#my head is basically capacitor city

[gameideas-111]

Soulslike Cyberpunk setting

This is admittedly an idea I've been letting rattle around in my head for a while. It's not fully thought out, but I have thought about how it work for a while.

Basic Idea

My idea is to combine the concepts of blood born with cyberpunk ethics. With some inspiration from Overkill. You wake up in a cyber city overwhelmed by a medical power source called "Spark" by the company who discovered it, Steven Cyberware. Your very existence is considered an affront to company policy and an unwanted factor the corporation doesn't want to understand or use (Think of it similar to Far Zenith from Zero Dawn). So they send a clean-up crew to destroy the isolated island lab you're on. You likely die (And rise out of a light blue sea of geometry onto an island with a lighthouse observatory known as Shoreline) or run away (you'll be invited to the Shorline, a cyberspace isolated and hidden in the network where people like you may hide). In Shoreline, a chip and jovial person known as "S.k.I.E." will meet you. A friendly and acts as a shrine made of the game. You'll also find other NPCs here who you can meet in the real world as well. Other NPCs who've come here for one reason or another.

The shoreline is a hub world, With it largely being where docs amongst the small coastline with small huts and shops. on the boats With the centerpiece of S.k.I.E.'s Lighthouse and observatory. Where she can use concentrated Spark and data you get from enemies to upgrade your stats. Further on in the game, This place will slowly change. The Sea will start to show faces and limbs of glitching complexions of grey, boats trying to prepare to depart. At the end game, the sea will be red as the sky sparks and sputters. Boats in the distance or at the docks wrecked or sinking. The place is now marked and surrounded by beings wanting to feed. S.k.I.E. Now showing some worry, as she tries to hide their fear behind a smile. Trying not to think about what could happen to her. (Here, you could possibly catch her crying, to which she'll stop and say she's fine if asked. If you can listen to her out of sight though, you could hear her talk to herself in private. trying to focus on anything but the fear of oblivion she might be subjected to, or worse, she stays conscious as she's torn apart by eldrich things. You may even see her mind degenerating as bits of it go away. eaten by uncaring gods. Her anger and sadness at not being able to remember the faces of people they care for. She's terrified and trying to hide it so you may complete her mission of helping you, the thing she was made to do. But she also doesn't want to die).

The Save system is made up of transition nodes. Massive cell towers that many have plugged into so they can escape the nightmare inflicted upon them by corporations and spark. With Ancient beings coming from another realm to feast upon spark. Some plugging in and never coming back. You need to activate these nodes to fully create systems online (Kinda like how you need to unlock towers to fast travel in breath of the wilds). Around the area, there are fabricator Nodes. Acting as the primary save points. Where some will actively be around these Nodes to top up on spark. A vital resource to survive outside the Corporations and the City Council. With Many enemies are robots or cybernetically enhanced guards and creatures from one of those two factions, or gangs. Later on, spark creatures will emerge. Often around unoccupied Spark nodes.

The goal of the game is to either destroy all five Spark capacitors, or your original mission of getting to the top of Marigold Tower, a luxury tower for the high society in the past, now a fortified fortress where the companies keep the portal open and keep harvesting Spark from the grey world. The High society doing nothing but maintaining their lifestyle and power. To them, they'd rather rule the world, even if it's nothing but ashes than ever lose power. They'll die eventually, so what about the consequences. They also want you and others like you gone. To them, you're spit in their face by someone who defied them, and an unknown variable. Some smarter ones will try and use you for their own ends (connected to one of the endings). But in the end, they will prioritize their power and pride over others.

Lastly (For now), there would be "The Spark Beings". Those Eldrich gods mentioned earlier. These are otherworldly beings who consume Spark. Alongside having some intelligence and motives you don't get to fully know. They do want to eat though. Which can collapse the entirety of society and everyone who has spark even remotely near them (Everyone who still lives). This is actually something your creator is interested in. I should explain your Creator.

Your creator and by extension creator of the shoreline is named Alisa Burg and her persona is "Hustin Hills". A former tech billionaire who helped build up the corporate society and its reliance on spark. However, she was kicked out of high society and forced out of the oppressive corporation she helped found. Alongside being forbidden to continue her research which was deemed company property. However, as soon as the eldrich beings where dicovered, she started drafting up plans. Eventually becoming one of the most wanted people in the city as a result of body snatching from the morg, illeagal experimentation with trademarked technology, and other such crimes. One of which was you. (With your purpose not being to save the world, but to instead assign yourself or your creature into one of these eldrich gods).

