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empodio · 2 years ago

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KNOWING YOUR PARTNER WELL CAN POTENTIALLY MAKE WRITING TOGETHER A LOT EASIER. ( REPOST DO NOT REBLOG ! )

Casually yoinks this from Aid

✿ NAME: Kindynos, feel free to call me Kin

✿ PRONOUNS: He/him

✿ PREFERENCE OF COMMUNICATION: Discord, I don’t mind IMs but I don’t have Tumblr open all day like I used to, post replies also make me wag my mental tail.

✿ NAME OF MUSE(S): Masador, my other muses are on my multimuse and I have weird feelings about that place atm

✿ EXPERIENCE/HOW LONG (MONTHS / YEARS?): I have around 15 years of experience, but like most people, I was a cringy asterisks writer at start, idm inexperienced ppl as long as they are willing to learn and have fun.

✿ PLATFORMS YOU’VE USED: Msn way in the past, deviantART and tumblr, usually IM RPing is not my prefference.

✿ BEST EXPERIENCE: I remember back on deviantart i had A LOT of really cool RPs that were big on development, whole stories with charas dying and all and had a couple RPs where I cried because they were very touching. I believe the times I had the most fun RPing were on deviantART and the start of my times on tumblr, at the OFF fandom, near the end of the OFF fandom is when things started to go.. downhill i believe.

✿ RP PET PEEVES/DEALBREAKERS: kinda like aid said, ppl that have rly tiny themes and fonts, do you really want me to read what you are typing or are you in for the aesthetics only? My other huge pet peeve is people that hoard threads, like every single starter call, make a shitton of startercalls, never reply to anything and then cry because they are overwhelmed, I understand wanting to RP, but have self restraint.

✿ FLUFF, ANGST OR SMUT: i like angst but at the same time I’m more in for development RPs, deep conversations about morals, views, opening up and trust, doesn’t have to be angst necessarily, it could be two ppl having lunch and just talking about life, I know they aren’t people’s cup of tea anymore , but i life for RPs where characters get to know each other, nowadays all I’ve done is tell ppl stuff like “what if X character told your character this sad thing” because people just don’t wanna do it i guesss

✿ PLOTS OR MEMES: It really depends, I like plotting but people never go through with them anymore, pessimistic I know but it’s been like that for a couple of years now. Memes are fun for quick one offs that people can reply to fast and sometiems they escalate sometimes not.

✿ LONG OR SHORT REPLIES: I like to do long responses, I love being able to rescribe stuff and pour my heart into writing, some of my characters aren’t shown well on short responses, they think, observe a lot and use a lot of nonverbal cues which are hard to put in a single paragraph.

✿ BEST TIME TO WRITE: at night usually, but during day I can as well, and I don’t mind it either, I’m always up to writing and if people approach me wanting to RP I’ll be open .

✿ ARE YOU LIKE YOUR MUSE(S): Some of them, Masador in particular? Not really, while he has some things i can relate to, for the most part we are very different, I like to write characters that are unlike me as it allows me for more creative expression.

#ooc #about mun;

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the-blorb-system · 1 month ago

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Same same, it's pretty common actually that special interest based Introjects will take handle at the period where this hyperfixation is in. Although for us it's a single special interest (Digimon frontier) and multiple very long lasting hyperfixations (Twst, LU, ect.)

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Front sealed according to the definition used by the site pluralpedia (take this place w a grain of salt, it support endogenic behavior and faker terms): " Front sealed is when the system member or members in front are completely incapable of communication with the rest of the system. Often goes hand-in-hand with being frontstuck, but not necessarily."

Frontstuck on the same site reads; "Frontstuck is when a headmate is fronting and, suddenly or not, becomes unable to leave front.

If a frontstuck headmate is also unable to communicate with the rest of their system, they may be considered front sealed as well. There can be any number of headmates frontstuck at once.

A headmate can be made frontstuck by a gatekeeper (or, in general, a headmate that has control over fronting.) This can be done to protect the frontstuck headmate, the body, or the system"

I simply use the term frontsealed because I am unable to leave, quite literally sealed to the spot, but according to the definitions of this site, I'm Frontstuck instead (being stuck for 10+ years...)

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I actually fully relate with that statement about projection of the self? It sound near identical to what I do, although to me it come with way more limitations, I suppose because I am not really limited to where I can travel so long I have a soul link with someone from there.

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Oh our warriors, I mean at least while he was here, was I believe some sort of a trauma Holder and an emergency fronter. It's a really interesting role you said about him, can you tell me about it more?? More self invented roles in your group?

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Youch, learning they don't trust you. I mean fair, I don't trust myself either, but why leave me here in that case then?? Outside I am more at risk of revealing shit no?

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I write about 200-240 wpm actually and I am delighted to read so idm at all :D

- Digi

Hmm, interesting! The differences between sealed and stuck and kinda interesting to think about. I'll probably stick with stuck, since I've got Projection and can pretty easily communicate with everybody that... wants to be communicated with... Hm...

Anyway!

Yeah, the trust thing runs deeper than I realized. They want to trust me, and it seems most everyone in the system does like me as a person- especially because the purpose of a system is to protect the mind and body. Given I inhabit both all the time, that's extended to me, and I'm very fortunate to have a good relationship with most of my headmates as a result.

