I just want to inspire a whole bunch of people. I just want to start a fire. I want the fire to diverge and sublimate existing organic structures. I want to make some kickass MUSIC. I want to blow minds. I want to be the transducer of psychedelic ideas. I want to put a lot of effort into something and have it show that effort was put into it. I want to meet people who have passions, and I want to ramify their memes, and collaborate. I want to make tools for these people, so that the space between ideas and manifestations shrink to infinitesimality. awesome
January 5, 2012
I do not seek fame. But I do want to influence people in awesome ways. Be like the monolith.
The Master doesn’t talk, he acts. When his work is done, the people say, “Amazing: we did it, all by ourselves!" -- Lao Tsu
Thus, plagiarism is free love. Execute the subroutine, with or without the stack pointer to the source program. awesome
Make a mixtape. Deathstep, metalectro, heavy breakcore, heavy drumnbass. Hypersisyphus transitions. Danceable. Mashups of hardcore/metal songs with electro. hypersisyphus
You're always actively avoiding candy. Because you feel it's inauthentic, and manipulates people too easily. Why not give people a taste of candy? Why not give them a taste to lure them in to your complex world of flavor? Like Alex. "Come to Uncle," you say to your listeners, "and we shall enjoy the sweetest of treats". But the Wonka factory is not all candy and innocence. It is the dark, mysterious, complex game of an introverted mad genius. You come to have fun, and I have fun with you instead. cortexelation
I hate how cheesy hi-hats sound in dance music, but they seem to make everyone dance. Maybe I can find an alternative that's cool. . like some microsound or 8bit sample. cortexelation
Alliteration thesaurus substitution writer app. Right click works and they have a list of synonyms and related concepts, in order of alliterativeness to neighboring words. Maybe it would be good at automatically generating alliterative phrases:
"The big red dog" becomes
The huge red-hued hound.
The colossal crimson canine. applitdevscortexelus
The sauce coat of arms: a cereal bowl with two spoons. With "AD ABSVRDVM" carved into it. sauce
Open/closed thud of Kohl's door opens a tranisition part of a song. The transition must happen at least twice. At the end of the song, the same transition must come to a closed thud, and the song ends, or it goes into a different 'no' part. cortexelation
Andrew: cya guys, I'm leaving [for the 5th time] lol
Truuue loooooooovve
won't settle
Truuuue looooooove
It's you or extremely single loveisthesong
Noise band silhouette rear projection -- Musicians behind screen, and you only see their shadows. The first song/climax passes, and everything is their shadows. The second climax arrives and impossible effects are applied to the shadows. Like spirals and stuff. That's because it's not real shadows, from a light behind them. . .it's a projection from a camera/laptop. The effects are subtle at first. First it's just heads. Then full on action. cortexelationclive-wearings-journalsmagicvj
>< Shepard tone harmonics which move through the circle of 5ths (duh).
Either A) Each glissando pitch is a 5th above the next, and it returns to itself after (metabar length) * 2^(2/3)
OR B) the same shepard-risset glissandos stacked ontop of each other, starting on each other's 5ths, which fade in and out (so that you only hear 2 or 3 at a time or something)
The difference is that B) has a fuller spectrum of sounds, present with harmonics of every octave of each pitch; the minor 2nds will make this sound dissonant; while A) is not dissonant, since it preserves the 2:3 ratio of each harmonic. rissetmusic-techcortexelationhypersisyphus
How the flip am I going to come up with 78 drones and hypersisyphuses for every psychological archetype of the tarot? I'm going to have to research and meditate so easy on psychology, psychoacoustics, sonic symbolism, and theatrical non-diagetic emotional manipulation. tarothypersisyphus
Hmm. Remix contests. .
