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hrrtshape · 24 days ago

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you can manifest literally anything. full stop.

not because the universe is your barista or because "alignment!!!" or "vibrations!!!" or because some instagram witch told you the moon wants you to have clear skin. no. you can manifest anything because your assumption is the only constant. i'm not saying that in a disney channel way. i'm saying that in a quantum decoherence theory way. i'm saying your interpretation writes the rendering. the world is not fixed. it is responsive. it is made of probability states until observed, until decided.

this is called the observer effect. not spiritual fluff. actual quantum theory. until something is observed, it's a waveform, a soup of all possible states.

only when measured does it collapse into one outcome. this isn't poetry, more so the double slit experiment. electrons literally behave differently when you're watching. particles perform. reality trims itself to fit the assumption you've brought into the room.

now zoom out.

apply that principle up the scale. consciousness doesn't just witness, it edits. interpretation becomes architecture. you think that's dramatic, let's talk about how the placebo effect alone proves it. you believe a sugar pill is medicine and your body heals.

belief overrides chemistry. that's clinical data. belief changes blood pressure. hormone levels. immune response. cells obey narrative.

now add cognition.

your brain is a filter, not a camera. you are not receiving reality, you are constructing it from probabilistic fragments.

thalamic gating, hippocampal priority, dopaminergic valuation, it's all conditional. perception isn't passive. it's curated. the "real world" is just what your nervous system has decided is relevant enough to show you. the rest gets black-boxed.

meaning: your assumption is the algorithm. you assume wrong, you perceive wrong. and perception is reality, because that's all you'll ever interact with.

so when we say "you write the rendering," we're not being mystical. we're being disgustingly literal. your interpretation of reality becomes the blueprint your senses and brain then work to confirm. you're not stuck in a shared objective truth. you're running a custom simulation based entirely on the lens you're holding. change the lens. change the world.

which means: you are not "tapping into" power. you are the origin point. if you assume something is real, it is, because there is no shared objective anchor without your consciousness confirming it.

this is not magic. this is observer effect. heisenberg. the copenhagen interpretation. it's also the gospels. it's also berkeley's immaterialism. it's also every single philosophical system that isn't moronic. assumption is not wishful thinking. it's the only epistemological mechanism you've ever had.

you've literally never confirmed anything was "real" without believing it first. santa, cancer, gravity, your name. all of it's scripted by belief loops. and belief isn't "oh i hope this is true," it's "this is true and i will notice every detail that proves it." your mind filters for agreement.

confirmation bias.

neuroplasticity.

the thalamus as epistemic gatekeeper.

not metaphor. this is neurobiology. this is how propaganda works. how trauma works. how religion works. how capitalism works. if belief weren't a generator, the advertising industry would not exist. the cia would not use sigil-based psy-ops. cults would not function. your childhood wouldn't have ruined you.

so when people say "you are god," it doesn't mean you're a sparkly celestial daddy with a clipboard. it means there is no world without you. you do not "observe" reality. you generate it, composition, focus, structure, all of it. it's reactive architecture. if you think you're unwanted, the world will produce evidence accordingly. if you decide you're irresistible, it recalibrates. not because it "likes" you more, but because it doesn't exist without your parameters.

there is no neutral. there is no objectivity. if you assume it, it is. that's it. that's the mechanism. you are not manifesting through effort. you are manifesting by default.

you've always been doing it.

you're just doing it badly because you think it's meant to feel earned. you think godhood is a personality trait. it's not. it's default mode.

it works because nothing else ever has. you've never lived in a world you didn't believe in first. and you never will. so assume better. not because you "deserve it," but because your consciousness is the only axis this entire plane spins around.

manifesting isn't hard. unlearning the lie that you're powerless is. but that's not a cosmic test. it's just bad programming.

rewrite it.

you are god because there is no proof otherwise. and if there were, you'd be the one perceiving it. which means: it would still be you. still yours. still scriptable.