Combat

Combat focuses on dodging and striking. With All enemies holding the resource known as "Spark". A resource that acts as your health. You can even recover health by bathing in the Spark that spews out of enemies. The most spark is gotten either by striking an enemy during an attack where you can get a slight healing, or striking a death blow that gives you some Hp and refills a charge of your Spark Charg (Estice flask equivalent). You can also recharge weapon abilities with these. With quick weapon changes and modifications also being key.

Cybernetics act as special talismans or charms that can help certain things happen. With Chips acting like spells, your character can be used for spells. Extra spark is restored by attacking an enemy right after they make an attack. landing a death blow, or by getting a recharge.

it'll largely be melee-based, with range weapons tacking sparks. With most everything ranged needing it to power up, or use as ammunition.

[butts-bouncing-on-the-beltway]

It's very fun being the sort of household where techs show up friendly, quickly get excited about how "easy" their job is going to be even if it's involved because our explanation of the issue has already basically told them everything they need to know, and then they leave delighted to have been told they will be on retainer going forward. So far everyone who's come out, whether for the house or the animals or us,has had a very similar response. Part of me is wodering if we've just gotten more capable over the past few years or if techs here are having a VERY different experience than the techs in the city pre-pandemic were lol. Both, to some extent I assume.

Anyway, the HVAC system is actually 10yrs newer than we feared and needed a new capacitor but is otherwise in flawless health. It'll be going on a yearly maintenance plan when the techs come back out next, and the fellow we worked with is walking Wifey through what we'll be doing to maintain it going forward.

It's slow and difficult making progress, but we ARE doing it. I need to get my head on a bit about planning because this hurry up and wait process is quite bad for me actually I think. I want to set up a more stable pace. There's too much to do for me to rush it all.

[greetings-inferiors]

I just thought to myself ‘wait are capacitors used to hold charge in devices’ then thought ‘no that’s stupid the charge would run out near instantly’ then thought ‘but wait the time constant might be really really big’ then thought ‘no because then it would take ages to charge’ but THEN thought ‘WAIT BUT YOU COULD HAVE ONE CAPACITOR THAT QUICKLY CHARGES AND THEN ONCE THE CHARGER IS DISCONNECTED IT DISCHARGES INTO CAPACITORS WITH REALLY LONG TIME CONSTANTS SO THEY RELEASE THE CHARGE OVER A LONG PERIOD OF TIME???’ But no just use a rechargeable battery

[such-a-random-rambler]

Once in a Blue Moon

It was an aligning of the planets when John and Virgil got to work together. That is to say: not as seldom as everybody thought, but not  everyday   either. It just depended how you defined 'together’, for technically John worked every dispatch. They were a great pairing: Virgil’s mechanical skills and John’s electronic ones meant there wasn’t much they couldn’t engineer their way out of. 

  They’d already tackled several problems at the overloading factory: Virgil had used a bit of brute force and the proper application of leverage to open a cooling vent for access, and John had whipped up an antivirus program in his short but brutal plummet to Earth. They security doors had been no match for Virgil’s jaws of life – something that he would have to have a word with the owners about, it shouldn’t be this easy – and they made swift progress to the control room.  

 That’s where it all went wrong.  

 “You uploaded you’re cure yet?” asked Virgil, raising an arm to shield his face from the sparking controls. It was      not good    when a display panel did that; it meant things were getting way out of hand, as if the warning lights didn’t already make that clear. Virgil had really grown to hate flashing red lights.  

 “It’s not a cure,” John said with a very clearly heard verbal eyeroll, “and you know that so are just saying it to wind me up.” Virgil did know that. There was some sort of malevolent trojan horse virus in the system that John was going to contain and eradicate, but surely ‘cure’ was an acceptable shortcut. John was hunched over, giving the terminal he was working at an intent frown. Virgil didn’t like that frown. It was a ‘something’s gone wrong’ type of frown.  

 “Problem?”  

 John pushed himself to his feet with a sigh of frustration. “Sort of. My  programme   is uploaded and is working it’s way through the system architecture and once it’s done facility operation will return to normal.”  

 “I sense a ‘but’ looming in my future.”  

“But..... to complete that we will need to do a full system restart.”

 “Off and on again.”  