+ http://www.remixcomps.com/latest?page=2 RUN DMT - Bass Drum. I could totally do some kind of deathmeta thing with the bass drum becoming the instrument, and then going all hypersisyphus. And the cymbals might be cool for a breakcore section. Throat singing too.... cortexelationhypersisyphus
+ I should just do straight up Risset remixes on all these dance tracks. Like, don't even bother coming up with new parts, new loops, experimental instrumentation, new meanings or anything creative like that. Just take the loops and Risset loop them. No synthesis. Put it together nicely. Spend like. . . two days on it at most. And do that a TON of times for all these remixes. If I don't win, it doesn't matter, because I didn't spend a lot of time on it --- however I will blow the original artists and judges minds, and get the meme out there. Even if I don't win, someone who is inspired will post a reference to it anyway. It'll be training ground for actually making interesting original tracks. hypersisyphus
http://www.mindalive.com/articleeleven.htm
Audio-analgesia using white noise and/or music has been shown to effectively increase pain threshold and pain tolerance during a dental procedure (Gardner & Licklider, 1959; Gardner, Licklider, & Weisz, 1960; Schermer, 1960; Monsey, 1960; Sidney, 1962; Morosko & Simmons, 1966).sychoacoustics
To hear monaural beats, both tones must be of the same amplitude. However binaural beats can be heard when the tones have different amplitudes. They can even be heard if one of the tones is below the hearing threshold. Noise reduces the perceived volume of monaural beats whereas noise actually increases the loudness of binaural beats (Oster, 1973).
... isochronic tones consisting of a pure tone (sine wave) with a pitch of about 150 to 180 Hz have the best entrainment value as they meet the personal acceptance of most people...Some people prefer to mix white noise or other continuous sounds with entraining tones to help block out unsettling background noise....Teenage boys generally prefer a “buzzy” synthesizer sound such as are produced by guitar “distortion” pedals used in some rock bands.
... DAVID device..the tones for both ears are synchronized and alternating (left/right) stimulation.
... When a person hears fewer than three binaural beats a second, the beats appear to move back and forth across the head..He found that the quickest beat that could be heard before the brain perceived it as two distinct tones was 25 Hz at a carrier frequency of about 440 Hz.
...It appears that binaural beats are processed in a different part of the brain (olivary body) than monaural beats.
... Binaural beats are not very noticeable because the modulation depth (the difference between loud and quiet) is 3 db, a two-to-one ratio. (Isochronic tones and mono beats easily have 50 db difference between loud and quiet, which is a 100,000-to-1 ratio). This means that binaural beats are unlikely to produce any significant entrainment because they don’t activate the thalamus. If, in theory binaural beats do not produce entrainment, do they produce entrainment and drive brainwaves in reality? The simple answer is NO!
... Presentation of beta-frequency binaural beats yielded more correct target detections and fewer false alarms than presentation of theta/delta frequency binaural beats. In addition, the beta-frequency beats were associated with less negative mood psychoacoustic
MY DAD IS WRITING A BOOK
I finally inspired him. He has a working title. Makes me excited and proud.
I'm sleep deprived from working late. It is pretty awesome to go in at noon after nights of imaginationfests. After work I hang out in the pseudowoods and listen to music. Ideas come to me in novelty waves. Projects get completed in pretzels. Hm, should post all projects on this site and date them. There is no content on here. Make I'll create a point system where anyone can give me points. I print out the things people write and read them on the train and on my walk home. Reuben is best when he's streaming on life. Communication through dynamics --- when a logical, convergent thinker diverges in thought it speaks a density greater. Everything speaks more the longer you keep it incubated; frame stacking I believe. Frame stacking in music! Listening to electro a lot. Why? I used to hate electro. There's something in it. What? Some key to psychoacoustic manipulation of the mind? Only a few songs do it right. We are on the verge of a creative explosion in EDM. Yes, it's complexification storytime. Once upon a time dancing was cheezy, pop was annoying, and a lot of great musicians really liked metal and experimental music because it was awesome.. It was they who played with our sounds. It was us who played with theirs. And we high-fived in the middle until the explosion tore the membrane open. It all fused. American hardcore and UK hardcore. Metal and electro. Deathstep. The memes from these great opposing cultures making sweet memelove. Two language soaking each other. The rhythmic and harmonic complexity of one with the production, and timbre mastery of the other. Slow to warm up. Then domination. Those great musicians -- those who once shied away from that whole culture for its annoying simplicity -- overtook, annexed. Beautiful. Destruction with a strategy.
But excuse me, I'm writing stories which haven't yet happened.
(((ANN!! how beautiful! I LOVE typewith.me blogs, and how were right there already reading, as I wrote!!!))))
