Monday, December 28, 2015

Making a movie out of large volume batch images using ffmpeg

I've used ffmpeg to do this, and it is done through console command application.

From terminal, just go to the directory of still animated images.  

In order to create a movie, the files will need be sequentially numbered.  Also you may need to break, large volumes into smaller parcel chunks.  This is true especially if you are working in large volumes where apparently memory management and flushing memory for compilation of a given video using ffmpeg become problematic.

The command given below indicates how to compile a video using a file number start sequence that isn't by default zero:

ffmpeg -start_number 13473 -f image2 -r 25 -i screen-%5d.tif -vcodec libx264 movie.mp4  

-start_number 13473  indicates the start number at file string name 'screen-13473.tif'  based upon all the other command parameters also provided.

-r 25 indicates the frame rate. 

-i screen-%5d.tif  indicate the string path name of the batch file that is beginning with the string 'screen-' and then having a 5 digit number followed by the '.tif' string.  

-vcodec libx264 is the codec for compilation.

finally movie.mp4 is the file name into the compilation directory or whatever user specified directory is provided.


Friday, December 25, 2015

Interesting story I recall somewhere...

goes something along the lines of...

here's a bit of philosophy The Story of the Taoist farmer...

This farmer had only one horse, and one day the horse ran away. The neighbors came to condole over his terrible loss. The farmer said, "What makes you think it is so terrible?"

A month later, the horse came home--this time bringing with her two beautiful wild horses. The neighbors became excited at the farmer's good fortune. Such lovely strong horses! The farmer said, "What makes you think this is good fortune?"

The farmer's son was thrown from one of the wild horses and broke his leg. All the neighbors were very distressed. Such bad luck! The farmer said, "What makes you think it is bad?"

A war came, and every able-bodied man was conscripted and sent into battle. Only the farmer's son, because he had a broken leg, remained. The neighbors congratulated the farmer. "What makes you think this is good?" said the farmer.

I couldn't recall the story...of course, it sucks having the broken leg, but as to what seems bad initially.  

You don't have friends?  Is that always bad?

I do a little poke teasing here...

Story here

The Story of the Taoist Farmer

Thursday, December 24, 2015

I find that psychological profiling analysis at a glance is...

I find that psychological profiling analysis at a glance is...

  Often given to the perceptive misgivings of an the observer as opposed to the observed.
Case in point, if you say something that seems psychologically disagreeable with another, they think that your view must be an emotional statement as in, "you are disturbed, or you are mad or angry" which say more about the observer likely which is "I don't believe what you are saying and if I did I might have a hard time coping emotionally".  The problem that I offer to the observer is that you are projecting your sentiments, feelings and emotions on the observed.  Shit I don't know how many times I have had this argument.  :)

In order to understand the world...

  this is related to having a higher levels of interactivity with it, yet in having a higher levels of interactivity could very well mean having learned something that you may have suspected true, having been told were true, or having observed a degree of such truth.  Obviously if you felt it were sensible neither interacting with parts of the world in mind to any degree of safety or having cared entertained another facet of a given world in a given social sense there is nothing wrong with it, and then neither having cared entertained anything else once having been familiar, such as I am not twenty now as opposed to being forty plus years old.  Of course, going through these particular phases in life mean something like, "I grew out of any fondness in discovering what people may or may not be like."  That is, even if you need not believe that anything of creepy fascist spy culture out and about in the world, this need not serve as the primary rational justification of choosing to stay in or having gone out and about in a given world, or having said that one might actually be missing out on much in a given world.  Anyways, we learn to make due with the things we have in life, and some are forcible put in situations of living under circumstances of confinement for long duration.  Obviously, one finds ways of coping and surviving in these circumstances, or one simply doesn't.  Which is to say how ever perceptively narrow, it seems, circumstances may seem is given by a measure of 'How do you see the glass?  Half empty?  Half full?'  Of course, there may be any number that could scarcely tolerate and in like kind that one might find less tolerable if having put one's self in another's shoes.  That is certainly what gives rise to the distinction of self.  There are some that live their very lives in the neighborhoods that they grew up and spend an entire lifetime neither wandering more than a few miles from such.  There are some given the freedom of shunning much of the outside world and having lived so much in a defined world that were relatively much insular.  Certainly, even given the issue of forced confinement, there are always decisions to be made in so far as empowerment as it is likely true when supposedly confinement is neither so strictly defined.

Ambiguous feedback...

   given by one really being interested in another's dissertation on these matters.  Amusingly, there is all the biases of point 1 (above) given, where one assumes that by given degree of verbosity that there must be obsessive compulsive disorder (merely having said anything or caring to such), though apparently this could be given to the more common place disorder of the mid western man having believed that one's emotional centers were given in the form of less talk, or thereby any supposed symptom of emotional disarray were shown from any deviance of 'quietude'.  :)   That is, certain governments love it when they are treated with all the respect of a parent that meddles in the lives of families with all the power to ruin and destroy relationship and given to all power in controlling who is 'fallen' versus 'risen'.  They may certainly love it having the excessive power in mediating the emotional psychology of families in so far as faith.  It is true when such power is exemplary of a confessional, or having provided psychological consolation in turn to those having felt alienated from a given collective social organism which is defined as more than town but country as a whole.  Though today, one should imagine, it is all given to a different degree, all embedded in the synthetic broken social scene, embedded in all the consumerism and commercial enterprise that makes 'America the country that it is'.  Of course, there is nothing wrong with feeling 'alienated' so long as return to the notion that 'you have brought this on yourself'.  Of course, you might have 'brought' this upon yourself invariably for all sorts of reasons which is very much given by as much reason that you seek 'their' forgiveness, not the other way around even if rising social dissent seems more likely a given and social polarities couldn't be more self evident which seem also to suggest that the collective power and authority of such social collective couldn't also be potentially more arbitrarily invested.

  lame...because all of this could in time could potentially be garbled one were ever too successful in saying.  Have you considered that your situation is defined as such because it isn't just you?  Have you considered that there are as likely broadcasting algorithms to anything and everything you say on a given social networking platform which controls the extent of a potential broadcast and the impact of a given outreach?

Some could tell you how to get a social life if you wanted to, but then, even if you don't care for anything of that being said above, you'd probably not like all the social hoops that you'd have to jump through in getting one.  It takes something stupidly energetic in this day and age and given more likely to all the individual rolling a rock up the hill to watch it roll right back down more often than not, that is, assuming you avoided all pitfalls in such process.


Tuesday, December 22, 2015

Anyways what is to come of it if anything and everything you say is potentially under lock and key?

I ask this question because it is true.

Is it gate filtering on anything and everything said?

Not exactly sure, but maybe none of this true or maybe it is.

Then you understand why some seems to care little about violations of constitutional freedoms here given that it all along reflects a given trend.

Although, I might have to correct myself what free speech is really guaranteed in so far as the internet and having access to it through a given ISP?



Ominous notice and the holiday season

   The year of ominous notice.  I have been quiet up to now because generally it has been rather quiet though not completely at times.

One year, so many years back, I happen to be driving a short jaunt (literally less than a mile) while having come across a car with a bumper sticker reads on the back of a car shockingly rude enough to anyone in clearest view, "You are such a disliked a**hole.  You should have prostate cancer."  The driver's use of bumper sticker advertisement, however, might have seemed a bit atypical for a mid western person in general, or maybe even in a regional context atypical, especially where it were given to something of rude advertising with potentially malicious and threatening notice?  It were in proximity to any given annual holiday season, a postcard surfaces in the mail a few days later.  Somehow I'd been signed up for information concerning a speaking engagement of renowned proctologists from the Mayo clinic at Unity village, though I couldn't recall ever having any expressed interests interests in so far as medicine in this area.  You might have had the sense that there were something more than someone having the conspired interest in routing for one's personal health decline in certain areas.

Sure it seems to run amiss in the cruel social behaviors, namely I'd pin it on conservatives as likely, or it could be something as given more obvious in the area where it is most often found...maybe over on Facebook or Twitter where lingering vulturism eagerly might have awaited the death knell of a former President Jimmy Carter or at least some furthered horror news.  They [such conservatives] might have danced in the streets of New Jersey chanting 'God is Great' among their Christian Coalition cronies.  Though I am not sure in my personal case, if such should have anything to do with politics in the sense that I were as much, out of water, being a democrat in a largely Republican stronghold, or just having been socially targeted by one of those 'groups' invariably for one reason or another that should represent a shit list in so many words.