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sexhaver · 5 months ago

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im in this facebook group for a specific brand of rife energy machine (medical scam claiming you can cure LITERALLY anything with a waveform generator and EKG pads) and when i first joined a decade ago it was a way to make fun of crackpot "science" and conspiracy theorists but now it's just. so unbelievably fucking sad dude. every month or so there's a new user asking how to cure their cancer because everything else has failed or they can't afford it, and every time they get contradictory and unhelpful "advice" over a month or so until they eventually stop posting. i think the one that broke me was when some guy like this stopped posting and then his wife started posting like "hi all, Bill is currently in a medically induced coma, so he can't ask you for any more advice. the evil doctors at the hospital won't let me bring the rife machine into his room, could i take some of his hair and run the program on that?" and multiple people confirmed that yeah she could totally hook some EKG pads up to a detached clump of her dying husband's hair and that would definitely fix his cancer and if it didn't that meant she had some of the settings wrong. i don't believe in Hell but hope the inventor of this scam is there anyways

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adafruit · 6 months ago

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🎄💾🗓️ Day 18: Retrocomputing Advent Calendar - Commodore 64🎄💾🗓️

The Commodore 64, released in 1982, is one of the ones we keep hearing got many people their start in their own computing history. Powered by a MOS Technology 6510 processor at 1.02 MHz and featuring 64 KB of RAM, it became the best-selling single computer model of all time, with an estimated 12.5–17 million units sold. Its graphics were driven by the VIC-II chip, capable of 16 colors, hardware sprites, and smooth scrolling, while the SID (Sound Interface Device) chip delivered advanced audio, supporting three voices with waveforms and filters, making it a lot of fun for gaming and music.

Featured a built-in BASIC interpreter, allowing users to write their own programs out-of-the-box. The C64’s affordability, large software library, lots of games, productivity, and educational applications made it a household name. It connected to TVs as monitors and supported peripherals like the 1541 floppy disk drive, datasette, and various joysticks. With over 10,000 commercial software titles and a thriving homebrew scene, the C64 helped define a generation of computer enthusiasts.

Its impact on gaming was gigantic, iconic titles like The Last Ninja, Maniac Mansion, and Impossible Mission. The C64 also inspired a demoscene, where programmers pushed its hardware for visual and audio effects. The Commodore 64 remains a symbol of computing for the masses and creative innovation, still loved by retrocomputing fans today.

Check out the National Museum of American History, and Wikipedia. https://americanhistory.si.edu/collections/object/nmah_334636 https://en.wikipedia.org/wiki/Commodore_64

And…! An excellent story from Jepler -

== While I started on the VIC 20, the Commodore 64 was my computer for a lot longer. Its SID sound chip was a headline feature, and many of my memories of it center around music. Starting with Ultima III, each game in the series had a different soundtrack for each environment (though each one was on a pretty short loop, it probably drove my folks nuts when I would play for hours). There were music editors floating around, so I tried my hand at arranging music for its 3 independent voices, though I can't say I was any good or that I have any of the music now. You could also download "SID tunes" on the local BBSes, where people with hopefully a bit more skill had arranged everything from classical to Beatles to 80s music.

Folks are still creating cool new music on the Commodore 64. One current creator that I like a great deal is Linus Åkesson. Two videos from 2024 using the Commodore 64 that really impressed me were were a "Making 8-bit Music From Scratch at the Commodore 64 BASIC Prompt", a live coding session (http://www.linusakesson.net/programming/music-from-scratch/index.php) and Bach Forever (http://www.linusakesson.net/scene/bach-forever/index.php) a piece played by Åkesson on two Commodore 64s.

Like so many things, you can also recreate the experience online. Here's the overworld music for Ultima III: https://deepsid.chordian.net/?file=/MUSICIANS/A/Arnold_Kenneth/Ultima_III-Exodus.sid&subtune=1 -- the site has hundreds or thousands of other SIDs available to play right in the browser.

Have first computer memories? Post’em up in the comments, or post yours on socialz’ and tag them #firstcomputer #retrocomputing – See you back here tomorrow!

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literaryvein-reblogs · 5 months ago

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hello hello! i love your blog and it has been a fantastic resource for me. if i may ask, how does one go about writing music? my character is put in a situation where listening to a song is a large part of a scene, and i want to describe the song and music itself. while i would describe a guitar or drum, the song i have in mind specifically is mostly digital (think similar to edm) so i'm not sure how to do it. do you have any idea how i could tackle this?

thank you in advance!

Writing Notes: Electronic Music

Electronic Music - any music involving electronic processing, such as recording and editing on tape, and whose reproduction involves the use of loudspeakers.

It is produced from a wide variety of sound resources—from sounds picked up by microphones to those produced by electronic oscillators (generating basic acoustical waveforms such as sine waves, square waves, and sawtooth waves), complex computer installations, and microprocessors—that are recorded on tape and then edited into a permanent form.

