#4. Analog synthesis

[soundswe]

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[literary-illuminati]

2024 Book Review #4 – War in Human Civilization by Azar Gat

This is my first big history book of the year, and one I’ve been rather looking forward to getting to for some time now. Its claimed subject matter – the whole scope of war and violent conflict across the history of humanity – is ambitious enough to be intriguing, and it was cited and recommended by Bret Devereaux, whose writing I’m generally a huge fan of. Of course, he recommended The Bright Ages too, and that was one of my worst reads of last year – apparently something I should have learned my lesson from. This is, bluntly, not a good book – the first half is bad but at least interesting, while the remainder is only really worth reading as a time capsule of early 2000s academic writing and hegemonic politics.

The book purports to be a survey of warfare from the evolution of homo sapiens sapiens through to the (then) present, drawing together studies from several different fields to draw new conclusions and a novel synthesis that none of the authors being drawn from had ever had the context to see – which in retrospect really should have been a big enough collection of dramatically waving red flags to make me put it down then and there. It starts with a lengthy consideration of conflict in humanity’s ‘evolutionary state of nature’ – the long myriads between the evolution of the modern species and the neolithic revolution – which he holds is the environment where the habits, drives and instincts of ‘human nature’ were set and have yet to significantly diverge from. He does this by comparing conflict in other social megafauna (mostly but not entirely primates), archaeology, and analogizing from the anthropological accounts we have of fairly isolated/’untainted’ hunter gatherers in the historical record.

From there, he goes on through the different stages of human development – he takes a bit of pain at one point to disavow believing in ‘stagism’ or modernization theory, but then he discusses things entirely in terms of ‘relative time’ and makes the idea that Haida in 17th century PNW North America are pretty much comparable to pre-agriculture inhabitants of Mesopotamia, so I’m not entirely sure what he’s actually trying to disavow – and how warfare evolved in each. His central thesis is that the fundamental causes of war are essentially the same as they were for hunter-gatherer bands on the savanna, only appearing to have changed because of how they have been warped and filtered by cultural and technological evolution. This is followed with a lengthy discussion of the 19th and 20th centuries that mostly boils down to trying to defend that contention and to argue that, contrary to what the world wars would have you believe, modernity is in fact significantly more peaceful than any epoch to precede it. The book then concludes with a discussion of terrorism and WMDs that mostly serves to remind you it was written right after 9/11.

So, lets start with the good. The book’s discussion of rates of violence in the random grab-bag of premodern societies used as case studies and the archaeological evidence gathered makes a very convincing case that murder and war are hardly specific ills of civilization, and that per capita feuds and raids in non-state societies were as- or more- deadly than interstate warfare averaged out over similar periods of time (though Gat gets clumsy and takes the point rather too far at times). The description of different systems of warfare that ten to reoccur across history in similar social and technological conditions is likewise very interesting and analytically useful, even if you’re skeptical of his causal explanations for why.

If you’re interested in academic inside baseball, a fairly large chunk of the book is also just shadowboxing against unnamed interlocutors and advancing bold positions like ‘engaging in warfare can absolutely be a rational choice that does you and yours significant good, for example Genghis Khan-’, an argument which there are apparently people on the other side of.

Of course all that value requires taking Gat at his word, which leads to the book’s largest and most overwhelming problem – he’s sloppy. Reading through the book, you notice all manner of little incidental facts he’s gotten wrong or oversimplified to the point where it’s basically the same thing – my favourites are listing early modern Poland as a coherent national state, and characterizing US interventions in early 20th century Central America as attempts to impose democracy. To a degree, this is probably inevitable in a book with such a massive subject matter, but the number I (a total amateur with an undergraduate education) noticed on a casual read - and more damningly the fact that every one of them made things easier or simpler for him to fit within his thesis - means that I really can’t be sure how much to trust anything he writes.

I mentioned above that I got this off a recommendation from Bret Devereaux’s blog. Specifically, I got it from his series on the ‘Fremen Mirage’ – his term for the enduring cultural trope about the military supremacy of hard, deprived and abusive societies. Which honestly makes it really funny that this entire book indulges in that very same trope continuously. There are whole chapters devoted to thesis that ‘primitive’ and ‘barbarian’ societies possess superior military ferocity and fighting spirit to more civilized and ‘domesticated’ ones, and how this is one of the great engines of history up to the turn of the modern age. It’s not even argued for, really, just taken as a given and then used to expand on his general theories.

Speaking of – it is absolutely core to the book’s thesis that war (and interpersonal violence generally) are driven by (fundamentally) either material or reproductive concerns. ‘Reproductive’ here meaning ‘allowing men to secure access to women’, with an accompanying chapter-length aside about how war is a (possibly the most) fundamentally male activity, and any female contributions to it across the span of history are so marginal as to not require explanation or analysis in his comprehensive survey. Women thus appear purely as objects – things to be fought over and fucked – with the closest to any individual or collective agency on their part shown is a consideration that maybe the sexual revolution made western society less violent because it gave young men a way to get laid besides marriage or rape.

Speaking of – as the book moves forward in time, it goes from being deeply flawed but interesting to just, total dreck (though this also might just me being a bit more familiar with what Gat’s talking about in these sections). Given the Orientalism that just about suffuses the book it’s not, exactly, surprising that Gat takes so much more care to characterize the Soviet Union as especially brutal and inhumane that he does Nazi Germany but it is, at least, interesting. And even the section of World War 2 is more worthwhile than the chapters on decolonization and democratic peace theory that follow it.

Fundamentally this is just a book better consumed secondhand, I think – there are some interesting points, but they do not come anywhere near justifying slogging through the whole thing.

[velvet-vox]

Oropo; the ideology of power behind being god: Part 3

Doing an analysis on Oropo proved to be a messy, disorganised process, not all that different from the actual character's actions themselves.

Every time I have tried doing this, I ended up saying nothing worthwhile and mostly just rumbled for a bit without reaching any meaningful conclusion; but I feel like I've finally found something that's actually important and can help the discussions surrounding the character.

Buckle up cause it's time for me to introduce to you all a little something also known as:

The complex of Oedipus

Conceived in 1909 by the Austrian psychoanalyst Sigmund Freud (1856-1939), the Complex of Oedipus is a section of the written paper "Analysis of a Phobia in a Five-Year-Old Boy" in which Freud outlined the fear of horses of a boy known as "Little Hans".

The psychoanalyst determined that the boy's terror was due to feelings of anger he had internalised. According to Freud, all small boys choose their mother as their primary object of desire. They subconsciously wish to usurp their father and become their mother's lover. These desires appear between the ages of 3 and 5, when a boy is in what Freud defines as the "phallic" stage of development.

This stage represents an important point in the formation of sexual identity. The analogous experience for girls is known as the Electra complex, in which girls feel a desire for their father and jealousy of their mother. The child, however, suspects that acting on these feelings would lead to danger, thus he/she represses his/her desires. This leads to anxiety.

In order to resolve the conflict, the boy then identifies with his father and the girl with her mother. It is at this point that a superego is formed; it becomes an internalisation of the parental figure that strives to suppress the ID's impulses and make the ego act upon these idealistic standards.

The ID, ego and superego are, as described by Freud, the three main parts of the human mind that develop our personality through their interactions.

The ID is the most primitive. Within the ID are all the inherited components of personality we are born with, including the sex instinct, the Eros and the instinct towards aggression. The ID operates entirely unconsciously; it does not change with time or experience, since it is not related to the external world.