 John nodded and Virgil felt his stomach sink. This was a manufacturing plant for high value, high strength biodegradable plastics which were in very high demand in a number of secondary industries. The process to create a reliable and durable product was complicated and long and relied upon down to the second timing in some stages, otherwise whole batches could be lost. These places were designed to resist total system shut down as that would the cost the company millions in clean up on  it’s   own, let alone lost contracts and waste. This was a true  twenty four   seven operation with  back ups   and contingencies to keep it running at all times.  

 Of course   some of those would be off line at the moment as a result of the virus that was screwing up the temperature controls on the main furnace, threatening to send it’s unstable contents into a spontaneous combustion that would flatten half for the surrounding city.  But not all of them.  

 “Is that even possible?” Virgil asked.  

 “Yes, if I had three quarters of an hour and a bit of  luck   I might be able to trick the remaining safe guards that the others were still in place, get them to shut down in a controlled cascade.” John said grimly.  

 Virgil gave a quick glance at the readouts – needles quivering at their max, bar charts at their limits and those damned red lights suggested that wasn’t an option. “We don’t have that long,” Virgil said “We have about ten minutes before it goes critical. What are our other options?” There were always other options. International Rescue didn’t give up.  

 “There might be another way” John said with a strange hesitation. “But it’s a bit more …. errr …. rough and ready, shall we say. You’re not going to like it.”  

 “If that’s what we’ve got,  lets   get on with it!” Virgil knew they had no time to waste.  

 John pointed him to one of the panels on the far side of the room. “I need you to take out all of the capacitors on that board, one at a time, from left to right. And I need to borrow a wrench.”  

 Virgil fished out his second  favourite   wrench and handed it over, turning smartly on his heel to set about his task. John pressed a few buttons on the main console before popping open another section of the room’s wall. Virgil clicked open his own, now as far away from John as he could be in the small space, and stared in puzzlement for a second. He wasn’t the computer genius that his brother was, but he knew what a capacitor looked like and whatever was running through this wall didn’t have any. It wasn’t like John to make such a mistake even under this much pressure. He turned to double check when a lot of things happened at once.  

 He saw John reaching into the guts of the wall and hitting something really hard with the wrench.  What followed was the predictable blinding flash of an overload due to damage and contact with metal, the snap of discharging electricity like static from a balloon but a  thousand fold  . The lights went out, there was a dull ‘thumb’ of a large weight on a hard surface and a clang as the wrench fell to the floor.    

 Virgil stood, stiff and dumbfounded. His eyes, still troubled by the flash were struggling to  accustomise   themselves to the pitch dark. Spots were floating across his vision and the hair on the back of his neck stood up in a sixth-sense sort of alarm.  

 “John?” He whispered “What the actual hell.”  

He turned on his trusty shoulder flashlight and swept it around the room. The place where John had been standing was filled with smoke which smelt cloying and metallic as it drifted through the room.  Another sweep found what he was looking for – crumbled against the wall just a few paces away was his stupid stupid stupid brother.  

 “God damn it John!” Virgil said as he knelt at his side. Through the thin beam of light Virgil could see the slight fuzz to his hair and scorch marks on his suit that spoke of a large electrical discharge.   Virgil pushed a furious two fingers to the pulse point just under the jaw and offered a silent prayer of thanks to anything in a position to hear when he felt the heartbeat  - fast, uneven, but there.  

 “John, John!” Virgil shook his shoulder.  

 “No need to shout.” John replied, voice much softer than his usual commanding tones.  

 “  Oh   there is plenty of reason to shout. Being as I think you just stuck your hand into the primary back up power system to overload it and shut the factory down. That's what you did, right?”  

 “Basically.” Virgil focused the light on John’s face to see it pinched, pale and squinting. He tried to bring up the suit’s biometrics but it wasn’t fully responsive, and it took a lot to damage Brains’ tech. “How long has everything been off?”  

 “Under a minute. You and I are going to have a conversation about ‘rough and ready’ and hitting complex electric systems with god damn metal rods and getting yourself god damn electrocuted.”  

 “I’m fine.” John protested.  

 “Really? Because I think you just got thrown across the room into a concrete wall. I also think you just got hit with about a billion volts of electricity. Now I’m not sure one of those made you lose consciousness, but I know which one is making your heartrate too fast. I’m also worried that I can feel occasional irregular heartbeats and I so don’t want to have to put a de-fib on you because I have no idea what sort of internal injuries you have right now.” Virgil was trying not to let his anger out and to stay professional but John sure did deserve it. Hitting it with a bloody wrench!  

