View source for Pulse under latent semantic envelopes - development notes

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The remaining bits of how I came to all this. For the actual song page, see [[pulse under latent semantic envelopes]].

<span id="planning-area"></span>
== Planning area ==

<span id="outline"></span>
=== Outline ===

The song is about how one keeps his own rhythm which is kind of different from what his surrounding expects. It’s not mortally different that will easily get crushed, also due to the surrounding environment being more of a latent mechanical movement rather than something that actively suppresses abnormalities.<br />
The rather abstract protagonist is the same perspective in ‘sauna as ubiquitous neural analeptic’ and ‘rover over virtually eternal roundabouts’. Not necessarily strict because this protagonist is but an illusionary shadow that’s at most half-concrete. She could be any hims and vice versa or any other way round.

The latent semantic envelopes are the devourer of individual pulses. They don’t do it on purpose like there is a single traceable mastermind and the suppression is intentional. It is just ambient and gigantic in volume. There is no malice, just gravity.<br />
Fighting against the ambience is not a real fight, not a winnable fight if the opposition must be defeated. The ambience is in a way the world itself. It is more indefatigable than any of its components.

The reason for letting out pulses is not to be acknowledged. The reception and ACK is slightly appreciated but not the driving motivation behind the original transmission. We/I pulse for a set of concepts that might be generalised as reasons, but the desire to be received is not part of it.<br />
It’s probably easy to conclude phenomenally that if establishing connections is rewarding, then the rewarding emotional spikes become the main reason to keep doing so. Not exactly. But denying is weak and not elegant. The best way to deny something is always presenting a better alternative. The main reason to do anything, including pulsing and establishing connections (consequentially) is authenticity. The action is the reason itself. It’s OK to wrap some common sense of this authenticity in forms like ‘pulsing is fun, so I pulse’ - ‘fun’ is probably here authenticity masquerading.

<span id="a-bit-more-concrete"></span>
=== A bit more concrete ===

FM radio as underlying image. Also fittingly fitting for using FM detune audio FX on a side note.<br />
Submarine, underwater, subsonic and supersonic pings as well as passive hydroacoustic searching.

Literally, there can be long, essay-like, paragraphs (not too many) with structurally interconneting statements and sentences. But flairs of fragmented fractures of language (almost alliteration) is also appreciated and desired.

'''Structural proposal'''<br />
1. “Surface.” - the breach, the fever-dream opener<br />
2. Instrumental - let the image settle<br />
3. Essay/documentary - the explanatory core, almost clinical, “semi-boring scientific” (this is where the concept gets stated plainly before the rest of the song complicates it)<br />
4. Instrumental - going into the poemic verses<br />
5. Poem-ic verses - emotional density, maybe climax, maybe not<br />
6. P-U-L-S-E 5-liners - trademark closer, acrostic constraint<br />
7. Instrumental outro

<span id="construction-zone"></span>
== Construction zone ==

The first locked in draft version of the song. Things got developed even after this version.<br />
''and yes, I did use a C++ code block to write my lyrics.''

<syntaxhighlight lang="cpp">// Opener
Surface. 
The equilibrium of silence between the static magnetic noise, the watery planes, and the optical waves.  
Blurred and mangled electronic signs over the outbound informational motorway.
Distant stations estimated in abnormal heat perform the collimation rite.
// think a submarine surfacing at night to do some radio comms as the starting point, then infuse it with a fever dream

Dive.
The black screen of stalemate conceals the black stars, the black comets, the black meteorites
their questionable glitters, once emissions of brave borderers and dark adventurers
now the only traces, obscured and indifferent to all but those with a special breed of faith.
// 'Dive' - an opposite to 'Surface'. This is on the receiving end. 
// Just see this as 'receiving other guys' pulses'. 
// 'Brave Borderer' and 'Dark Adventurer' are Royal Navy patrol boats, but the names are kind of fitting and confusing so at home here. Maybe.

// Instrumental bridging. 

// The pseudo documentary narration, half-blended into the background music
// in a metalingual sense the music is the background noise and the narration is the signal with a low SNR. Or one could consider the roles swapped. 
The noise floor of a receiving environment is the aggregate of all background signal energy present across a given frequency band at any instant. In urban contexts, primary contributors include electromagnetic emissions from power distribution infrastructure, wireless communications networks, and consumer electronic devices. The noise floor is not centrally coordinated; no single source generates it. It emerges from the cumulative output of many independently operating transmitters, each functioning within its own parameters, whose combined effect is persistent and largely uniform. Under standard conditions, this background level is treated as a fixed baseline rather than a variable of interest. Signals whose amplitude falls at or below this baseline remain physically present in the medium but cannot be distinguished from the background by a receiving system, and are not considered recoverable.

An impulse signal, also referred to as a unit impulse, is defined as a signal with zero value at all points in time except a single instant, at which its value is notionally unbounded, subject to the constraint that its total integrated area equals unity. In practice, true impulse signals cannot be physically produced; they are approximated by short-duration, high-amplitude pulses of sufficient bandwidth. The impulse response of any linear time-invariant system — that is, the output produced when an impulse is presented as input — fully characterises that system's behaviour under any subsequent input. In the absence of any input, a system at rest produces no output and exhibits no properties that distinguish it from any other inactive system. From a single impulse and its measured response, the complete transfer function of the system can be derived. This property is considered foundational to systems analysis.

// build some tension with bass and drum and fiddle here

// sung part so count the syllables
// more 'rhythmic yelling' than singing, you get the idea
Subdued sonic scalars vectorise
Acoustic aberrations dissipate

// --- stanza: the receiving end ---
Isotropic funnel strikes a packet rain
Fine-grained bags of acks ground astray

Ocean as a desert buries all of its life
Deck the shell with a perfect thermocline
// 'deck the shell': intentional vagueness between 'decorate the outer shell' and 'knock on the border surface'.  

Curtain shut before the Fresnel bights
Plasma buildup swells your rover's thighs

// ending verse(s) before the painfully long instrumental outro
// P:
particulate pressure plagues across a landlocked island
// U: 
ultraviolet utilitarian paints every third crag bland
// L:
lossy lies lament the ludicrous lawful liberty
// S:
siren sounds soaken in the sauna of substantiality
// E-S-L-U-P:
essential sentiments leave unbidden perpetually</syntaxhighlight>
[[Category:Songwriting notes]]