Really though I imagine it depends on the year and certainly, it seems useful taking all of this in stride.  The seemingly menacing and bellicose behavior is arguably given different measure from year to year.  This year such weren't given potentially in the form of a driver put in a car sent out on a given mission, coupled to any lame attempt in communicating further via postcard, but at least the narrative should be approximately the same.  The same sorts up to their well wishing for the holidays...

All having to do with fastidious attention to personal health and any manner of behavior to go with it.  Year to year, I attribute it to rise of BROKEN SOCIAL SCENE.  Surely, in a way, you have to take it all in stride.  I will likely survive into a specific age category beyond another bracket.  Any investment this year around were likely cheaper.

Occasionally a proximity tailgater from the past, is put up to making the effort of making the unwelcome call on occasion, though never receiving a response,  one should in like kind politely offer, the initiative taken is often at their behest which is a clue enough and the responses given much the same.

I then think of a few brief solicitations after an equivalent 'spring/fall' garage cleaning for odds and ends in the house.  No wants to be an absolute pack rat.  For what I thought might have been innocuous stuffs, a now antique Craftsman table saw, a caller inquires (in the paraphrase):

'I saw your ad for a table saw.'

'Yes, it is up for sale as advertised.'

'Would you be willing to sell this for less?'

(Thinking to myself I hadn't placed this OBO but...)

'Sure I might be willing to do half.'

'That's sounds fine.  The price is too low.  I live near the Walmart supercenter in [unaforementioned] town nearby. You ever been there?'

(hmm supposed to be small chat I would guess but sort of sounds like strangely leading questions but whatever...small town bumpkin one should gather).

'I don't recall.'

(whatever... call terminates)

Though it seems in retrospect, the caller seems to be leading into 'I know why you are selling these things and you aren't above my suspicion sort of effort'.  Price 'too low'?  How could you sell something 'too low'?  There isn't anything illegal by selling anything 'too cheaply'.  Some sell things cheaply just because you can, or you don't really fucking care.  But mostly you figure, the dude was on a limited budget, maybe he were looking for something 'forensically' and his 'department' asked him to get the price as low as possible, and likely like any other garbage collected from the premise going to sit for decades warehoused and collecting dust.  Entirely there might be something coincidental, who knows, but in the end leading one to roll one's eyes.  What could I possibly be doing with a posting...it seems if I had a connection in transacting a table saw to someone I might not post a solicitation in selling a table saw in the first place?  Which sort of runs along the lines of, 'We know you are up to something but we don't what you are up to?'  At this moment I imagine the man's eyes narrowing into tiny slits with the 'look'....In the end I was just selling a damn table saw because it was taking up space?

Too much of the Falcon and the SnowMan shit turns into The Man with One Red Shoe all the fucking time...

its okay to laugh now...

Monday, December 21, 2015

Abstracting my work for Terrain heightmap colorization (Pythonic)

I should probably reference this at a given code site where I have been developing, but generally I like discussing this and its to add to my blog collection.  Ideas are developed in Python at the moment.  Basically working on abstracting existing process.

Thresholding how it works:

Thresholding (TH) are housed in a list nested dictionary called TH are read and unpacked and accordingly applied in sequential order based upon its 'sequence' identifier.

THs need have the following key information:
 'Landtype' specified either 'Flood', 'Land', 'Mount'
 'Type' specified either 'Height', or 'Normal'
 'TBracket' or Threshold bracket range these need supplied ordered csale
 2 tuple 0 <= value <= 1.  Note: any overlap in the bracketing range from one dictionary value to the next on the same landtype will lead to mixing of modules which may or may not be what you are looking for.  If you want distinct textures for specific normal ranges you will need to keep the Tbracket ranges non overlapping for min max cscale ranges chosen for each of the same landtype.  Note: TBracket set [0,1] means thresholding is off (or covers the range).
'Fractal'  boolean means color mixing is either fractalized between   on the modules 1d polar spectrum or not.  If not chosen mixing method is  by default given (ratio of measured distance of a normal relative to threshold relative to the maximum normal distance for such threshold range)
 A list will at a basis at least a 2 tone 1 dimensional polar spectrum.
Meaning these will be assigned at least two color tones at either polar end.
Position values of any color tone range from 0 to 1.
Open poles and all positions between such applied to the nearest (to pole)
color position will be the same color as such as nearest neighboring color.
Linear interpolation will apply in so far as mixing between colors.
'Colors'  is a 2 dimensional list.  A nested list contains a rgb color
assignment 3-tuple and its position marker
 'nsize' (applies if 'Fractal' is true) This sets the fractal size.
'nbasis' ('Fractal' true).  This selects the basis of the fractal (see below).
'lacunarity' ('Fractal' true).  This sets the lacunarity of the fractal noise.
'depth' ('Fractal' true).  Depth (see below)
'dimension' ('Fractal true).  see below.
'Name' This is non used in terrain generation but kept for organizational purpose.
'Id'. This is the corresponding driver id for color mixing.
 It is noted that internal color mixing is given with all the internal
 instructions given by the TM itself, but this doesn't provide external mixing instructions for a given output color determination.
 Calls to TM are done especially with calls to fractalization for color mixing that are not handled by the color mixing modules directly (no mixing driver interface provided here).

 Mixing (MM)
Dictionary key: Module ID, Value:
All mixing module ins and outs are routed through ColorInOut module.
Mixing Modules is a list dictionary with the following properties:
 'Id'  Module Id.
 'Ins' Module input identifiers are provided here.  2 are necessary to proper functioning of the module.  These are 2 tuple defined.
 'Outs' Module output identifiers here.  Minimum of 1 supplied.
 'Type'  Type is given by one of the following:
  'Multiply, Screen, Overlay, Hard light, Soft Light, Dodge, Burn,
  Divide, Addition, Subtract, Difference, Darken Only, Lighten Only,
  Normal (colorlerp), Normal2 (colorlerp2)'
 'FactorType' either 'fixed' or 'variable'
 'FactorVar' (if FactorType set 'variable' only) set either 'normal' or
'height'
 'Factor' (FactorType set 'fixed' only).  This is a real value from 0 to 1.  The factor amount for the mixing type.
 'Falloff'. This is the amount of feathering applied for a given threshold
 you must use the cf ranges specified below.  You can choose, .05, .1, .2
 to .7.  The cf value must exist in the cf dictionary (see below).
Setting 'Falloff' to 0 (zero) otherwise, specifies that mixing falloff is turned off.
 'Landtype' is given by 'Flood, Land, or Mount'
 All 'variable' factor is given by 'RH(N)D/TH(N)D' (ratio of measured
 height or normal distance
 on a given height/normal land type range relative to total height/normal distance for such land type range...

 ColorInOut (CIOM)
 dictionary
 'id'  This is the module id for a given color input assignment
 Note any module ID is given either by a threshold module or mixing module.
 so it is likely important that any identifier provided for either module type neither has id overlap.
 'RGB' is the rgb standard 3 tuple given value (non normalized).
 ColorInOut Module is a dictionary database for the mixing driver.

Mixing Driver (MD)
 ordered list
 given by a operating mixing module ID sequence.  It is up to a user to supply a valid sequence so that all chain inter dependencies in a given computation
set are appropriately handled...if this were given in a visual context, it is up to the user supplying a valid and properly linked chain node from one mixing module node to the next.

Node Chains (NCs)
 Dictionary:  key - Id - Mixing node chain[mixing id list]
 These are a given layer between the mixing driver and threshold modules
The way that these are structured is 'if, then'  That is 'if' threshold module ID is computed 'then' the following mixing module nodes are linked to this tm.

DirectColorInput(DCI)
This allows one to directly input colors into the ColorInOut dictionary so that it is stored with a reference identifier in the CIOM.  That is, it is not an identifier that is given either as a result of TM computation or a MM computation.

