graeme fawcett"""
Ooh, sticks
"""
--- my kids, as in a park
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"""
Ooh, bits
"""
--- me, as also in a park, suddenly thinking the wiggly bits were a better idea than he thought, settling down to watch both
Vesperys@graeme I don't understand the wiggly bits, can you explain? I'm enjoying the stories in the blog though. I'm sorry, I wish I had more to say because I am very much enjoying them. I'm just a bit cognitively restricted today.
@vesperys they're cellular automata, computational simulations of life that roughly parallel the progression of life described in the stories. They're running generations through a simulator that attempts to solve the problem "how do I live a bit longer". Movement costs, cells with food replenish. As they progress they learn to communicate via scent, clump, specialize.
Or they're wiggly bits to watch at the park while your kids play
Whatever you need them to be
@graeme Huh so my intuition about it relating to self-propagating algorithms in a Steve Grand book I read years ago wasn't so far off the mark, good to know. Thanks.
@vesperys more than you know. The universe only has one algorithm, we call it thermodynamics and it started 14 billion years ago.
Little bits that mostly don't suck all trying their best to be a universe. You yourself are just made of bits that wanted to be better than average and so far have been able to hold on.
Life starts with a boundary and it's all downhill from there ;)
@vesperys and the channel was carved ever deeper
@vesperys my floor needs slightly more than four
This is where I get lost
LTJ Bukem Presents Logical Progression 1996 CD 2
@graeme There are more complex signatures than four to the floor, I'd personally like to see something that embraced them. Mutate the foundation, honestly it'd be refreshing. The kick and bass are usually the slowest to change.
@vesperys I tease.
I've struggled to listen to anything unbroken since the stars went out
I remain hopeful. Layered shit is kind of my jam ;)
@vesperys no one expects a wild jellycorn
Psytrance isn't my usual lane, but here's two different approaches from this morning, very rough and undeveloped but enough to demo:
https://drive.google.com/drive/folders/1T3KduuV0TR3qtCH11mWqhtptcB83hKQD?usp=sharing
@vesperys I'm honoured. I'll listen when I can do it justice. Elephant time with my twins
🩵🩷🐘
@vesperys 0:50ish-1:20 is doing a nicer orbit, sonic rings style
@vesperys 2:30 pulls down and to the left, in a nice way
@vesperys 1:30ish, that pad is missing just the right bits. It pulls around itself
@vesperys 3:00 that top bit goes a bit squirrelly. There's like 5 of them up there playing. I like that
@vesperys thank you so much. I'm ever so delighted to have done that
@graeme I'm glad you liked them, and you can see where they align with your theories. The challenge for me now is doing it all in the same piece, combining organic and inorganic. I might have to move out of psytrance somewhat and do something with psy DNA because I thought about experimenting with microrhythms on the kick drum... so instead of it being on beat 1, 1, 1, 1, ..... it's 1.01, 1.02, 1.03,1.04.... in reverse too, shrinking and growing. Not going to be uniting people on the dance floor anytime soon though, lol.
That's the thing... there's technically no time signatures, 3/2, 4/4, 5/4, 7/8 etc, and the track called 'contingency plan' demonstrates that because I organised my kicks into 5/4, not 4/4. You can't tell because I've put no emphasis on any other beat so it just feels like 1 1 1 1 1 1 1.... etc, instead of 1 2 3 4 5, 1 2 3 4 5, 1 2 3 4 5 ..... it's all about how the composer imposes organisation. I did that because the 'orbital rings' are polyrhythmic lines of 5 notes, 6 notes and 7 notes overlaid respectively. Instead of having regular 32-bar chunks typical for dance music, I've got... what was it... 27 bars I think it ended up with when all the rings aligned again.
@vesperys a p-adic tree has two projections, one causal and one geometric. Those particular pieces may not move people closer in the latter projection, but they've already moved at least two closer on one that matters equally so. The source is the same, as it always is, what was recorded as what is
I'm curious to know where you got the idea for the dragon. I didn't think that particular bit of fantasy bled into this realm yet. It's motivated me though, I managed a few paragraphs between inspiration and exhaustion
The elephants have been cursed with a daddy who loves stories :)
I'd be interested to see if you can build on the idea of the waste product of one cycle feeding the input to the next, or tell me I'm a fool and to go listen for that in what's already there ;) I could feel the cycles converging, I think I was too busy chasing the circles to watch for other dimensions.
Ok first, what a devastatingly charming slice of semi-fiction, details like the jellyfish covering the sun, wearing sunglasses and staring upward, the remains... hell yeah, love everything about it, very on point. (You also don't know how much 'gassy dragons' relates to my own fiction that I'm writing right now. I'll just drop 'dragon rain' on you for a clue, but will stop there because that's another 500 page comment for another time)
Using waste: It might not be so evident due to mixing issues but so far:
Reverb tails as 'waste' products that carry over into new sections in both pieces, combined with a ring modulator that gradually creates noise out of melody that becomes a new motif in it's own right (I don't continue the piece 'contingency plan' long enough to really make that point effectively yet though, mostly because ear fatigue is a thing and it takes weeks/months to properly refine one piece).
Also something I didn't mention about the 5/6/7 overlay is that I take out the last 2 notes from each, so the 5 is split into 3 present /2 absent, etc, so when they overlap they create interference patterns that I don't plan, they just emerge, and become new rhythms that 'solve et coagula' - like competing champions
Also there's stuff like, every noise you hear in the 'sweet dragon' (apart from the kick) is derived from the same synthesiser patch. I've just called it dragon because it's designed to sound similar to a guitar and all the projects I have using that patch include dragon in the name... it's really just a naming convention, sorry it's a boring answer lol.
Now, I wanted a guitar-like patch because guitars are rich in harmonics and a lot of the old-skool original psytrance sample live guitars. When you amplify those artefacts using wave shapers (sine shaper in this instance, a bit like a distortion or overdrive that excites particular harmonics with different algorithms), layered with a ring modulator and chorus until they overwhelm the basic sound (as I've done in both pieces), then route all that into a trance gate (that I've done in both pieces) with more delay and reverb added (usually multiple before and after the gate so they create more interference patterns), then you're continuously re-using 'waste' products (honestly a bit of a misnomer in psytrance, it's really it's whole shtick) to build new material with.
TLDR: even just using a delay on a sound, then fading out the original and keeping the delay tails is an example of waste becoming load-bearing.
@vesperys I'll be sure to post the finished product. It's a world born from need
"""
down and down, round and around until the torches lit the walls and a big wooden door appears
"""
--- a shaman, as to his elephants, to protect them from the storm from within his own place of shelter
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"""
down and down, round and around until the torches lit the walls and a big wooden door appears
"""
--- a scared man, as to his elephants, to protect them from the storm from within his own place of shelter
+++
I often find I should type, then read, then actually reply so my mind has a chance to catch up with the rest of me. Even as I was typing I was able to feel back into what you had done. It's a marvelous conception of the idea and know I understand why you chose that genre for it's implementation. It's not that form follows function, it's a constraint. The craft is knowing the constraints to apply that result in the desired form