The roles thing for our system is one we're actually still figuring out, to tell you the truth. I need to spend more time going over it, but I heard some of them using terms like "Regulator" to describe higher ups. Raph describes himself as one of the "Copers". His main purpose is in the expression of anger- something I wouldn't indulge in on my own. So he "copes" with things and he helps me to express frustration over them. (He also just likes to hang out and drink chocolate milk tho XD)

If I understood correctly, a Regulator in our system is someone that has more control over the direction of information and internal structure and rules. They're who decide what I am and am not allowed to know, but I don't know much else about them because they don't talk to me or come around. It was a surprise to learn there are active alters that I might just... never meet, if they so choose.

We also have Librarians, which is a semi literal term. The most used part of the inner world is the Main Building (we haven't given it a name, I don't think). The top floor has the Control Room and the bedrooms of the most active alters. The next floor down consists of bedrooms for other active and semi-active alters. These two floors sort of resemble a hotel, actually. The floor below is recreation- a gym and an art studio. Below that is base needs and amenities, and that is the ground floor. It has a cafeteria, shower rooms, and self-care items that (I'm learning actively this very second as I type??) fill a space resembling a convenience store.

But then below that, in the basement, is the Library. If my system ever trusts me enough to let me more freely explore beyond the control room in the main building, the Library is a place I will remain strictly banned from because it holds everything. Memories, thoughts, experiences, media we've taken in, etc. Librarians do, in that respect, actually act as librarians, but on a much stricter basis, almost more like guards. You have to get special permission to have access to the library, and even more special permission to have permanent access to the library. Blew my mind that Leo and Dollie get to go there, of all people XD

The rest is all kinda nebulous. We try to sort of apply more well known roles like protector and caretaker and gatekeeper (of which Raphie is all three XD) to everybody, but to be honest most of us do not have super clear roles. Quite a few seem to just be here for the sake of it, though I'm sure there's gonna be some kind of trigger underneath it all for each person.

-Lizzy

Well, if we're learning new things today anyway, I'd like to explain another system-specific role we have. Directors.

Of which I am one. I spend almost all of my time in the control room. I'm higher in the hierarchy (yes, Elizabeth, there is a system hierarchy) than Copers, for sure, of which I believe most "nebulous" alters that Lizzy is familiar with are, but not quite as high up as Regulators. I'm ever so slightly higher up than the Librarians.

I direct information, more so than Lizzy seems to believe the Regulators do. It's why I sit in the control room all day- everything you see, feel, hear, smell, taste, think, read, and experience, goes through me, and I send it to the Library. I've been given some guidelines by Warriors (I'm unsure if we have a term for those who communicate between the Regulators and Directors... perhaps "Spokespersons" will do for now) as to what kinds of things must automatically be sent to the library and blocked from memory. Not as many things as you think, but enough for my presence to be necessary.

-Four

Regulators

Spokespersons

Directors

Librarians

Copers (an umbrella term for, undoubtedly, multiple undefined roles)

NPCs (I do believe there is another role between this and the next one up. I don't know what it is.)

Ghosts

Ahhh, much better. A hierarchy from high to low.

-Donnie

We call dormants ghosts?!?! -Lizzy

As far as you know... -Donnie

Why are you guys like this 😭 -Lizzy

#uhm hi everyone 😅#osdd system #an ask!#Host Lizzy #alter Four #alter Donnie #lu four #rise Donnie #system things #hhhh so many system things XDD #Sorry it took me so long to reply but thanks!#Wonder!

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randomvarious · 4 years ago

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Fizzarum - “Microphorus” Neurokinetic 2000 IDM / Downtempo

I’m not sure I totally believe it, but while Fizzarum were doing a press tour through the UK in 2000 to promote their debut album, Monochrome Plural, Will Hodgkinson wrote in The Guardian that they are “Russia’s first ever electronica band.” Depending on how one defines the term “electronica,” I guess that could be true? I don’t know. Anyway, this trio from St. Petersburg, who started up in 1996, are certainly some of Russia’s earliest IDM producers.

The story of how Fizzarum became somewhat of a household name in IDM circles, though, is quite funny. First, they sent out tapes to a bunch of different people and music magazines. One of those tapes ended up in the hands of Autechre’s Sean Booth, who upon hearing it, wrote Fizzarum a letter, which consisted of two lines. Translated from a 2017 interview in Mixmag Russia, it read, “Cool music, do you want to publish it on our SKAM label [yes / no]?” Fizzarum wrote back “yes,” but the Russian mail service was unable to deliver their response because it had a strange mailing address. Oh well

.Around that same time though, Fizzarum had made their first official release, a 7″ on British label City Centre Offices. Founder of UK indie / electronic label Domino Records, Laurence Bell, heard the single and wrote to Fizzarum that he, too, would like to release a single. To quote that 2000 Guardian article, “Excitedly misreading the letter, the band thought they had been offered an album deal and were overjoyed. [Laurence] hadn’t the heart to tell them otherwise, so what was wished for became a reality.”

And thus, in 2000, Monochrome Plural was born. One of the album's best tracks, “Microphorus,” would also appear on UK label Toytronic's Neurokinetic compilation that same year.

A while ago, I posted about another Russian IDM artist called Novel 23, a man who’s always put a premium on constructing melodies, à la Kraftwerk, and laying IDM sounds and rhythms over those melodies. Fizzarum take a similar approach to Novel 23, stressing the importance of melody in a song, which is something that not every IDM artist necessarily concerns themselves with. But Fizzarum clearly do and "Microphorus" might just be their most shining example of this idea put into practice.

"Microphorus" is a fantastic piece of contemplative, alone-time music that shows, when done right, use of melody in IDM can be so soul-stirringly emotive and beautiful. A 2001 review of Monochrome Plural in Igloo Magazine describes "Microphorus" in the following way:

...this tune is so pleasantly orchestrated and maneuvered that it will require a box of tissues to listen to. Softly propelled keys stroke the back of your mind while an insistent beat penetrates with amazing accuracy. It's a soft track much in line with Bola, Boards of Canada and Isan —and one that cannot be forgotten due to its perfected melody.