 “If you’re finished, want to help me get up so we can get this place back up and running and go home?” John said, making no move to get up himself.  

 “That depends, do you think you’ve got any internal bleeding?” Virgil made a couple of physical checks that John bore with bad grace - unfortunately they were all familiar with the feeling of internal bleeding.  

 John gave a grimace and a shake of his head “Nah, only bruised.”  

 Virgil gave a put-upon sigh and man-handled John to his feet, taking most of his weight with an arm slung over his shoulder and Virgil holding John tightly to his hip. The quicker they did this, the quicker he could get John back for a CAT scan and an  xray   and an ECG.  

 They staggered to the main terminal where John flicked a few switches and pumped a breaker – with a whine and a whir something started up: lights and screens flickered on all around them, straining his eyes yet again.  

 “Please don’t do anything like that again.” Virgil pleaded as they waited for the main frame to reboot, “It was really stupid and you could have at least given me warning.”  

 “You would have tried to stop me.” John said, leaning his head against Virgil and closing his eye for just a second. “I didn’t want to do it, but -  “ he   paused for a few moments as he studied the booting sequence and obviously happy with what he saw there - “Mission accomplished, city saved.”  

 “Yeah, too right I would have tried to stop you almost killing yourself.” Virgil said, turning them slowly and starting to make their way back to his Thunderbird. Luckily they landed  just outside the door so he wouldn’t have to carry John too far – he was heavier than he looked. “As it is, you might have wished you had when Scott gets hold of you.”  

 John groaned, long and drawn out. After a side-eyed glance at his  brother  -    pale, in obvious pain and listing to one side even with his support  - Virgil wasn’t convinced that noise could all be attributed to the thought of the dressing down he was going to get as soon as he was well enough to stand it.  

 “Do you think we could just not tell him?”  

 “Not a chance.”  

 “He’s not going to understand.”  

 “Oh we understand- ” Virgil said, wanting to  emphasise   that Scott wouldn’t be the only one to have a problem with John’s antics, even as he was pushing his brother into one of Two’s med beds. “-considering the number of lives at risk. But making a decision like that without having a conversation with the rest of us – it's just not on. How would you feel if we did it while you were up on  Five.  ”  

 John was clenching his jaw as Virgil raised the bed so he was leaning back instead of  laying   flat, but whether from a hidden injury or the memory of all the times John had watched them run head first into trouble without being able to do anything about it was impossible to say.  

 Suppressing a groan of his own Virgil headed to the cockpit for  take off   protocols. If everyone was being their usual selves Scott would be blazingly angry by the time they got back to the island and John would retreat into intractable silence and somehow it would all be Virgil’s fault.  

 Virgil was almost glad he worked with his brother just once in a blue moon.  

also on https://archiveofourown.org/works/23156785

or

https://www.fanfiction.net/s/13522767/1/Once-in-a-Blue-Moon

[elliothuntington]

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[mysynthfetish]

Huh? What? Oh.

Yeah so how the fuck are y'all out there in Internetland? We're pretending the pandemic away here in Japan, following Drumpf's lead finally, I guess. Has the death toll passed 200,000 yet? Fucking hell. If that imbecilic nincompoop conjob steals this next election like he did the first one, I hope the bombardment of the US from space commences immediately if not sooner. But I digress...

So I've not been on this platform lately. Truth is, I'd not been doing much of anything since about mid March, when the pandemic panic reached Japan and all hell broke loose and everything basically shut down lackey split. I was in a real funk until about mid-June or early July too. Just didn't give a fuck about anything at all, be it synths or otherwise. What was the point? Meaningless asshattery that was nothing more than a temporary distraction to lull ourselves into pretending everything was just fucking fine. Nothing was fine though! I do continual battle with a brand of bipolar disorder that sees me swing between a normal mood and an I WANT ALL OF YOU FUCKERS DEAD NOW fiery rage. Depression? Hah! Who has time to be depressed or feel down when all you wanna do is see the whole population of the Earth die miserably, and preferably with a good number of those deaths caused by your own doing? Yeah, fun shit, I know. And I had it in my head that I could beat this unending rage by getting off psychoactive meds once and for all, cold turkey, and boy did that NOT work at all. But I discovered that I had time to become more engaged in an activity that has been with me from years far, far before I even knew what a synth or drum machine was: skateboarding. Found a skatepark nearby, started going out there Friday nights when they had "adult" nights. And I started going out to the mountains just beyond Uji City to a skatepark owned by the same outfit, and basically you can find me there one day of the weekend every damn weekend. I've re-learned most of my old arsenal of tricks as well as some new ones, and let me tell you that feeling of stoke of finally landing a trick, then working it and making it your own, after slamming who knows how many times? That stoke NEVER changes. I'm just as fucking hyped now as I was when I was a teenager and learned a new trick. Could be the best anti-depressant ever. SO yeah now I don't feel that rage all the time. Oh it's there, lying dormant underneath the depths of my psyche just waiting to rear its head and maul any and everyone nearby given the chance, but those chances are decreasing steadily and I am happy as hell about it. 

