* Now, when you listen past the beat, you'll hear loops, but they're different by just a little bit on each measure, with new patterns coming into play as old ones leave. In many ways, it's very much like a loom, with the starts of new patterns entering into the threading as the completion of old patterns winds its way out. In the end, you've basically gone through a tapestry of music.  Technically speaking, the melodies were probably passed through an electronic delay that repeats every bar and fades out slowly over the course of many bars.

* Certainly the Jacquard mentioned is the loom-maker; he's one of the first people to make a program of any kind, and a machine that could use arbitrary programs to affect actions in reality. That's an amazing step forward for humanity and certainly paved the way for the development of stored-program computers. Without this criticial insight in some way or another, we might have been stuck on analogue patch computation for a long time. I think it would have happened without Jacquard, for sure, but nevertheless he was first, and so we should know his name.

* The causeway is therefore his; and causeway is a perfect choice of words because the 'cause' at the beginning implies that there's a reason for it to exist, a starting point if you will, without saying anything about the end of it. They could have said "superhighway" ala the Information Superhighway that people sometimes call the Internet, but the Internet is merely an output of the causeway that we're on as a species: the progress of technological development. Also, it sounds better; BoC doesn't like to hit you with a hammer, subtlety is their game.

* Early in the song, it's a simple synth rhythm (that really harkens back to A Few Old Tunes style simplicity); this is the loom, and the barest indication of possibilities. As the song proceeds, new layers come in, some hopeful, some melancholic, some that sound almost weary, like a person burdened by a load. They fit together rhythmically like clockwork, different periods lining up with each other at common denominations, furthering the automation theme.

* Narratively, this track implies a thawing of the earth after a nuclear ice age as presented in [[White Cyclosa]], and the beginnings of a new civilisation, who perhaps later evolve or mutate due to the environmental radiation, notably with psionic powers, as presented in [[Telepath]].

* The initials of the title, "JC" ,could be a reference to Jesus Christ, an initialism in the same style of "Satanic" from the track SATellite ANthem ICarus.

* The way the track makes use of [[wikipedia:counterpoint|counterpoint]] for the melodies seems to be a nod to the counterpoint work of [[wikipedia:Steve Reich|Steve Reich]].  The way that Steve Reich structures his counterpoint pieces is nearly identical to Jacquard Causeway: an element, phrase, or melody is presented and played through once, at first at a higher volume than the the rest.  Eventually the new element decreases in volume, blending in with the rest, which effectively makes room for a new element.  Eventually all the smaller, melodic enemies layered on top of each other create new, "unintended" melodies. For an example, see Steve Reich's "Electric Counterpoint - Slow" in the videos section below.

* May reference p. 105 of "Ten Thousand Saints" by Eleanor Henderson (2011) because of a bumping between two lines of two words "Birkenjacque's" and "Kramaro" (e.g.. Cause-mo Kramar) [http://i.imgur.com/SdrXgAD.jpg scan]