I think one thing that makes Fizzarum so exceptional is that they, and others like them, try to bring a considerable amount of humanity to a type of music that's often noted for being so uniquely mechanical, high-tech, and robotic. And a song like "Microphorus" does a wonderful job of blending those two concepts of man and machine together. The song has a dominant, delicate melody that's surrounded by a small, but growing swarm of chittering noises, like a cloud of varied, DARPA-built robotic insects circling around your head, plus a slow drum that boingingly thuds along. Then there's that completely garbled and liquidy vocal detour on the back half, which transmits a message that you will never be able to understand, but it's one that you can certainly feel.

Which really makes this final quote from Fizzarum that they gave to threeoh.com all the more apparent:

our music is very hard to describe; probably impossible to describe it by words. That’s why we create this music and don’t talk much about it.

In truth, my salesmanship can only go so far here. To fully comprehend Fizzarum and what they're all about, you really need to just take the plunge. Trying to describe their combinations of rhythm and melody only pales in comparison to actually hearing their work.

A tremendous piece of melodically emotive IDM, courtesy of this great trio from St. Petersburg, Russia.

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deez-nut-free-zone · 2 years ago

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the mutuals have spoken and clearly this take is controversial, so allow me to expound: im not saying it isn't a skilled style of muscial work, and im not saying it's even necessarily bad music. but the attitude surrounding it is often one of elitism and "this music actually takes a very high IQ to understand"-ness (it's called "Intelligent Dance Music" ffs) that rubs me the wrong way.

I also find that the ppl caught up in the smarter-than-thou headassery can get so focused on the 'Intelligent' part that they forget about the 'Dance Music' part. I have some stuff with a similar IDM vibe in my collection (mostly some minimal dub techno) and it clears the dancefloor fast. and that's not even touching on how it's early roots came from a largely white subset of DJs, producers, and promoters in the early 90s trying to intentionally move away from a jungle sound increasingly influenced by reggae, ragga vocalists, and punters of color coming to clubs in the UK (read State of Bass for more on that last bit, the section about "the Comitee"). I'm not saying anyone is bad for liking it, it's just not interesting to my ear and doesn't have much purpose in the environments I play/listen in, so I don't like it very much

i hate IDM so goddamn much... it's like yeah what if we took drum n bass or jungle, but take out all the vocals and the fun, and make it sound like elevator music for ppl on high horses

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perfectirishgifts · 4 years ago

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An Informative Intel Industry Analyst Conference 2020

New Post has been published on https://perfectirishgifts.com/an-informative-intel-industry-analyst-conference-2020/

An Informative Intel Industry Analyst Conference 2020

I spent close to three days attending the 2020 Intel industry analyst day last week. All the new information was NDA, I am not going to rehash what has already been said over the past year, but I did want to share some of my high-level opinions exiting the week. Comparatively, there was less new information shared than in previous years and less one on ones to get down to the nitty gritty details. I do not see this necessarily as the company withholding information, but rather, the inconveniences brought on by Covid-19 and the lack of face to face communications. Net-net, my view of Intel has improved in some areas and remains the same in others. If you have not read my previous opinions on Intel’s strategies and products, please check out the resources at the very bottom of the article.

My goals of the week were to re-assess Intel’s strategy, get an update on its fab position, its products, and position in AI training.

Strategy

I still think that Intel’s strategy is the right one. It is focused on six pillars of innovation and remaining an IDM. Intel has expanded the definition of compute, which Intel calls the “XPU” across multiple types of compute, the CPU, GPU, FPGA, and ASIC. I have believed in this approach for 20 years and I still believe it is the right path. And I also think right now, IDM (Integrated Device Manufacturer) is still the right move for Intel, with the ability to tweak and tune the designs. If a company is executing well on an IDM strategy, it can also be the lowest cost, and it has the most flexibility. The challenge is on Intel’s 10nm execution but try not to confuse that with the merits of strategically being an IDM.

Intel strategy- simplified view

And I think disaggregating chip design makes sense for Intel, even though this is not what the mobile players are doing right now. Qualcomm and Apple, for the time being, are sticking with monolithic designs. AMD has already disaggregated, and Xilinx and NVIDIA are on its way. You see, the larger the die area and the more heterogeneity the SOC, the bigger the need for a 2D, 2.5D, or 3D design. AMD got there first with 2D, and it is paying off well so far. Intel is first on 3D which is early but looks very promising to achieve more density in new designs. I know we’ve seen Intel 3D in lower power designs, but I’m more excited seeing this in datacenter products for mix and match IP.

Intel CSO Saf Yeboah-Amankwah outside perspective

Intel Fabs

When you ask most people in the tech industry about the state of Intel fabs, I think they would say they were “broken”. I understand this sentiment, but I believe it is too simplistic and not accurate. Intel has had big issues with 10nm execution, delayed over two years, and issues with 7nm execution, which have been delayed another six months. This is an issue, but fundamentally what people are missing are what the company is doing with 14nm and the real progress on 10nm. Intel is servicing 90% of the server and PC industry mostly with a super-optimized 14nm process and silicon designs. Intel even had to “back-port” features and parts from 10nm to 14nm. In the notebook market on 10nm process, Intel is competitive and would say most competitive with battery life. Intel has never shared yield in the 30 years I’ve known them, and the company did not share 14nm or 10nm yields with the group.