Schematics of overall terrain colorization goes as follows:
unpack threshold (TH) having placed these into three categories:
 'flood', 'land' , 'mount'.
Mixing modules will also be unpacked, these will contain both input and output channel information along with any sequence assignment for computation work (to ensure necessary data is put in place) before sequentially passing to such module for computation.
 Do everything as necessary in preparation as shown below prior to pixel by pixel computation of rgb terrain colorization routine.
In pixel by pixel routines, extract height and normal.
Height data determines which land type modules are used computation wise.
'Land' will use all terrain types computation wise (for threshold feathering between land types).
All threshold computations and any subsequent mixing computations will have data pathed to a ColorInOut, and also trigger a pixel mixer driver configuration through the NodeChains dictionary.  Basically after computation work is done on TM, the CIOM is read which is then key parsed to the Node Chains in constructing Mixing driver instructions.  That is, before formal calls in constructing the sequential chain in computing mixing beyond computed thresholds.
 ColorInOut (CIOM) is basically identified computed work already having been task accomplished as given by its parent module identifier (whether such parent is a 'Threshold' or a 'Mixing' or given from the DirectColorInput).
ColorInOut will be in part used by the Mixing Driver which outside of preliminary threshold module 'basis' work will be the overarching driver for sequentially producing a given terrain pixel output.
The mixing driver is read on a simple loop iterator.  The mixing driver loop iterator traverses the Mixing ID sequence.  The appropriate Mixing (MM) is loaded.  This data is passed to mixing function, repeating the process until the Mixing driver loop is finished.
Mixing (MM) may have variably written per pixel given instructions that is, each driver instruction is not the same for pixel to pixel, if for instance, thresholding dictates that added color mixing schemes
 need exist for a given pixel position. Once pixel computation is complete reinitialize the ColorInOut (CIOM).

So eventually this should hopefully be abstracted well enough to allow for modularity in design as found in Blender's node system so that one can custom design any configuration of all of the above in building colorization generators without having to modify code which isn't exactly that hard if you know how to read it and program it.  

Friday, December 11, 2015

Blender handling animated non linear motion for path follow objects

For starters, as I've seen (pardon my ignorance if I am incorrect), it seems a common way to use path based animated motion for objects in blender is easily handled by using path objects such as bezier and nurbs curve objects.  I've lately used Bezier curves to handle this which are especially nice since in edit mode you can also see any torsion, or twisting, on the curve.  This is shown by the direction arrows along the curves spine.

   I have also been interested in modeling kinematic physical motion of say a camera without invoking blender's physics system in doing so and this has generally lead to some interesting observations.

First, to constrain an object to a given bezier curve object path, you select the child object first, hold shift and select the parent object (lmb click for selection...in this case the bezier object).  Then you hit 'ctrl + p' and select 'path follow'.

You will also want to have the object set at the bezier curves starting position.  You can determine this again in 'edit' mode on the bezier curve if you aren't sure which point on the curve is the start versus the end.  This will be shown with all direction arrow's on the spine of the curve (in 'edit' mode) moving away from such point and obviously being an end point on the curve (assuming your curve is not a closed loop).  If you don't want to reconfigure the curve's start and end points literally and they need be reversed, you can do so in 'edit' mode selecting all the curve's points and then selecting 'curve' > 'segments' > 'reverse direction'  (extremely handy).

The general art of modeling physical motion is given by parabolic type curvature.  These are curves which generally may need no more than 2 points on a given bezier path curve though I have used a third point in provisioning greater ease in managing the control points for a given curve arc.  I have usually situated a third control point nearer the maximum height often for a given quasi parabolic motion path arc.

Now, there are some additional things to be considered which are that alternately if you want to track the camera's frame rotation to another object, you can do so again selecting the camera (child first) and then selecting the object to be tracked.  This will not disrupt the animated motion of the camera on the bezier path, for instance, but will instead ensure that the camera is pitch, roll, yawed in the direction of the tracking object.   Once having selected the child and parent objects, in 'Object' mode, use 'Object' > 'Track' > 'Track to Constraint' .  That will lock the camera, for instance, on another object.  I personally like to use empty objects here (not physically shown) as tracking constraint objects.

Now for many new to the experience of animation, you will have linear motion (linear velocity) over time for a change in the object's position with respect to the path follow object.  You can modify the velocity of the object without effecting its linearity under the Bezier curve data tab.  This is between the bezier curve objects 'Material' (right of) and 'Modifier' (left of) tab (right hand most side of your browser under a default Blender workspace).  Under the Bezier curve data tab scroll down and select 'path animation' which should already be checked with the curve having been parented.  Expand this section, you can modify the velocity of animation of any path follow object by increasing or decreasing the frames settings.  This is the number of frames needed for an object to elapse over the course of the given bezier path object.  Obviously a lesser number of frames increases the object's velocity while increasing the number of frames decreases the path follow object's velocity.

Now, if you were wanting to experiment with non linear motion on such path, well, it is a bit more advanced and leads me to a suggestion (wish list) for Blender's programmers as a possibility.  First, I may suggest as a wish list a parametric subdivision for all given motion states as opposed to motion being determined solely by higher order polys restricted standard single variable equations.  Why so?  Firstly the conversion from single variable equations from any parametric form has a bit of work load.  Secondly physical solutions are often described in 2 dimensions with parametric equations of motion described separately for each dimensions which means the one or two axis will have a linear form (barring air resistance or any other non gravitational forces) while a third axis will have some gravitational form and is given by a non linear quadratic form.  Unfortunately this is not easily resolved in blender since f-curve modifiers are restricted relative to the usual sense of animation using interpolated bezier curve forms.  This leads me to indicate how to implement non linear motion on a follow path constrained bezier curve object.  So if you followed the step above.  You can pull up your 'Animation' workspace setup or alternately you'll want to at least pull up your 'Graph Editor' (e.g. change from '3D view' to 'Graph 'editor' is where the drop down box is located).

Next you'll want to go to 'key' > 'Add F-curve modifier' >  'Generator'.  Now, you'll need to adjust the properties of the generator that you added if you want to make things non linear.  You'll need to expand the 'properties' view area under the graph section to do this.  If you know how to pull up the 'properties' view area under the '3D view'  mode it is exactly the same on the 'Graph editor'.  There is a little plus '+' symbol in the upper right corner of the 'Graph Editor' window that is clicked and dragged to the left for this properties view expansion.  Next, go to the 'Generator' tab and it should read 'Factorized' or 'Expanded' polynomial.  I prefer the expanded form since it is a bit easier in reading and applying coefficient values here.  Curve types and what they mean.  Generally Quadratics while appropriate and correct in describing at least on a given gravitationally bound axis motion is not right when trying to determine motion of the object on a given object constrained path.  The reason for this has to do with what I explained above.  Namely, a single variable equation describes motion on both axis as opposed to motion relative a kinematic (parameterized) form.  If you wanted to determine what this single variable equation would look like first you'd need to convert from the parametric form and then solve (kinematic form would often be given in a time order based variable in either dimension say for a 2 dimensional problem) and then having used a linear or quadratic form based upon whether or not gravity applies in such dimension.  Additionally, the generator equation provided only solves one to one any given position meaning that the same local y solution (height solution)  yields the same local x on the bezier curve.  This is why modeling a maximum height with zero velocity at the height of a given parabolic trajectory means rolling back down the same path as opposed to in a typified kinematic manner (with positive transverse velocity) a different position x in approaching the same y as having been given before.  Blender's animation system is designed around periodicity here or in other words, repeating motions that would include things like a runner's stride having extended to a given maximum length and then having in relation to the runner's body having periodically returned back to a position encountered before (e.g., where the runner's torso center is represented as local x point of origin, his leg's will always repeatedly cross such as local zero in such moving coordinate system).  How then do you ensure that an object continues a long a given path even after it approaches zero velocity with the generator equation found?  Technically you'll need to use at least cubic or higher order equations (which are poly order: 3 and greater).   Polynomials that are odd will have inflection points that are necessary (by odd I mean poly order: 3, 5, 7, 9... and so forth).  The key to reduce the rapidity of growth of a given cubic or higher order polynomial is to keep the higher degree terms (x^3, x^5, and so forth) powers with smaller coefficient factors while keeping the lower degree (x, and x^2) coefficient terms higher.  Thus, typically I've set my coefficients as follows (5.120 for x, -.120 for x^2, and .001 for the x^3 term).  This tends to lead to a flattening of the growth with decent initial growth in the beginning and a small amount of growth in the object's movement near the tail end of a given 60+ frame curve elapse.   The x term will tend to flatten a curve with increasing positive value while raising the negative value (with increasing negative values) on the x^2 coefficient term tends to increase the height of the inflection point and move it further in the positive x axis direction (that is increasing the time to hit a given maximum velocity).  For my work, I have left the cubic term (x^3) alone at its given value (it needs to have a small amount at least in providing the inflection point on the curve) but obviously small enough so as to make acceleration much to rapid to prove useful for animation purposes especially in physics.

If you try any math handling between kinematic and single variable equations you'll need to consider in the conversion process (inverting the parametric value of y) to avoid the periodicity problem in blender's math system here.  It interprets +y values as positive local transverse (local x) gains while keeping the object still uniquely path constrained even if such position is parametrically outside the boundaries of the bezier curve object.  This is Blender's math interpretive way of differentiating a given y for two possible local x coordinate positions on a non one to one function bezier function.
Or basically in the conversion process, you'll need to invert the parabola at the maximum height for a given parameteric to single variable equation conversion.    

