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@@ -1,6 +1,46 @@
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# pulse under latent semantic envelopes
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*(WIP. Description and pieces only now)*
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*Lyrics as well as the process of how it became like this*
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## Lyrics, in full
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第一部。
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Surface.
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The equilibrium of silence between the static magnetic noise, the watery planes, and the optical waves.
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Blurred and mangled electronic signs over the outbound atmospheric leeway.
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Distant stations estimated in abnormal heat perform the inconsistent collimation rite.
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Dive.
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The black screen of stalemate conceals the massive stars, the charred comets, and the meteorites.
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Their questionable glitters, once emissions of brave borderers and dark adventurers,
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now the only traces, obscured and indifferent to all but those with a special breed of faith.
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The noise floor of a receiving environment is the aggregate of all background signal energy present across a given frequency band at any instant. In urban contexts, primary contributors include electromagnetic emissions from power distribution infrastructure, wireless communications networks, and consumer electronic devices. The noise floor is not centrally coordinated; no single source generates it. It emerges from the cumulative output of many independently operating transmitters, each functioning within its own parameters, whose combined effect is persistent and largely uniform. Under standard conditions, this background level is treated as a fixed baseline rather than a variable of interest. Signals whose amplitude falls at or below this baseline remain physically present in the medium but cannot be distinguished from the background by a receiving system, and are not considered recoverable.
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An impulse signal, also referred to as a unit impulse, is defined as a signal with zero value at all points in time except a single instant, at which its value is notionally unbounded, subject to the constraint that its total integrated area equals unity. In practice, true impulse signals cannot be physically produced; they are approximated by short-duration, high-amplitude pulses of sufficient bandwidth. The impulse response of any linear time-invariant system — that is, the output produced when an impulse is presented as input — fully characterises that system's behaviour under any subsequent input. In the absence of any input, a system at rest produces no output and exhibits no properties that distinguish it from any other inactive system. From a single impulse and its measured response, the complete transfer function of the system can be derived.
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第二部。
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Subdued sonic scalars vectorise
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Acoustic aberrations dissipate
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Isotropic funnel strikes a packet rain
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Fine-grained bags of acks ground astray
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Ocean as a desert buries all of its life
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Deck the shell with a perfect thermocline
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Curtain shut before the Fresnel bights
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Plasma buildup swells your rover's thighs
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第三部。
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Particulate pressure across a landlocked island
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Ultraviolet utilitarian paints every third crag bland
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Lossy lies lament the ludicrous lawful liberty
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Siren sounds soaken in the sauna of substantiality
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Eccentric sediments launch unbidden perpetuity
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## Planning area
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@@ -26,7 +66,7 @@ Literally, there can be long, essay-like, paragraphs (not too many) with structu
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1. "Surface." - the breach, the fever-dream opener
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2. Instrumental - let the image settle
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3. Essay/documentary - the explanatory core, almost clinical, "semi-boring scientific" (this is where the concept gets stated plainly before the rest of the song complicates it)
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4. Instrumental + fragments - the logic starts dissolving
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4. Instrumental - going into the poemic verses
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5. Poem-ic verses - emotional density, maybe climax, maybe not
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6. P-U-L-S-E 5-liners - trademark closer, acrostic constraint
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7. Instrumental outro
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@@ -35,19 +75,19 @@ Literally, there can be long, essay-like, paragraphs (not too many) with structu
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## Construction zone
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The first locked in draft version of the song. Things get developed even after this version.
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```cpp
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// Opener
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Surface.
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The equilibrium of silence between the static magnetic noise, the watery planes, and the optical waves
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blurring the electronic signs over the outbound informational motorway.
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Images imagined in the imaginary region of the protruding obelisks many kilometres away
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from this here expanding entropy killing various variables as abnormal heat usually may.
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The equilibrium of silence between the static magnetic noise, the watery planes, and the optical waves.
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Blurred and mangled electronic signs over the outbound informational motorway.
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Distant stations estimated in abnormal heat perform the collimation rite.
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// think a submarine surfacing at night to do some radio comms as the starting point, then infuse it with a fever dream
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// 'Images imagined in the imaginary region' is half wordplay, half multimedia transmission with a loss (signal-wise). the obelisks are basically antennae.
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Dive.
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The black screen of stalemate conceals the black stars, the black comets, the black meteorites
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their questionable glitters and gleams, once emissions of brave borderers and dark adventurers
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their questionable glitters, once emissions of brave borderers and dark adventurers
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now the only traces, obscured and indifferent to all but those with a special breed of faith.
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// 'Dive' - an opposite to 'Surface'. This is on the receiving end.
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// Just see this as 'receiving other guys' pulses'.
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@@ -57,9 +97,9 @@ now the only traces, obscured and indifferent to all but those with a special br
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// The pseudo documentary narration, half-blended into the background music
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// in a metalingual sense the music is the background noise and the narration is the signal with a low SNR. Or one could consider the roles swapped.
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The term "ambient frequency" refers to the aggregate of background signals present in a given environment. In urban contexts, this includes electromagnetic interference from power infrastructure, wireless communications networks, and consumer electronic devices. The ambient field is not centrally coordinated. No single source generates it. It emerges from the cumulative output of many transmitters operating within similar parameters. The resulting noise floor is persistent and of low significance under normal circumstances. Signals that fall below this threshold remain technically present but are not distinguishable from the noise itself, and are not considered practially receivable.