The ego is the rational, pragmatic part of our personality. It's less primitive than the ID and is both conscious and unconscious; it represents what may be called reason and common sense. Freud used the word "ego" to mean a set of psychic functions such as judgment, tolerance, reality testing, control, planning, defense, synthesis of information, intellectual functioning and memory.

The superego is concerned with social rules and morals, and covers what many would refer to as "conscience". It develops around the age of 3-5 and it consists of two systems: the conscience and the ideal self. The conscience is a part that can punish the ego by making it feel guilty. The ideal self, on the other hand, creates an imaginary picture of how you ought to be, and deals with ambition and social behaviour, including how you treat others and how to be a useful member of society.

According to Freud, the ID, ego and superego, are in constant conflict so that adult personality and behaviour are directly from the results of these internal childhood struggles.

The parallels

So, now that we have established what the Complex of Oedipus is, it is time to see how it connects back to our deranged owl man and to the entire race of the Eliotropes.

At this point though, I have to make a brutal yet sad confession: I have not watched the fourth season of Wakfu nor the Oropo special with all of the new Eliotropes, so all I'm going to focus entirely on Oropo for this analysis and hope that somebody else who has watched season 4 can piece together what aspects of Freud research are present in which Eliotrope and how it all ties back to Yugo.

For now, we can see how the first four paragraphs of the document have unsettling similarities to the entire concept and actions of Oropo and the Eliotropes.

Now, we need to consider that Freud at the time probably didn't take bisexuality and other gender identities as things an individual was born with; because in the case of the Electra complex we need to remember that all female Eliotropes are canonically lesbians, as reiterated by @cocogum in this post , thus, the more modern (or at least the most Wakfu relevant) interpretation of the two complexes that we should consider is: "the child wish to usurp the parent whose at the recieving end of the kid's sexual attraction, and to overcome said urge, identifies with that parent". I could make a different case for bisexuality, but it's not relevant.

The important thing about these two complexes is explaining why Oropo feels so much attraction for Amalia to not be able to contain himself even with Lady Echo. The entire concept behind the Eliotropes is that they were incomplete parts of Yugo that came into existence by accident and couldn't survive nor have an identity of their own without Yugo.

For how much Oropo plays himself up as this secretive master planner, he's actually a mere sexually repressed clone-child that's unable to grow up due to the very nature of his existence.

Finally appreciating canon Oropo: the trilogy's finale.

I feel like, once I learned about the connection between Sigmund Freud and Oropo, I finally started to care a little bit about the guy and the entirety of the Eliotrope's race. Granted, this analysis does fix the many problems and qualms I have with the character; like, if his writing problems limited themselves to the season 3 finale then I could pass it off as just the sad, miserable conclusion of a doomed existence, but no. Unfortunately, Oropo has problems even in the manga and ova created solely to expand on his character, it's like Tot is completely unable to give his writing pet the necessary traits to make him an antagonist worthy of the Wakfu's standards, and instead just uses him for cool visuals and to fill in the untold parts of the lore.

He came up with a truly brilliant concept reminiscing the psychoanalysis of the 19th century, and couldn't find a way to explore said concept in a meaningful way because he had to turn it into a fight. Naturally, this isn't just a Wakfu problem, this is an anime and media problem at large, where we necessarily have to resolve conflicts into a battle because otherwise the audience could feel bored and disinterested in the final product.

This is a problem that carries over to the Avatar franchise, where the creators tried to have meaningful political commentary and couldn't find a meaningful way to have it that didn't involve a fight, because, if they don't turn it into a fight of good and evil, then the audience could feel scared at the prospect of such a challenging, morally compromising story.

To me, Oropo would have been a far more interesting character if he just wanted to overthrow the gods for their selfishness and wanted Yugo to approve his decisions because he was his creator and he loved him.

Could have made for a far more interesting story than just simply going back to the status quo and compromising it only through the inclusion of the Necromes, who pretty much just sought destruction and didn't really change the hierarchy in a meaningful manner.

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Qilby analysis

[mask131]

The myth of Apollo (4)

As with Dionysos previously (see here), the Dictionnary of Literary Myths of Pierre Brunel offers two different articles about Apollo. Here is the loose (but free !) translation of the second one, « Apollon, the mythical sun ».

APOLLO, THE MYTHICAL SUN

Pontus of Tyard wrote in 1552: “Of all the poetic gods, Apollo is the one that has been the most disguised by the fables and the etymologies of his name.” The mythical figure of Apollo, which has been turned in Western literature as one of the most conventional figures there can be, was considered by ancient mythographers as an extremely complex character, because he was given many names and many properties. Apollo is first and foremost an universal archetype of the Divine, of which literature kept – alternatively as much as indiscriminately – three main names: Apollo(n), Phoebus, Sun. The chronological evolution of the god allows us to isolate and separate the solar god (as a symbol) from his mythological adventures, since the solar Apollo is more present within poetry than within legends.

I/ The names of the Sun

In the Platonic tradition, all the way to the end of the Renaissance, numerous significant and diverse etymologies were invented for Apollo, all reflecting the various functions of the solar god. Within the name Apollo(n), interprets can read as much an idea of destruction as an idea of freeing (from the verb “luô”, to untie) or purification (from the verb “louô”, to clean). This reflects the “drying” effects of the sun, which can be negative or positive – and thus is a survival of the ambiguity of the archaic god.

The interpretations found within the “Cratylus” (see the previous part of “The myth of Apollo”, “The Antique Apollo) allow us to define the four main attributes of the god: medicine, divination (both seen as manifestations of “purification”), music and the art of shooting with a bow. The name Phoebus has been associated by Isidor of Sevilla with the endless youth of the ephebe (e-phoebus), while Cartari (in 1556) linked it to the vital light (phôs, light, bios, vie). For Platon, the name of “Sun” within Ancient Greek meant he who “nuances” the colors (“helios”, the sun in Greek, derived from “aïoleïn”, to nuance) ; and all the ulterior commentators assimilated it with the Latin “Sol”, tied to the adjective “Solus” (the sole, the unique, the lonely), a link which can be found in the neo-Latin languages (in French “soleil” and “seul”, for example). Cartari, who was follow the works of Plotin and Macrobe, linked this precise etymology to the Greek name of Apollo that he translated as “he who is not multiple” (“a” as a privative + “polu”, many) – highlighting again the important idea of unity within the idea of the sun-god.

II/ Main attributes

The mythographers of Renaissance made a very useful synthesis work that offers us in their roughly definitive state the various interpretations of the myth of Apollo, compiling together the commentaries from Antiquity, the interpretations from the Middle-Ages, as well as the point of view of some Oriental civilizations. Within his “Images of the Gods” (1556), Cartari divides the solar myth in a series of elements linked together as part of a long allegorical chain:

1) The sun represents at first, in the diversity and universality of its effects, an archetype of the Divinity. The Assyrians assimilated it to Jupiter as the soul of the world (because through all the other gods, it was always him who was evoked). As such Macrobe noted in his “Saturnals” that all theology always returned to the worship of the sun.

2) As a symbol of eternal youth, as the allegory of the always-new day, of the always-resurrecting light, Apollo is depicted as beardless (except for the Assyrians) and is associated with Dionysos.

3) Because of its central position within the Universe, it is called “heart of the heaven”, by analogy with the vital function of this “pulsing” organ within the human body. The sun is the source of light that communicates their movements to the other astral bodies. It is why Apollo is sitting in the middle of the nine Muses, allegories of the nine celestial sepheres, and with them he embodies the Harmony and the Universe, as a symbol of “symmetry and concordance” (according to Tyard). As such the Music of the Spheres, that R. Lulle will represent through the “Great Lyre of the Universe”, is reflected in Apollon’s association with Music and Poetry (Poetry which was originally simply the art of singing).