Generally, except for one type of performed music that has come to be called “live electronic music”, electronic music is played back through loudspeakers either alone or in combination with ordinary musical instruments.

Musicians are always quick to adopt and explore new technologies.

The fast-paced changes wrought by electrification, from the microphone via the analogue synthesizer to the laptop computer, have led to a wide range of new musical styles and techniques.

Electronic music has grown to a broad field of investigation, taking in historical movements such as musique concrète and elektronische Musik, and contemporary trends such as electronic dance music and electronica.

The Art of Noises (1913) by Luigi Russolo is an important text in the history of electronic music, because it is the first attempt seriously to categorise all sounds and, indeed, to treat them as potential music.

Russolo wrote:

Every manifestation of our life is accompanied by noise. The noise, therefore, is familiar to our ear, and has the power to conjure up life itself. Sound, alien to our life, always musical and a thing unto itself, an occasional but unnecessary element, has become to our ears what an overfamiliar face is to our eyes. Noise, however, reaching us in a confused and irregular way from the irregular confusion of our life, never entirely reveals itself to us, and keeps innumerable surprises in reserve. We are therefore certain that by selecting, coordinating and dominating all noises we will enrich men with a new and unexpected sensual pleasure. Although it is characteristic of noise to recall us brutally to real life, the art of noise must not limit itself to imitative reproduction. It will achieve its most emotive power in the acoustic enjoyment, in its own right, that the artist’s inspiration will extract from combined noises. Here are the 6 families of noises of the Futurist orchestra which we will soon set in motion mechanically:

Rumbles: Roars, explosions, crashes, splashes, booms

Whistles: Hisses, snorts

Whispers: Murmurs, mumbles, grumbles, gurgles

Screeches: Creaks, rustles, buzzes, crackles, scrapes

Noises obtained by percussion: Metal, wood, skin, stone, terracotta etc.

Voices of animals and men: Shouts, screams, groans, shrieks, howls, laughs, wheezes, sobs

In this inventory we have encapsulated the most characteristic of the fundamental noises; the others are merely the associations and combinations of these.

Some Electronic Music Vocabulary

ADSR – Stands for Attack, Decay, Sustain and Release – refers to the envelope [i.e., characteristic of a sound (e.g. volume or filter) as it changes over time; can be used as a tool to shape a sound over time] applied to a sound to shape it over time. Can be applied to the volume, filter, pitch or more. Can make things sound plucky, soft, or ambient etc.

Aliasing – Subtle distortion that occurs in the digital realm when the input frequency is higher than the sample rate. The sample cannot be measured accurately and thus introduces imperfections into the sound.

Ambience – Can refer to a sound in a track which creates a sense of space or atmosphere – typically achieved by the use of time-based audio effects such as delays and reverbs. Also can refer to the level of sound in a recording that contains background noise, separate to the intended recording. Typically this background noise is undesirable, but sometimes it is an aesthetic choice.

Arpeggiator – A MIDI Effect that turns a static chord into an arpeggio. If that doesn’t make sense, it makes things go bleep-bleep-bleep.

Atmosphere – A sonic effect created by reverb, long tails and quieter sounds. Referred to as the background of a track.

Beat Repeat – A type of effect that takes audio as an input and repeats the snippet back at timed intervals to create a glitch effect.

Chill – A loosely-defined term to describe the sound of more relaxed, deeper and melody-driven music in electronic music. Sometimes people refer to this as a genre in itself.

Distortion – The processing of audio such that extra harmonics and loudness are added, creating a more fuller or aggressive sound. Distortion types include tube, clipping, tape, diode, overdrive, fuzz and many more.

Doppler Effect – The sonic effect of frequencies sounding higher pitched when moving closer to an audio source, and lower pitched when moving away. Like when you drive past a police siren.

Formant – A vocal quality of a sound relating to vowels, and a filter type that achieves a vowel-like sound. If you’ve ever heard an ‘oooh’ or ‘aaah’, then you’ve heard what a formant sounds like.

Gate – An audio effect that reduces the volume of a sound once it passes below a certain threshold. It’s good for reducing background noise or unwanted sounds in a recording or sample. Just like your gate at home stops unwanted people coming into your house.

