Reading rule: exact recurrence is not automatically evidence of origin, and conceptual resemblance is not textual migration. This ledger records relation type and provenance so the graph can remain interesting without becoming credulous.
Documented migrations
| Date | Work / artifact | Track | Relation | What is documented |
|---|---|---|---|---|
| 2022-04-05 | Normative Collapse (Vranyo Americano) | Impro | EXTERNAL QUOTATION / SCHEMA → LYRIC | The earlier work quotes David Shipler’s description of vranyo: a recursive “you know that I know…” structure. “Impro” reworks the recursive-knowing mechanism. Provenance remains external/attributed; this is not logged as an original JQD phrase migrating unchanged. |
| 2024-01-18 | 𝚡𝚡. I DIE | Throwaway Lines | TEXT → LYRIC (EXACT) | “Everything is pay to play.” appears verbatim in the 2024 text and later inside the album closer. |
| 2024-11-05 | Sixteen Shatterdream | Neo Noir | TEXT → LYRIC (EXACT PHRASE) | “beyond the green door” occurs in the earlier work, then becomes part of “Neo Noir.” |
| 2025-10-30 | A Song is Instructions for Itself | Southerly | TEXT → LYRIC (EXACT) | “AND YOU RODE IN ON THE BREATH OF HELL” appears as a standalone textual event before the album-preview post. |
| 2025-11-11 | LTAP Preview + Track Reveals | All tracks | PUBLIC REVEAL / SOURCE HUB | The first current published source in which the album’s sixteen-song lyric system appears together. It is the baseline for distinguishing earlier precursors from later recurrences. |
| 2025-11-14 | OTHERWORLD AESTHETICS™ | Celestial Sighs | LYRIC PHRASE → LATER TEXT | “Celestial sighs.” returns three days after the track-reveal post. |
| 2026-01-15 | the Solution to Art: a Song is a Kind of Engine | Muffler | TRACK EMBEDDED IN THEORY TEXT | The theory text interrupts itself to offer “MUFFLER” from the forthcoming LP: song and argument occupy the same document rather than living in separate promotional channels. |
| 2026-01-23 | Talking to Myself | T.T.M.S. | TRACK → TEXT / EARLY MIX | The publication explicitly presents an early mix of T.T.M.S.; the track title/lyric “talking to myself” and the work title fold together. |
| 2026-02-05 | Pimp Teeth / “PINK DIAMONDS” | Pink Diamonds | TRACK → WORK TITLE / EARLY MIX | The track becomes the named object of a later publication and exists simultaneously as song, phrase, mix, page and BLUE HELL upload. |
| 2026-02-27 | W.T.W.M.T.W.T.W.W.A. | Lemon Zest | TRACK → TEXT / EARLY MIX | The publication directs reader energy toward the newly uploaded first mix of “LEMON ZEST.” |
| 2026-04-14 | Make It Sound Like Amphetamine Teeth | Celestial Sighs / Neo Noir / Selling It | LYRIC PHRASES → LATER TEXT | The later text contains “ME AND ALL MY FRIENDS ARE HERE,” “(beyond the green door),” and “It’s long and complicated and—,” drawing material from multiple LTAP tracks back into prose. |
| 2026-04-15 | YOU ARE NOT ON THE LIST | Celestial Sighs | LYRIC PHRASE → LATER TEXT | “Scrolling a dead sea.” reappears as a freestanding line inside a text about distribution, uploading, flyering and media movement. |
| 2026-05-30 | Anomic Comedy | Setagaya / Seville | TRACK → PERFORMANCE DOCUMENT | The work offers a piano play-through of the track, moving it from album object into demonstrated performance/process. |
| 2026-06-04 | (the feeling of) CRYING BEHIND CENTER FOREHEAD | Lemon Zest | TRACK TITLE → LATER TEXT | “Lemon zest?” appears as a small later textual return, evidence of track-language remaining active after the song becomes a named object. |
| 2026-07-07 | SCRAP METAL | Southerly / Space/Time | TRACK → RELEASE PARATEXT | The work announces “Space/Time” and “Southerly” as advance releases, mixing release logistics, hotel-lobby fantasy, threats/jokes and ordinary platform promotion. |
| 2026-07-27 | The Light of Heaven Shines Upon You | Another Clock Song | LYRIC → WORK TITLE / RELEASE DOCUMENT | The closing lyric phrase of track 01 becomes the title of the album-release publication itself. |
Relation types used here
- TEXT → LYRIC (EXACT): exact language is present in an earlier source and later in a lyric.
- LYRIC → LATER TEXT: released/revealed song language returns to prose or another document.
- TRACK → TEXT / PERFORMANCE DOCUMENT: an actual recording or play-through is embedded/presented inside a text.
- LYRIC → WORK TITLE: a lyric phrase becomes the naming infrastructure of a later work.
- EXTERNAL QUOTATION / SCHEMA → LYRIC: a structure reappears but the earlier source itself attributes it outside JQD; provenance is preserved.
- INTERPRETIVE RHYME: used on track pages for conceptual resemblance with no claim of textual descent.
Why this matters
The movement is bidirectional. Writing does not merely explain songs after the fact. It can supply lyric material; a song can later become a title, quotation bank, joke or structural hinge for prose; a release post can operate as an essay; an instructional PDF can become part of the art; and a product/merch interaction can become a social event later described inside the writing. The useful unit is therefore not “the text” or “the song” but a migrating object whose current medium is provisional.