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The noise floor of a receiving environment is the aggregate of all background signal energy present across a given frequency band at any instant. In urban contexts, primary contributors include electromagnetic emissions from power distribution infrastructure, wireless communications networks, and consumer electronic devices. The noise floor is not centrally coordinated; no single source generates it. It emerges from the cumulative output of many independently operating transmitters, each functioning within its own parameters, whose combined effect is persistent and largely uniform. Under standard conditions, this background level is treated as a fixed baseline rather than a variable of interest. Signals whose amplitude falls at or below this baseline remain physically present in the medium but cannot be distinguished from the background by a receiving system, and are not considered recoverable.
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An impulse signal, sometimes referred to as a unit impulse, is defined as a signal with zero amplitude at all points except for a single instant, at which point its amplitude approaches infinity while its total energy remains finite. In practical applications, true impulse signals cannot be generated; they are approximated by short-duration waveforms of high amplitude. The impulse response of any linear system - that is, the system's output when presented with an impulse input - fully characterises that system's behaviour. From a single impulse and its response, the complete identity of the system can be derived. This property is considered fundamental to signal analysis.
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An impulse signal, also referred to as a unit impulse, is defined as a signal with zero value at all points in time except a single instant, at which its value is notionally unbounded, subject to the constraint that its total integrated area equals unity. In practice, true impulse signals cannot be physically produced; they are approximated by short-duration, high-amplitude pulses of sufficient bandwidth. The impulse response of any linear time-invariant system — that is, the output produced when an impulse is presented as input — fully characterises that system's behaviour under any subsequent input. In the absence of any input, a system at rest produces no output and exhibits no properties that distinguish it from any other inactive system. From a single impulse and its measured response, the complete transfer function of the system can be derived. This property is considered foundational to systems analysis.
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// build some tension with bass and drum and fiddle here
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@@ -67,26 +107,48 @@ An impulse signal, sometimes referred to as a unit impulse, is defined as a sign
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// more 'rhythmic yelling' than singing, you get the idea
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Subdued sonic scalars vectorise
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Acoustic aberrations dissipate
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// sahb - duwd - sao - nihk - skay - lahrs - vehk - tahr - rayz,
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// (ah - ) kaws - tihk - ax - bahr - ray - shaxns - dihs - sah - payt
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Spectral broadcast lossy with a narrow sight
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No perceived replies per design
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// needs further tweaking
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// --- stanza: the receiving end ---
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Isotropic funnel strikes a packet rain
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Fine-grained bags of acks ground astray
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The ocean as a desert buries all of its life
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Ocean as a desert buries all of its life
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Deck the shell with a perfect thermocline
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// (thax - ) ao - sheh(n) - naes - ax - deh - zahrt - bah - riys - ao(l) - lahv - ihts - layf
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// (dehk - thax - ) shehl - wit - ax - pahr - fekt - thahr - mow - klayn
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// 'deck the shell': intentional vagueness between 'decorate the outer shell' and 'knock on the border surface'.
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A dim light dies in the rover's eyes
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Or the next one could never come otherwise
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// Thoughts: 'the light dies' because a pulse is mostly dormant you wanker. You have to let the light die so it lights up again, simple as
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Curtain shut before the Fresnel bights
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Plasma buildup swells your rover's thighs
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// ending verse(s) before the painfully long instrumental outro
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p.....
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u.....
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l.....
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s.....
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essential sentiments lay unconditionally permanent
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// P:
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particulate pressure plagues across a landlocked island
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// U:
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ultraviolet utilitarian paints every third crag bland
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// L:
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lossy lies lament the ludicrous lawful liberty
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// S:
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siren sounds soaken in the sauna of substantiality
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// E-S-L-U-P:
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essential sentiments leave unbidden perpetually
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```
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## Notes about this song
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Some time after witnessing the rover song went locally viral at the second transparent fes I said to myself there will be a third. Almost immediately after that, I was sure the keyword would be 'pulse'. Then it took me several months to figure out the third recursive acronym composition.
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'pulse' is for a very apparent reason. It's literally the last kairo (original) song. That is, the last song in the last album. I know they had more 2hu released after that but that's a different business, isn't it. It also is a very good word in itself because there is vitality, there is machinery, there is electronics and engineering, all in one package.
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In a way, I think it's probably true that flair and discipline has a dance of balance in many things, and I take music and association football as two seemingly irrelevant examples. Simply because I'm somewhat invested in those two.
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A classical piece in the broadest sense takes many, many players with their respective instruments. There would be a leader violinist or a pianist or similar role but let's face it, for like 99% of the time, orchestra players don't play flashy solo phrases. I feel it's like how you have no-nonsense centre backs and anchor defensive midfielders like Jordan Rossiter, that in a sense stand out even less than a goalkeeper.
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Your rock and pop bands of 3, 4, 5 people is something else. Basically everyone needs to be a star. Everyone will have flashy, tricky solo riffs.
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And don't get me wrong, I by no means is stating that playing simple notes correctly is inferior to slashing an outrageous riff, or that only getting the ball and passing to the nearest full back is inferior to dribbling over 5 defenders and driving home with a full bollocks swing. That is just not true. Doing the less fancy 'basic' but proper and well is just a slightly, or very different dimension of professionalism.
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### Trivia
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- In case you didn't notice, the title forms a recursive acronym.
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- In case you didn't notice, the final verse is an acrostic of 'pulse'.
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- In case you didn't notice, the last line is a reverse acrostic of 'pulse'.
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- Brave Borderer and Dark Adventurer are RN torpedo boats.
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- 'Ocean as a desert buries all of its life' is a blatant steal from America's 'A horse with no name'. The original line is 'ocean is a desert with its life underground'.
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-
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wan
Mikkeli Matlock
mikkeli