Glide – Portamento—when the pitch slides evenly from note to note

Lazer – A type of sound made by a synth that features fast-moving pitch envelopes to create a ‘pew pew’ type effect.

Masking – A phenomenon when two sounds with similar frequency content cause one to become ‘buried’ due to phase cancellation or differences is loudness. For example, two piano sounds playing at the same time might cause one of them to sound less powerful and thin in the mix.

Normalize – Increases a waveform’s level to its highest before it becomes distorted

Panning – The process of moving a sound either left or right in the stereo field. Panning is a great mix technique to achieve width and space.

Polar Pattern – The way a microphone picks up a sound. Some pickup sound in many directions, others only in one direction, and everything in between.

Reflections – Part of a reverb that creates echoes based off sounds hitting walls and bouncing around rapidly.

Transient – The initial start point of a drum sound, where the audio goes from near silence to sudden loudness. Sounds clicky.

Voice stealing – When a synthesizer is programmed to play more sounds than accessible voices shuts down some present voices so new tunes can be played

Tips for Writing About Music

The most important step when writing about music is to write, read, and listen to as much as possible. Writing hones your voice, while reading exposes you to various styles and information that will shape your writing. The wider the range of music you embrace and study, the better your perspective and critical ear.

Read about music: Understand as much as possible about music, from instrumentation to how artists create their song lyrics. Reading also helps teach the technical vocabulary specific to certain genres. To help you gain a better command of music, use music writing reference books, such as A Short Guide to Writing About Music by Jonathan Bellman and How to Write About Music, edited by Marc Woodworth and Ally-Jane Grossan. Both of these works discuss how to research and write about music effectively, and are great resources for new music writers.

Stay informed: Develop an understanding of news, events, and cultural conversations that inform songwriters. For example, understanding the politics behind Russian feminist collective/punk group Pussy Riot is necessary if you want to write an informed piece on their output.

Learn music theory: The more informed your technical language, the better your music writing will be. Elements such as BPM, timbre, crescendos, adagio, and other music sounds will help you more deeply understand a particular piece of music and its relationship to other songs on an album.

Listen to music: Don’t only listen to genres that you prefer, but expand your ear to different types of music. Artists are inspired by music across time and genre, and the best music critics recognize those references.

Put work out: Whether you join your school’s paper, do creative writing, or start your own blog, getting eyes on your work is imperative to improving your music writing. There are also online resources that aggregate opportunities and writing prompts for writers of all experience levels, providing a great opportunity for new writers to get their foot in the door.

Pitch to publications: Online and print publications are always looking for new pitches from writers. The more places you pitch, the more likely it is that you will sell a piece. Don’t be discouraged if you pitch one outlet and never hear back. Lean into your passion, keep writing, and pitch some more.

Also describe the effects of the song to your character/s. The effects of music can be described using various adjectives like relaxing, calm, refreshing, soothing, etc.

Sources: 1 2 3 4 5 6 7 ⚜ More: References ⚜ Writing Resources PDFs

Thanks so much, really glad to hear this! Choose which of these notes would be most appropriate to incorporate in your story. Do go through the sources as there are more information I wasn't able to include here.

Another reference on music-related terms, plus some great additions. And more resources that could help with describing sounds and scenes related to music in your story:

Words to Describe Sounds

100 Sensory Words

Some Percussion Instruments

Some Pop Music Vocabulary

Writing Template: Singing Scene

Finding the right words that could accurately describe the specific song you have in mind to your readers is one way to tackle this, but it's definitely a challenge. Hope you find the right words/references here!

#music #writing reference #writeblr #literature #writers on tumblr #dark academia #creative writing #spilled ink #writing prompt #writing ideas #writing inspiration #light academia #writing resources

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purlty23 · 2 months ago

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Ghost… oh Ghost…

I’ve been a fan of Ghost for a long time. I’ve seen them shift, adapt, and evolve. But with these new singles — Peacefield, Lachryma, and Satanised — it’s become painfully clear: Ghost is no longer a band pushing creative limits. It’s a brand rehearsing a role.

Peacefield

This track is lifeless. That generic choir + child vocal intro? It’s not grand. It’s not spooky. It’s generic trailer music. You could slap it on a fantasy video game ad and no one would blink.

Then there’s this gem of a lyric:

“We all need something to believe in until it’s over, anything, anyone, anytime, but it’s not over yet.”

