A new kind of music criticism is demanded in these post-mortem times, one that can deal with allegory. One seized with imagination. One that can find relevant and fertile soil in which to fertilize the seed of enquiry, a criticism that can be carried on to germinate further bifurcations. The lack of page numbers in the first edition of Rosenberg 3.0 - not violin music is here compounded with an overabundance of annotations contributed by the great describer himself. Georges Dupuis, the world's fastest simultaneous concert reviewer, has not only consented to review the book, but to review each page (including blank ones) in all their masticated agendas, both overt and covert. This edition is a feast of observation, provocation, and bite sized chunks of cultural transgression. Why this, why now, some serious young insects may ask? What's wrong with the accepted hierarchy and pecking order? Because, dear reader, the age of the individual genius has already passed through the species' digestive system …we feel better already. So, who will write the next criticism of the criticism of the critique that is rosenberg 3.0? Who will own rosenberg 3.2, rosenberg 3.3, and beyond? Silence beckons the adventurous and the hungry.