ABSTRACT
This chapter demonstrates how the practices of Brian Eno, Yoko Ono, and Masami Akita operate as a fourth term that ties together the rings of the knot through the supplementation of the three delusions of discourse that testify to a certain failure and loosening of the ties that bind real-Symbolic-Imaginary in the Borromean knot. The delusion of ignorance results from the subtraction of the Imaginary; the delusion of love, the real; the delusion of hatred, the symbolic. While Akita, like many composers of sound-music and electronica, does much of his recording in his bedroom surrounded by “computers, some instruments and audio equipment”, the music that Akita makes and listens to is not the anime pop favoured by most hikikomori. Ono sought to exploit her notoriety and newly found wealth by taking the war directly to the mediascape.