Seriously? That’s not introspective. That’s the kind of line you’d find in the Notes app of a high school kid writing edgy poetry during math class.

And then — plot twist — Tobias Forge didn’t even compose it. Two outside pop producers did. That explains everything. It’s a Ghost-branded pop rock single that could’ve been released under any band with eyeliner.

This isn’t art. It’s product.

Lachryma

This one hurts more because you can hear potential. The synth intro is beautiful. The chorus is solid. But everything else? Paint-by-numbers filler.

It’s Ghost doing a cosplay of their older sound — imitating their own identity instead of building on it. There’s no tension. No drama. No left turns. No surprise. It plays like something written to safely hit the Spotify rock playlist algorithm. You can practically see the songwriting formula in the waveform.

Satanised

This one is just baffling.

It desperately wants to be edgy. Dark. Controversial. But instead it comes off like a parody of a parody. And the real kicker? As an Orthodox Christian, I actually found the lyrics… oddly familiar. It reads more like actual Christian theology than any critique of it. And the delivery isn’t even ironic — it sounds sincere. Like something you’d hear in a church youth group rock night, but with a pentagram slapped on top. Ghost used to twist religious imagery into eerie, poetic metaphors. Now they’re just reciting doctrine louder, pretending it’s subversive.

It’s not Satanic. It’s not rebellious. It’s not clever.

It’s empty theater.

⸻

And Now, the Bigger Problem…

What’s really shocking is seeing fans actually celebrating things like:

“Wow, Papa can finally move his mouth while singing with the new costume!”

Wait — that’s the bar now?

He can move his mouth?

We’re applauding a musician for doing the bare minimum of human functionality on stage? If that’s what excites you — not the music, not the composition, not the emotional weight — then this is no longer a band. It’s a Hot Topic mannequin showcase.

Ghost is becoming Lordi 2.0 — all spectacle, no soul.

If you stripped away the masks, the gimmicks, and the stage fog, would these new songs still move you? Or would you skip them entirely?

And maybe that’s where Ghost should go next: not deeper into music, but into fashion.

If the focus is on how good Papa looks under a spotlight or how cool the tour merch is, then just admit it — Ghost is a visual brand now. A goth fashion label with guitars.

The Truth Is This:

Ghost could’ve ditched the Satanic shtick years ago and reinvented themselves into something honest, raw, and creatively free.

They didn’t. And now, the once-dark, genre-bending, risk-taking band is slowly fading out in a cloud of recycled theatrics and outsourced melodies.

These singles — Peacefield, Lachryma, Satanised — aren’t songs from a band on fire. They’re the final wheezes of something that doesn’t realize it’s dying.

Ghost isn’t a cult anymore. It’s a costume.

And I say this not out of hate — but as someone who once believed. /Copypasta

#NEW COPYPASTA IN THE GHOST FANDOM MY FRIENDS #POERTY #this is so funny im so obsessed with fb users and their slop opinions

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elliespectacular · 10 months ago

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Hi, I recall some time ago you made a video of different techniques that can be used to avoid being flagged by YouTube's copyright detection system, do you still have that video? If not, can you offer other general tips? Thanks.

That was a thread on Twitter dot com (which I don't use anymore) but here's the quick version:

Copyright detection algorithms for video/audio basically hold up the original next to yours and judge how similar they are. So making your fair-use transformative work more and more different is the name of the game.

To this end there are a lot of techniques you can use:

- Leaving no more than 3 seconds of footage unedited (the most important technique)

- Edge cropping

- Letterboxing/adding a frame

- Decreasing contrast/saturation

- Adding noise

- Layering other semi-transparent sources

- Adjusting the color

- Mirroring the footage

- Changing the speed/pitch

- Warping the video

- Using filters

- Adding audio layers

- Intermittently inverting the audio waveform

- Separating voice and music

- Making the video move around

But the real trick is to combine combine combine! No single one of these is enough on its own. I make no guarantees about the effectiveness of this approach but it has served me fairly reliably for the last few years. Algorithms are getting more sophisticated with time but you can always get around them. Remember that a human person can still manually issue a takedown, so make sure what you post is something you can say is adequately transformative with confidence.