I've been paying attention to the ratio between build-up and release. I feel like I'm drawn to music which makes me anticipate longer than actually cum -- as long as the build-up is done well. I'm paying attention to what factors make build-ups kick the most ass. It must consistently move, and bring all parts of the song with it, as if it were a black hole sucking everything through. The beginning of "Let's go to Lavender Town" is perfectly symmetric like this. It has a number of synths going, oscillating, modulating, rising in pitch and such -- and all these reach the same omega point. No matter to what you were paying attention, you end up at the same time-frequency sonic location -- somewhere in the mid-high noise. Even if you weren't paying attention, and you were lost in your phonological loop, your subvocalizations get caught up and carried along the way in this Katamari too. . .maybe because the build-up passes through the frequency of voice. And then once everyone's attention is at that omega point, they fall off with the kick drum, suspended in mid-silence, exaggeratingly receptive to next stimulus -- an old pokemon melody. How nostalgic. Deja vu. Everyone in the room lets down their psychological defenses because they feel safe with that melody (the ending of which is now overwritten and reconditioned. When they hear the original, and the 8bit staccato which usually follows, they will be consciously reminded of the song or subconsciously primed to party... maybe XD)
What is the psychological effect build-ups create? Maybe something to do with frame stacking. http://psychedelic-information-theory.com/Erratic-Hallucination (It's awesome the effect subtle reverb has on music perception because of short term memory frame stacking. It makes slower music feel like it's stretching in a dimension perpendicular to time [like on Ruthless]) Hallucinogens create that lingering effect with *all* stimulus, since the ASDR envelopes of your neurons have changed and lengthed because of the abundance of neurotransmitters -- and so adding reverb and delay to music like that is recreating that same effect (even if it is consciously imperceptible). And that's why it is really trippy to glitch. Use a field recorder, add a delay to it through your laptop or ipod, and listen. Just listen. Speak, listen to the world. Information is what is psychedelic. Every bit of information that enters you changes you. Changing the way which information is perceived changes your state of mind. Frame stacking. Reverb.
Anyway -- I'm getting the science of build-ups down because I wonder how long build-ups can get, and if perpetual build-ups are possible without pissing anyone off and desensitizing them. Hypersisyphus.
My theory is that very long build-ups inbetween very brutal heavy, rhythmic, repetitious dance parts will work. But to what degree do I play with that ratio? Do I start with small ratios, and then work my way toward larger ones by the end of the song/set? Drivepilot's Retaliation starts off with an equal ratio for the first half, but then the second half of the song is only 1/4th brutal dance part. And it kicks ass. +wonders+
Build me up, break me down. Which is which?
Puppy smiles for who
Makes his whiles(true)
Tonight he'll dream
W.I.L.D.'s about you
I should experiment with mixtapes and mashups one day.
Many people ask me to hang out. But often I just want to work on projects. Does anyone like hanging out and working on projects together? I feel like if I lived with my friends I would feel very comfortable working on my projects in the living room.
FUCK YEAH I used a decompiler to find the crypto key for my EEG, and now have data coming in through a python app. Now, to send python info to supercollider or max?
January 7, 2012
I had a dream Ann and I lived together, and whenever we passed each other in the hallway it was always hilarious. Like she'd make some funny flap sound with the pages of her book. LMAO.
FUCK YEAH it works. http://imreallyawesome.com/swirl/ Now to make it easier for other people to use............ hell yeah okay now it's user-friendly.
Parametic - ReadySet by Parametic
ROFLMAO I laughed and headbanged so hard. The dissonance. The trade-off between repetition and surprise blew my mind.
Damn such a good drop. It's probably only good for a few listens though. That's the fadness problem of some dubstep songs. But other tracks like Ryan's Dubstyle Remix are so full of production that it starts approaching timelessness.