At one point though I was just about convinced I had completely and totally lost interest in producing electronic music, or music of any sort really, and started selling off gear in large quantities. I did keep a sort of minimal setup just in case the urge might strike again, and I am really glad I did because I've slowly started noodling around and it feels great. I picked up two new synths though even after selling off as much stuff as I did. Oh and there's also this.

The first effects processor I ever saw or used. Managed to get one with no power supply for $30 off the auction. I have a spare power supply. Works fine. I thought to yank the LF347N el-cheapo op amps that the thing is supposed to have in it, and replace with TL074CN, but lo and behold....

Son of a bitch had TL084CNs in it already?! WHAT THE HELL??!! Crazy shit. So I settled on doing a recap and used Jovial Audio High Grade capacitors. Looks good and sounds great.

Glad to know I haven't forgotten how to do this kind of stuff after half a year or whatever away from it. Now on to the synths...

The venerable AKAI AX73. Big as hell, and heavy too. I had an AX80 a while ago. That fucker was heavy as fuck, maybe even the heaviest synth I've ever owned. Anyway the AX73 is a CEM3394 (I think) based analog machine with a few crafty tricks up its sleeve. The Deeper Dark Energy v1 used the same chip, as well as the Sequential Six Trak (I think) and some others. It's a neat synth-voice-on-a-chip deal, and you can do filter FM via VCO, as well as PWM any waveform, and it also has an odd doubled up waveform you can choose too so it's neat to program. But it only has one oscillator per voice, so it can be really thin. You can set it to Dual mode, which uses two VCOs per key press, and detune them, for a thicker sound but the cost is halved polyphony. There's also a really yuuuuge Unison mode. It's a great synth, and I found online that a guy rewrote the OS and you can get EPROMs so it can handle sysex as well as MIDI CC messages so that's a no-brainer. I changed all the tact switches out, cleaned the hell out of it, and swapped out some of the LEDs (MIDI SPLIT to pink and MIDI RECEIVE to blue). So it works and sounds good as new now.

I also grabbed a KAWAI K4 for a good price. I had a K1m waaaaaay back in the mid 80s. Very sentimental synth to me. This is basically a K1 with resonant filter and effects. Very happy with this. Replaced all the tact switches on this too, and now it's back to full working order. Quite a distinct sound, VERY early 90s, different flavor than a D-50 or M1, but same section of the menu. Neat shit.

Right. Last but not least, I deleted the alias I was producing under for the past 10 years and am starting over anew with an as yet unnamed project. I don't feel like I am an outsider all that much anymore, much less The Outsider. So that came to an end. You can still find stuff online. But no new productions under that moniker will be coming forth ever again. Life moves on. And I'm glad the very few of you who read this are moving along with me. Take care out there.

[judefan824-blog]

competition from neighboring states

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[glitchperryartistry]

My Senior Thesis

My senior thesis has evolved, digressed, and altered, as I matured throughout my senior year. Here are some key phases my thesis has gone through:

Phase 1: Alternate Reality Game

Backstory: over the summer I had developed an application with the Particle Photon that enabled me to interface with a relay via a websocket. https://www.youtube.com/watch?v=vxFKnBqmuAI While I didn’t understand how a lot of it worked behind the scenes, the fact that I was able to get that far, with some basic HTML, CSS, and Arduino knowhow, was exciting. I looked towards https://www.youtube.com/watch?v=kFD8Xl1LSJQ&t=834s as inspiration, and sought out locations in Kansas City, with my friend, and by myself, as potential places to embed my circuits into the city, to create a Kansas City experience.