I did have the chance to talk 1:1 with Dr. Ann B. Kelleher, SVP and GM of Technology Development at Intel. She is responsible for the research, development and deployment of next-generation silicon logic, packaging and test technologies, and before that led manufacturing where she managed a significant expansion of 14nm supply and ramping the 10nm process. Here is the high-level of what she shared with me that I can share here. Note, I cannot share everything that was discussed.

Overall: Fabs are at full capacity, including Ireland, Israel, Arizona and Oregon. The rumored cost issues based on fab underloading is just not happening. Every open space is being converted to factory space including a café in Israel. 14nm is at peak performance and capacity, better than any process she had seen in her 24 years at Intel. Yields continue to improve on 14nm and 10nm.

10nm: Crossover between 14nm and 10nm volume will be sometime in 2021, meaning Intel is adding more 10nm capacity as we speak. Comparing 10nm Ice Lake onwards (not 10nm Cannon Lake), 10nm is within a quarter or so of where 14nm was in its lifetime. Israel, Arizona, and Oregon are all doing 10nm in high volume. SuperFIN has been instrumental in increasing 10nm performance.

7nm: We can expect an official 7nm update in January, but clearly there is an intense focus on meeting product schedule commitments.

More fabs: Building even more fab space in Oregon and Ireland and starting additional site prep to have room for 7nm and 5nm.

Net-net for me is the Intel fabs are full, 14nm is performing great, 10nm is better than rumors, we have to wait until January on 7nm, but the focus is there, and Intel is building enough capacity as quickly as it can, short-term and mid-term.

External Fabs

Now let’s talk about external fabs.

First off, Intel has used external fabs a lot historically if it got into a jam or if it made an acquisition and that design was externally fabbed. We saw this in chipsets, FPGAs and LTE modems. So, when the world went nuts after CEO Bob Swan suggested it was going to look at external foundries, I was puzzled, as it already did that. While I think it could have been more strategically communicated, I suppose Swan had to tell the street coincident when he knew it. What I do understand is the surprise at the notion that Intel would take some of leading edge designs to a foundry. That is new.

I spent nearly 10 years at an OEM (chip customer) and 11 years at a chipmaker and for the most part, customers don’t care where a part is fabbed as long as it is on time, feature complete and at a good cost. Customers want predictable cadence. Therefore, I think the notion that Intel fabs must compete with TSMC and Samsung for future designs is a great idea and doesn’t negate the strategic benefit of Intel’s IDM strategy. I would love to see Ice Lake on TSMC’s 5nm process, wouldn’t you?

Products

Let’s talk products. I left the conference more confident with the client computing roadmap through 2022 that was shared for reasons I cannot divulge under NDA. Gregory Bryant aka “GB” answered all my questions and I think he had a great grasp of the market situation and answers for most. Let me just say that GB and the client group isn’t backing down. At all.

Innovate Through Platforms

I had a good 1:1 chat with Lisa Spelman, who leads the Xeon product line . I am quite intrigued by the upcoming Xeon roadmap, particularly in 2023. I think strategically, given where Intel is, what it wants to accomplish, and the competitive set, it’s the right direction. Spelman also briefed us all on an exciting new category of datacenter products but unfortunately, I cannot dive into it. There is a market need for these new products and I am excited about them. I expect we’ll hear more about this in the new year.

3rd Gen Intel Xeon Scalable Processor

AI training

One of the biggest things investors and CSPs are clamoring from Intel was a competitive accelerated ML and DL training solution. Nervana didn’t pan out as planned, GPUs weren’t coming to the rescue, so Intel intelligently acquired Habana Labs. The great news was that Amazon AWS announced at its 2020 re:Invent that same week that it was creating instances based on Habana Gaudi. I wrote about this here. Promised in 2021, AWS set a goal of delivering up to 40% better single-node price-performance compared to its current GPU-based EC2 instances supporting ML. This is a really big deal as NVIDIA hasn’t any competition in training from a tier 1 silicon vendor. I know the EC2 folks at AWS pretty well and don’t think for a second that AWS would productize anything that it didn’t deem competitive, no matter the price. While one CSP make not a market, if you’re going to start with anyone, you want it to be AWS to pull through all the other CSPs, tier 2s and enterprises.

AWS CEO Andy Jassy announces Intel Habana Gaudi Instances

Summary

Overall, I felt much better exiting Intel’s industry analyst day than I did entering it and I appreciate everybody at Intel taking the time to do it. I liked almost everything I saw on the slides and in the conversations, but in the end, it really does come down to Intel’s execution.

I think Intel is going to coming storming back. This does not mean I think the company will achieve the same market share in its traditional 95% PC and server markets- I don’t. I think the cat is already of the bag on that.

I do think Intel can grow as it has widened the aperture considerably when I look at its increased TAM and SAM. The “old” Intel did CPUs and chipsets with monolithic designs for datacenter servers and PCs. The “new” Intel does a family of XPUs (CPU/GPU/NPU/FPGA) with disaggregated designs for datacenter server, storage and networking, the edge, carrier and autonomous cars. The new Intel will use the fab or foundry that is best suited for its disaggregated designs that best meets its customers needs by decoupling design from the state of the fab or its technologies. If that’s the Intel fab-great. If not, TSMC or Samsung. Customers don’t care.

If I were a customer, I would prefer the new Intel over the old. Now it’s up to Intel to prove everybody wrong and execute.

