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Infinity, as mankind understands it, is difficult to comprehend.
The literal concept is not difficult to explain: It is something that is limitless or endless in one form or another. But to actually imagine infinity and its extent is its own arduous task. How can one really imagine something that is infinite? Even in the face of infinite possibilities to explore, people have difficulty finding a single solution. By default, there are different perspectives in every situation simply because of the natural diversity of what makes humans unique: their connection to emotions. This uniqueness of people can produce an infinite number of solutions, even for a finite situation. These limitless perceptions are most often seen in literature: poems, novels, short stories, song lyrics, fiction, non-fiction, and all other genres are confronted with the ability to create an infinite amount of meaning. Despite the ability to create a multitude of interpretations from the natural diversity of the human mind, the original creator often states their purpose and defines their clear authorial intent. Joe Hawley, Ross Federman, and Bora Karaca's Hawaii: Part II is a clear exception to this perceived intent.The second track of Hawaii: Part II, Isle Unto Thyself, states, "Know what can't be shown / Feel what can't be known" (iut 3-4). This is important to any created interpretation related to the composition of Hawaii: Part II. It illustrates the endless theories about the feelings the music evokes in the listener. It does not matter if you recognize it as an allusion to obscure ancient literature, understand the Japanese lyrics perfectly because they are fluent, or have literally never heard the song before. All interpretations are correct. The text clearly proves that any theory is plausible and emotive perceptions are always valid. Because of this impossibility of being wrong, there are thousands to potentially infinite stories told in the eleven main songs on this album. If the listener listens through the album a finite number of times, an infinite number of new details can be discovered and a new story told. This is what a genre of infinity is all about.Hawaii: Part II is a self-described "genre of infinity" (musical) because of the superficial concepts used, such as love, death, and magic, but also because of its obscure references to various kinds of modern and ancient history. Hawaii: Part II is a complex tragedy that tells the story of two people and the consequences of their ambitions, while alluding to various aspects of ancient Greek history and emphasizing the glorification of death to present a story that is told.Infinity has no end, but it does have a beginning. Hawaii: Part II begins with Introduction to the Snow, the shortest track on the album, to draw the listener in and set the scene. For clarity and to avoid repetition, the male lead singer will be referred to as "Simon" below, as the name "Resident Simon" (31) is used in The Mind Electric Demo 3. Unfortunately, the female vocalist has no name, but I will refer to her as Stella.At the beginning of the story, an orchestra kicks in with a brief 32-second interlude, followed by a small pause where Simon makes his first appearance. He begins as an omniscient narrator and seems to anticipate the events of the album before he could experience them. First, he sings about being alone in a vast, infinite universe, comparing the stars to sparkling crystal souls and connecting celestial bodies to only two people: himself and Stella. The song ends with the last line "you'll live forever tonight" (itts 5) and transitions into the following song Isle Unto Thyself
Simon's omniscience ends when he becomes a character in the story. He sings about the girl, wondering what potential this relationship holds for his true intentions - something he keeps hidden from the audience throughout the album. He asks four existential questions, all related to the lack of natural consequences for unjust actions in Mother Nature and in human society.Although Simon's intentions are easy to see on the surface, the animated music video of Isle Unto Thyself gives the audience a deeper look into the pair and their aspirations. In the animated music video, the viewer follows the story of two characters: a whale and an octopus. The two are in love with each other, though other sea creatures disapprove of their relationship. The two are chased out of the ocean and separate.From then on, the video shows a series of evolutions in which the whale manages to survive in different biomes. After the final transformation, the former whale finds the octopus, which has undergone its own changes just like the whale. The two take a moment before falling back into the ocean, where their previous evolutions are washed away and the two revert back to the whale and octopus they started as.
In Black Rainbows, Simon is absent. Stella is the main voice, while a deep, monotone echo sings along the colors of the rainbow, including black, in Hawaiian. The song represents her complex but overall positive feelings about the budding relationship she is experiencing. The repeated "Stella octangula" is likely an allusion to the snow in Introduction to the Snow and the figure's notion of infinity, according to Genius user Darry: "The stellated octahedron is also part of the three-dimensional extension of a Koch Snowflake, which may be the 'snow' introduced in the album's first song" (Darray 5). Koch's snowflake encloses a finite area but has an infinite perimeter. This allusion tells the audience of the infinite theories that can be made and the vague nature of the song and the album.
With the established connection of otherworldly longings between the couple, White Ball is a glorious depiction of life after death, with mentions of a fateful story in a duet between the two singers. After the imagery of a tango in the ballroom, the two are described as being where their story has sent them: among the stars in an infinite universe. Simon seems nervous at first, but quickly falls into singing step with Stella, rising in passion and excitement for their future.