luka

Well-known member
Exactly. The modelling here, the solidity of the figures, the way the textures are materials are rendered, the pictorial space, the clarity
 

luka

Well-known member
A trend in digital music is that it's not music it's modelling it's more like Pixar or any computer graphics company where the focus is on solving technical problems. Because the push is still towards mimetic realism, like painting used to be
 

luka

Well-known member
Silly walks, rubber legs, extendable necks, MC Escher as cartoon, the way caterpillars move, worms, oozing, undulating, stretching, bouncing, bulging, expanding balloons, hallucinations of walls curving and rippling, clocks melting. Time-reel manipulation, sped up and slowed right down, similar manipulation of the gravity field, heavy, leaden, sunken down, loping, bouncing, floating off.

With the proviso that it's a realism of the fantastic and impossible
 

luka

Well-known member
Tick tock between twin time states. Unstable physical construct. Lurching passage between two colliding universes, before the merge is made and contraries balanced and mutually locked. Imperative command-centre maintains both brain contact. Hold on!
Phase-shift. Breakthrough to provisional equilibrium condition. Attempt to establish traction, halting at first. Acceleration established. Cruising speed reached. Acceleration to Threshold. Breakthrough. Transistion to enhanced light body. Resources commandeered for light-craft. New abilities. Greater complexity and coherence. Collapsing time to reconstruct it at a different plane. Turning the time cube. Enhanced engine drives. Entry into contested zone. The eternal guard dogs bark. Fear enzyme flashes in the cortex display panel. Exit. Return to mapped zone. Approach void centre. Self almost collapsed in huge pressure of void gravity. Steer away.
Tilting the time cube=star of Lakshmi, the Rub el Hizb
chucking sounds together like some sort of large hadron collider

The crucible stage
move off-earth and gravity isn't a constant velcroing you to the horizontal anymore. You build the other body and learn how to operate it. Full rotational movement on every axis.
 

luka

Well-known member
What about ease of movement in the territory. What is the condition of the gravity? What is the gradient? Is it firm under foot? And what about obstacles? Is there something blocking you? Can you move? Can you see? Is there anything deadening your senses? What is the quality of the information you are receiving? How clear is the transmission? How clear is the picture? What might be affecting the quality of the footage?
 

kumar

Well-known member
CGI vision can achieve superhuman clarity but it makes certain things look more impressive than others. Complex reflective surfaces, sweaty glistening muscles, ripples on a lake surface, and this preference effects the kind of images made.

There’s something similar with this kind of thing, the hyper distinct frequency bands in the Sophie tracks that need all that space around them to properly stand out. You don’t really get any dirt, or that thick sludgy midrange with an amen break that emulsifies jungle. It would be dumb if someone said it’s politically insidious like the aural equivalent of homeless spikes or something, but you could see what they mean.
 

kumar

Well-known member
If you’re producing music on a screen you’re responding to much more visual cues than with less attention grabbing machines. That might have something to do with this, also that the software is probably used for film composition and advert music more than techno, and is probably more geared to that. Encourages that world building play with the fluid dynamics of a track that’s more similar to sim city than using an mpc. You can put the “damp cupboard” reverb on a snare and filter it through the “rickety windmill” then side chain it through the asteroid field. Like with this track it’s sort of in between imax bombast and cheapness, but it’s that aspirational cheapness I’m quite into, like getting a damask bedspread from the pound shop, or how everyone’s got dodgy homemade fades at the moment
 

luka

Well-known member
CGI vision can achieve superhuman clarity but it makes certain things look more impressive than others. Complex reflective surfaces, sweaty glistening muscles, ripples on a lake surface, and this preference effects the kind of images made.
Why is this? It's not just a digital thing, it's there in photography too, it's Arnie's biceps in Commando, it's the condensation on a can of coke and those beautifully smooth metallic curved surfaces. With oil paint it's more about fabrics, the way they catch the light, the way they bunch and fold
 

luka

Well-known member
One thing you could relate it too is the difference between canvas and photographic paper/backlit screen
 

kumar

Well-known member
I suppose light bouncing off a complex reflective surface looks more bewildering when it’s framed in a way human perception can’t achieve, like I prefer to not wear glasses all the time then go into town to get a new pair and wear them on the cycle home to feel like you’re in they live.
 
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