4) The rays of the sun are depicted by the arrows of Apollo (just like by those of his sister Diana). They can penetrate the very core of the earth – it is why there is an archaic tradition according to which Apollo is a chthonian or infernal god (and can sometimes be called Hecate, since the primitive gods were without genders).

5) It is due to the purgative and drying effects of his rays that Apollo is also the god of medicine. Mythographers tie this function of the god to the fable of the snake Python killed by Apollo soon after his birth: they assimilated Python to the mythical Flood, as a principal of morbid humidity wrapped around the earth.

6) The attribution of the laurel to Apollo, and the fable of Daphne, are explained by the medicinal virtue of the plant, the always-green plant that never rots, and that the mythographers saw as a symbol of Health. The laurel is also tied to the alchemical symbolism of Humidity, because Daphne was metamorphosed thanks to the intervention of her father, a river-god.

7) Finally, Apollo is the god of divination, because he is the eye of the sky, he sees all and he reveals all secrets (hence why in mythology Apollo was the one who denounced the adulterine love of Venus and Mars). He has the role, within the Universe, of the eye within the human body – he is the “spy of the intellect”, the “censor” or the “rector”, and his eminent position makes him a sign of omnipotence. Cartari described a hieroglyph that designated the sun as a scepter surmounted by an eye – which would identify the mythical sun with the idea of royalty.

Such a synthesis – within which each of the god’s main attributes were defined and linked together – as the interpretative model which was used as a basis for all ulterior poetry. For example take Du Bartas: in his “Sepmaine ou Création du Monde », in 1578, the sun, which is not a god anymore but a mere « ornament of the sky », is always designated by metonymy through a series of names that resume all the attributes of the solar god in his cosmic function: Phoebus with gold hair, the blond Titan, the Torch of Laton, the Archer, Apollo giver-of-souls, the Fountain of Heat, the Life of the Universe, Giver-of-honors, King of the Sky, Eye of the Day, Censor, Torch of Delph, Torch of Delos, he who “makes the face of the world young again”. In a parallel way, from Cartari’s work, the different aspects of the character will be slowly simplified until he simply becomes the god of Poetry, crowned with both sunrays and laurel leaves, sitting among the Muses on top of mount Parnassus, always holding his lyre (which can sometimes represent him in his entirety), distilling the poetic inspiration under the shape of the Hippocrene spring (created from Pegasus’ hoof), a spring that Ronsard will describe as “the fountain of verses”.

III/ The philosophical Sun

Symbol of the Philosophical Gold in the alchemical tradition, uniting the fundamental opposites that are the fire and the water, the dry and the wet ; or a symbol of the divine creative soul within Orphism and Pythagorism, the go of Poetry s the very image of all creation within the Neoplatonic literature, in which Apollo with his lyre is always associated to his “mortal double”, Orpheus. Within the Renaissance, Apollo was the god who inspired the “Poetic Fury”, without which the lyrical production cannot be: it is under his influence that (according to Ronsard’s Hymn to Autumn) the spirit can “penetrate the secret of the heavens” and the soul “rise among the gods”. It is under the sign of Apollo that the soul finds back its celestial origin through the effects of the divine enthusiasm (from the Greek “theos”, god): this is the Orphic origin of poetry. For Ronsard and the poets of La Pléiade, the “inspired Poet” is both the “prophet” and the “priest” of Apollo (hence why in the 16th century it was believed that the Sibyls and the oracles were exceptional poets).

This Neoplatonic interpretation of the myth, which confuses the two main attributes of the god, prediction and lyrical art, this same tradition that shaped the image of Apollo we have today, relies on the commentary by Marsile Ficin of “The Symposium”, which divines four different divine “furies”, associated with four patron-deities. First is the highest, the poetic fury, which is caused by the Muses ; second is the “mystery fury” or the sacerdotal fury, which proceeds from Dionysos  ; third is the prophetic fury, given by Apollo ; fourth is love, and it originates from Venus. Despite the distinction marked within this text between the Muses and Apollo, poets usually invoke indifferently one or the other – the god understood as the “universal principle” and the Muses as allegories that represent the individual repartitions of the poetic virtues. It should be noted that within the Neoplatonic context, Apollo is not opposed to Dionysos – rather their functions are complementary. The god of divination, who is also the god of the penetration of divine secrets, forms a couple with the god who initiates humans to the divine Mysteries ; it is to the point that they are called “brothers” by Pontus of Tyard, who explains the epithet of “Delphic Apollo” by a fake etymology “adelphos”, “brother”, for the “fraternity considered between Denys (Dionysos) and Apollo”.

For the Neoplatonicians, if Apollo is one of the poles of the duality of the world, he is rather opposed as the One, as the universal principle, to Diana, who embodies Nature – that is to say the Multiple. According to the Platonic idea taken back by Giordano Bruno in “Eroici Furori” (1585), the Nature (Diane) is the mirror of the God (Apollo). Apollo is the absolute light whose essence must be hidden, who blinds and kills those that see it directly, and thus he can only be perceived through his reflection. A variation of this idea, developed by Léon Hébreu in 1535) made Apollo the “simulacrum of the divine Intellect”, while the Moon was the “simulacrum of the soul of the World” and acted as an intermediary between the divine plane (the intelligible world) and the corporal plane (the sensible world). This conception has been very influential in term of literary posterity, because it means in a very explicit way, that the sight is a sense that must be valorized: the sensitive vision, the one of the eye, is to be identified with the intellectual vision, the one that allows thanks to the spirituality of the light to distinguish the beautiful from the ugly and the good from the evil. The supremacy of the eye above all other senses will be abundantly developed, in poetic and metaphorical ways, from the 16th to the 17th centuries. Even within the anatomical descriptions of the baroque poets, the eye appears as an intermediary between the sensible and intelligible world, as a double of the Sun, whose light shines upon the minds as much as upon the bodies.

[caustic-splines]

I can be soft and vulnerable, I am willing to let you hurt me because I love you and trust you. I know you are passionate I rediscovered part of the reason why I love you so much. Your love is discrete, inverse pun intended but both homonyms applicable in this analogy. It is private, our unique form of expression

But it is also literally discrete, like recent quantum gravity field theories I may or may not have a hand in. My mind craves clarity, more so, it craves discrete caustic lines an planes. I would like to be like that every day. I want my heart to be in the inner of a particle accelerator bit-west two colliding high energy beams. All the crazy spins and flavor's of normal, charming, and even exotic sub atomic particles smashing apart, smashing together, twirling off in random spirals based on EM fields. That is who I am, not a particle reactor,

but every emergent self and extended phenotype aspect of my projects, world views, emotions, experiences, thoughts and behaviors.

Do you really want to see what I have seen when I was manic, I will make a brief outline, which barely does it justice, nor was the experience worth it in my mind

I saw reality

Across all multi scale layers of objective, subjective, abstract existance. Both perceived and externally existing.