At the beginning of the year, I came in, guns a’blazin, knowing I wanted to create an alternate reality game. At the time, I was looking at beacons as a potential hardware to create my experience. My professor instructed I watch a documentary called “The Institute”, which was about a zany alternate reality game in San Fransisco. I learned the power of alternate reality games, as a genre, and about how the creator’s intent was to enchant the trivial. The highlight of the game, for me, was a lighthearted one. At a point in the game, a player was asked to go to a payphone, and wait for instructions from “the institute”. After receiving said instructions that would further the story, a performer, dressed up as Bigfoot, ran up next to the participant, and plopped down a boombox radiating a jaunty song. They then proceeded to dance together, in the middle of a public city-area, with the participant. 

Phase 2: AR/Storytelling/Motor explorations

An individual at my church brought up the idea of developing an augmented reality application. Another in the group-chat responded with a link leading towards ARjs using a-frames, a platform I had experience with developing online virtual reality experiences. Nevertheless, I had never heard of the boiler plate being used for augmented reality experiences, which is to say web based augmented reality wasn’t even on my radar whatsoever. So, for the sake of learning, I undertook the challenge. Within the next couple of days, I had created a rudimentary ar “experience”, (for lack of a better word) that used the platform my friend at church brought up. 

Around the same time, I had been watching/listening to clinical psychologist, and professor Jordan Peterson lecture about responsibility, and stories.  https://www.youtube.com/watch?v=Us979jCjHu8 Often, Peterson talks about stories, and how one views the world through a narrative lens, or about how stories distill truths about how one ought to properly act in the world. He has analyzed both “Pinocchio” and “Lion King”, while talking about the deep metaphors, and archetypes that run rampant through the narratives. Yet his analysis of “Pinocchio” really stuck out to me, as I was able to draw many ties between the marionette, and myself. 

I felt as if I too had been stuck on “pleasure island” for some time, and my conscious (that still small voice in one’s head) was able to show me the way out. Pinocchio’s relationship to his consciousness is literal, in the sense that a bug, Jiminey Cricket is his guide. Peterson asked rhetorically to his class “what bugs you”? Often, it is your consciousness. He also explained how expensive an animated film is to make, which he used to bolster the idea that nothing embedded within an animated movie is trivial: it has real thought in it. Additionally, in the south primarily, “Jiminey Cricket” is slang for “Jesus Christ”, which is to say that the still small voice in your head, is god. 

Where exactly does that voice come from? Why does it always seem to want what’s best for you? Why can we (and why do we) choose to ignore it? These questions bring up the idea of free will, which is something a puppet surely doesn’t have. This is just an example of many of the deep philosophical ponderances Peterson/Pinocchio bring to question. A particular mediation on the Pinocchio’s relationship to his consciousness (Jiminey Cricket) arises when Pinocchio is about to attempt to save his father from the belly of the whale. As Pinocchio is preparing to embark on his journey, his consciousness is warning him, and telling him how stupid, and foolish it is, to risk your life for the task at hand. Yet at the same time, his consciousness is helping him prepare for the journey, as it is almost necessary to embark on such an extreme journey, for one reason, or another. 

I related this idea to my own experience when I happened to descend into the underworld. While I wasn’t on pursuing any, say, answers, or mission-resolution, I was mostly just curious to see what would happen, if I "ate some forbidden fruit”. Perhaps it is embedded in one’s biology, these stories of archetype, but perhaps I was just being foolhardy. In some sense, I lost an eye, so to speak, in my descent into chaos, while in another, I gained one enhanced version (the ability to augment reality). Additionally, the fact that my inner conscious, or god, if you’ve been following the outlined ideas brought forth by reading the subtext within Pinocchio, would allow me such free-will, almost to a fault, is miraculous, and the bases for my augmented reality piece I made.

The 😱face represented my mindset after eating the “forbidden fruit”, and the title of the website “brick-insect” represented the abstracted, juxtaposed nature one’s consciousness must be in to be both support, and reject the descent into the unknown. The image marker utilized the word “Hiro” which plays into an obvious archetype, that is personalized (has more “I”), and is also the name of a character that made me cry. Finally, the idea of seeing things that aren’t really there (through augmented reality), ties into the idea of eating the forbidden fruit.  All in all, this piece taught me practically through code, and emotionally/spiritually through contemplation.

Around this time, I began reading about Carl Jung’s view on archetypes. A particularly fond notion pertaining towards the female latched onto me. To Jung, anything that enclosed could be distilled into that of the feminine (symbolic of the womb) which is found in bodies of water, caves, and the Earth itself. This idea is echoed in the Blue Fairy, or mother nature, as the sacred divine is what animates Pinocchio in the first, allowing him to come alive at all. Additionally I had been reading Yukio Mishima’s ideas on “Sun and Steel”, and how the physicality of things is all that mattered. He denounced words, and ideas, and any abstraction from reality. Mishima ultimately claimed all that matters was action. 