Thursday, November 12, 2015

I think I avoid my mid life crisis or maybe this will occur when I am much older

   Technically I am nearing mid life.  At least I am quite close to it at over 4 decades of life, but I feel like I were when I were twenty, or thirty in a way.  I have no kids. No previous life haunts really.  At least any past relationship woes long since vanished, so much that I have forgotten what it is like to be with someone else in the context of the mundane daily set of life expectation.  Although it seems as though in the fog of remembering, something about going out without consideration of anyone else.  Remembering that consideration were wordless and that the tenured couple could go for days, months, weeks, and year without saying a word to one another.  That is, having a psychic commune of understood s, a reading of the eyes of the partner, "I really don't want to be HERE AT ALL."  Emphasis comes with raised eyebrows.  Easier to abandon geography if the relationship goes initially in a way, at least sparring one the physical attachment of memories, if they have significantly built up and accumulated.  Though I have heard for the world traveler none of this easier either at times.  There is always a time when one exists in an empty room that is part of an empty world.   At least empty to the degree, that previously one were around laughter, any social connection elsewhere while wandering searching for something.  Empty space in time turns into something else, doesn't it in time when it is all too familiar in a way?  That it is never quite lonely.  At least if you imagined some invisible being in your room, sitting on the high stool in the corner with pad and pen in hand recording your every move.  Sorry its a film reference...some Norwegian film that I vaguely recall from one of those lonely wintery wet day sojourns to the Scarecrow video rents in Seattle.

I admit I don't know quite how to interact with people at times, and then I've been surprised in like kind in a way.  One day having an actual social life, however, so momentarily, and then its gone really.  I grew older.  The world seems to have gone the way of a house in a way.  You are supposed to go out into the world and look for new experiences, as is customary if you are to find a life as an artist and writer supposedly.  At least one theory, but really I suppose this depends really.  I don't know when I say 'I grew older' that this says anything other than given by all the tacit facts that might go with age...I've been so inebriated that I've past out on the side of a road in the middle of nowhere in some old German town after too much vodka, or how apparently the German man that were friendly enough in putting me up for a few nights were so thoughtful so as to line the passenger sides seat with a garbage bag just in case.  I wonder what it would be like retracing steps in a way?  It is exhilarating to go solo in a way without so many attachments in the world.  Knowing you could just pick up one day and decide, I am going here and neither having obligations with all the freedom of non commitment, given to that feeling that one were completely free.

Maybe one gets older, has kids, moves into new careers, moves into a whole other world.  Merely 9 months down the road, and such seems possible.  This might have happened when I were thirty but I dodged a window, or likely this were inevitable.  As much that now in having a different freedom that one hadn't stated were characteristically empty in as much as likely.  Certain social geography is transient as in the moment of a photograph certainly filling in gaps and voids.  Momentarily you stepped into a place of time and space that you may or may not have returned, or that in returning all the faces had changed.  Only adding, however, brief any social transect is...maybe you attempt to go to college as a forty something, but you find your world is different in that space.  You have children now and the class itself where none have children, much of an independent family, or house at that.  Maybe your college peers find at times a harder time relating or you in like kind relating?  Though imagining trying to be open in mind.  It must be easier to be an instructor here.  Though you don't have kids, at least, but you weren't the same, they weren't the same, and they didn't think of you, likely, in the same ways now as in the past.
   Someone says 'Where were you all these years?'   I am not certain if I am sure how to answer this.  Not certain to the degree that one would never know so many that could fill the blank of such phrase, and that in another way, filling such space may or may not have ever mattered in so far as who.  Reality is given this way that desire could be opportunistic and efficient in managing things.  The 'you' could be many 'you' s, many other persons.  It is neither specifically 'I' or 'him' or 'her'.   And how in finding a connection or attachment should seem as mysterious as the right circumstance of moments, events, timing, experience, and a myriad of conditions that makes ever so much room of the space of a formed relationship.  Perfection is illusory while the other says, 'Don't ever settle.'  I avoid stating opinion otherwise of deference.  Deference to the extent, that she is now settled into a crossword puzzle, scanning emails, and momentarily, excitement is so narrow.  Perfection is illusory...don't make mountains of molehills.  Don't make too much of uncertainty.  And gone, but never simple as this...

The circumstances of one's choosing will always mean something that you have missed somewhere.  Likely one will rationalize and state, 'there is nothing wrong with this.'  Which is right, yes, nothing, while we have decided inevitably in settling or neither settling, or maybe giving up on the notion of 'haves', the 'I' had turned into 'other' which likely may or may not have been 'I' if timing and circumstances were so completely different.  There isn't any challenging any of this but acceptance.  Maybe one sees a bit of humorous absurdity likewise?   It is irrational desire that pushes us further.  Youth fades.  Risk taking diminishes in time.  That is a given reality where the window of youth is passing.  Likely the "I" or "You" will risk less taking a chance on something that we might be less familiar with in life.   

Tuesday, November 10, 2015

How to work with audio and visual material for a music related recording

   So I generally start off stating that I do use Adobe Premiere Pro for my visual work.  I do audio engineering using Ableton 9 which I am most familiar with in so far audio workstation software, but for whatever software you use, I imagine the most important component comes by way of equalization and mastering material.  Generally I have in mind this guide for the general newcomer least knowledgeable in working more formally either with audio workstation software and/or visual/audio software media packages such as Adobe premiere in putting together something like music videos of any live performance.  If you were already recording live sessions via smartphones and so forth but have to deal with smartphone microphones for sound that would appear much further off from a given acoustic experience, this guide will give you some idea as to the process of going about improving sound for a given live session recording alongside potentially engineering video.  I won't be getting into hefty details here.

Equipment:  Workstation software decent stuff (several hundred dollars but certainly under $1000 for budgeting).  A USB midi multichannel audio/digital interface (I have for around $200).  Nice utility microphones (Rode makes some...you can get into fairly inexpensive studio cardiods though for a couple hundred dollars or less that sound good).  These aren't USB mics by the way that I use, at least I haven't personally used or have had much experience with USB direct stuff.  Microphone stands.  Digital cameras, optimally 1080p60 frames/sec (produces nice imaging...may help to look for decent low lighting capture features for your camcorder what ever you use)...although at present I work with what I have which includes some at 720p.   Camera tripods for most cameras.  Computer hardware:  while audio engineering doesn't at all require solid state drive, you may consider an SSD for rendering and program operations using Adobe products period.  Kinetic hard drives run adobe products horribly slow in my opinion.  SSDs can be picked up for less a hundred dollars, and is generally well worth the cost.

Firstly, probably the more important component in audio engineering acoustic material in my experience comes in learning low pass filtering roll offs.  Some mics have filter switches that do this for you, but I generally like to control this on an as needed basis and so tend to leave my cardiod microphones flat.  Your workstation software probably is best if you can individual channel control equalization (optimally along 8 different channel points) but really you may be able to do with parametric controls (3 channels), and lastly you'd probably want a mastering channel equalization.

Compression/Normalization - what is it?  Compression takes a given signal and compresses its amplitude range down to a given different range so that the high volume amplitude range of a signal is closer to that of a low volume amplitude range.
Normalization is similar to compression in that a signal is not only compressed but that it may be maximized so that a signal appears closest to peak maximum volume through the audible duration of a song.   My Ableton production suite software include normalization for mastering a given track for export, though I rarely use it.