Across all of these non-linear and semi-non empirical scales

Ontology categories of conscious awareness -5 Planc Quantized Wireframe -4 Subatomic Interactions -3 Electron Orbitals -2 Biochemical Interactions -1 Neurological Activity 0 Perception Input and basic awareness/dispersibility [(x n-1…n5) State of dissociation of whatever perceptual order or unconsciousness/dreaming] 1 Awareness of perception and SV 2 Awareness of perception in context or awareness of awareness -Xa Intrapersonal models 3 Awareness of self, regarding one's cognitive topography -Xb Allocentric models 4 Aware of a disruptive axiomatic shift recursively impacting various areas and fidelity of one's consciousness -Xc Global and Orbital Cyberphysical Memetogeographic Space -Xd Cosmology 5 Aware of a fundamental change in perception or PMC affecting POV. Shift in paradigm -Xe Uber Universes/5D+ EGC splines (ego/exo/allo) centric/ totality of EISOA over CT0-9

In the context of modular frames, of which I have objectively real working minimal level of knowledge in all of these domains, some reaching PhD levels of mastery

1 Technology

1 Applied Science/Applied Uses of TSECpm Phenomenon 2 ~Sustainable, Agricultural, Ecological and Environmental 3 Fabrication, Trade/Craft, and Intra/Inter Human Skill/Functionality 4 Military/Security/OMA7 5 Educational, Knowledge, Cognitive, Cybernetics, and Information, DT/PT 6 Electronics, Computers, Software, Spectrum, AI 7 Industries, Material Collection, Cyclical/NA: Supply Chains, Accounting 8 Skills, Fabrication, Synthesis, and Patents, Logistics 9 Civil, Nationality, Era, Civilian, State, and Structural 0 Future Technology/Other

2 Philosophy

1 Logic 2 Epistemology 3 Aesthetics 4 Politics 5 Dialectics, Critical Thinking, and Rhetoric 6 Ethics and Morality 7 Metaphysics and Ontology 8 Meta Linguistics 9 Applied Philosophy 0 Analytic Philosophy/Other

3 Engineering

1 Nuclear Engineering 2 Chemical Engineering 3 Biological Engineering/Medical Engineering 4 Environmental Engineering 5 Systems Engineering  and Cybernetics 6 Electrical Engineering 7 Mechanical Engineering 8 Industrial Engineering  9 Civil Engineering    0 Personal Engineering/Cognitive Engineering/Experience Engineering, ME0002/0013/0034/0049, Other

4 General-Cultural

1 Interactive Mediums/4, 3//Middle World IO MR Interaction/Hobbies/EISOA interactions 2 Geography, Culture, [[SMPH/ME 1/Experiment 0032 TSeCIVii|Experiment 0032 TSeCIVii]] 3 Occult/Niche Allusion/Metaphor 4 Physical, Mental, and Cognitive Skills 5 Day to Day Functionality, House Keeping, BH, and Normative and Exotic Behavior (Anomolies vs Normative Phenomena, timescale/PoF independent) 6 Law, Rules, Conduct, Ethology 7 Finance and Business/Institutions/VSM/States/Governing Bodies 8 Dynamic PPF+/-PoV, People of Interest, UJSF 9 Politics and Society – Collective Conscious Gestalt 0 UM, Pop culture/other, (**(almost) ALL EISOA can be contained in USF(EISOA Correlate))

5 Frameworks

1 Gestalt, Non Gestalt (AS/S)_, Spatial and/or Temporal Patterns, and Non-Modular and Modular Ontology, Shapes, Objects, Sounds,  Qualia Framed Experiences which can be Axiomatized (basically an intersystem link to 1, 1 to enable dual +y/1, 1 functionality) 2 PT/MR Mathematical and Mapping/Fields Competition and Game Theory, NWF (applying [[Experiment 0024 LoUtrix]] to 1, 1) 3 UJSF/Society and Culture/Cyberphysical Environments (EISOA cybersocial considertations) 4 TSECpm, +y/PT, Exocognition/LLM integration 5 Mindmap/MEs, and Modelling, Psychology/EISOA, Thought Traces/2, 5/AE/DABPAx (self imposed 3, 4 for the meta task of utilizing +y effectively) 6 Experiential and PMC/5, x /1, 1/3, 1/2, x/PE (1, 1-2-5-6/2, x subjective experience. MM08, x 7 IESOA, CABS, Frames, (OMA7), Fuzzy Logic, 3, 4/VSMs/SMPH Optimal Scheduling and [[Unsignificant Sentience/Mental Experiments/Experiment 0005 Chewing Gum Loading Dock|Experiment 0005 Chewing Gum Loading Dock]] [[SMPH/ME 1/Experiment 0058 Just in Time 1, 31, 5AE+Y|Experiment 0058 Just in Time 1, 31, 5AE+Y]] HMI workflow (EIOA on IS) 8 Language and Linguistics, Metaphor/SWHs, [[SMPH/ME 1/Experiment 0012 Fractal Cosmic Regression|Experiment 0012 Fractal Cosmic Regression]] 9 Cognition, Learning, and Experience/ 09, x 0 Axiomatic Systems, Perspective Theory/other, PoFs

6 Science

1 Physics 2 Astrophysics and Cosmology 3 Chemistry 4 Biology 5 Interdisciplinary/System Science 6 Health Sciences 7 Earth Sciences 8 Formal Science 9 Social Sciences 0 Other

7 Abstract Constructs, Functions, and Relationships

1 Set Theory 2 Ontology 3 Epistemology 4 Metaphysics 5 Digital/Cognitive Twins 6 Abstract Object Mapping 7 Abstract Object Manipulating 8 Elucidating Abstract Space into IS space and vice versa 9 Metaphysical Abstract Space Workshop, CA 0 Communicable and interactive Abstract Entities/Engineering of the Abstract

At the same time, world building a sci fi universe and multiple systems of systems that would be abstracted and logically patterned into some of the most influential books in human history.

The fourth book? You are a main character you wrote your own part you played. It is probably the first case of hypersituatal fictional historic non fiction that guided the development of humanity culturally and scientifically. I became a living fictive, I had all of my human rights removed, but not my natural rights.

When you see everything, you can change everything

I had reality fuck it's way into my brain and leave gaping wounds that have never healed. I can handle some rough love dear

Maybe one day I will be able to share the light show

[transgenderer]

Lewisite (L) (A-243) is an organoarsenic compound. It was once manufactured in the U.S., Japan, Germany[2] and the Soviet Union[3] for use as a chemical weapon, acting as a vesicant (blister agent) and lung irritant. Although the substance is colorless and odorless in its pure form, impure samples of lewisite are a yellow, brown, violet-black, green, or amber oily liquid with a distinctive odor that has been described as similar to geraniums.[4][5][6]

Apart from deliberately injuring and killing people, lewisite has no commercial, industrial, or scientific applications.[7] In a 1959 paper regarding the development of a batch process for lewisite synthesis, Gordon Jarman of the United States Army Chemical Warfare Laboratories said:

The manufacture can be one of the easiest and most economical in the metal-organic field, and it is regretted that no one has ever found any use for the compound. It is a pity to waste such a neat process.[7]

Lewisite is a suicide inhibitor of the E3 component of pyruvate dehydrogenase. As an efficient method to produce ATP, pyruvate dehydrogenase is involved in the conversion of pyruvate to acetyl-CoA. The latter subsequently enters the TCA cycle. Peripheral nervous system pathology usually arises from Lewisite exposure as the nervous system essentially relies on glucose as its only catabolic fuel.[10]

In biochemistry, suicide inhibition, also known as suicide inactivation or mechanism-based inhibition, is an irreversible form of enzyme inhibition that occurs when an enzyme binds a substrate analog and forms an irreversible complex with it through a covalent bond during the normal catalysis reaction. The inhibitor binds to the active site where it is modified by the enzyme to produce a reactive group that reacts irreversibly to form a stable inhibitor-enzyme complex

Pyruvate dehydrogenase is usually encountered as a component, referred to as E1, of the pyruvate dehydrogenase complex (PDC). PDC consists of other enzymes, referred to as E2 and E3. Collectively E1-E3 transform pyruvate, NAD+, coenzyme A into acetyl-CoA, CO2, and NADH. The conversion is crucial because acetyl-CoA may then be used in the citric acid cycle to carry out cellular respiration.[2]

it stops your cells from performing cellular respiration! by permanently breaking the enzymes! so fucked!