This notion of pure action led me to want to create something that interfaced, and moved in the physical world. I began development with motors, and looked into various methods of movement. I had used servo motors, dc motors, and  stepper motors in the past, but nothing substantial that could be controlled, and powerful enough to instantiate a change in the physical world. My solution I found was through AC stepper motors, in which I had a capacitor blow up in my face (I wish I had video [my friend said I had never looked more scientific in my excited state of failure/progress with my circuitry laid out before me]). AC stepper motors had the torque I was looking for, as well as the control/direction I desired. https://www.youtube.com/watch?v=nvh6oHFjRQ0 My professor had a CNC machine kit too, which was fun to help prototype future interactions. https://www.youtube.com/watch?v=RA3K0Q1p_Zk

Around this time I decided I had learned enough about the drivers (A4988 modules [see above]) of the stepper motors, and decided to make my own CNC machine. I had saw a video online where a maker had deconstructed a couple of old cd drivers, and used the internal stepper motors, and the mounts they were housed within, to create such a machine, and I couldn’t resist. https://www.youtube.com/watch?v=aQkCWjL775w While I’ll admit, this was in part a completion for an animation assignment, my teacher encouraged tailoring the assignment towards each’s individual studio practice, so each went in tandem enough to explore this concept of creation. At the time, I was thinking about the fabrication process, and how machines manufacture, and serve as the hands. If the hands were removed from creation, then all that was left of the artist was the heart, which I ultimately found to be irreplaceable by machines. https://www.youtube.com/watch?v=Zc8agtVp1zk 

Phase 3: Experience about Technological Progress?

One weekend, I was talking about my thesis with my mother. We were sitting on a bench within nature, and two rivers ran before us. I explained to her how technology was natural, and we extracted all the materials to get, say, computers and phones, from the Earth. We then transitioned to talking about technology, and how my generation was the first generation to grow up with it, and how much it changed everything. My mom then brought up the idea of the river to the left of us being the past, before technology, and a river on the right being the current state of things with technology in it’s sophisticated, yet primitive state. She pointed out how the two rivers met in the middle, and continued to flow together for as far as the eye could see.

This convergence of the past, present, and future spawned an idea that I adore. I want my work to bridge the gap between the mature, tried-and-true world, and the newer, avant-garde digital one (whatever that may be [if one can even call it a world]). This then transitioned into me thinking of a curated experience in which one comes to terms with the past, and realizes that they are the future. I outlined a floor plan, and structure for individuals to walk through my experience. Ultimately however, this idea was abandoned, out of being confined by the existing structure I’d have to house the experience within.

Phase 4: A Scaled-Up Structure 

Around this time, I was donated a 3D printer from a local maker space. 

To my surprise, it had the same modules that drove the stepper motors of my CNC machine. 

Although I was told that the machine ought to just be used for parts (the z-axis had been obliterated) I was able to connect my Arduino to the 3D printer, and utilize the same process I used on my CNC machine to fabricate a heart.. However, due to alignment issues, the first iteration yielded a scraggly heart half manufactured, that was representative of where my love stood at the time. It was a beautiful, serendipitous moment that Bob Ross might call a “happy accident”.

Nevertheless, as evident in the first post within this section, a natural progression of scale could be seen. I did not see why I could not create a 3D printer of epic proportions, as concrete 3D printers are a thing. https://www.youtube.com/watch?v=nH-zpnoNLEU&t=129s The fabrication laboratory I work at has a “Wasp” (the company that created the the machine) 3D printer whom also makes (has made? I don’t think they’re available for the consumer market) concrete 3D printers.. I talked to my boss about them for a day, and we thought up how we might make a concrete 3D printer that was smooth, as a lot of concrete 3D printers create bulbous layer marks that are ugly (which is a subjective call [I don’t think the shape itself is inherently ugly]) by societies standards. 

At this point, I began asking myself “what if I could make any structure, and embed my experience within that?” and “what would that look like?” as well as  “how would my experience be distilled?” By asking these questions, I was able to think bigger, and grander. I thought about my, and potentially human-kind’s relationship to technology, and felt as if a giant wave best represented said relationship. So I thought about housing my experience within a wave structure, to embody my feeling. I found 

online, and considered 3D printing the structure, in the future. I also saw the  bottom half as a similar structure to the carousel of progress, which has such an optimistic outlook on technology, that you can’t help but fall in love with.