To get up to speed on my opinions of Intel’s products and strategies, please find these resources below:

Intel Announces Gold Release Of OneAPI Toolkits And New Intel Server GPU

Intel’s 11th Gen Core Processors And ‘Evo’ Platform Brand Raises The Notebook Processor Competitive Stakes

Intel Architecture Day 2020 Gives A Glimpse Into A Brighter Future

Intel Core With Intel Hybrid Technology Marks A New Way Forward

Intel’s Amps Up Its 2030 CSR Goals Amongst The COVID19 Crisis Backdrop

Intel Beefs Up Capabilities In Managed Notebooks With Latest VPro

Intel’s Gaming CPU Brings Competition We Like

Intel Quietly Becoming A Player On The ‘Edge’

Intel Aggressively Updates Xeon And Announces Key 5G Product Lines

Intel Lays Out Strategy For AI: It’s Habana

Intel Shows Off PC Platform, Compute And Graphics Futures At CES 2020

Intel Demonstrates At Data-Centric Day That It’s The Datacenter Technology Company To Beat

Intel Registers Solid Q2 Earnings And Its Future Opportunities Look Even Brighter

Note: Moor Insights & Strategy writers and editors may have contributed to this article.

Moor Insights & Strategy, like all research and analyst firms, provides or has provided paid research, analysis, advising, or consulting to many high-tech companies in the industry, including 8×8, Advanced Micro Devices, Amazon, Applied Micro, ARM, Aruba Networks, AT&T, AWS, A-10 Strategies, Bitfusion, Blaize, Box, Broadcom, Calix, Cisco Systems, Clear Software, Cloudera, Clumio, Cognitive Systems, CompuCom, Dell, Dell EMC, Dell Technologies, Diablo Technologies, Digital Optics, Dreamchain, Echelon, Ericsson, Extreme Networks, Flex, Foxconn, Frame (now VMware), Fujitsu, Gen Z Consortium, Glue Networks, GlobalFoundries, Google (Nest-Revolve), Google Cloud, HP Inc., Hewlett Packard Enterprise, Honeywell, Huawei Technologies, IBM, Ion VR, Inseego, Infosys, Intel, Interdigital, Jabil Circuit, Konica Minolta, Lattice Semiconductor, Lenovo, Linux Foundation, MapBox, Marvell, Mavenir, Marseille Inc, Mayfair Equity, Meraki (Cisco), Mesophere, Microsoft, Mojo Networks, National Instruments, NetApp, Nightwatch, NOKIA (Alcatel-Lucent), Nortek, Novumind, NVIDIA, Nuvia, ON Semiconductor, ONUG, OpenStack Foundation, Oracle, Poly, Panasas, Peraso, Pexip, Pixelworks, Plume Design, Poly, Portworx, Pure Storage, Qualcomm, Rackspace, Rambus, Rayvolt E-Bikes, Red Hat, Residio, Samsung Electronics, SAP, SAS, Scale Computing, Schneider Electric, Silver Peak, SONY, Springpath, Spirent, Splunk, Sprint, Stratus Technologies, Symantec, Synaptics, Syniverse, Synopsys, Tanium, TE Connectivity, TensTorrent, Tobii Technology, T-Mobile, Twitter, Unity Technologies, UiPath, Verizon Communications, Vidyo, VMware, Wave Computing, Wellsmith, Xilinx, Zebra, Zededa, and Zoho which may be cited in blogs and research.

From Enterprise Tech in Perfectirishgifts

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soicanhaveitlater · 7 years ago

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listen up folks

actually, listening up is optional. no obligations. this post is gonna be unstructured and messy. i just need to get this out of my system.

I think I might be autistic.

yeah uhh so i have reasons, they just aren’t necessarily good and/or easy to understand:

Hand flapping I used to do this a lot, before people told me it looked weird. but like, it made me feel good? is this a stim? idk. but now i do a ting where i ball my fists up and violently bang them up and down by my sides super fast, which feels really nice. is that a stim? who knows? maybe. is it?

I need a certain environment to do certain tasks as in one time my mum said i couldn’t listen to music while i was doing something and i just? couldn’t do it? and i started crying? idk

I generally don’t understand people’s motives and/or how they feel especially if i get asked ‘how would you feel in x situation if you were tis person?’ and i just. don’t know. i know what i’m meant to say but that’s not how i would feel At All so i end up being unsure. and with stuff like character analysis i can never really get what they’re trying to do (and i’m actually fairly good at english so idk why this happens)

And not knowing how to respond to people’s feelings

Some foods are awful (mushrooms, olives) to the point where i can’t even put them in my mouth without gagging because of the texture

Always having to have one side of my clothes weighed down like with my phone or something. it feels really off if it’s not on my right side?

Talking a lot about a thing when i get into it especially with fandoms. i’ll literally think about it all day and talk for way too long about it with my friends

When I was into fnaf i read a ton of theories, run-throughs of the gameplay, different character backstories and I hadn’t even played the game idk

Apparently being unsure of your gender is a symptom and i’m constantly questioning whether or not i’m nb, a demigirl or just female?

yeah so there’s all that annnd uh it would be great if someone could give me literally ANY advice. (i’ve taken a few tests but like, they’re not a diagnosis) idm but it would be nice to know if all of this is specifically related to autism or if i’m just really really awkward in general

#pls #help me I'm begging you #mel makes a text post #yeah

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driveneed17-blog · 5 years ago

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Laurent Clerc Details Little People’s Deep, Danceable New Album “Landloper”

Photo by Dee Ramadan

No one would ever accuse Little People for being the type of artist who’s quick to rush his music out, let alone one to take the path of least resistance. Born Laurent Clerc, the Anglo-Swiss electronic musician and producer has been putting out instrumental dance music with a playfully tongue-in-cheek bent for little over a decade under his ‘nom-de-guerre’ moniker Little People, touring across the States and Europe beside the likes of electronic music duo ODESZA and downtempo wunderkind Emancipator — all while he carves out his own lane, in his own time.

