is able to offer hope. The art created out of this movement (Sartre: No Exit, Camus: Myth of Sisyphus) are works that show that point of absurdity, yet offer hope that one can move beyond that and make meaning for oneself and be happy.

Post-modernsim, on the other hand, says that the "self" is too flexible and not defined enough to be able to create meaning. We all have different selves that are created socially (i.e. you are a different person when you spend time with your wife, or your parents, or your friends). There is no stable "self" or "I" to create reality and meaning, so the modernists were wrong. The kind of art this produced was incredibly funny (Tom Stoppard: Rosencrantz and Guildenstern are Dead) and, like modernist art, brought up huge questions of what it means to exist or create existence. But unlike the modernists, it doesn't give an answer. It raises these questions and leaves the audience/reader completely at a loss for motivation.

This is how I see 10,000 Days as a whole. There are some very funny pieces (The Pot, Lipan Conjuring, Rosetta Stoned) that, as some have pointed out, don't really seem to fit everything else on the album. These funny pieces (esp. The Pot and Rosetta Stoned) bring up really interesting points about justice/corruption (the Pot) and about thinking you have found the way (Rosetta Stoned). These, mixed with the more "serious" songs, bring to mind post-modernist theatre and film. They incorporate pastiche (which is sampling things that have gone before, like on Rosetta Stoned where the same riffs show up in other TOOL songs [see "the fluxterpation of 10,000 Days" for more on that]). They ask serious questions, but never give us an answer. Unlike other albums, there doesn't seem to be a clear message to get rid of our vampire-like lust for tragedy (the news-coverage of the VT slayings is a PERFECT example of this. I can't watch it and I live two hours away from it with good friends who go there) or to believe/not believe those who think they have the way (people have taken different "sides" as to whether the revelation from "them" in Rosetta Stoned actually happened or was real).

Anyway (I apologize for the length), 10,000 Days seems to me to be more humorous and less hopeful. There are serious implications to all of the songs on the album, yet there are no directives that we can logically retrieve from the album. TOOL isn't necessarily saying to NOT have our eye on the T.V.: why can't we just admit it?

THAT's the truth of human nature.

There is no evolution to 46&2 or attaining the status mentioned in Reflection, all we have is us being us.

[Remember, this is their "blues album" according to Adam]

[timjames111]

Post-modernism anyone?

In both theatre and film after 1960, post-modernism has evolved out of modernism and existentialism, both of which mesh together to form this idea that there is no absolute truth except what you make it. The self must get to the point of absurdity (realizing there is no God and no meaning to life, yet still desiring to live) and choose to create meaning for oneself. The self creates meaning and is able to offer hope. The art created out of this movement (Sartre: No Exit, Camus: Myth of Sisyphus) are works that show that point of absurdity, yet offer hope that one can move beyond that and make meaning for oneself and be happy.

Post-modernsim, on the other hand, says that the "self" is too flexible and not defined enough to be able to create meaning. We all have different selves that are created socially (i.e. you are a different person when you spend time with your wife, or your parents, or your friends). There is no stable "self" or "I" to create reality and meaning, so the modernists were wrong. The kind of art this produced was incredibly funny (Tom Stoppard: Rosencrantz and Guildenstern are Dead) and, like modernist art, brought up huge questions of what it means to exist or create existence. But unlike the modernists, it doesn't give an answer. It raises these questions and leaves the audience/reader completely at a loss for motivation.

This is how I see 10,000 Days as a whole. There are some very funny pieces (The Pot, Lipan Conjuring, Rosetta Stoned) that, as some have pointed out, don't really seem to fit everything else on the album. These funny pieces (esp. The Pot and Rosetta Stoned) bring up really interesting points about justice/corruption (the Pot) and about thinking you have found the way (Rosetta Stoned). These, mixed with the more "serious" songs, bring to mind post-modernist theatre and film. They incorporate pastiche (which is sampling things that have gone before, like on Rosetta Stoned where the same riffs show up in other TOOL songs [see "the fluxterpation of 10,000 Days" for more on that]). They ask serious questions, but never give us an answer. Unlike other albums, there doesn't seem to be a clear message to get rid of our vampire-like lust for tragedy (the news-coverage of the VT slayings is a PERFECT example of this. I can't watch it and I live two hours away from it with good friends who go there) or to believe/not believe those who think they have the way (people have taken different "sides" as to whether the revelation from "them" in Rosetta Stoned actually happened or was real).

Anyway (I apologize for the length), 10,000 Days seems to me to be more humorous and less hopeful. There are serious implications to all of the songs on the album, yet there are no directives that we can logically retrieve from the album. TOOL isn't necessarily saying to NOT have our eye on the T.V.: why can't we just admit it?

THAT's the truth of human nature.

There is no evolution to 46&2 or attaining the status mentioned in Reflection, all we have is us being us.

[Remember, this is their "blues album" according to Adam]

That is a really interesting interpretation. You seem very well read and I praise you for that. What you said about post modernism and the relation to the album may be true. But don't we have a choice to listen and make the choice to take the message and learn from it. Change our vampire like ways. Stop the hipocracy. We would be hipocrits to listen, agree and not change. I don't deny we are vampires, but that doesn't mean we can't evolve.

[DON IOTAE]

Post-modernism anyone?

that's one of the first things i noticed about 10000 days: its structure and lack of cohesiveness, at least conceptually speaking. the contrast of funny and serious songs as you put it is an attractive characteristic of the album for me, and for me it means that the dudes are loosening up, just jamming, and enjoying more what they do best, which is playing and making music.

I really liked your relationship of the album to post-modernism.

kudos.

[wearethestories]

That is a really interesting interpretation. You seem very well read and I praise you for that. What you said about post modernism and the relation to the album may be true. But don't we have a choice to listen and make the choice to take the message and learn from it. Change our vampire like ways. Stop the hipocracy. We would be hipocrits to listen, agree and not change. I don't deny we are vampires, but that doesn't mean we can't evolve.

possibly.

But I think there may be some truth in recognizing what we are and how far we are from where we'd like to be. I think there might be some release in realizing we really can't evolve "by will alone". I don't suggest that's what TOOL is claiming, but I happen to think there is truth in admitting our failures and our lack of ability to be who we want to be.

and, thanks, iota.