Part of the insanity is setting patterns in place, and then violating them -- which you do a handful of times on different levels of the pattern. Makes my thalamus beat hard. Makes my body slam to the ground. Makes my cortex unable to predict it, triggers my hippocampus, weird awesome emotions. Fuck yes. But I can't listen to it too much because then I'll memorize it and it won't have that same initial effect of pattern-surprise. But that's okay when there are deeper, subtler patterns to be discovered. Maybe not so much in this song. This song is only good for a few listens. Dance music probably isn't meant to be deconstructed, and analyzed. But some listeners can't help it. Which is why this kind of timbre pattern complexity makes me happy, because it was always a step ahead of my pattern-recognition; and makes me happy to know there are producers with similar minds. On the other hand, some dance music is meant to be repetitive so that it entrances the listener, and that's good too. It's just. . .there's this purgatory between complexity and trance. . that is annoying. It's like, either engage my cortex-hippocampus to the full extent and make my mind go insane (like this song), or let my mind wander in synchrony to the beat. It's like "either let me meditate, or engage in interesting conversation with me, but nothing awkward between --- i'd rather you not talk about uninteresting, cliche, boring stuff just because you think you need to say something to me because we're both here". That's a conversation between me and the music. Anyway, you get what I'm saying.
January 9, 2012
LMFAO One Hundred Year Octagon
I hung out wiht Ann last night and it was uberdiculous :). I noticed our interactions have become more saturated with ridiculousness in the subtleties. It's a positive evolution of communication, awareness, and hilarity. It keeps imagination, make believe, turns out, and beta waves churning. It's so beautiful to see two people grow together.
We watched Toy Story 3. The best! I like the dystopian story. We love the interaction between Barbie + Ken. I love that in the past I probably would have wanted to stone them to death; but now that collaborative cuteness and couplarities take presence in my life, the sight of them in others is a hilarious reflection of how warm my feelings really are.
Totally want to make a set of four custom socks, so when our feet come together, a giant pattern is formed. It would be cool if it was like japanese panel art, where different combinations of feet spelled out different patterns. Ideally every combination produced something, and you'd only have to consider the four most likely combinations of feetsnuggle:
1122 2211 1212 2121. [assuming you never cross your feet]
LOVE. VELO. EVOL.
If you were a bit more ambitious, you'd consider sets of three [112, 221, 121, 212, 211, 122], two [11, 22, 12, 21] and one [1, 1, 2, 2].
ARTS. STAR. TSAR.
GAME. MEGA.
CATS. SCAT. ACTS.
DOGS. GODS.
LMAO. LAMO. LOAM. AOL. MAL. LAM. OM. <-- starting to look promising.
saus => us as. o_q
listen => silent => nil set {}
butterfly => flutter by
But maybe it's better to work backwards and find a word with a lot of anagrams.
EAST. TEAS. EATS. SEAT. SATE. SEA. TEA. EAT. ATE. ETA. SET. SAT. <-- woah
Extra points if it's also an ambigram. I suppose you could also have pieces of words on each foot too. Hm.
a we so me
a so we me
so me a we
so a me we
"The point of the prettiness is to set up the surprise, to frame the deviance. (That's why the unexpected pitches triggered the most brain activity, synchronizing the activity of brain regions involved in motor movement and emotion.)"
"Before a pattern can be desired by the brain, it must play hard to get. Music only excites us when it makes our auditory cortex struggle to uncover its order. If the music is too obvious, if its patterns are always present, it is annoyingly boring. This is why composers introduce the tonic note in the beginning of the song and then studiously avoid it until the end. The longer we are denied the pattern we expect, the greater the emotional release when the pattern returns, safe and sound. Our auditory cortex rejoices. It has found the order it has been looking for."
"The uncertainty makes the feeling. Music is a form whose meaning depends upon its violation."
"The auditory cortex, like all our sensory areas, is deeply plastic. Neuroscience, stealing vocabulary from music, has named these malleable cells "the corticofugal network," after the fugal form Bach made famous. These contrapuntal neurons feed back onto the very substrate of our hearing, altering the specific frequencies, amplitudes and timing patterns that our sensory cells actually respond to. The brain, in other words, tunes its own sense of sound, just like violinists tune the strings of their instrument. One of the central functions of the corticofugal network is what neuroscience calls "egocentric" selection. When a pattern of noises is heard repeatedly, the brain memorizes that pattern. Feedback from higher-up brain regions reorganizes the auditory cortex, which makes it easier for us to hear that same pattern in the future. So when we get sick of the latest top 40 jingle playing on the radio, these are the cells to blame. Their infinite capacity to learn means that we quickly get bored."
