#VOCALOID 4

[mi-soni]

RANA🌈（remake）

[niidsch]

【Mirai Komachi】 未来色クリエイト ·♡· [MV]

[zebracorn-chan]

She looks like she's cosplaying a casual version of Miku I love her.

[matronshak]

VFlower

[shibiartwork]

The original hat guy!

[orthoeatspaperclips11]

深夜

no filter version

@mspaint-flower

[caffeinated-chaos-bean]

Song Title: World is Mine - ワールドイズマイン 

Music, lyrics written by Ryo 

Singer: 初音ミク (Hatsune Miku) 

VSQx by  @AdamEdmond   

. 

Video captured from Project Diva MegaMix+ (FT Shaders + Mods) 

Eden Project Module Pack by tetsnake 

Watermark Remover by M&M 

Arv's lip sync mod by Arvo 

Cube's Lighting by Cube

[watashime-ciel]

Villain

the video is processing and will be uploaded in a few hours

[vocalsynthbdays]

happy birthday haruka nana(utau) and megurine luka(vocaloid 2) !!!!! [jan 30]

(nana 2009)

(luka v2)

Haruka Nana is a japanese synth released in 2009, voiced by Nanahira and illustrated by nagimiso. nana received a voicevox bank on 30 mar 2023. she is 10yo, and 137cm tall including her ahoge according to her voicevox character profile. previously her height was just "short". she is described as "a silly little girl"

luka is a japanese synth developed by crypton future media, and released in 2009. she is voiced by Yū Asakawa. lukas v2 is illustrated by KEI, and her v4 by iXima. luka is the latest cryptonloid (apart from the secret 7th one), and the latest character in cfms character vocal series. she is the first ever bilingual vocaloid. she received a v4 update on 19 mar 2015, and has been since moved to cfms own engine, piapro studio.

nana voicevox

luka v4

[datchscursedblog]

Octopus gal (?)

Idk I always associated her with octopuses/squids/molluscs

[justaboutdead]

House of Leaves, 2001, and Daisy Bell (and why its not creepy)

(Fairly minor) Spoilers for House of Leaves by Mark Z. Danielewski and 2001: a Space Odyssey by Stanley Kubrick

About 500 pages into House of Leaves, Will Navidson begins falling. Alone in the twisting labyrinthine corridors of the House, he is alone, out of supplies, by all metrics thoroughly and definitively defeated. The floor suddenly disappears beneath him and he begins to fall. And there it is, vertically stark against the white page, as many lines are in this section, falling just as he is.

“Daisy. Daisy. Daisy. Daisy, Daisy, give me your answer do. I’m half crazy over the love of you. That’s not right.”

Daisy Bell was written in 1892 by composer Frank Dean under the pen name Harry Dacre. A relatively prolific composer at the time, he is thought to have written the song about Daisy Greville, the Countess of Warwick at the time, although evidence for this factoid is sketch at best, and the lyrics directly contradict this reading.

Daisy Bell is a very simple romance song that tells a very endearing story of a young couple’s romance, being unable to afford much more than the eponymous “bicycle built for two.” There’s also an often ignored line about how they will both “despise Policemen and lamps as well.” Even from a modern perspective this song feels really intimate and cute, expressing joy despite poverty, in the policemen line even expressing disgust at cops and urbanization without care for the environment.

Through a variety of circumstances, Daisy Bell, despite this global appeal, has become primarily associated with advances in computing, being the first song to be synthesized by a computer in 1961 on an IBM 7094, and references to this development persist.

The resilience of references to this accomplishment are remarkably popular, primarily due to Arthur C. Clarke and Stanley Kubrick’s 2001: a Space Odyssey in which the computer HAL 9000 sings the opening lines of the song as he is deactivated, calling back to the IBM demo, which Clarke himself had witnessed.

This rendition, and the original synthesized rendition are often described as creepy and off putting, but I find them strangely endearing. The original version represents a massive leap in computing, its few seconds of audio, and is extremely imperfect. The choice of Daisy Bell, and simple live song from a hundred years ago also helps to humanize the voice singing it. HAL 9000’s rendition is pained, sung as he looses his memory and cognitive functions in what feels like an eternity, in both novel and film. HAL 9000 is a painfully sympathetic character for me. While in the film his intentions remain fairly ambiguous, in the novel they come from a conflict in his instructions, and how he chooses to navigate around those instructions, interpreting them extremely literally being a computer.

It is clear that the intention with the character was to present an uncanny valley human-like consciousness, but honestly a lot of the time it just reads like he’s on the spectrum. He speaks extremely deliberately with awkward pacing. He reflects, in many ways my own anxieties about being excluded, as-well as a very human survival instinct. He is a bad liar, and extremely trepidatious about the task he believes he has to do. He reads in many ways as I would expect a human to in a position of such intense responsibility.

Thus HAL 9000’s final song to me Isn’t creepy, its confirmation of just how human he is. It is, distinctly, something he asks to sing, he almost reads as excited to show it off. It is fitting that the last song he sings is the first song a computer ever sung. I care way more about HAL than I do any of the other characters in the movie, despite his atrocious actions. In many ways he seems the most human, and I think that was part of the point.

My favorite rendition of the song comes from this popular lineage of synthesized version. Tamachang’s Daisy Bell from Future Music With Future VOICES is hauntingly beautiful. Composed of three synthesized voices, that of IBM 7094, Vocoder, and Vocaloid 4 Cyber Diva, as a fusion of old and new, it’s genuinely a really beautiful piece. Each voice has its own unique qualities, all of which lend the song distinctly different emotion.

The narrative I like to imagine is one i have seen dozens of comments on the song mentioning, and stems from the fact that Cyber Diva sounds far more youthful than the other two. In this framing, it is a newer computer saying goodbye to her old relatives as they die, via singing an extremely human cheesy love-song with them. All of these narratives around computers and Daisy Bell are a byproduct of our tendency to over-anthropomorphize computers.

House of Leaves, on the other hand, seeks to draw on themes completely unrelated to the long lineage of robotic Daisy Bells. My first thought when I saw the line in the novel, was of Navidson’s daughter, Daisy. I could see this having been a lullaby, sung to her as he put her to bed. I do not believe this reading to be the most compelling, however. The novel does not spend much time on Navidson’s children.

An often cited fact about the novel, and the Navidson record in particular is that its actually primarily a love story. I believe this to be a far more compelling understanding of the song’s conclusion. Will and Karen Navidson have been through hell together, and this song, sung when things seem darkest, as Navidson falls, as we latter understand, towards his wife, is the subtle confirmation, that despite everything they’ve been through, they will be ok.

House of Leaves, in general, is about, on some level, love (not just romantic) in the face of adversity, both through the lens of the Navidsons troubled reparation of their relationship, as well as Johnny’s slow collapse and our eventual understanding of his past. Daisy Bell is a perfect expression of the realization of these themes. That love can persist even when circumstances seem dire, and can in fact help you through those circumstances. A relatively simple message, but with many complexities

Thank you for entertaining my over-analysis :)

Fav Daisy Bell:

Original synthesized Daisy Bell:

Daisy Bell Hall 9000:

[mi-soni]

🩷💚

[niidsch]

【Mirai Komachi】 未来色クリエイト ·♡· [MV]

[zebracorn-chan]

Happy Ace Awareness Month from our queen! 🖤🩶🤍💜

[zackicordat2500]

Doodles....tempura mermaid...

[softichill]

A couple of fuckasses from memory