Free will and the necessary evil

[Belacqua]

To answer your question, I must share with you some relevant backstory about myself:

1. I am a Mormon musician and I believe all music can be converted to an MP3 file which is nothing more than a sequence of 1's and 0's but I'm not allowed to link to the wikipedia article called "Hex Editor" due to the 30/30 rule. 
   
2. For the same reason, I'm not allowed to link to Champernowne constant either, but there's nothing (inherently) stopping me from copy/pasting the opening paragraph...
   
3. In mathematics, the Champernowne constant C10 is a transcendental real constant whose decimal expansion has important properties. It is named after economist and mathematician D. G. Champernowne, who published it as an undergraduate in 1933.
   

Here's the Wikipedia page about Hex Editor:

https://en.wikipedia.org/wiki/Hex_editor

And this is about the constant thingy:

https://en.wikipedia.org/wiki/Champernowne_constant

I confess I don't see yet how these relate to the "strange and spooky." (But then I know very little about math or computers.) I'm curious as to how these relate to the topic at hand. Do they affect how you make your music in any way? Do they create strangeness? (I'm a big fan of strangeness.)

Furthermore, the iceberg theory or theory of omission is a writing technique coined by American writer Ernest Hemingway. As a young journalist, Hemingway had to focus his newspaper reports on immediate events, with very little context or interpretation. When he became a writer of short stories, he retained this minimalistic style, focusing on surface elements without explicitly discussing underlying themes. Hemingway believed the deeper meaning of a story should not be evident on the surface, but should shine through implicitly.

I am a writer, artist, and musician. The "less" I say, the "more" I say. In other words, all music has already been created already. Once the Champernowne constant was formally described and explained, the world we know it is no longer the same. I have realized more than 70 strange and spooky things. The most relevant one being (since we're discussing music) is that all music has already been created. Its MP3 sequence already exists within the decimal expansion of the Champernowne  constant. 

Does the Champernowne thing posit that all music has been created in potential, or actually? That is, mathematically we could posit that all melodies pre-exist, like all digits of pi, but this doesn't mean that all melodies have been heard by humans, or ever could be. There is still value in selecting from the infinite (?) potential melodies and then performing them. And wouldn't performance quality make a lot of difference? Like, a tune that has been plucked from the numerical sequence by a computer could vary a lot depending on who's playing it. Glenn Gould's Bach is worth paying money for, while mine isn't. 

As for the iceberg idea, I hadn't heard Hemingway's term for this, but I think it makes a lot of sense. Classic literature lives on simply because it is inexhaustible, I think. Paintings, music -- if it's good there's always going to be more than one gets at first glance. 

In fact I'm a big fan of re-reading, because I think that when you read Proust or Stendhal at 16 you're going to be getting very different messages than you get at 30 or 60. And in fact the differences in what we perceive tell us a lot about ourselves. 

I might hold back from saying that there is one and only one "deep meaning" to any given story. There is a tendency these days to analyze things as if any text is a daVinci Code, which, once decoded, reveals an intentionally hidden secret. I don't think the great texts work this way. In fact modern readings of, say, Plato may yield interpretations that the writer himself could not have imagined, but are still valuable.