"This, of course, raises the larger question of why certain pieces of music don't go stale. Why are we still listening to Bach's fugues, or Beethoven's symphonies, or Kind of Blue? What is it about these particular soundwaves that allows them to evade the corticofugal boredom? I'd suggest that their place in the canon is inseparable from their ambiguity - their ability to encourage a multiplicity of interpretations - so that new listens reveal new elements to listen for. In other words, we are continually surprised by their sounds, by the capacity of the music to subvert our expectations. Frank Kermode famously argued that literature worked the same way: What makes a novel or poem immortal is its complex indeterminacy, the way every reader discovers in the same words a different story. The same book manages to inspire two completely different conclusions. But there is no right interpretation. If there were - if there was only one way to read Hamlet - then the words would be far less interesting. The art that endures is the art that never loses its capacity to surprise."
I need to figure out how to like reggae.
January 10, 2012
Intersecting => Center Siting
Remix pete's song. Would sound cool as an electro song, since he's into that kind of stuff. Intro with piano. Maybe ask for stems. Add notes to color the dissonant chords. In the middle he starts doing this perpetual cycling thing. Take that, hypersisyphus it to infinity. Electro comes again. Outro with piano, glitched, damaged. Easy. http://soundcloud.com/petrveliky/intersectingcortexelation
January 11, 2012
It is difficult to find joy when you are hurting someone you care about.
January 12, 2012
I called Ann my Ferrari girlfriend. Now I want pictures of her posed next to sports cars. In different hot clothing. The color of the car and her clothing can be photoshopped later to match. 12 of them. For a calendar. annartsexy
January 13, 2012
Check out what hypersisyphus is up to:
Before I dealt with constant acceleration, with constant metabar lengths. Now I'm thinking about increasing the rate of acceleration (impulse) over time.
Just so you understand:
Metabar is one full perceptual loop of the tempo.
Tempo, in these equations, is the tempo of an arbitrary stem. It starts at an arbitrary tempo (140), accelerates, fades out, and is replaced by a 2x slower stem by the end of the metabar.
X is a factor of the number of bars of the arbitary stem per metabar. In these equations, the first metabar uses X=1.0 bars. For example, if this section of the song has 100 bars, and X goes to 6.0 in the graph, then at X=3.0 fifty bars of the arbitrary stem have played.
Why do I compare bar number to tempo? Because in order create these curves in a DAW, you need to set tempo markers. You set them, at each bar, to the appropriate tempo.
tempo = 140 * 2^(x^GOLDEN_RATIO mod 1)
I'm trying to figure out how to get each X to have +1 more metabars in it. I started tweaking numbers, and it turned out the Golden Ratio makes a close approximation. Wtf?? Doesn't make sense.
I think it's a coincidence. As you can see, the fourth X has less than 4 meta bars.
Kind of starting to look almost look like a psytrance kick, oscillation aside:
What if...?
January 14, 2012
Ride my See Saw
Be it sight, sound, the smell, the touch.
There's something,
Inside that we need so much,
The sight of a touch, or the scent of a sound,
Or the strength of an arquebus deep in the ground.
The wonder of flowers, to be covered, and then to burst up,
Thru tarmack, to the sun again,
Or to fly to the sun without burning a wing,
To lie in the meadow and hear the grass sing,
To have all these things in our memories hoard,
And to use them,
To help us,
To find...