[andronicmusicblog]

Unleash Your Creativity with These Top Free Plugins and Freeware for Black Friday 2023

Music production tools are continuously expanding, providing a vast range of tools and techniques to create exceptional soundscapes. Although premium plugins and software often grab the attention, numerous freeware gems can elevate your production to new heights. This month, we have compiled a list of fifteen outstanding free tools that offer exceptional versatility and value, catering to a diverse range of musical needs.

We have compiled a list of the best online deals for Black Friday.

1. Tape It - Denoiser: Restore Clarity to Your Recordings

Background noise and unwanted artifacts can often hinder the pristine quality of your audio recordings. Tape It - Denoiser, a web-based tool, tackles this issue head-on, employing advanced algorithms to remove noise while preserving the integrity of your original signal. Its intuitive interface and straightforward workflow make it a breeze to use, ensuring that your audio shines through with newfound clarity.

tape.it

2. Outobugi - Dynastia: Multiband Compression Mastery

Multiband compression is an indispensable tool for achieving balanced and dynamic mixes. Outobugi - Dynastia, a free multiband compressor, provides exceptional control over your audio, allowing you to refine the dynamics of specific frequency bands with precision. Its flexible parameters and intuitive design make it a powerful addition to your mixing arsenal.

outobugi.com

Outobugi Dynastia free multiband compressor

3. BFD Drums - BFD Player: Unleash Realistic Drum Sounds

Drum sounds are the backbone of countless musical genres, and BFD Drums - BFD Player delivers a wealth of authentic and impactful drum samples. This free drum instrument features a vast library of meticulously recorded drums, cymbals, and percussion, offering a wide range of grooves and fills to enhance your productions. Its intuitive interface and versatile features make it a valuable tool for drummers and producers alike.

bfddrums.com

4. Ohm Force - Frohmager: Sculpt Your Soundscapes with Low-Pass Filtering

Low-pass filters play a crucial role in shaping the tonal characteristics of your audio. Ohm Force - Frohmager, a freeware low-pass filter, provides a versatile toolkit for crafting the desired sonic atmosphere. Its diverse range of filter types, modulation options, and customizable parameters enable you to create unique and evolving textures, adding depth and dimension to your sounds.

www.ohmforce.com

5. Samplab - TextToSample: Transform Words into Sounds

AI-powered tools are revolutionizing music production, and Samplab - TextToSample is a prime example. This innovative freeware application allows you to generate audio samples directly from text, transforming your creative ideas into unique sonic elements. Its simple interface and powerful algorithms make it an inspiring tool for experimentation and exploration, adding a touch of magic to your sound design process.

samplab.com

6. Surge: Wavetable Synthesis Versatility

Delve into the world of wavetable synthesis with Surge, a freeware wavetable synthesizer that offers a vast array of sounds and features. Its intuitive interface and comprehensive editing options empower you to create a wide range of textures, from classic analog emulations to futuristic soundscapes. With its extensive library of wavetables, oscillators, and modulation options, Surge provides endless possibilities for sonic exploration.

surge-synthesizer.github.io

7. Vital: Additive Synthesis for Unique Sounds

Embrace the power of additive synthesis with Vital, a freeware additive synthesizer designed for crafting unique and evolving sounds. Its intuitive interface and powerful synthesis engine make it easy to create a vast array of textures, from shimmering pads to complex lead sounds. With its extensive modulation options and comprehensive editing tools, Vital offers a versatile tool for sonic experimentation and sound design.

vital.audio

8. Tyrell N6: Warm Analog Emulation

Relive the warmth of classic analog synthesis with Tyrell N6, an emulation of the iconic Roland Juno-60 synthesizer. This freeware instrument captures the essence of the original hardware, delivering authentic analog sounds that evoke a sense of nostalgia and sonic richness. With its intuitive interface and emulation of the Juno-60's iconic chorus and arpeggiator, Tyrell N6 adds a touch of vintage charm to your productions.

u-he.com

9. Spitfire Audio - LABS: High-Quality Orchestral Sounds

Expand your sonic palette with Spitfire Audio - LABS, a freeware orchestral instrument that features a wide range of high-quality samples. This collection includes a variety of string, brass, and woodwind instruments, meticulously recorded in world-

labs.spitfireaudio.com

Have Fun!

[elliegoose]

just woke up from an absolutely WILD dream

dreamt my gf and i were visiting my family for the holidays and at one point we went to a garage sale where we found a massive analog synthesizer being sold for cheap. i bought it, and then a couple nights later when my gf and i were playing around with it, we discovered that it was magic and would transform the person playing it into various things depending on how you set the parameters of the synth and what notes you played.

so of course we spent all night figuring out how to tf myself into fern and my gf into her goblin sona lmao. turns out fern's synth was a steady, 95 bpm bass melody played on a patch with a couple layered octaves, some fm synthesis, and a lot of filtering and distortion and movement on lfos and other effects to make it sound like it was purring and growling. (the "reset switch" to un-tf yourself was just a B note at any octave played on a completely plain sine wave for 4 seconds twice).

i spent the rest of the dream just Doing Stuff and having a very good time as a cattaur, and it felt very visceral and real, and that whole half of the dream focused a lot on how it felt to move around in my new body. it was really, really cool, and i still feel all tingly remembering it.

now where can i buy this synthesizer i need it immediately please.

[ieisia]

Albert Hofmann

Swiss chemist known for being the first to synthesize, ingest, and learn of the psychedelic effects of lysergic acid diethylamide(LSD). Hofmann's team also isolated, named and synthesized the principal psychedelic mushroomcompounds psilocybin and psilocin.

Of his decision to pursue a career as a chemist, Hofmann provided insight during a speech he delivered to the 1996 Worlds of Consciousness Conference in Heidelberg, Germany:

Discovery of LSD

In 1929 Hofmann became an employee of the pharmaceutical/chemical department of Sandoz Laboratories (now a subsidiary of Novartis) as a coworker of Arthur Stoll, founder and director of the pharmaceutical department. He began studying the medicinal plant Drimia maritima(squill) and the fungus ergot as part of a program to purify and synthesize active constituents for use as pharmaceuticals. His main contribution was to elucidate the chemical structure of the common nucleus of the Scilla glycosides (an active principle of Mediterranean squill). While researching lysergic acid derivatives, Hofmann first synthesized LSD on 16 November 1938. The main intention of the synthesis was to obtain a respiratory and circulatory stimulant (analeptic) with no effects on the uterus in analogy to nikethamide (which is also a diethylamide) by introducing this functional group to lysergic acid. It was set aside for five years, until 16 April 1943, when Hofmann reexamined it and discovered its powerful effects. He described what he felt as being:

Three days later, on 19 April 1943, Hofmann intentionally ingested 250 micrograms of LSD. This trip was not as pleasant, as he said those around him appeared to become demons, furniture shifted into wicked creatures and he himself felt demonically possessed. This day is now known as "Bicycle Day", because he began to feel the effects of the drug as he rode home on a bike. This was the first intentional LSD trip.