To describe Little People’s music is to describe a dozen different continents of sound unifying into a Pangaea of modern orchestration; he grew up listening to artists like A Tribe Called Quest and DJ Premier on his hometown radio station in the Swiss Alps, before discovering the wide and shifting world of electronic music when he moved to the UK to attend university. From the bass-heavy snarl of Mobb Deep and the mischievous plunderphonics of Xploding Plastix, to the cinematic sobriety of Endtroducing-era DJ Shadow and the minimalist serenity of Steve Reich and Ryuichi Sakamoto, Clerc’s inspirations prove just varied as his sound: an eclectic brand of downtempo electronica infused with the verve of classical music, underscored with the vivacity of hip-hop. That he refers to his stage moniker as a ‘nom-de-guerre’ is absolutely intentional.

Clerc’s newest album Landloper—his first in six years—is a cumulative one, pooling together the best learned lessons of his past work while pointing forward to a bright and beat-laden future. The producer’s most dance floor oriented record to date, Landloper pulls from the disparate corners of disco, John Carpenter-esque synth riffs, and glitchy IDM for a seamless expansion of Little People’s existing sound. We had the opportunity to speak with Clerc over the phone about Landloper’s production, his creative process as an artist, and what it means to create music in the very online space of 2018.

In the six years between the release of your first album, Mickey Mouse Operation (2006), and your second, We Are But Hunks of Wood (2012), you’d taken a break from music, traveled the world, worked an office job, fallen in love, and had two children. What’s happened in your life now in the six years since your last album and this one?

It does feel like it’s been quite a long time, hasn’t it? In my head it’s almost felt twice as long. (After I released We Are But Hunks of Wood, I came out with a remix album and the [Csay Csay] EP three years later.) I’ve been raising my kids — I have a set of twins and a newborn right now—and all of us went over to the U.S. for a year in 2014, so that I could be out there, and write music. Which I did, and it was actually really quite productive. The album you’re hearing now kind of, really, the core of it was written over the course of six months. I’ll admit that I’m fairly slow with my music in that, I struggle to put things out the door because I want them to sound just right, which is why it can take such a long time.

But yeah, it is a bit ridiculous. Six years is a long time between albums, and I admit that [laughs].

Let’s talk a bit about the name of your new album, Landloper. It means “wanderer,” or “adventurer.” It’s a fun word, though not one you’d likely hear spoken often. How did you first come across it?

It’s a title that sort of represents my professional life. I’ve lived in a lot of places, traveled through a lot of places while touring. It comes from the experience of being in a lot of places, making new friends, experiencing new things—this feeling of wandering and finding your place in the world. So Landloper is a word to describe the journey of my move to the US, this chapter of my life, and the experience of playing music in all these different parts of the world. And on top of that, it’s just a lovely sounding word! I thought the title should be a word that looks familiar, but is also strange and exciting.

You’ve spoken before on how your collaboration with Tif Lamson of GIVERS came together on the track “Skies Turn Blue.” How did you first link up with your other two collaborators for this album, Reva Devito and Rahel Debebe-Dessalegne?

So for Reva, she lives in Portland and she’s a friend of a friend of mine. I was looking around to record someone whose voice could be used as, sort of, sound mix fodder, and it just so happened that she was in town and I asked her to come in and record something. So I basically recorded one of her voice sessions and then she sang some percussion stuff. So what I did was, I just got loads of samples of her singing and cut them up into syllables and sounds and resequenced them as a guiding point. And then I just chopped them up again and reworked them, and so her voice is scattered throughout the whole album. She’s a big part of the record in a lot of ways, not necessarily through lyrics but as a sound, as an instrument.

For Rahel, I saw her play a show and met her shortly after that. She tours with a lot of different artists, one of which is a musician and composer named Matthew Herbert, so she played a show with him and I thought “Well, I’ll give it a shot,” so I found her details and reached out through email about working together and she was really into the idea. I initially thought it would only be one song, but she was up for doing all three! [laughs] So we did the recordings in South London at a studio around when I had just gotten back into town. I remember us doing a take and she would just intuitively know where to improve on it and where to take the track next, so we would just re-do it. She’s extremely good at what she does.

And then Tif, I met her actually through Glassnote Records, who were looking at my record at the time, and they put me in touch with her. What she does with her band is quite far away from the stuff I do and I thought, Will this work? Yeah, this could work,’ so I sent her over some tracks, and “Skies Turn Blue” came out of that. I was very pleased with it and I think she was happy with it as well.

Your second album marked a transition away from the sample-heavy sound that defined your first and had you experimenting with new equipment, like using an old Akai reel-to-reel tape machine to record and process a string ensemble to resemble the textured sound of vinyl compression. What were some of your favorite instruments or equipment to use in the making of Landloper?

It’s kind of a whole host of different instruments, but I guess just generally it’s a crossover between synthesizers, analog and digital, and I just think that for me it’s less about tools and more like using what I have on hand at the moment. I’ll just mess around, create sounds on a synthesizer, sample that, and then play with that again. My songs will go through so many iterations where samples are cut up, cleaned, and tweaked that sometimes, I can’t even remember how I got to a particular sound!

So that’s kind of the essence of what I do: very iterative, spontaneous, and in-the-moment. The laptop is home to everything I do; that doesn’t change. I like to start off from a point ‘in the real world,’ with analog sounds and instruments like a piano or xylophone, but generally, it’s [about] taking those sounds and bringing them into a digital realm. I’ll record strings, woodwind stuff; I love collecting and playing with high-pitch bouncing samples and incorporating those into my music. I never do just one thing. I want my music to have a lot of variety, a lot of color, and a lot of character.