I like this style. the intro part to ride my see saw, "departure" . Also "They're going to take me away haha, they're going to take me away". Would be a funny intro to something. Hyperthymic music lmaotime. cortexelation
January 15, 2012
I miss my friends. Sometimes I feel lonely. Ann is wonderful. We hung out last night and it was full of awesome. She wants to know who I am. Who am I? It's hard to answer when I don't feel like myself. Sometimes I feel disenchanted. Lately a lot. It's harder to see beauty. It feels best to experience sadness and not force it into optimism, and ignore the whole seesaw of hopefulness/hopelessness. Not out of fear of having expectations fall. But because maybe it's important to stay in one emotion, for synaptic connections to form. So I can work things out effectively. Instead of supporting the standard optimstic CJ reality tunnel on a weaker foundation. Sometimes it feels like I'm making reverse progress as a human being. Sometimes I think it's lame of me not to live with my friends, and I'm missing out on so many things. Sometimes I fear of waking up one day and realizing I have been wandering in circles my whole life. Or, that everyone else is old. I wish I was surrounded by a better environment. I wish I had friends that practiced breakdancing all the time. I wish I was at school. I wish I was in a ton of clubs, hanging out with people all the time. I wish I had people teaching me things. I wish I was in an environment where novel stuff was happening all the time. I wish I had a safe place to meditate and explore my mind. I wish I played more sports. I wish my friends would do more parkour with me. It's cold. And I feel immobile without a bike. I miss physical activity. It is mind-boggling that you are getting me a new bike. It's going to positively improve my whole physical-mental dynamic.
I fear one day I will be unable to do fun boy-stuff. I fear one day I won't feel like jumping from rooftop to rooftop anymore. I fear one day I won't want to go into a moshpit. I fear one day my mind will not be once what it was. I'm glad I write down all my ideas. I'm glad I've kept a journal for a long time. I wish I wrote more in it. It helps a lot to write. Because then I start looking for inspiration. I start narratives in my mind, daily. But the more disenchanted I feel, the less anything inspires me, the less I feel like starting narratives. I wish I was surrounded by more creative activity. It is strange when eating feels like the best moment of your day. I wish I wasn't so disenchanted. I have breif moments of relief. Cuddling, holding you, feels better than anything in the world. Your desire to know me relieves my loliness. LMFAO snape "I brought home two mice as pets. One devoured the other, and then died of lonlines. I was envious."
I want to explore the world. I want to dance. I want to love. I want to play music. I want to push limits. I want to get good at things to rewire my neural circuitry. I want to do what I want to do, instead of being inhibited. I want my mind to be blown, and I want others' minds to be blown. I feel like my mind has so much flipping potential, and I'm not even using it correctly. And it's going to atrophy the longer I don't use it. How tragic, to imagine all those atrophied brains.
Zack gave me this paper by Larry Polesnki on music, creativity, and the future of man's transcendence. It's published by MIT, and part of it looks like it was written on psychedelics. I was reading it on the train. I sat across from some dude in a metal shirt, headbanging. I was also listening to metal and headbanging. I didn't look at him, but we both knew we both knew we were listening to metal. When my stop came, I got up, and impulsively went "You should read this." I handed him the paper. "What?" he took out his headphones. "You should read this." "Thanks bro". And I left. It filled me with existential thrill. These kinds of moments make me who I am.
This feel like the perfect mood for free jazz. Coltrane!!
Definitions of words are defined in terms of other words. Where is the meaning? It's in associations of feelings and moments and experiences to words. How a person uses a word gives it its meaning. How do synonoyms with the same definition come to have different meanings? How and when a person chooses to use one synonym over another.
January 17, 2012
Fun is a priority.
Life is absurd.
January 18, 2012
HARDSTYLE risset rhythm with Eigenratio 2/3.
Numbers correspond to amplitude.
(Someone correct me if the term Eigenratio doesn't apply to music like this, because I know it usually refers to the difference in time it takes for a computer simulation to run a simulation of itself, and itself.)
,,,,..,,,,..,,,,.. Metabar duration %
|6 4 6 4 6 4 | 0%
|6 2 5 32 3 22 | 50%
|6 4 6 4 | 100%
``````'''``````'''
or
,,,,..,,,,..,,,,.. Metabar duration %
|6 6 6 6 6 6 | 0%
|6 3 6 33 3 33 | 50%
|6 6 6 6 | 100%
``````'''``````'''
or
,,,,..,,,,..,,,,.. Metabar duration %
|6 6 4 6 4 | 0%
|6 6 4 4 | 50%
|6 4 6 4 | 100%
``````'''``````'''
or
X o o X o o X o o X
X X X X
X 8 8 8 X
X 8 X 8 X
X o o X o o X
or
X o o X o o X o o X
X ooo X ooo X ooo X
X oo X oo X oo X
X o 8 8 8 o X
X o 8 X 8 o X
X o o X o o X
or
X X X X
X o X X o X
X o 8 8 8 o X
X - 8 8 8 - X
X o 8 o X
X X X
"Death + 70 years." That'd be a cool anti-copyright hardcore-electronic-punk band/album. All the songs would have to be illegal remixes. cortexelation
"Pop ruins everything" Musical side project.