#youtube #ask #copyright #fair use #transformative works

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trickstertime · 1 day ago

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Speaking of movies trying to get across complex concepts: I'd love to see one where aliens arrive but it's just a bunch of hyper advanced robots and not the aliens themselves. When we eventually translate what they're saying it turns out they sent the robots because, when we look at the aliens, our act of observation collapses the quantum waveforms that make up part of their structure and we're these eldritch monsters that kill them or drive them mad just by looking at them. So they sent robots to say "please stop fucking looking at us. And space in general while we're at it. No more telescopes and probes for you. You idiots keep killing things and making our megastructures break. Fucking stop IT. Instead of just wiping you out, we're gunna use these robots to keep you in quarantine from the rest of the universe. Goodbye forever."

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uncreative-cryptid · 6 months ago

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that long ass essay i promised to write regarding the quartz, symbolism, and my oc valerian.

so valerian is both complicated and not complicated but a lot of his symbolism lies within the idea of aura quartz and how it's made, what color, and what that is mean to do in the world of metaphysics.

the first important thing to note is this:

metaphysical vibrations. in the world of wuwa, everything is based off sound, and in some circles, the metaphysical also focus on the vibrations of everything - as everything in the world has vibrations (consider this like .. everything has a waveform, essentially, but only resonators have the ability to feel and sense these vibrations/waveforms/echoes/ect.)

second thing:

aura quartz is man made, it is not naturally occurring by any means beyond the base crystal. in order to create it, the quartz is exposed to extremely high temperatures and then exposed to varying amounts of metals in order for it to gain that aura - often with silver or gold.

depending on who you're talking to or the general opinion, the fact aura quartz is not 'natural' (so therefore has no history to tie to the spirit), can turn a lot of people away from using aura quartz for anything.

however, there is one more thing to keep in mind:

aura quartz is usually made with a clear crystal as the base. clear crystals are thought to be the strongest of the crystals, as it's whole meaning is amplification of power, clarity, and the way it is meant to absorb negative energies. a cleansing for the soul, if you would.

many of valerian's moves and forte are based on these quartz.

"Man Made" is in reference to the way Aura Quartz is created. valerian's history with his family is barely a few threads at best these days, his parents considering him their 'prodigal son', but he cannot deny their tough treatment of him when he was younger hasn't impacted his entire personality and how he now seeks to rectify all his wrongs. they were the fire and the metal, but he was the clear quartz who came out the otherside. he was man made.

Blood of the Ruby Aura

symbolizes strength and passion and protects the heart from emotional negativity.

An Aura of Flame

symbolises transformation, harmony, and stability.

Song of the Aqua Aura

symbolizes tranquility and connection and communication. it is also a spiritual protector, meant to help cleanse and protect the soul from negativity.

Aura of the Sun

this gem is meant to symbolize: joy/happiness, creativity/inspiration, and protection/strength. generally speaking, this is also meant to promote the emotional wellbeing.

Kaleidoscope

what i love about kaleidoscopes is the fact that generally speaking, it's a pattern of fractals. fractals, mathematically, go on and on and on forever, and it's interesting.

what these mean to valerian and how they relate to him:

ruby aura quartz: valerian protects his heart deeply, not only is he passionate about what he does, but he's usually a person who wears his heart on his sleeve. unfortunately, due to past events, this has changed and he keeps himself quite guarded ... but he wants to continue to keep people safe.

flame aura quartz: as it stands, valerian is in a state of transformation, seeking to harmonize with the world around him and accept all his own flaws and traumas no matter how difficult it has been.

aqua aura quartz: for valerian, this is meant to symbolize his own sense of tranquility as he continues to look for solace in the world, and the coloration to him is also important; between skies and oceans, the aqua aura reminds him there is more beyond that of the ends of the beach. it gives him a sense of peace to know that he is apart of this world, no matter how small, no matter how insignificant it feels; he is the blue in the ocean.

sunshine aura quartz: just like the warm rays of the sun, the idea of sunshine aura is meant to promote this warm and comfortable feeling. valerian does not believe himself to deserve happiness for what he has done, but he seeks to accept himself and all that has happened to be able to accept his happiness.

the kaleidoscope: valerian is under the belief that everything in intertwined, and that when you 'zoom in' or 'zoom out' in your perspective, it's just repeating patterns, and sometimes twisting the fractals allows you to see something a little different than before. art and life imitate each other, it is all one in the same.

valerian is a lot of things, but most importantly he's still human with flaws and troubles and trying to find things in the world that makes him feel more at ease. when it comes down to his character, the kaleidoscope represents the many different colors in his life, a stained glass pattern, and the meaning he will draw from these things. it is chaotic and reflected back in on itself into patterns that change when you turn it around.

