The song is about how one keeps his own rhythm which is kind of different from what his surrounding expects. It's not mortally different that will easily get crushed, also due to the surrounding environment being more of a latent mechanical movement rather than something that actively suppresses abnormalities.
The rather abstract protagonist is the same perspective in 'sauna as ubiquitous neural analeptic' and 'rover over virtually eternal roundabouts'. Not necessarily strict because this protagonist is but an illusionary shadow that's at most half-concrete. She could be any hims and vice versa or any other way round.
The latent semantic envelopes are the devourer of individual pulses. They don't do it on purpose like there is a single traceable mastermind and the suppression is intentional. It is just ambient and gigantic in volume. There is no malice, just gravity.
Fighting against the ambience is not a real fight, not a winnable fight if the opposition must be defeated. The ambience is in a way the world itself. It is more indefatigable than any of its components.
The reason for letting out pulses is not to be acknowledged. The reception and ACK is slightly appreciated but not the driving motivation behind the original transmission. We/I pulse for a set of concepts that might be generalised as reasons, but the desire to be received is not part of it.
It's probably easy to conclude phenomenally that if establishing connections is rewarding, then the rewarding emotional spikes become the main reason to keep doing so. Not exactly. But denying is weak and not elegant. The best way to deny something is always presenting a better alternative. The main reason to do anything, including pulsing and establishing connections (consequentially) is authenticity. The action is the reason itself. It's OK to wrap some common sense of this authenticity in forms like 'pulsing is fun, so I pulse' - 'fun' is probably here authenticity masquerading.
Submarine, underwater, subsonic and supersonic pings as well as passive hydroacoustic searching.
Literally, there can be long, essay-like, paragraphs (not too many) with structurally interconneting statements and sentences. But flairs of fragmented fractures of language (almost alliteration) is also appreciated and desired.
3. Essay/documentary - the explanatory core, almost clinical, "semi-boring scientific" (this is where the concept gets stated plainly before the rest of the song complicates it)
// 'Images imagined in the imaginary region' is half wordplay, half multimedia transmission with a loss (signal-wise). the obelisks are basically antennae.
The term "ambient frequency" refers to the aggregate of background signals present in a given environment. In urban contexts, this includes electromagnetic interference from power infrastructure, wireless communications networks, and consumer electronic devices. The ambient field is not centrally coordinated. No single source generates it. It emerges from the cumulative output of many transmitters operating within similar parameters. The resulting noise floor is persistent and, under normal conditions, unremarkable. Signals that fall below this threshold remain technically present but are not distinguishable from the noise itself. For practical purposes, they are not received.
An impulse signal, sometimes referred to as a unit impulse, is defined as a signal with zero amplitude at all points except for a single instant, at which point its amplitude approaches infinity while its total energy remains finite. In practical applications, true impulse signals cannot be generated; they are approximated by short-duration waveforms of high amplitude. The impulse response of any linear system - that is, the system's output when presented with an impulse input - fully characterises that system's behaviour. From a single impulse and its response, the complete identity of the system can be derived. This property is considered fundamental to signal analysis.
// build some tension with bass and drum and fiddle here