LMAO LMAO LMAO LMAO LAMO
Take really profound phrases and autotune them until they're cliche. cortexelationpopruinseverything
Seeing beauty for the first time in a while. Every moment pulses with the happiness of the last.
"The trouble with labeling music in genres is that ppl will always complain as soon as someone shows inovation and creativity and steps outside the set rules of the sound of the genre so it leads to a lot of samey boring shit being churned out by uninspiring individuals, however without being able to categorise music it would make it near impossible to hear the new and exciting ones that do bend the rules as if you can describe the sound then you would never bother listening to it. no one here for instance typed "bratkilla" staight into youtube and went yes this is what i wanted to listen to. genres are an artist's best friend and their worst enemy." --Dug Boyer, fb comment
+opens up email+ "Hello, Your synthetic voice has been built and is ready for download."
That's the third coolest thing I could hear (that isn't love-related). The second will be the actual voice. The first will be all the generative surrealist-poetry music and I make with it.
Ask yourself more questions. How dare one rest at an answer? All answers are nodes to more questions. Always push. Don't always take the same roads. Keep asking, especially the ones you don't have answers to. The more the mystery confounds you, the more receptive you are to the world, and people. lookingformorequestions
Cyclic modal/key changes. All 12 keys. Must move in intervals of 5, 7, 11, or 1. (aka 4th, 5th4, Maj7th, Min2nd...Fuck tonal notation, I think in numbers.) OR can move in repeating steps.
Two steps? one step is odd, one step is even. They must add up to 2 or 10 (mod 12).
Three steps must add up to 3 or 9 (mod 12).
Four steps must add up to 4 or 8 (mod 12).
Six steps must add up to 6 (mod 12). cortexelation
I'm going to post this in /r/philosophy when I'm done editing it. Maybe you can help me refine and densify.
I don't know about you, but I +want+ my ideas to be plagiarized. I want my creative ideas to manifest, to happen, to get out there, one way or another, with or without my name. I know many people do not agree with this point of view. When I hear someone get angry "ugh, they took my idea" something in me doesn't feel right about that reality tunnel. To me, the reaction should be "woah, these people are making it happen, and I didn't even have to pay them." Or "woah, my idea is catching on; my meme is multiplying and evolving; my influence on the world is ramified". It feels strange to call an idea "my property", as if I own it and put a fortress around it. Many ideas are clearly the memetic brainchild of several other ideas breeded together, which are themselves the result of several ideas breeded together also, ad infinitum. I am one node in a great network of human intelligence, standing on the shoulders of great thinkers thousands of stories high. It seems that to "territorialize and lock away" an idea is to inhibit the grand process of the human intelligence network. That's what ideas want to do: they want to make sweet, free love to each other. It is totally backwards to be disgusted and get angry when someone gets inspired by you. Rather it should be self-affirming.
I think ideas should be as free as possible. Ideally, perhaps, ideas should exist in a world separate from economics. While realistically and presently, they can't. Because of that, laws exist to encourage and protect the freedom of ideas. Or rather, they SHOULD. The concept of intellectual property was invented to encourage people to create ideas in the first place, but it should not overstep that boundary. I think this line has been crossed too far (copyright lasts until your death + 70 years? what..o_o?) and has also created a corrupted justification of memetic egotism-territorialism ("Of course I own my ideas, and my retribution to those that _steal_ my ideas is justified").
I think part of the problem is perpetuated by the language we use. We commonly speak of intellectual property as if it were material property. We say ideas are "borrowed", "owned" or "stolen". It is ridiculous to use the language of finite things in this context. When ideas are endlessly copyable, shareable, breedable, and evolvable.
If someone truly was a lover of ideas, they would love ideas in of themselves. They would be concerned with the manifestation and ubiquity of ideas in the world, and their effect on people. Idea lovers would be concerned with how people think, and the reality tunnels of the culture, more than they would be concerned with fame, ego, money, or power.