i like to think the crystals represent both his past and his present, he is passionate and full of love and kindness and joy, but he is full of sorrow and anger and pain, too. and full of emotion, he seeks to realign constantly.

overall, i feel that valerian is both a reflection of myself and the world he is in. the many colors and crystals can mean a lot of things, and simultaneously mean absolutely nothing.

in short:

valerian is a product of his creation, man made; but the meaning he draws from this is his alone to decide, be it that because he is 'man made' he is not truly something considered helpful or true, or if that the metal exterior that turns an otherwise ordinary crystal into something beautiful is worth it's use anyway.

we are a product of the things around us, but meaning is what we choose to make it, and what colors we choose to see, and even how the pattern is reflected. we might not be able to choose the point the kaleidoscope starts at, but we can change it at any time.

valerian will eventually learn this, will eventually come to terms with the fact he holds 2 civilian deaths and 1 resonator death on his hands due to overclocking. he will come to understand he can change the way this pattern shows. hell, he'll eventually even learn he can pop the glass out and change the colors. but that takes time and understanding that healing is not linear and cannot always be through one singular thing.

and still, these crystals dont just mean one thing, they can mean anything, it is all about how you choose to interpret the messages and feelings you get. dont let the insane ramblings of one internet creature dictate what you should and should not derive from the meanings and symbolisms presented to you. what you draw is ultimately a reflection of myself, yourself, and the environments that made us.

draw whatever conclusion you want from these crystals and what you think it may mean in reference to valerian, cause i would genuinely love to hear what people think these could mean and what feelings they draw from these things. art is collective and i am nothing if not a dragon hoarding all the things.

#wuwa oc #wuwa #valerian #this was long and yappy #i love yapping about my oc and his symbolism

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do-you-have-a-flag · 13 days ago

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putting aside the ethics of 'A.I' videos in their creation/usage/waste/economics, just on a purely technical level one thing i find interesting is no matter if the result looks photorealistic or like 3d CGI- it's all technically 2d image generation.

unless specifically used as an add on in a software for 3d rendering, of course, pretty much every ai video you see online is 2d art. the space rendered is a single plane, think of it like doing a digital painting on a single layer. the depth/perspective is an illusion that is frame by frame being rendered to the best ability of prediction based on data it has been fed.

obviously videos of 3d models in animation are a 2d file. like a pixar movie. but in video games you do have a fully rendered 3d character in a 3d rendered space, that's why glitches that clip through environments are so funny. it's efficient to have stock animations and interaction conditions programmed onto rigged dolls and sets.

by contrast if you were to use a generative ai in a similar context it would be real time animating a series of illustrations. of sounds and scenarios. the complexity required for narrative consistency and the human desire to fuck up restrictions hits up against a much more randomised set of programming. how would it deal with continuity of setting and personality? obviously chatbots already exist but as the fortnight darth vader debacle recently shows there are limits to slapping a skin on a stock chatbot rather than building one custom.

i just think that there's so many problems that come from trying to make an everything generator that don't exist in the mediums it is trying to usurp because those mediums have a built in problem solving process that is inherent to the tools and techniques that make them up.

but also also, very funny to see algorithmic 2D pixel generation being slapped with every label "this photo, this video, this 3d render" like it is at best description cgi, let's call it what it is.

but i could of course be wrong in my understanding of this technology, so feel free to correct me if you have better info, but my basic understanding of this tech is: binary code organised by -> human programming code to create -> computer software code that -> intakes information from data sets to output -> pixels and audio waveforms

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mindblowingscience · 2 years ago

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“You can actually estimate the movement of the eyes, the position of the target that the eyes are going to look at, just from recordings made with a microphone in the ear canal,” says senior study author Jennifer Groh, a professor in the departments of psychology and neuroscience and neurobiology at Duke University. In 2018, Groh’s team discovered that the ears make a subtle, imperceptible noise when the eyes move. In the new study, published in the Proceedings of the National Academy of Sciences, the team now shows that these sounds can reveal where your eyes are looking. It also works the other way around. Just by knowing where someone is looking, Groh and her team were able to predict what the waveform of the subtle ear sound would look like. These sounds, Groh believes, may be caused when eye movements stimulate the brain to contract either middle ear muscles, which typically help dampen loud sounds, or the hair cells that help amplify quiet sounds. The exact purpose of these ear squeaks is unclear, but Groh’s initial hunch is that it might help sharpen people’s perception.