For audio depending on the genre of music that you play, I'd say from the outset, I don't really like to compress or normalize from an engineering standpoint at all.  Here's why I dislike it for acoustic sounds.  First, it tends to leave errant acoustically noise to higher levels in normalizing a given recorded audio source noise sound.  While this maybe find for certain genres, heavy metal, rock and so forth, it tends to make things in my opinion sound more noisy, cluttered and messy, alongside lifting arguably undesirable ranges of sound that you may not be looking for in so far as acoustic noise.  Especially if you are looking in the case of more trained voices something of variable amplitude expression, this can constrain the range of quieter to louder.  The advantage of compression is that it is like an auto remote in controlling volume when it sounds overwhelming (e.g., when television cuts to a loud commercial a compressor would do all the work in making the commercial sound less loud relative to a given broadcast segment), the disadvantage comes, however, in taking away acoustic artistic freedom in controlling velocity (volume) expression in the playing of a given instrument or singing range of a vocalist, so alternately I may suggest the art of hand compressing you vocals or instrument which basically amounts to doing exactly what your compressor does but doing it by hand in the mix down process.  In Ableton, and imagine other similar higher end workstation software, you hadn't need worry about getting things right each time you work on an automations pass however.  Automation, by the way, is the ability of workstation to record you mixing console movements, either through directly interfacing the controls of the workstation software, or using for instance, while recording these, or using the workstation's mixdown interface to 'draw' in the control points graphically speaking for the described automation process that you need control.  Automation can control things like volume assignment at a specific transport time, or anything for chorus, reverb, tempo of the song, tempo of a given sample on a specific channel, to whole host of things.  Automation is probably something that you should learn well with any workstation software, as it is the most powerful aspect of such software period.  In any event, recording in an automated context vocals allows you to do 'hand' compression of things like vocals which I tend to prefer if at all possible since vocals in my opinion to tend to sound most natural this way.  The art of hand compressing is simply described in this fashion.  Where any aberrant volume in a flat mixed range of an instruments sound is occurring tends to be most prominent in overwhelming all other instrumentation is volume graduated so that it is brought into balance with the rest of the instrumentation until such instrument has restored something of it volume equilibrium relative to the volume mean of the recording.  Simply put, working the volume knob and sliding the volume where volume peaks are most prominent on the instrument channel (just like reducing the television volume on a loud commercial) is the process of hand compressing your channel.

Second, workstation should have the ability in controlling per channel effects in my opinion.  You could use effects send and return channels which allow for a singly generic effect to be controlled variably (in so far as amount) to each given channel, but I like to control effect amount and type on a per channel basis.

Third, should at least be able to have equalization and an effects package per channel.  A generic effects package might include (pass lo/hi/mid filter/chorus/reverb/delay/limiter).  I tend to use at the moment reverb mostly and some chorus, but it really depends on the song and the sound that one might be looking for.

Fourth, likely if you want to provide some acoustically natural separation from instrument to instrument and vocal to vocal, aside from your studio setup having any number of mics to achieve the task, and assuming you know how to set this all up in such a way, you may alternately consider something as simple as setting up a duplicate channel of any existing acoustically recorded channel and track delaying this.  This is basically a stereo delay on a given channel.  I usually tend to move vocals no more than 5 ms although you can likely experiment to some high ms degree for any particular sound that you might be looking for.  Also, you will want to pan the duplicate stereo delayed channel alongside its original to some degree opposite on the left right spectrum.  Without panning tends to produce a chorusing effect which has the effect of potentially 'softening' vocals.  Panning fully left and right for delayed and non delayed channels respectively maximizes the fullest extent of a stereo pan.

Equalization per channel, for any acoustically recorded channel, in my opinion is usually met be on generically often redundant process from one acoustic instrument to the next.  This is done usually first and foremost to establish the instrument so that it sounds optimally as through speakers or headphones as it would sound live without any recording microphone and as if you heard the instrument with your own ears.  A person singing on top of a given microphone, may likely produce much greater low end.  The effect of this from the context of a microphone is like someone putting their mouth next to your ear and speaking.  Of course, they are going to sound much deeper as any generating tone from their mouth will tend to produce frequency that neither have ample space to diminish lower end frequencies.  One solution is to give the vocalist, of course, ample space between the microphone and their mouth.  Another solution is to re equalize and low end roll off any frequencies which tend to make their voice sound different relative to the space that you might be listening to the them sing.  A lot of this, I offer is a bit of a listening art.  Although you might be able to employ techniques where you audibly listen and gauge their singing voice relative to the listening distance context that you have imagined and accordingly adjusting equalization so that the acoustic version sounds like an incoming recorded channel version.  Once you have equalization set per channel, it may also help to template and save these settings so that adjustments can be reapplied with ease, especially say for repeating procedure for on a next song.  Though I'd say it may be a bit of alchemy and art in finding this desired balance especially in relating some imaginary spatial distance of the vocalist relative to a listener in so far as a mastering process is concerned for performance recording.  As of late I also tend to notch dip equalization on vocals on the 1k range Q setting could vary (optimally not too broad, but not a sharp notch either).  The effect of low end roll off (up to 100 hz or more), tends to be feminizing for female vocalists, while not doing roll off tends to aid in promoting masculinity for male vocals.

Reverb - This is something of how one might one to convey any vocal in given spatial context.  Whether or not there is natural room reverb to be taken advantage of may have one choosing alternately to take advantage more of natural room acoustics and maybe setting microphones a little further away from a given instrumentalist so as to allow for room acoustic maturation of a given sound, and then likely it may also be important to have in your microphone arsenal a given utility microphone that you can switch say between cardiod, to figure 8, or alternately another dipole setting.  On the other hand reverb packages on decent workstation software may allow you to synthetically create nice sounding reverbs that might seem as though a person were performing on stage, or in a room and so forth.  Most important aspects of reverb come by way of wet/dry mixing this effect, alongside pass filtering controls which may be natively built into the reverb effects module assigned to a given channel.  I tend to low pass filter but not completely removing high reverb frequencies...which is to say passing high end ranges but reducing volume usually, this might be starting anywhere from 1k down to lower ranges controlling the 'tin' sounds of a given reverb.

Chorus -  As stated before, chorusing can be done with stereo delayed tracks simultaneous to providing stereo separation, but you may choose to add chorus especially with vocals depending on a given desired production context.  I've found for a given acoustically natural sound, you can still add chorus without making instruments or vocals sound unnatural or synthetic (or maybe you are looking for this production style sound).  The art in adding chorus, much the same comes in the chorusing width and wet/dry amount with a generic chorus package.  For instance, on my package I might run vocals for a certain sound minuscule to the extent of not being noticeable but smoothing out any vocalists sharper, raspier edges.  Chorusing on the visual spectrum tends to be yellow warming as opposed to cool blue filtering.

Important things to consider when doing audio mixing and mastering:

1. How clear or cluttered does the overall recording sound especially at high volumes on playback?
2. How well is everything meshing together in so far as given performance?  Does it sound dynamic or flat?  By flat, do the instruments appear to be pouring out of the speakers monophically un separated, or do the instruments feel more like what one might hear as if being in a given audience listening to a desired performance.
3. Are there prominent annoyances, tones and frequencies?   If so, you will likely need to isolate thee source(s) and make adjustments.
4.  Can I replay this song over and over and over again and not feel like something is really bothering me in terms of the mixing?  Generally speaking you should have reached a stage where the acoustics are as much desirable as given by the instrumentalists and vocalists alike that have all worked together in producing the song from an acoustic standpoint that sounds equally good as it should be recorded.  Of course, while I've heard of the magic button that makes everyone sound good engineering key that anyone desire, but generally if the musicians have done their job in producing a song together (especially in a live context) that sounds good, the engineering should flow more smoothly and in like kind it is up to the engineer in replicating this performance so that it is almost indistinguishable from a live context (at least striving towards this goal).  

Mastering effects that I like to use.  Simple 3 band parametric with fairly wide Q controlling 1k range (Q width works to 100 hz falloff for instance).  I have Ableton's enchanced stereo mastering package...stereo off, compression generally off, and some mid range roll off to something that is generally desirable but not so heavy as to be as obvious.

Synchronization of Audio and Visual materials.  Is actually simpler than you might expect if you have never done it.  First, you will want a synchronization queue.  This is usually some audible tone with the absence of any significant room ambient noise generally much diminished relative to the synchronization tone.  I've done something as simple as three audible hand claps which can be visually seen once 'expanding' all audio visual tracks in adobe premiere.  

For the video workstation software like premiere, basically, you will want to have all audio synchronization queues lines up linearly so that each video feed is playing at nearest the same time frame relative to the other.

If you are using Premiere or something like it you will be able to load each video/audio feed into a given track.  Correspondingly you will have your mastered finalized audio recording placed on its own track, although it will have an empty video designation.

Synchronization comes by way of shifting and augmenting the end the start of given camera feed.  Usually fairly close to the start of the video/audio feed.  One goes about duplicating the process for all other feeds moving and augmenting the start time of such feed until the synchronization queue is visually lined up for all audio feeds at the exact same frame time.  Otherwise, any non synchronized feed may look at worst completely off timing relative to live sound, and better worse badly dubbed, while best, appearing as though any particular camera source feed had the same audio source.


