what babymetal are doing is the same as what OOO philosopher timothy morton has talked about.
World turns out to be an aesthetic effect based on a kind of blurriness and aesthetic distance. This blurriness derives from an entity's ignorance concerning objects. Only in ignorance can objects act like blank screens for the projection of meaning. "Red sky at night, shepherd's delight" is a charming old saw that evokes days when shepherds lived in worlds, worlds bounded by horizons on which things occurred such as red sunsets. The sun goes down, the sun comes up -- of course now we know it doesn't, so Galileo and Copernicus tore big holes in that particular notion of world. Likewise, as soon as humans know about climate, weather becomes a flimsy, superficial appearance that is a mere local representation of some much larger phenomenon that is strictly invisible. You can't see or smell climate. Given our brains' processing power, we can't even really think about it all that concretely. You could say then that we still live in a world, only massively upgraded. True, but now world means significantly less than it used to -- it doesn't mean "significant for humans" or even "significant for conscious entities."
A simple experiment demonstrates plainly that world is an aesthetic phenomenon. I call it The Lord of the Rings vs. The Ball Popper test. For this experiment you will need a copy of the second part of Peter Jackson's The Lord of the Rings trilogy. You will also require a Playskool Busy Ball Popper, made by Hasbro.
Now play the scene that I consider to be the absolute nadir of horror, when Frodo, captured by Faramir, is staggering around the bombed-out city Osgiliath when a Nazgul (a Ringwraith) attacks on a "fell beast," a terrifying winged dragon-like creature.
Switch on the ball popper. You will notice the inane tunes that the popper plays instantly undermine the coherence of Peter Jackson's narrative world.
The idea of world depends upon all kinds of mood lighting and mood music, aesthetic effects that by definition contain a kernel of sheer ridiculous meaninglessness. It's the job of serious Wagnerian worlding to erase the trace of this meaninglessness. Jackson's trilogy surely is Wagnerian, a total work of art or Gesamkunstwerk in which elves, dwarves and men have their own languages, their own tools, their own architecture -- this is done to fascist excess as if they were different sports teams. But it's easy to recover the trace of meaninglessness from this seamless world -- absurdly easy, as the toy experiment proves.
Stupid Kids' Toy 5, Wagnerian Tolkien Movie Nil. What can we learn from this? "World," a key concept in ecophenomenology, is an illusion. And objects for sure have a hidden weirdness. In effect, the Stupid Kids' Toy "translated" the movie, clashing with it and altering it in its own limited and unique way.
- Timothy Morton, Peak Nature