The orchestration on this album is impressive. Who did you work with to record the strings? What did you learn working with a string section back in 2012 that came to bear on making Landloper?

Well, when I was working on We Are But Hunks of Wood, I was learning how to direct a string section—how to gesture towards the sound I wanted, and guide the section to that outcome. This time around, I had a more cohesive approach to achieving that; I actually went to a studio when I was living in Portland, and worked at replicating the sound of a much larger string ensemble. We only had four string players, but we still had eight chairs—so we recorded one take with players sitting in one set of chairs, and then did a different take of them sitting in a different set of chairs, and then overlaid those recordings, so [that] it ends up sounding like eight players at once. That resulted in a much fuller sound, which I feel really comes through on the tracks for this record.

Photo by Vania Read

What are some things that surprised you in the course of producing Landloper? Is this album, this evolution of your sound, what you had in mind when you first started work on it back in 2014?

I find it very hard to pinpoint one idea from the next. It’s more like, ‘This is where I want to get to’ and ‘This is what I want to do.’ As it often happens, my process starts with trying for a certain sound and then ending up with 50 different ones, which I think is fairly typical when making music. I have many artists that I admire, tracks that I think are incredible and I’ll think ‘Wow, how did they do that?’ And then I’ll give it a go and probably not end up anywhere near with what they did. But by doing that, I’ll have probably landed somewhere with a track that no-one else has done.

That tends to happen when you’re chasing a sound: it forks into several different ones, and you end up in a richer place for having followed your instincts. But as far as where I wanted to go with this album, I wasn’t sure. I think that the time I spent on this one made for a richer album than what I could’ve imagined at the start, in my opinion; when I first started, I didn’t think this album was going to have so much collaboration going into it and that was kind of a nice surprise—to have so many people to work with and share this experience.

You’ve cited a fairly eclectic range of influences over the course of your career, from Mobb Deep and DJ Shadow to Steve Reich and Ryuichi Sakamoto. What sort of music and artists have been your points of contact while producing Landloper?

I think it tends to be fairly varied. I’ll admit that my listening habits have kind of changed a lot with the advent of Spotify. I’ve always loved discovering new music, but Spotify makes it almost too easy now [laughs]. I have a big playlist of music I was listening to while I was working on the album, but picking out one or two particular artists is difficult. I think whatever algorithm they’re working with is fantastic, and it does a good job of accommodating to diverse tastes. Y’know, if you’re listening to a little bit of Afrobeat here and there, and a little bit of hip-hop as well, but also throw in some classical music, all those things will be represented in your mix somewhere. So, I guess as far as artists that have influenced me, there’s only a few artists that I listen to that I feel like, outside of what they do, have been a guiding light for what I do. The usual suspects in my book are Jon Hopkins, Four Tet, Caribou—people like that. But I also love one-off songs. Some people make moving tracks that eclipse anything else that I’m aware of [from] them, in terms of their output. It could be something I find incredible. So I wouldn’t say I’m influenced now by any one artist, but by ideas I come across that happen to spark something in me.

Tell us about your new label, Future Archive Recordings. I noticed that some of your co-founders and signees, like Sun Glitters and Blockhead, are people you’ve worked with before in the past. What influenced your decision to launch Future Archive Recordings?

It’s actually all very recent. When it sort of came around was, I had been working on my own for awhile and thought I would benefit from working with an actual record label, but things didn’t really quite materialize. I was toying with the idea of self-releasing the record, but then I started talking with a few people and just thought, ‘Welp, it seems kind of stupid to be doing all this work on your own.’ The first person I talked to was Blockhead, and then a bunch of others had been thinking the same thing, so we went from there. We started talking about it in July, I think, and then by September we had our first compilation out, so we moved really quickly.

Basically the idea is to have a platform in place for us to put out new music—not in a way that’s predicated on making money, but on encouraging creative expression. We take a lesser share of whatever profits the record makes, and it all goes directly back to the artists. It’s a like-minded group of musicians who want to do their best work, either on their own or together. We all have our own skills that we share, so it makes for a nice division of labor.

What’s next for Little People in 2019? How do you see your career, your journey as an artist evolving and changing in the future?

Well that’s the thing—it’s down to how this record does. There’s a bit of a question mark at the end of that, how things are going to go. I think what I have seen over the past, let’s say, three or four years, is that music has kind of gone from being initially a hobby to now a trade or a craft, which only now I feel like I’m beginning to master. I’m excited to, once this record’s out the door, put my head down and write new music. I’m pretty sure the next bit of music might take some time to come out [laughs]. I still feel like I’m mastering my field. It’s funny, the more you work in a field the more you realize you knew so little before. But I finally feel like I know what I’m doing now. It’s tough to say what I’ll be doing, but I’ll be looking into more collaborations, ideally producing for some other people. But yeah, I’m looking forward to releasing more music under the Little People moniker in the future.

One last question. You’ve said in the past that if you weren’t a musician, you’d probably be a cook, and one of your favorite hobbies is trying out different foods while touring. What’s your favorite food to cook, and what’s your favorite food to be served?

I’ve always really been into Asian food. That’s usually my go-to. It’s fresh, it’s quick to do, and always flavorful. I also really enjoy heavier, European fare; between those two are generally where my palate sits. If someone’s cooking for me, I like to choose things I could never be bothered to do myself, things that are messy or tricky to do. So anything to do with frying—I’ll gladly go to restaurants and pay for that instead than do it myself [laughs].