Hofmann's research with LSD influenced several psychiatrists, including Ronald A. Sandison, who developed its use in psychotherapy. Sandison's treatment at Powick Hospital in England received international acclaim.

Hofmann continued to take small doses of LSD throughout his life, and always hoped to find a use for it. In his memoir, he emphasized it as a "sacred drug": "I see the true importance of LSD in the possibility of providing material aid to meditation aimed at the mystical experience of a deeper, comprehensive reality."

Further research

Hofmann later discovered 4-Acetoxy-DET, a hallucinogenic tryptamine. He first synthesized 4-AcO-DET in 1958 in the Sandoz lab. Hofmann became director of Sandoz's natural products department and continued studying hallucinogenic substances found in Mexican mushrooms and other plants used by aboriginal people there. This led to the isolation and synthesis of psilocybin, the active agent of many "magic mushrooms". Hofmann also became interested in the seeds of the Mexican morning glory species Turbina corymbosa, called ololiuquiby natives. He was surprised to find the active compound of ololiuqui, ergine (LSA, lysergic acid amide), to be closely related to LSD.

In 1962, Hofmann and his wife Anita Hofmann traveled to Mexico to search for the psychoactive plant "Ska Maria Pastora" (Leaves of Mary the Shepherdess), later known as Salvia divinorum. He was able to obtain samples of it, but never succeeded in identifying its active compound, which has since been identified as salvinorin A. In 1963, Hofmann attended the annual convention of the World Academy of Arts and Sciences(WAAS) in Stockholm.

[sylviwatches]

5 of the Best Winter Watches for Men in 2023

With every season, the fashion statement changes for both men and women. With the advent of the winter season, summer fashion takes a rest. Winter accessories play a pivotal role in winter fashion. The same goes for the winter watches for men. 

Now did you say that there are watches for men to wear in the winter?

Oh Good God! The answer is a big YES. 

Keep all your worries at a deep rest because I am there to help you out.

What are winter watches?

Trust me there is a great variety of men's watches to wear during the winter season. You just can't select any random watch and wear it during the winter season. I am here to help you to buy the best watch for men that would rock your winter fashion. 

Winter is about wearing warm clothes and keeping you covered. Hence your watch should be such that it is noticeable amidst warm clothes. 

When it comes to buying the best online watch for men in India, Sylvi is the most trusted brand. It has a wide variety of timepieces that would be nothing but perfect for your winter fashion. 

Feel proud to be a part of Sylvi’s customer as it contributes to ‘Make in India’. All the watches are made exclusively in India by the finest craftsmen. And this is the reason that it has 500,000+ happy customers. 

Let’s look into the types of watches appropriate during winter. 

Leather Watches

Stainless Steel Strap Watches

Chronograph Watches

Imperial Collection Watch

1. Sylvi Luxury Black Dial Brown Leather Belt Watch For Men - [Buy Now]

Sylvi luxury analog digital watch for men has a black color dial with a brown belt. It is a water resistant watch comes with an alarm and stopwatch.

As already discussed, winter is all about premium leather watches to adorn your fashion game. Sylvi is the best branded watches for men and I have selected the best leather watch exclusively for you. Nothing beats the charisma of a classic brown leather watch with a black dial. It's like such royalty that can never be beaten.

2. Sylvi Blue Casual Analog Chronograph Man's Watch - 3 Chrono - [Buy Now]

Watch for professionals, this Sylvi Classic Chronograph watch features a classic blue dial and leather strap. It comes with 3 chrono for hh, mm, and ss.

This watch is undoubtedly one of the most beautiful watches from Sylvi. The dial is intrinsically designed with traditional patterns and encrusted with white stones. The dial comes with different shades of blue and Chronograph sub-dials and a blue leather strap. This design is the perfect combination of an Indo-Western look that gives the ultimate touch of royalty. At an attractive discounted price of 729 INR, this is one of the best watches under 1500.

3. Sylvi Imperial Stylish Black Luxurious Daily Wear Men's Watch - [Buy Now]

Sylvi Imperial Black Luxury Fashion Men's Watch With Silver Case Sylvi’s elegant classic men’s timepieces are the ideal synthesis of aesthetically pleasing design and superior technical capabilities. They are perfect for confident, well-off individuals who want to highlight their uniqueness and sophisticated taste.

Mountains never go unnoticed so does the Imperial Collection from Sylvi. Black dial with mountain curves with silver Dauphine style hands that are polished and give a triangle form. It has a date display with a black leather strap. It also has a crown reset button and a deployment clasp and works perfectly with the Japanese Quartz Mechanism.

4. Sylvi Exclusive Working Chronograph Black Steel Belt Watch - [Buy Now]

A stunning chronograph watch with stopwatch feature designed by Sylvi. It has stunning blue dial, black belt and a rose gold case. It also has date display.

This black Chronograph is one of the best sellers from Sylvi. As mentioned above, stainless steel bands are extremely popular during the winter season. This has the most unique combination of the black and blue dial with rose gold hands and rose gold casing. The black stainless steel band is made with premium quality steel and has a Chronograph display.

5. Sylvi Atlantic Blue Premium Style Analog Digital Watch For Men - [Buy Now]

Sylvi Atlantic Blue Premium Style Analog Digital Watch For Men The Atlantic Blue analog-digital watch has a premium feel; also, it looks classy and represents your attitude. Spruce up your appearance with a Sylvi premium style watch and be the man of the moment.

Blue is the ultimate color of luxury and the icing on the cake is a blue stainless steel band. If budget is not your concern, this Analog Digital Watch is one of the best watches under 2000. It comes with a black dial and an Analog Digital rose gold display that looks so classic. It has the feature of an alarm, a stopwatch, and a date display. It is also scratch and water-resistant.

Winter is all about being festive and merry. This is a detailed guide to rocking your winter fashion handpicking exclusive premium watches for men.

So shine high amidst the crowd this festive winter season with the exclusive men’s watches from Sylvi and rock your fashion game!!!

[presswerk]

How to Download Roland ZENOLOGY

If you're a music producer seeking powerful and flexible synthesis tools, Roland ZENOLOGY is a must-have. Built on Roland’s ZEN-Core synthesis system, ZENOLOGY Pro is a fully unlocked sound design tool that offers incredible sound quality, efficiency, and deep customization options for creating inspiring new sounds. Whether you're using Windows or macOS, this guide will walk you through how to download and install ZENOLOGY, and highlight its key features that will elevate your production game.

Why Choose Roland ZENOLOGY Pro?

ZENOLOGY Pro offers a lifetime activation, giving you access to one of the most comprehensive and dynamic synth engines available in the market. It's not just about playing preset sounds; with ZENOLOGY, you can dive into deep sound design thanks to its multi-core synthesis and layered sound engine.

Here’s what sets ZENOLOGY Pro apart:

ZEN-Core Synthesis System: This ultra-flexible system allows you to combine multiple synthesis types, including oscillators, filters, amplifiers, and LFOs, providing virtually limitless sound creation potential.

Extensive Interface: ZENOLOGY features a resizable, clean, and intuitive interface. With multiple editing modes, users can tweak every aspect of their sound designs.

Multi-Part Sound Creation: Use up to four parts simultaneously, combining thousands of waveforms, 10 filter types, and 11 LFO shapes for unprecedented sound flexibility.

Stunning Effects: By blending powerful effects and deep modulation capabilities, you can create intricate, evolving soundscapes that will inspire any music project.

