◉)) I Hear Tings — Reverse Osmo(cis)

 I Hear Tings begins at the ear but does not remain there. Sound crosses the body’s membranes, moving through rhythm, memory, pleasure and repetition before returning as inquiry.

I Hear Tings

Listening, Sound & Nervous System Care

I Hear Tings is a practice of deep listening—attuning to sound, silence, and the subtle frequencies that shape the nervous system.

This terrain centers how listening becomes regulation, discernment, and embodied presence in a loud world.

Not consumption of sound, but relationship to it.

I Hear Tings: BigXthaPlug, Billy Boyo and Dorothy Ashby move through the body by reverse osmo(cis).

◉))  I Hear Tings — Reverse Osmo(cis)

https://video.wixstatic.com/video/23e724_002cea3af2ed4792b768736a22a82052/1080p/mp4/file.mp4

The ear receives, stretches and glitches as sound passes through the body. I Hear Tings is reverse osmosis: music entering through one portal, crossing memory and movement, and returning as language.

I do not listen to music only to understand it. I jam. I shake ass. I let a song change the temperature of the room and the movement of my body before I ask it to explain a damn thing.

Words are Spells.

Songs are Spells put to music.

“The Largest” by BigXthaPlug. “One Spliff a Day” by Billy Boyo. “Afro-Harping” by Dorothy Ashby.

These are not songs I went searching for after the essays were written so I could place a soundtrack beneath the language. These are songs I regularly live with. The relationship was already there.

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  Puff Puff Pass

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  Amber is the color of your energy, movement and return.

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  Instrumental textures for listening beyond language.

I Hear Tings is about reverse osmo(cis).

Music moves through rhythm, repetition, memory, pleasure and contradiction. It crosses the body’s membranes. What enters through the ear moves into the ass, the feet, the nervous system, the archive. I may be shaking ass, but the song is still asking questions.

The body often hears the inquiry before language knows how to hold it.

https://video.wixstatic.com/video/23e724_05c07f8df6d54a4baf628c5adb524186/1080p/mp4/file.mp4

Three songs already living in my body rise beside three essays: BigXthaPlug’s “The Largest” with “Social Rank of Fatness,” Billy Boyo’s “One Spliff a Day” with “The Almighty Spliff,” and Dorothy Ashby’s “Afro-Harping” with “Natural Hair Is Not the Same as Free.” I jam. I shake ass. I hear tings.

BigXthaPlug declaring himself “The Largest” moves differently through a fat Black body already writing about the Social Rank of Fatness. Size becomes boast, threat, position and protection. The language that is meant to mark a body as excessive becomes the language through which presence is announced.

Billy Boyo’s “One Spliff a Day” is playful until the colonial arithmetic starts showing itself. One spliff a day keeps the evil away—but which plant is being smoked, who taught us how to hold it, and what histories were rolled together inside it? “The Almighty Spliff” listens for cannabis, tobacco, ritual, survival and the plantation sharing one paper.

Then Dorothy Ashby’s “Afro-Harping” does not need lyrics to announce the terrain. The Afro and the harp already interrupt what Blackness, refinement, experimentation and freedom are supposed to look and sound like. The music tends the same field as “Natural Hair Is Not the Same as Free”: Black expression can be beautiful, expansive and self-defined while still moving inside systems determined to extract from it.

The song moves through the body. The body develops an inquiry. The inquiry becomes language. The language becomes an essay. Then the essay sends me back into the music able to hear another ting.

That is I Hear Tings.

Not music as decoration.

Music as an embodied relationship that keeps changing what becomes audible.

◉))  I Hear Tings — Reverse Osmo(cis)

Cosmos Watershed

This transmission enters through Flowing Water, where music crosses the body’s membranes before becoming interpretation. Rhythm moves into pleasure, memory and inquiry; the inquiry becomes language; the language returns Kiing to the song able to hear another ting.

Watershed

Watershed	Tributaries
Watershed	Flowing Water
Relationship	Music moving through the body before becoming language
Companion	Rhythm, repetition, pleasure and shaking ass
Origin	Songs already held in regular embodied relationship
Expansion	Listening becomes inquiry; inquiry becomes essay
Application	Returning to familiar music with a body changed by what it has written
Lineage	Black musical experimentation, sound as archive and embodied knowledge
Counter Currents	Treating music as decoration, extracting lyrics from rhythm, or separating intellectual interpretation from bodily pleasure

Cosmos Coordinates

Coordinate	Orientation
Planetary Body	I Hear Tings
Planet of Origin	The Wata(ring) W(hole)
Primary Water	Flowing Water
Secondary Water	Sacred Water
Movement	Sound enters the ear, moves through the body and returns as language
Portal	Music
Primary Technology	Embodied listening
Cosmological Function	Revealing how pleasure, memory and inquiry circulate through sound
Core Inquiry	What does the body hear before the mind learns how to name it?
Threshold	When jamming becomes inquiry without surrendering pleasure
Black Ecological Orientation	Black music as living terrain rather than illustrative material
Calabash Relationship	The song carries the inquiry; the body carries the song
Wata(ring) W(hole) Relationship	Music circulates between sound, movement, writing and renewed listening
Return Practice	Play the song again after reading the connected essay and notice what has become audible

Track-to-essay field map

Song	Artist	Connected essay	Terrain being heard
“The Largest”	BigXthaPlug	“Social Rank of Fatness”	Size as rank, boast, threat, protection and declared presence
“One Spliff a Day”	Billy Boyo	“The Almighty Spliff”	Cannabis, tobacco, ritual, survival and plantation history sharing one paper
“Afro-Harping”	Dorothy Ashby	“Natural Hair Is Not the Same as Free”	Black experimentation, presentation and freedom moving inside systems of extraction