A leader is best when people barely know he exists. When his work is done, and his aim fulfilled, the people will say, "Amazing: we did it, all by ourselves. --Laozi, Tao Te Ching, Chapter 17, paraphrased.
Let me talk about power. You should consider the perspective that someone plagiarizing you IS power. It is an extension of your will. Your idea didn't just sit around getting stale. It happened. The world was affected by YOU and what YOU CREATED. And you didn't even have to force it or pay anyone. That's powerful. That's effortless action. The resulting explosion may perpetuate forever in chains of cause-and-effect, stemming from your imagination as its seed.
Unfortunately, one of the weakest parts of human memory is remembering where (and if) and from whom you heard an idea. It's important that these reference pointers remain in place.
Attribute your inspiration. Cite your sources. For a number of good reasons, it:
1) Encourages the original thinker/artist. "Yes you are a doing a good job inspiring the world, keep doing that." It gives them feedback when they might not have known they inspired anybody. The encourage produces more ideas.
2) Allows others to follow the meme-trail. X inspired Y inspired Z. It reinforces the context of the idea. It allows others to explore all the connections, and witness of the birth of an idea. Connections bring all sides more exposure.
3) Prevents misinformation/misinterpretation from spreading. This could mean facts, but it could also mean aesthetic. ("Yeah, even though he calls the style of music he produces ____ it doesn't stay true to original intent of that style")
Also, if you make profit (especially more profit than your inspiration), you should consider donating to your inspiration in good faith.
If you like someone else's idea, why make an enemy out of them? Contact them or cite them. You can both make the idea happen.
I'm trying to gestalt this problem from the point of view of what's good for all creativity and intelligence on the earth. Humankind is a big brain, and it functions best when everyone sharing ideas with each other.
Why would it ever be good to be territorial about ideas? I think it's important some people in society are "idea people" (artists, writers, etc). Ideas are important, they are the greatest force shaping the direction of and culture intelligent civilization. Perhaps laws that allow one person to sue another for using their idea exist to secure "idea person" as a profession by giving them a legal weapon. It encourages the necessary initial investment and risk-taking of following through with an idea in the first place; it creates the safety that "yes, I will get paid for this", and protects against parasites who benefit economically while you do the hard hard part. For certain classes of ideas, intellectual property restrictions make sense to encourage idea creation.
But only some classes deserve this protection. For example, after hearing a risset rhythm for the first time, I thought "it would be cool if there existed risset rhythm psytrance". Now, if I just sit on that idea, and don't ever do anything with it, then an angry and territorial attitude doesn't make sense when someone else actually goes and does it. However, if I spent millions of dollars researching a problem for a decade, and I discover the solution, it makes better sense for that idea to have reasonable legal protection (for a reasonable amount of time) from profiting parasites who didn't contribute to the hard research. If that protection didn't exist, then I wouldn't have bothered researching the problem in the first place. In this way, intellectual property restrictions encourage the creation of ideas. But this model shouldn't apply to ALL ideas, and shouldn't be abused. If I grab a guitar and write a song in 10 minutes -- a song with 7 words, using a melody I borrowed from another song -- there's NO WAY that I deserve that legal protection. There's no way the people I sell the copyright to should get the right (for the remainder of my life plus 70 years) to threaten legal action toward anyone who sings it. And certainly not toward artists who sample my song and turn it into something brand new and complex. Gah.
I didn't intend this to be a rant about intellectual property. But rather on how people think about ideas, and how I think about ideas.
Perhaps I'm naive, and I haven't considered all consequences. Perhaps I have a good point, but it's not refined. What do you think?
(TL;DR I want to be plagiarized. Ideas should be as free as possible. The concept of intellectual property was invented to encourage the creation of ideas, and secure "idea person" as a profession, but instead in many ways it has the opposite effect, and has corrupted our common perception of ideas.)
January 26, 2012
Parkour at the park with my sunshine till sunset ♥! Anyone miss going to the park? The park rules. Ann conquered her fears, jumped a gap, climbed the great noodle, and disembarked all by herself -- things she thought she couldn't do. By summer we'll be climbing roofs together >:^) "wait -- THE BALL! +runs back+" XD XD ♥