-Toussaint Egan

Source: https://daily.bandcamp.com/2019/01/03/little-people-interview/

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The promise of managing identity on the blockchain

Blockchain, the secure distributed ledger technology first created to track bitcoin ownership, has taken on a number of new roles in recent years tracking anything of value from diamonds to real estate deeds to contracts. The blockchain offers the promise of a trusted record that can reduce fraud. Some industry experts say that over the coming years, it could be used to control identity information in a more secure fashion.

As we have seen, just last week with the massive Equifax hack, our personal information is highly vulnerable in online databases in their current form. The fact is that whenever we have to identify ourselves, we are forced to present a variety of information to prove we are who we say we are, whether that’s to register for an online service, to cross a border or even prove you are old enough to drink at a bar.

The argument goes that if our identity were on the blockchain, it would give us more control over this information, and with proper applications allow us to present just the minimum amount of information a given party needs to identify us. That could be your date of birth at a bar, your credit score at a bank or a unique identifier to access an online service.

It’s unclear if the blockchain can be that identity panacea that some have suggested, but there are a range of opinions on the matter.

Yes, it’s happening

Of the experts we contacted, only one was fully enthusiastic about blockchain as an identity tool. Jerry Cuomo, IBM Fellow and VP of blockchain technologies, sees blockchain already having a big impact as people demand more control of their identities. He says that we are constantly being asked to share personal information to access places or information or to do business with companies — and that each of these actions puts us at risk for identity theft. He believes the solution to this problem could lie on the blockchain.

“Imagine a world where you are in direct control of your personal information; a world where you can limit and control how much information you share while retaining the ability to transact in the world. This is self-sovereign identity, and it is already here. Blockchain is the underlying technology paving the path to self-sovereign identity through decentralized networks. It ensures privacy and trust, where transactions are secure, authenticated and verifiable and endorsed by relevant, permissioned participants,” Cuomo explained. In fact , he says that he’s already seeing businesses and governments beginning to establish and use these networks to meet citizen demand and deliver the promise of self-sovereign identity.

No, probably not

It sounds pretty good to hear Cuomo describe it, yet not everyone is enthusiastic as he is, seeing many obstacles to using the blockchain for identity purposes. Steve Wilson, an analyst at Constellation Research, who has studied the blockchain extensively has serious reservations about it as an identity management system.

“Identity is not going to move to the blockchain in any big way (not as we know it). Blockchains were designed to solve problems quite different from identity management (IDM). We need to remember that the classic blockchain is an elaborate system that allows total strangers to nevertheless exchange real value reliably. It works without identity and without trust. So it’s simply illogical to think such a mechanism could have anything to offer identity,” Wilson explained.

He adds, “The public blockchains deliberately and proudly shirk third parties, but in most cases, your identity is nothing without a third party who vouches for you in some way. Blockchain is great for some things, but it’s not magic, and it just wasn’t designed for the IDM problem space.”

Eve Maler, who works at identity management firm ForgeRock, which landed an $88 million investment last week, also finds the possibility highly unlikely for a variety of practical reasons. “Identity will not move to the blockchain if this means personal data will be put on a public permissionless blockchain (distributed ledger technology in its purest form), as this is now widely considered bad practice,” she said.

She added, “The “distributed nodes” element of the technology is valuable for architectures where trust in a central authority is difficult or undesirable to establish, but can be challenging where it is desirable to record sensitive information because of the increased attack surface (every node has a copy of everything) and resulting increased privacy considerations.”

It depends

Then there are those who fall somewhere in the middle. They aren’t ready to write it off, but they see a lot of obstacles along the way to implementing it, or see it as a part of a broader ecosystem of identity tools, rather than a full replacement to what we have now.

Charles Race, president of worldwide field operations at cloud identity firm Okta, which went public this year, thinks it’s possible blockchain will emerge. He envisions a similar set of use cases as Cuomo, but sees a lot of obstacles that stand in the way of using the blockchain to implement identity management broadly moving forward.

“A trusted entity will need to establish some legal and enforceable rules and policies for how it all works, they’ll need to make it easy for the average person to use securely, and they’ll need to convince a critical mass of people and service providers to adopt and trust the ID — all while finding an economically viable business model. Some institutions are uniquely positioned to solve all of these chicken-and-egg issues at once and bring this big idea to life — first among them are our citizen-facing government agencies,” Race explained. But he adds, “The trouble with this idea is that a universal ID poses risks to privacy and hence [could] encounter significant political opposition.”

Andre Durand, CEO at Ping Identity, an identity management firm that was sold for a reported $600 million to Vista Equity Partners last year, says it’s not likely to happen as a full replacement over the next five years, but it could begin to play a role in identity. “What is much more likely is that the things Distributed Ledger Technology is uniquely designed for, keeping accurate records in a distributed system, will become part of the identity management ecosystem and help improve aspects of it,” he says.

Ian Glazer, an identity industry expert says it really about choosing the right tool for the job, but he doesn’t necessarily see there ever being one answer that fits every identity scenario including blockchain.

“To ask if identity will move to blockchain is not the right question. Better to ask will use cases emerge that blockchain-related technologies are uniquely qualified to solve. Likely there will be some. But just like relational databases, LDAP and object databases, no one storage/retrieval mechanism has proven to be the single “right” tool for the job,” Glazer told TechCrunch.

Like any emerging technology, there are going to be a range of opinions on its viability. Using the blockchain as an identity management system is no different. It will probably begin to take on some role over the next five years because the promise is just so great, but how extensive that will be depends on how the industry solves some of the outstanding issues.