#Science #Neurobiology #Psychology #Hearing #Vision

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snapscube · 2 years ago

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hey big fan of your channel and art!! was wondering if for the midnight snap series what kind of sound design you were doing it rlly sounds nice!! (also smth that could be nice with it is maybe a little bit of like tape saturation or something might be able to make the audio sound "warmer" if youre like not already doing something like that already, but you probably know better than me!!) feel free to ignore that, but wanted to say in general its so well done and sounds so good!!! its really cozy and nice!!

hey thank you!!! yeah i'd.... genuinely LOVE to talk about my thinking and approach behind the sound design, i'm actually so happy you asked me this LOL this is the kind of shit i live for.

you might assume that it's just me recording the game audio and talking quietly with my normal stream settings, and that is kinda how it STARTS, but there's actually a bit more i've been doing behind the scenes :) nothing too crazy just yet but a little goes a long way when it comes to sound! i'm hoping to really nail down the soundscape and increase the quality over time and specifically up the soothing vibes by a lot. as well as get a little better about mic etiquette and my style of speech. BUT in terms of what i'm doing in post:

the first piece of the puzzle and definitely one of the most important sauces in the whole mix is the Hard Limiter. it does what you might imagine it does, basically just places a hard barrier and says "any sounds that exceed this volume.... no you don't", sort of like a much more intense compressor. currently i have a Hard Limiter on both my commentary AND the game audio, commentary i have set to peak at around -15 to -12 db, whereas game audio is more around the -23 to -20 range. in my more polished audio from later in the AC episode it's enough difference that one doesn't drown the other out in most cases, but not a wide enough gulf that people are struggling to pay attention to one in particular or have to frequently change volume (preferably they don't have to change it at all!). i took this screenshot of the episode's complete waveform when rendering out the audio-only version of AC part 1 and it was super satisfying cause like.... yeah. this is exactly the kind of waveform read i was going for. just super even and smooth across the board, save for a couple anomalies i'll buff out over time.

the next thing i do to both my own commentary and the game audio is actually just cutting down on harsher, higher frequencies with an EQ and just upping the bassier, warmer tones. i started with something super small in the first couple of episodes, i'm probably gonna go a bit harder on it for future stuff though. i wanna find a balance that doesn't make the game sound unrecognizable or anything but is noticeably easier on the ears and sounds more like a nice rolling wave rather than beep boop pac-man time.

past this i have a couple more things added to the commentary track:

to intensify the previous effect mentioned and cut down on harsh frequencies in my speech, i actually have a dedicated de-esser on my voice as well as my usual warmer EQ. i have the de-esser going pretty hard too, you might hear the difference from my usual stream commentary if you were to listen closely. really just taking those harsh t's and s's in my speech and making them sound more like a nice "shhhh", this one is super important i think

last thing i have to speak on otherwise is actually a plugin i found and bought specifically for this show and ends up being subtle but i think SUUUPER helpful in the long run, and that's this plugin called "spiff". spiff is a plugin by oeksound and i guess it's referred to as like, a transient editor? i'm actually not sure how it works at all on the nitty gritty level BUT the important thing is that they have a very important preset in the software, and that is a preset specifically designed to lessen and/or remove like... mouth sounds. yknow like lip smacks and the like. just kinda the gross smacks and clicks you don't hear as much in normal speech but can come through really intensely on a recording and kinda make ya uncomfortable. it obviously doesn't remove a lot of the more intense stuff, it's not a magic wand in my experience. but listening to the output of what it's removing on its own makes it REALLY clear there's a lot of little things it picks up and just kinda makes speech more soothing to listen to. not something i'm racing to apply to my normal streams, BUT for a sleep aid series where good audio is key????? 100% worth it, i like it a lot.

anyway yeah that's about it for now! a lot of it is pretty simple in and of itself but it's stuff i've been working at and experimenting with since i first started doing tests for the show and it's gonna be real nice to keep honing this stuff in. also cool suggestion with the tape saturation idea, i might look into something like that! once i nail stuff like leveling and frequency tuning for this show, i wanna look into some fancier ways of making the soundscape unique to this show compared to my normal streams so ideas like that are super helpful!

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