Workflow beyond this...
Mute all but the audio track that you just mastered...in other words all video feeds will have their audio tracks disabled, and the finalized master audio track will represent all of these video feeds audio source.
Once having synchronized all you tracks.  I start about the process of reviewing the song being mindful of tempo and simultaneously laying down markers.  Of course, I am a drummer and have experience playing big kits alongside acoustic natural drums, so this tends to help.  If you have a rhythm person in your group I may suggest having them help you lay out transition markers in the song.  These transition markers represent the points in which scene footage will switch from one camera footage to the next.  For instance, the vocalist starts singing in a song, so correspondingly a transition marker is laid down to represent the shift to this camera pan angle.  I tend to move rhythmically in laying these transition markers (done 'M' in premiere), and then to avoid too much rigid regularity, I tend to also randomize the length of transitions so that they aren't always expectantly the same, but this may depend on the stylistic effect of transitioning that you are looking for in terms of production.  The rapidity of the pace and flow of transitions being done here may be in essence according to not only tempo but the pace that you are attempting to achieve.  Most rapidly produces strobe like visual imagery effects that I've seen while in other cases, a slower acoustic performance holds on a given camera pan for the sake of capturing performance drama.  It really depends on what you are looking for energy wise in terms of average frame scene length (whether this is 3 seconds or less or more) from camera pan to camera pan is all given to the production author here. But mostly at this point, you need simply lay down transition point markers ('M') throughout the song.

Once having laid down transition markers.  I recommend deciding what camera effects you like to use.  This will likely be a production style template used in controlling things like filtering, lighting, vignettes, and so forth.  Basically much of what you can do with a photo editor with a still image can be done in Premiere in so far as visual imagery.  Mostly you may work to use thing like vignettes in reducing the visual distraction of backgrounds and making more focal the performer.  Cineon filters aid to difference what might appear to be video footage and converting this to a more cinematic filter look.   Hopefully, if you have had any experience with photo editors some of the workflow process isn't so much different between working with still images and visual imagery in so far as filters adjustment.  If you are working with different camera pan angles especially where you haven't gone through the process of formally controlling lighting, you will likely want to work in balancing visual light tonal differences by way of lighting controls (exposure, highlights, whites, blacks, and so forth). Optimally a similar filtering process is done for each camera pan one and the same, but likely adjustments will likely be needed individually for each camera.  I recommend saving you filter settings for each camera (again for template purposes this saves time setting anything up the next song/recording session around).

Razor cutting the whole thing.  Once effects have been applied, and it is in the way of time, critical to importantly apply effects before commencing the process of chopping your video feeds, you can start the process of using the razor tool.  Basically the razor tool slices a feed at a given transition point so that blocks of a feed can be, for instance, disabled/enabled or deleted and so forth which will be important in establishing the transition for scene sequence to the next.

For all such feeds, excepting the audio track alone, you will razor cut along each designated transition marker point that you have established repeatedly throughout the song.

So to start you will begin at the songs Marker In point cutting the visual pans at all such points.  You will want to advance to the next transition marker (shift + M in Premiere) and make the same cut on all such camera pan feeds (vertically).  This process of moving to the next transition marker and cutting is done until you reach the songs Marker Out point.


Transitioning the feeds.  There are a couple ways of doing this.  One way generally isn't as desirable as it means a deleted feed needs to be restored if a scene need be changed, the other way is more preferable which is disabling feed blocks and leaving a desired camera pan feed 'enabled' for a given scene.  For the desired camera pan feed, you don't do anything.  However, for all other camera pan's, you will simply need to disable their feeds (adobe is down Shift + E).  Otherwise, you would need to manually select each feed (that isn't to be shown) and likely delete it (or make sure that it is not sequentially in the top most visible layers at a given point of scene footage upon rendering.


A rough guide in performance visuals mixing for scene layouts.  Generally speaking a visual rule is that a lead in a given performance takes visual predominance.  If a vocalist is singing they should likely have more camera time relative to the rest of performers that aren't taking a given prominent role.  Exceptions to this may come at song refrains/choruses, or places where enough redundancy in performance is likely that a vocalist's role is somehow established more to the level of an instrumentalists (e.g., a looped vocal track).  That being said, I am sure there is plenty of interpretation as to how much predominance is given to a performer relative to all other instrumentalists on these points.  I wouldn't go so much beyond this since there a lot of different ways that one might go about laying visuals here.

So the process of disabling/enabling feeds means that at each scene block that you have already cut  for the entire song, one and only one camera pan is enabled for each and every scene block.

You are basically done.

You might consider adding additional footage, if you have an idea for visuals beyond this.  I've actually laid out full blown videos using creative commons archive footage (see Prelinger archives) which can make for a lot of fun using source material.  Just make sure of the rights assigned to the video, and certainly be sure to provide citation if attribution is required, or you may consider assembling your own environmental sources footage.  If I had the money to fly drones, I might be doing more environmental stuff, but maybe you don't need to compile environmental source footage with a high budget here.  Some beautiful stuff has been done by using still camera pan videos, shooting videos that are generally non motion excepting what is moving independent of the camera.


I usually export 1080p30 frames/sec HD quality video (a bit bigger than Youtube HD video) but seems better for some reason than specifically YouTube HD type videos .  Check your render start/end times that it corresponds with your song marker IN/OUT.

Then upload the exported file to YouTube.

I do recommend that you first disable your video to private and send emails (via recipient box) to all your band mates for video review, if they can't be there firstly to review your work.  After it is uploaded and processed send the email notifications out for the video, and then change the video to 'unlisted'.  I do this because...few actually bother to hassle logging into their google accounts to gain access to a privately listed video.  A privately listed youtube video with email sent will still have the same link when it is changed to 'unlisted' but at least everyone with link can access as opposed to with link and simultaneously being logged into google.


Tuesday, November 3, 2015

   I am wondering about this condition, namely:  there is an often invisible force that is all about each and every human that broadcasts something....  I mean this on a put of humor, so don't assume I am necessarily being serious here, offering honesty.  This invisible force is given by charismatic appearance, but also this condition of the physical archetype which we relate to most.  It is the same archetype, for instance, that infers one's likely affinity or repulsion to another.  Clearly the mechanism must have something greater?  Is it invisible?  Is it by nature of how many times one blinks, or I am sure there is something else by this?  Maybe, if it at first glance, it is that someone is immediately relate able in some way as though by some common cultural verse.  Verbosity doesn't help?   Text is losing relation to future media, or that one is being judged by socially networked stills, the sort indicating all of one's surroundings.  Friends, or otherwise.  A possible class of social function embedded.  All the sharing of the visual facet of the mind, moves to higher action.  A mobile person.  The photos seem the same.  The same faces maybe?  Don't they.  The same situations.
Soon, there should be 'cultural genre' given to all this which aids in the self curation of one's visually social networking presentation.  "Emo" yesterday, "Hipster" today.  Friends in these genre categories receive the desired instagram photos of one's genre choosing.  Seems good to me.  :) 

Sheesh...

   sheesh...

Untitled

     I don't know if I go back to an old restless habit of mine whether it is somehow being lost in something technical, or so self absorbed that I am scarcely aware for much of the time of anything going on.  This logic, this persistent logic, the creation of classes, functions, mathematical structures which go forth, or maybe I attempt to understand what I had mapped out in mind all along which goes into pages of diagrams of one thing leading to the next, and any particular series of dead ends that were never fully worked but never fully removed...with vanishing corridors passing into no where and stair ways leading to dead ends.  No, admittedly not this bad and ever bit given to nothing of another's criticism.
    Passing time is like this.  Somehow desire manages to emerge in this, even as if there were nothing of an originating passion having sparked anything.  Somehow desire which leads to the same self absorbed condition, a condition of having forgotten.  This is all overly analytical in any event.

   

Sunday, November 1, 2015

Why never to pick up a first person shooter game...

   There isn't really anything worthwhile in the game that has been decades of repetition and given by absolute stagnation in terms of its regeneration.  If it isn't given by zombie horror, or anything of another apocalyptic fallout fantasy of supposedly deranged lone gunman supposedly offing anything that moves for survival (thrills), one is placed in movie like fantasy realms offering only the draw of high action pulp fiction.  Having been twenty some time ago, I think maybe once I finished Doom then quit never to return.  I never completed Descent which for its game play type might have been revolutionary for its time even if by today's standards it were unsophisticated in many other respects in so far as visuals.  I've played by a couple of Call of Duty franchises for very short stints.
    If one reason remained of these games as a legacy could, however be found in the changing of vistas whether environmental scenes were desert, jungle, forested, old industrial parks, and so forth.  Places likely that any couch potato were least likely to have access, or desire accessing in real life, except given by some mental escape, the world seen as through the lens of a gun.  Of all possible games, when having surpassed a certain age, I imagine it also one that is easily given to being burnt of in returning.  Twenty somethings, like the person one once were, hardly say so much, and when having said something simply put one in the position of desiring less hearing a word of such world, if by any potential taunt, threats, tantrums, urging others to commit 'suicide', there wouldn't likely to be anything memorable in returning to...No there isn't so much cultural legacy, any lasting zeitgeist more often than not for the wasted space and time of these games.  Certainly if never having gone the way of a movie (good or bad one at that), nothing of a cute lasting avatar...Tomb Raider certainly were more endearing (even if it were a first person shooter it may have offered something more).  No the classic first person shooter has been like mass market cheap beer, and likely remain in this vein, even if it manages to sell out to any specific age genre.  The game play were much the same in a much simplified view of the universe where the gun rules the stage certainly if not jading a particular world view with it.  