Technical Specifications

Before downloading ZENOLOGY, make sure your system meets the following requirements:

For macOS:

Operating System: macOS 10.13 or later

Format: VST3, AU

Hardware Requirements: Intel or AMD Multi-core CPU, 4GB RAM minimum

For Windows:

Operating System: Windows 10 or later

Format: VST3, AU

Hardware Requirements: Intel or AMD Multi-core CPU, 4GB RAM minimum

Step-by-Step Guide to Download Roland ZENOLOGY

1. Check Your System Compatibility

Before proceeding with the download, ensure that your computer meets the hardware and software requirements for ZENOLOGY. Make sure your OS is up to date and that your system has at least 4GB of RAM for optimal performance.

2. Visit the Official Download Page

To download ZENOLOGY, head over to the official product page via this link: Download ZENOLOGY Pro.

3. Choose the Right Version

ZENOLOGY is available for both macOS and Windows. Select the version that matches your operating system. You will be provided with a full unlocked version that includes lifetime activation, so there’s no need for further upgrades or additional purchases after downloading.

4. Install the Software

Once the download is complete, run the installation file. Follow the prompts to install ZENOLOGY on your computer. For macOS users, the plugin will install in the VST3 or AU format, while Windows users will install the VST3 format. Installation is straightforward and should only take a few minutes.

5. Activate ZENOLOGY

After installation, open your DAW (Digital Audio Workstation), and ZENOLOGY will automatically integrate as a plugin. When prompted, enter your activation code for lifetime access. Now you can dive into the ZEN-Core synthesis system and begin designing your sounds.

ZENOLOGY Pro: Unleashing Creativity

One of the standout features of ZENOLOGY Pro is its ability to handle complex sound designs with ease. Whether you're working on cinematic soundscapes or chart-topping electronic music, the ZEN-Core engine offers everything from traditional analog-style synth sounds to futuristic digital tones. You can experiment with layered synthesis, advanced modulation, and lush effects to create entirely new sonic textures that push your music forward.

For producers who value versatility, ZENOLOGY’s ability to manage up to four parts simultaneously opens up vast possibilities for blending and layering different sounds. The animated parameter controls give real-time feedback, helping you visualize changes in your sound design, which is crucial when crafting evolving, complex sounds.

Conclusion

Roland ZENOLOGY Pro is a game-changing tool for any producer looking to expand their sound design capabilities. With its rich feature set, stunning sound quality, and user-friendly interface, it’s an essential addition to your production setup. Download it today and start exploring the limitless possibilities of ZEN-Core synthesis!

[evelyu65fr]

How to Download Arturia – SQ-80 V (MAC Only)

Downloading and installing the Arturia SQ-80 V for Mac is a straightforward process, provided you meet the necessary system requirements. This powerful software synth is a faithful recreation of the classic 1980s digital/analog hybrid synth, known for its rich, versatile sound and advanced modulation capabilities. Whether you're a seasoned producer or a novice looking to explore vintage synthesis, the Arturia SQ-80 V is a fantastic addition to your toolkit.

Tech Specs

Before you begin the download process, it's essential to ensure your system meets the following technical specifications:

Software Type: Synth Platform: Mac, PC Upgrade/Full: Full Download/Boxed: Download Bit Depth: 64-bit Format: AAX, VST, AU, NKS, Standalone Hardware Requirements – Mac: 2.5GHz CPU or higher, 4GB RAM minimum OS Requirements – Mac: macOS 10.13 or later Manufacturer Part Number: 210935_Down

Key Features of Arturia SQ-80 V

The Arturia SQ-80 V is packed with features that make it a standout digital wavemaker synthesizer software instrument. Some of the key features include:

Faithful Software Recreation: This software is a meticulous re-creation of the cult-classic 1980s digital/analog hybrid synth, capturing its unique charm and versatility.

Digital Oscillators: It boasts 3 digital oscillators based on the original DOC chip, providing a robust foundation for sound design.

Emulated Analog Components: The software includes an emulated analog resonant lowpass filter, 4 emulated analog VCAs, and 3 LFOs, delivering authentic analog warmth and depth.

Modulation Options: Mix up to 2 modulation sources with the mod mixer, offering expansive sound shaping possibilities.

Built-in Arpeggiator: A 7-mode arpeggiator is built in, delivering instant '80s vibes and rhythmic creativity.

Master Effects: The software features 15 master effects with 4 FX slots across 2 busses, which can be configured in series or parallel, allowing for extensive sound manipulation.

Waveforms and Presets: Over 400 available waveforms and 200+ factory presets, including 40 original patches, provide a vast palette of sounds to explore.

MPE Compatibility: The SQ-80 V is MPE compatible, ensuring it integrates seamlessly with modern MIDI controllers.

Download and Installation Instructions

To download the Arturia SQ-80 V for Mac, follow these steps:

Visit the Download Page: Go to the official download page.

Check System Compatibility: Ensure your Mac meets the system requirements (macOS 10.13 or later, 2.5GHz CPU or higher, and at least 4GB RAM).

Download the Software: Click on the download link and follow the on-screen instructions to download the installer package.

Run the Installer: Once the download is complete, locate the installer package in your Downloads folder and double-click to run it.

Follow Installation Prompts: Follow the prompts to install the software on your Mac. You may need to enter your administrator password to complete the installation.

Launch the Synth: After installation, launch the Arturia SQ-80 V from your Applications folder. You can now begin exploring its powerful features and creating music.

Conclusion

The Arturia SQ-80 V brings the iconic sounds of the 1980s into your modern studio setup, offering a rich blend of digital and analog synthesis. With its detailed emulations, extensive modulation options, and robust feature set, this software synth is a must-have for any music producer looking to expand their sonic palette. Downloading and installing the Arturia SQ-80 V on your Mac is simple and will unlock a world of creative possibilities.

For more information and to start your download, visit Arturia SQ-80 V Download.

[kalapluginsoftwer]

How to Download KORG Collection 4 Bundle 2024

KORG Collection 4 Bundle 2024

Introducing the KORG Collection 4 Bundle 2024, the pinnacle of virtual synthesizer technology brought to life by one of the most revered names in the industry. This comprehensive bundle encapsulates the legacy of KORG's iconic synthesizers, meticulously recreated with cutting-edge precision and authenticity, to empower musicians, producers, and sound designers alike.

Unparalleled Synthesis Power

At the heart of the KORG Collection 4 Bundle 2024 lies a treasure trove of legendary synthesizers, each boasting its own distinctive sonic character and capabilities. From the timeless warmth of the ARP Odyssey to the futuristic textures of the Wavestation, every instrument in this collection offers a unique palette of sounds waiting to be explored and unleashed.

Modernized Interface, Timeless Sound

While the essence of each synthesizer remains faithful to its analog origins, the KORG Collection 4 Bundle 2024 introduces a sleek and intuitive interface designed for the demands of contemporary music production. Dive deep into sound design with enhanced controls, intuitive modulation options, and seamless integration with your preferred DAW, allowing for effortless creativity and workflow efficiency.

Expanded Features and Flexibility

In addition to the classic sounds that have defined generations of music, the KORG Collection 4 Bundle 2024 introduces new features and enhancements to push the boundaries of creativity even further. Explore expanded modulation possibilities, dynamic effects processing, and innovative performance features, all designed to inspire and empower musicians to realize their artistic vision.

Comprehensive Sound Library

With the KORG Collection 4 Bundle 2024, you gain access to a vast library of presets curated by renowned sound designers and artists. Whether you're searching for lush pads, searing leads, thunderous basses, or ethereal textures, our meticulously crafted presets provide a wealth of inspiration to fuel your creativity and elevate your productions to new heights.