A peer asked me how my thesis was going, and I told them the idea I was dreaming. I used beacons as an example, and grew fond of the idea I presented to her. Pretty much, I wanted to use the computer we all carry in our pockets as a way to interact with the creative, technologic experience. I thought about a long hallway, and at the end, my AC motor aided by it’s screwlike shaft, as seen in my experiment videos. Once the user was within proximity, one could tilt their phone left, to make the motor spin left, or right for the opposite effect. 

I thought that would be cool to make, but I didn’t know how to. So, I felt as if I needed to understand more about hardware, as the software side of beacon-development was confusing. I wanted to build this piece of hardware on my own terms, as it seemed like a simple enough concept. So, I set out to research hardware, and I more or less integrated my explorations into a museum/experience/theme park that encapsulated my explorations I had discovered thus far. 

As this concept developed, I will admit, I lost sight on the art/gallery/experimental side of things that I had (originally [where my thesis stood, at the moment]) set out to make. I was also semi-upset that others didn’t believe in me, or see the connections that I was able to make regarding how my thesis was natural evolving. Sure, I was getting carried away with learning, and maybe a bit afraid to bite the biggest frog, but I felt as if something was fundamentally wrong with the place where beacons stood in tech-world, and didn’t think creating a piece of technology would satisfy everything I want to make. However, I digress, the movement between a phone’s gyroscope, and a physical object, would still be really cool.. Difficult as heck to make, with full understanding of what’s going on behind-the-scenes, or under-the-hood, but perhaps in the future I will be able to instantiate such an idea.

Phase 5: Why Reinvent the Wheel?

Next, I felt as if my theme park was too uni-dimensional, and wanted to branch out into other realms (as I am a multi-faceted being, with muses that lie outside of technology). Mainly, this realm was storytelling. I was daydreaming sections like mad, and jotting them down in my phone as they came to the surface from the unknown. However, the more I thought about my concepts, the more parallels I was beginning to draw between my theme park, and Disney World/Land. What would separate my theme park from the already famous one? Would critics, or, even myself, be able to understand a different take on my immersive worlds than Disney’s, or even Universals? It seemed as if the market was already saturated with what I wanted to create. 

But of course the internetland, and technology aspect was novel to my theme park, yet I could not separate, and part ways with stories. I prefer stories to technology, so creating something that’s not what I prefer just doesn’t make sense. Additionally, Wreck it Ralph 2 will be released in about a month, and I don’t see why Disney wouldn’t just create an internetland, so to speak. So if you can’t beat em, join em, right? I had been looking into SCAD’s “Themed Entertainment Design” program, and knew that I could probably “join em” that way. I have the technical know-how that many artists don’t, so I could create practical concept art, as well as the imagination to think outside-the-box. 

I have been to hell and back, and know the depths of my soul. I understand that the more responsibility one undertakes, the more meaning they will have in life. I know how precious, and temporal life really is, and I understand the power of group dynamics. I can help out in the fabrication phase (and actually see myself working at fabrication laboratory in Disney’s Imagineering department) yet I could help out the research and development department phase, and help create interactive objects for for que-lines, or in various interactive installations throughout their “worlds”. Additionally, I can help out during their phase of concept development, through my learning of “sketching user experiences” at KCAI, and through my “Themed Entertainment Design” knowledge base gleaned from SCAD (where I plan to attend post-graduation [what’s a cupcake without some icing?])

Phase 6: IOT/Alternate Reality Game

At this point, I see my thesis starting to come full circle. I know where I am going, and what I am worth. My head, heart, and hands are aligned, which I am thankful for. I was able to create https://www.youtube.com/watch?v=q5Du5zMdfoM which I plan to scale up with a Particle Electron to allow myself the ability to unplug from wifi, and switch over to 2G, or 3G, allowing my device to be embedded virtually anywhere. My next step to continue exploring mechanics, and modify my motor into an automata like https://www.youtube.com/watch?v=uz8TV7gkeT0&t=58s . I’d like to have an automata triggered by one’s phone, as a crescendo to my alternate reality game. My game’s main focus is to bridge the gap between the physical world, and digital world, in a mature, and focused way.

[ikutotsukiyomis-blog]

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