Friday, October 30, 2015

Kolmn's story

   How to live when no one remembers who you were?


  Kolmn had seen and read of so many that had suffered through amnesia, and in time may have made some partial if not full recovery.  He were least prepared when one day everyone had forgotten his name, and then his life had changed forever.  The police had been called on him by neighbor and apparently all documented accounting for his whereabouts had vanished on such a day, including his official records with attached photograph.  Kolmn had insisted that he had been robbed of anything of any proof, and that his insistences of any memory, any attached notion of him previously to the 25th day of Soan, 215 were absent.  He were expelled from a given residence and authorities had given him little time in the process.  He hadn’t even the time to place a call to his parent’s before his account were suddenly closed.  When he had placed a call to representatives about his account, they strangely queried him though without saying so much.  A message would appear on the mobile’s screen ‘Please deposit at a nearest location’ while a still frame of Kolmn image hinted at the ramification of the criminal undertaking implicit by his actions.  Another’s mobile, another’s life that Kolmn had trespassed upon.   At such a moment in time, for all manner of judgement weren’t given by his having supposedly stolen a device but in his continued usage of the phone and potentially any invasion of another’s life, or how he potentially abused the contents of another life in the process even while the mobile were completely off limits.   How absurd it were that he couldn’t communicate while such world had provisioned the most of communications infrastructure.
  Kolmn walked several kilometers even though it were impractical to do so.  He thought firstly of his parents.  He would go in that direction, but he weren’t sure how he would go there.  His mind weren’t settled on how far they might be, or how far any other place were in a given destination that were always pre arranged in previous times.  In times past, Kolmn scarcely glanced out the window of his transport while glancing at the glowing screen of his mobile.  Arrival came after the comedic interplay of amateur shows alongside the changing pressure of air and a steadied high pitch hum reverberating through body and soul.  Arrival meant a place different from here to there and each path from there given by some unsteadied thought that Kolmn could be slightly more tense in anticipation.  Someone new in meeting maybe, or that he had as usual forgotten something which inevitably had him backtracking.  Now, however, Kolmn were walking.  How invaluable the path would have been if he had remembered it, beyond navigating screens and sites which were said little to him of where he truly were in a physical context.  His eyes strained further as a given path ended.  ‘This ends?’ He thought, glaring at what would be the path moving beyond its terminus, beyond an obstructing fence neatly hemming in another division of the city.  Kolmn had by the then passed professional walkers.  Inevitably their lives like any other were circularly moving from house to some narrowly wooded place, and little time for a solemn cast at any cascade where this would be most likely in thunderstorm.  Little use should exist for those moving anywhere that weren’t given in some circular direction, and in such moment Kolmn felt a revelation that his world were missing something of greater use.  At least for his circumstance, at least that it were possible that a given destination weren’t to another incidental trespassing that placed Kolmn least where he shouldn’t be while literally a security presence had taken notice of Kolmn.
  A gaurd approached Kolmn what ‘he [Kolmn] were up to’.  There were no saying, however, all the condition or circumstance that need be stated, that any other authority had provided little advisory to the extent that he, Kolmn, were to exit yet another premise, and likely the same would be true yet again.  Kolmn sensed only reciprocally what others may have sensed, that he were out of sorts in some way, neither moving in some circular way from home back to home and given the inclination that a path were always purposefully from work to home, home to home, or inevitably having some consideration for occupancy that Kolmn neither possessed in the clearest way and had shown by any level of body distress.  A guard reminded him of anti loitering laws which would prohibit any occupancy of the walking path, though it seems more clearly, he had in reading Kolmn’s mind on the matter of moving where Kolmn should not be moving in life.  That is not moving beyond a designated area that were intended for any resident, and at least Kolmn had not suffused in becoming an invisible transience in life that were merely sensed by feeling but never truly witnessed in such an age.  And how to escape the city?  Yes, how, Kolmn would tell the guard that his pet had gone loose.  The guard would rolls his eyes,  sarcastically reproaching on matters of appropriate public social etiquette for pet handling.  This would lead into yet another series of exchange given by Kolmns tactful omissions, avoidances in statements or anything otherwise leading to self incrimination which hadn’t yet already occurred.  Kolmn would be handed a citation for loitering in a restricted premise.  How to escape the city?  Security managed to give him a lift to the outskirts of another enclave that he had never really heard of in name.  Yes, maybe, once on a given transport delay, and when Kolmn had lifted his eyes from his glowing mobile, screaming and commotion from outside.  He heard sharp swift footsteps.  Someone yelling, ‘Are you okay?’  No response.  Though Kolm dared not leave his transport, both choosing to dim the transports windows.  Then sirens came wailing.  An accident report surfaced on his mobile, yes, accident what he might have suspected.  He couldn’t have possibly have been a witness anyways, so he wouldn’t be of use anyways to anyone, nor desired being of use.
  Kolmn’s eyes darted about as he scrambled through thick wooded vegetation.  Footfall producing at times the sharp cracking of any long since dried woody branch so much in startling Kolmn as though he had just awaken from a bad dream.  There were shouts coming from all around, human voices, those same voices were the witness of him having gone into a no man’s land.  He managed to scramble through a series of old worn granite outcrops. Kolmn cut his hand on a jagged edge as he had nearly slipped and frantically slapped a rough hewn wall with his hand, leaving his palm wounded and bleeding.  Voices all seemed to dance around him which he had heard even as he stooped to the ground clasping his hand upon his ears.  How long had he been evading them? He managed to fall down into a ravine, and then were received by a gushing stream of water.  Kolmn were placed at the periphery of one enclave while being ushered as a problem into yet another.   Although likely as he sensed his time may have been limited happenstance to the notion that a receiving end were simply more equipped in handling Kolmn as a transient in other ways that the previous place were not.  At twenty paces from a given his drop off point, Kolmn dove into the woods and thus commenced his escape, as he imagined, which prompted the flurry of yelling and voices which he heard even whilst his lungs painfully hurt and his legs were numb.  Exhilaration and fear had penetrated into his mind so much that he could little think but feared in a primal way all the voices surrounding him.  Even as he had repeatedly fallen, he quickly arose as though in persistent automation.  Kolmn’s body were received in a stream when he had lost consciousness.   A torrent of hydaulic force hurled him through a narrowing set of nearly impenetrable rapids, momentarily he had pinned to a wall with the force of water hitting so hard that he were suffocating even while his head were above water.  As quickly as he had lost consciousness then, the stream had relinquished its raging grasp of his body and deposited him through a series of falls and onto an embankment.  When Kolmn awoke, the voices were nowhere to be heard.  Night had come leaving only the hint of quiet empty dark homes all around hidden about another flat strewn unfamiliar woodland enclave.  
  Inset night chill had Kolmn uncontrollably shivering.  A pet house, which Kolmn had climbed into,  were situated in another backyard of a house at the edge of a clearing nearest the woodland stream that he had escaped.  There were little sleep to be had.  His body’s aches and pains were uncontrollable in as much the hunger that he suffered.  When were the last time he endured not having a regular meal, or having endured sleeping in the way that he had slept.  He heard his girlfriend saying to him, ‘You need a map really. A map do you know what a map is?’  What is a map?  A map is more often a digitized reproduction of an locale, he heard himself replying.  At one time a map might have been printed on some physical media, but today his mobile were a vital source for getting around, though there were little necessity in reality in ever possessing or owning a map in such times.  ‘You are lucky your clothing’s communications are out!’ [she] interrupting Kolmn in mid thought.  Certainly they might have found him, or maybe this enclave were one of those rare places of a collective that cared little in knowing every detail of its inhabitants and those passing through?  ‘Do you know really how far your parents are?’  She would query Kolmn as Kolmn attempted to close his eyes restfully.  How far?  Well over a thousand kilometers.  And what about you?  Kolmn asked.  Me?   What about you?  Kolm asked again.  No reply. A damp heat suffused into the small pet house from his now steaming body, and eventually a calming sleep had overwhelmed Kolmn to the extent that he dwelled in a peaceful void.
   Morning light lapped at Kolmn’s forehead beckoning from an often passing dark foggy haze.  The nearest house, remained still in the quiet.  If only no one were home, such a place should seem all the more inviting.  Even so the likelihood that such a house should remain untouched in any modern context were nill as were likely much of the yard that he had already trespassed.  The house itself couldn’t have been more than a decade old, not given its well kept newly wood shingled look.  Even if it were another’s vacation home could it be worth any risk attempting to knock on the door or entering?  Kolmn’s dirty and damp body already shown signs of vagrancy.  Security likely would be called before Kolmn laid a hand on the front door, and likely this could be the case if hadn’t exited the backyard soon.  Kolmn at least felt certain that he may have landed himself in some enclave that were less populated, not likely rural but certainly less populated given the manner of rare space and solitude to be had as seemingly the illusions of a given certain surrounding wouldn’t betray how likely many there were.  Kolmn imagined a woman exiting the back of the house naked for a morning stretch on the house’s upper floored decks.  Stretching freely in the world that had so few derelicts like himself in view, perversely hidden behind a tree.  At least those problems had been handled a long time ago.  Long ago, Kolm muttered.  Long ago.
   Kolmn could sense a trail beneath his feet even while he couldn’t see it directly.  Sensing as in the same unobstructed and generally smooth and flattened earth that kept him moving at a better pace, relative to the often broken pace felt otherwise had when bushwacking.  Houses at times dotted the landscape all around were it seems the trail were kept by animals alone that might have often been welcomed grazers relative to any human explorer counterpart.   Such trail wound from one rolling hill through to ridge after another, descending into small valleys which after a few hours dose of walking only seemed endless.  Kolmn took rest on a tree finally before a strange but familiar sound gave way.  A whooping whistle which might have been mistaken by some as a bird song.  The newer trains hadn’t roared on their tracks like the older ones in previous centuries but seemingly glided on them with much less resistance while producing some high pitched whistling noise often when passing.  A train rested idly on tracks below the trail that Kolmn were situated.  A station nearby?  Scrambling rapidly to train, Kolmn sensed what had suspected.  Although he couldn’t see where the station begun, and certainly the length of the train alone were greater to any extent of a passenger’s sort, but at least it were delayed in some way.  