Future-Proofed Compatibility

The KORG Collection 4 Bundle 2024 is engineered to seamlessly integrate with modern production environments, ensuring compatibility with both Mac and Windows platforms, as well as leading DAWs and plugin formats. Whether you're a seasoned professional or just beginning your musical journey, you can trust in the reliability and performance of KORG's legendary synthesizers.

Unlock the Power of KORG Collection 4 Bundle 2024

Join the ranks of visionary artists and innovators who have shaped the landscape of modern music with the KORG Collection 4 Bundle 2024. With its unparalleled synthesis power, modernized interface, expanded features, comprehensive sound library, and future-proofed compatibility, this bundle is the ultimate tool for unleashing your creativity and making your mark on the world of music.

[lngaut1]

Getting your research project started

Investigating frontier synthetic methodologies to total synthesis of bioactive molecules

Nature is a rich bio-organic chemist. Uncovering the nature is my research interest. Design, discovery and development of structurally interesting, efficient, versatile and new synthetic transformations followed by detail mechanistic study are more challenging. Organic synthesis is a useful tool to access both natural and designed molecules. I am technically a synthetic organic chemist, a designer of tools to build molecules. The biological studies of these molecules lead us to an atomic-level understanding of how to design molecules with desired properties. The skills and experiences, I achieved from extensive research in organic synthesis1-4 and phytochemistry5-9, will provide me plethora of investigative options for cutting age novel reactions design and total synthesis of active targets.

The development of synthetic strategies and discovery of novel synthetic methodology will led me for the semi synthesis and total synthesis of biologically active/inactive natural products. Besides, it explores the synthesis of structural analogs and the study of origin of biological activities.

References:

N-heterocycles synthesis, Organocatalysis, Organometallic synthesis

Org. Biomol. Chem. 2013, 11, 1917-1920.

Org. Lett. 2011, 13, 2618-2621.

Tetrahedron 2011, 67, 4402-4411.

Adv. Syn.Cat. 2011, 353, 2584-2588.

Chem. Eur. J. 2010, 16, 8605-8609.

Nep. Jour. Sci. & Tech. 2011, 12, 312-317

Scientific World, 2008, 6, 6, 27-32.

Nep. J. Sci. Tech, 2007, 8, 129-136.

Scientific World, 2005, 3, 3, 22-28.

[cartel-software93]

Arturia Pigments 4 Full Version Download

Unlock a universe of sonic exploration and unleash your musical genius with Arturia Pigments 4 Full Version! Dive into a world where innovation meets expression, where sound design knows no bounds, and where creativity flourishes without limits. As a leading software company at the forefront of musical innovation, ExtraPlugins proudly presents the latest evolution of the acclaimed Arturia Pigments synthesizer.

With Arturia Pigments 4, you're not just getting a synthesizer – you're gaining access to a powerhouse of synthesis capabilities meticulously crafted to empower musicians, producers, and sound designers alike. This full version download brings you an array of cutting-edge features, enhancements, and performance improvements, ensuring that your musical journey is as seamless as it is exhilarating.

Delve into the heart of sound sculpting with an unparalleled array of wavetable, virtual analog, and sample-based synthesis engines. Seamlessly blend and morph between waveforms, effortlessly sculpting sounds that transcend the ordinary. From rich basslines to ethereal pads, blistering leads to atmospheric textures, Arturia Pigments 4 offers a sonic palette limited only by your imagination.

But the innovation doesn't stop there. With the addition of groundbreaking new features such as Harmonic Filters, Compressor Soft Clipping, and enhanced Modulation capabilities, Arturia Pigments 4 pushes the boundaries of what's possible in the world of synthesis. Explore new sonic territories, experiment with unconventional techniques, and redefine your approach to music production with every twist of a knob and flick of a switch.

Join the ranks of musicians and producers worldwide who trust Arturia Pigments to bring their creative visions to life.

[undersmusic]

Creating a Dynamic DnB Bass Synth in Serum: A Step-by-Step Guide

Introduction: Welcome to this in-depth tutorial where we'll guide you through the process of crafting a powerful and dynamic bass synth using Serum. In this tutorial, we'll focus on the latter part of a bass loop that incorporates its own melody and sound changes without relying on automation. This Serum-based design is part of our commitment to learners in the Serum Design Course, offering an exclusive preset called "NB Tear Up." Let's dive into the details of this bass synthesis.

1. Setting the Foundation: Oscillator Configuration Begin with an initialized patch in Serum. Disable the sub-oscillator and focus on two oscillators. Oscillator A uses the "Analog BD Sin" for a plain sine wave, subtly tuned down and octave lower. Oscillator B employs the "Basic MCB" wave, a saw wave setting, tuned down two octaves. The interplay between these oscillators adds depth and character to the sound.

2. Unveiling the Subharmonics: Frequency Management Analyzing the Channel EQ, observe how Oscillator A generates the fundamental harmonic, complementing the kick drum frequency. Oscillator B contributes subharmonics, enriching the overall texture. Frequency management is crucial for preventing clashes and ensuring each element has its space.

3. Nasty Factor: Filter Manipulation Introduce a filter to add a touch of aggression. By increasing resonance, an unpleasant yet controlled harmonic is created. Channel EQ reveals the harmonic's emergence only when notes are triggered. The modulation of this harmonic during faster note sections is achieved using LFO2, syncing it to the BPM for precise control.

4. Modulation Magic: LFO2 and Filter Control LFO2 is linked to the filter's cutoff frequency, causing it to pulse up and down. Inverted and synced to one bar, this modulation introduces a unique character, especially during rapid note transitions. The LFO anchor ensures consistent synchronization with the global position.

5. Voicing Essentials: Mono and Legato Enable mono and legato voicing to allow smooth transitions between overlapping notes. This ensures a seamless flow, crucial for achieving the desired melodic and rhythmic expression.

6. Transforming to Mono: Ensuring Compatibility Switch the bass sound to mono, making it compatible and consistent. Use your DAW's capabilities or plugins like the Gain plugin to achieve mono compatibility without sacrificing the ripping and tearing sound.

7. Adding Depth: Hyper, Dimension, and Unison Enhance the sonic landscape by incorporating hyper and dimension effects. Introduce Unison with a heavy mix, adding depth and movement to the sound. Although caution is advised to prevent phasing issues, setting up in mono ensures compatibility.

8. Taming the Aggression: Distortion and Modulation Use distortion, particularly Diode 1, to control the aggressive frequencies. Modulate the distortion frequency with LFO1 to synchronize with the sound's dynamics. This modulation adds texture, especially during faster note sections.

9. Room Vibe: Controlled Reverb Surprisingly, apply a controlled amount of reverb to solidify the sound. Envelope 2 manages the reverb mix, allowing the sound to develop on longer notes while remaining subtle during rapid note changes.

10. Final Touch: Stereo Transformation Witness the transformation from mono to stereo, emphasizing the overwhelming depth and richness of the bass synth. The completed sound, now featuring drums, showcases the versatility of the crafted bass.

Conclusion: Craft Your Unique Bass Synth By following these steps, you've learned how to create a dynamic bass synth that evolves with its melody and sound changes. Experiment, tweak, and apply these principles to sculpt your unique bass sounds in Serum. Whether you're a learner in the Serum Design Course or an enthusiast, the NB Tear Up preset is available for download, allowing you to explore and integrate these techniques into your own productions. Happy crafting!

Download This Preset and Dozens More in The Xfer Serum Masterclass