In Library Copy Do Not Remove, Discovery Zone'sJJ Weihl presents a digital enchantment of reality,braiding together the material and non-material toreveal that they are, in fact, two aspects of one and thesame thing. In Weihl's world, Nature and technologyare not enemies, but instead create each other in aninfinite dance of meaning and reflection.Originally created in spatial sound for the Zeiss-Groß Planetarium in Berlin, Library Copy Do NotRemove is a creation mythology for the simulateduniverse. However, this is not some dry, Bostromian,masculine fantasy of a digital reality devoid of nature'smysteries. Instead, Weihl insists that the listener allowspace for the awesome reality of the natural worldwithin the framework of a simulation. If our world issimulated, then the simulation has to be capable ofcreating the beauty and splendor of Nature. In this way,Weihl engages an ambient alchemy, calling for a grandreconciliation of Nature and the technological, whileasking us to consider how and where the experienceof transcendent human consciousness might existbetween them.Written while Weihl was simultaneously completingher sophomore album Quantum Web, the songs onLibrary Copy Do Not Remove reflect an expansive,inspirational state of both excitement and anxiety at thetask of composing music for such a unique space. Thesongs themselves were shaped through Ambisonics,a specific format of spatial audio that is directionalinstead of being channel-based (like stereo), and weretransmitted through a mosaic of 49 speakers. Becauseit was written for live performance, Library Copy DoNot Remove was never conceived as an album per se,but instead as a three-dimensional event. In this waythe sonic staging mirrored how we perceive sound inour everyday lives: surrounding us from all directions.For this album release, Weihl mixed all of the songsagain from the ground up with long time producer E/T,reimagining and reworking the constellation of tracksfor a stereo experience.Inspired by the work of James Gleick, LD Deutsch,Johannes Kepler and Jorges Luis Borges, LibraryCopy Do Not Remove explores the creative tensionbetween reality and perception, information andmythology, harmony and disorder. Throughout thealbum, Weihl asks how we as humans come tounderstand the universe around us and the underlyingcode which animates it. What emerges is a sonicmythos that tells of spiraling digital universes, eachnested within each other, in which every participatoryagent is both a part, and the whole, of reality, at once.In this way, Library Copy Do Not Remove is a cyber-expression of perennial wisdom: instead of "as above,so below," Weihl might suggest, "as with input, sowith output."