Riding Trains to Infinity
   
   Many trains pass.  No one cares that you exist here so long as you don’t disturb the world in making something they desire and need, or think they need, go missing.  They don’t care that you take what is theirs as long as they don’t miss what they have lost.  That is the truth.  Nascent spoke these words as in a given repetitive authoritative repose.  This train is scarcely watched because there is little lost of it, and that I or you, or enough of us are a rarity, but when there are enough of us, we are likely gone.  Otherwise, there would be more of us, wouldn’t there? .  These trains move in circles anyways.  Always in circles.  


Certainly a small package of something disappears, something that they hoped could provide nourishment, something tangible to any circumstance for living.
  Kolmn awoke to find Nascent staring at him, the first time either of them would meet.  Kolmn soon thereafter found himself in a violent struggle.  Even as Kolmn thought he had hidden himself well enough under tightly wrapped tarpaulin wrapped cargo on a flatbed train car.  The man managed to find him there, or likely as Kolmn would later learn, there is nothing so hidden when much more is universally known for the condition of finding one’s refuge.  Kolmn had been kicked several times.  Kolmn managed to trip Nascent before running no further to the edge of a given car.  All for real estate, Nascent would insist that any newcomer would expect as a price for squatting.  No place to go.  Likely he could have jumped the car though he hadn’t leapt from the now speeding car.  Kolmn would endure a beating as he clutched his arms to his head.  All to submission.  Kolmn in another’s world rage, for something of one’s possession.  
  Kolmn weren’t sure how long he suffered thereafter.  A raging fever had taken hold of him.  His thoughts scattering into a cold windy rain falling upward.  Fragments of memory had Kolmn being moved.  More like violently dragged from the car.  A fall onto rail gravel embankment to a given abstraction as though in a dream.  Everything around him were soaking wet and abruptly cold drawing him into a violent awareness that sharply faded and pulsated to renewal.  
  Who has done this to you, man?!  Nascent violently shook Kolmn awake.  Kolmn groaned in place.  All were to incoherent.  Nascent grabbed and shook Kolm again, until Kolmn could offer only garbled speech.  Where have you come from?  Nascent would ask.  
   Kolmn wouldn’t question Nascent.  In time Kolmn never replied to Nascent but only listened to his half drowning monologues.  Nothing would change in such a world.
  
You are...
  You were once married to Jura.  You remember her?  Your daughter?  Your life?  Do you remember?  
  Kolmn would meet the parents he never knew while abandoning the parents he never really had.  What probability should exist that he would stumble into an old circle of people that long since moved away?  That he never really knew at all?  Where it so simple in passing through a market that someone might recognize him on any given day for a place that he hadn’t remembered at all?  Such a world had turned into a maze.   Of dark corridors.  That he hadn’t frequented the same places so often beyond mere days of nearing residence before moving on elsewhere if not having landed in any number of jails that he could scarcely recall.  Having lost teeth, developing poor eyesight, being riddled with scars, chronic back pains and liver issues.  Anything likely to make him less useful to society had done so.  Then it were amazing to have been recognized at all.  To have been someone with some intrinsic meaning and having some past connection beyond the often rude stares or anything.  Lost in mind.  Hellish sobriety.  
  Kolmn’s surrogate parents had taken him in, the old parents never recognized him, nor remembered anything of him as he once managed to find out.  The old parents had nothing of him, pictures, friends, acquaintances, though they existed in name as real people apparently.  All reasoned to the extent that Kolmn could have found them by some other method.   A public search.   Kolmn must have stalked them finding out as much personal information to be had.  
    Kolmn felt like a caged animal in a home,  a place with walls while he found himself pacing back and forth, if not having missed the noise of the streets, or anonymity.  Kolmn met his proposed biological daughter.  A grown woman that seemed merely another face that weren’t more than a large absence of a memory, that were filled with the images of a momentary father that Kolmn scarcely recognized.  Kolmn stressed the mother out then.  She couldn’t handle it and left.  Much the same for the blues of every man that Kolmn had spoken too having managed to divulge a given past, if this weren’t abandoned.  Were Kolmn so unique to anyone?  How could Kolmn feel any obligation to himself as seemed at times implicit in so many words spoken by others around him?  
  You are the accumulation of all the events in your past.  Kolmn read this.  Something were amiss on this, however.  Not merely given by events, circumstance, but all the desire that should be inextricably bound in this.  Momentum and trajectory alike.  How did Kolmn wake up and still have some facet of Kolmn remaining even as his old world were collapsing all around him.  This Kolmn that still lingered in the shadows.  She told him she wouldn’t waste another twenty years of her life with a man like him, and she hadn’t wasted any time in life.  He hadn’t apparently wasted any time though in retrospect he were curious.  Curious to know the man that supposedly dwelled and obsessed in his past and couldn’t walk forward in life.  Curious to know how he had become the vagabond never having held down a stable job.  This man were a foreigner, and he were foreign to his present life.  Time were apparently fleeting.  There were no sense of such a world.  Little meaning.  Not in the context that he, Kolmn, were being punished any more than anyone else.  Even as he another’s rage and punishment of Kolmn were so much by the selfish context to the reducible I, bombs were falling worlds away torturing masses of people.  His circumstance might have been in many ways no different?
   There is nonetheless doubt even when there is security, as many might decision their actions on the notion of finding security alone.  Doubt, that they had missed out on something.  Doubt that they chose something stable and left a fire behind.  Doubt in time that there would be greater meaning in passing anything beyond their lifetimes, or in time having grown to be disliked any more than they were already disliked, all the while having felt a self confidence in putting away any facet of a life once lived put away into drawer somewhere.  He told his daughter to live in the moment.  Relationships come and go, people come and go.  Much of the world will never knew you existed, know who you were, or care to know you.  She didn’t listen to him at all, or receive him at his words at all.  He were grateful for it.  He at least lived in as much as any rich man of Babylon as uniquely given to the providence of misfortune in like kind.  While the world were suffering too elsewhere, this suffering should be as unique as anything else in such a world.  At least there were few to live out such an existence such his, and maybe fewer to survive it.  Little last in such condition I see.  He felt certain at times interpreting something.

Oblivion

 Between the fascination of an upcoming pandemic ridden college football season, Taylor Swift, and Kim Kardashian, wildfires, crazier weathe...