wank: initial commit

wip/pulse.md

@@ -26,7 +26,7 @@ Literally, there can be long, essay-like, paragraphs (not too many) with structu
 1. "Surface." - the breach, the fever-dream opener
 2. Instrumental - let the image settle
 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)
-4. Instrumental - going into the poemic verses
+4. Instrumental + fragments - the logic starts dissolving
 5. Poem-ic verses - emotional density, maybe climax, maybe not
 6. P-U-L-S-E 5-liners - trademark closer, acrostic constraint
 7. Instrumental outro
@@ -38,10 +38,12 @@ Literally, there can be long, essay-like, paragraphs (not too many) with structu
 ```cpp
 // Opener
 Surface. 
-The equilibrium of silence between the static magnetic noise, the watery planes, and the optical waves.  
-Blurred and mangled electronic signs over the outbound informational motorway.
-Distant stations estimated in abnormal heat perform the collimation rite.
+The equilibrium of silence between the static magnetic noise, the watery planes, and the optical waves
+blurring the electronic signs over the outbound informational motorway.
+Images imagined in the imaginary region of the protruding obelisks many kilometres away
+from this here expanding entropy killing various variables as abnormal heat usually may.
 // think a submarine surfacing at night to do some radio comms as the starting point, then infuse it with a fever dream
+// 'Images imagined in the imaginary region' is half wordplay, half multimedia transmission with a loss (signal-wise). the obelisks are basically antennae.
 
 Dive.
 The black screen of stalemate conceals the black stars, the black comets, the black meteorites
@@ -55,9 +57,9 @@ now the only traces, obscured and indifferent to all but those with a special br
 
 // The pseudo documentary narration, half-blended into the background music
 // in a metalingual sense the music is the background noise and the narration is the signal with a low SNR. Or one could consider the roles swapped. 
-The noise floor of a receiving environment is the aggregate of all background signal energy present across a given frequency band at any instant. In urban contexts, primary contributors include electromagnetic emissions from power distribution infrastructure, wireless communications networks, and consumer electronic devices. The noise floor is not centrally coordinated; no single source generates it. It emerges from the cumulative output of many independently operating transmitters, each functioning within its own parameters, whose combined effect is persistent and largely uniform. Under standard conditions, this background level is treated as a fixed baseline rather than a variable of interest. Signals whose amplitude falls at or below this baseline remain physically present in the medium but cannot be distinguished from the background by a receiving system, and are not considered recoverable.
+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 of low significance under normal circumstances. Signals that fall below this threshold remain technically present but are not distinguishable from the noise itself, and are not considered practially receivable. 
 
-An impulse signal, also referred to as a unit impulse, is defined as a signal with zero value at all points in time except a single instant, at which its value is notionally unbounded, subject to the constraint that its total integrated area equals unity. In practice, true impulse signals cannot be physically produced; they are approximated by short-duration, high-amplitude pulses of sufficient bandwidth. The impulse response of any linear time-invariant system — that is, the output produced when an impulse is presented as input — fully characterises that system's behaviour under any subsequent input. In the absence of any input, a system at rest produces no output and exhibits no properties that distinguish it from any other inactive system. From a single impulse and its measured response, the complete transfer function of the system can be derived. This property is considered foundational to systems analysis.
+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
 
@@ -68,23 +70,16 @@ Acoustic aberrations dissipate
 // sahb - duwd - sao - nihk - skay - lahrs - vehk - tahr - rayz,
 // (ah - ) kaws - tihk - ax - bahr - ray - shaxns - dihs - sah - payt
 
-// --- stanza: the receiving end ---
-// the rover is also a receiver. dual nature - emitter and listener.
-// signals arrive occasionally. sparse, not a stream.
-// the rover knows others were lost - not reported, but inferred from being a transmitter yourself.
-// what arrives gets a grin. brief. acknowledging the crossing, not the content.
-// what didn't arrive is genuinely unknown. not mourned. the protocol doesn't carry that information.
-// tone: observational, not mournful. emotion doesn't assert itself - detectable only if you're paying attention.
-// could be more than a couplet. give it room if it needs room.
-// rhyme: lax, not strict. sonic texture matters more than scheme.
+Spectral broadcast lossy with a narrow sight
+No perceived replies per design
+// needs further tweaking
 
 The ocean as a desert buries all of its life
 Deck the shell with a perfect thermocline
 // (thax - ) ao - sheh(n) - naes - ax - deh - zahrt - bah - riys - ao(l) - lahv - ihts - layf
 // (dehk - thax - ) shehl - wit - ax - pahr - fekt - thahr - mow - klayn
-// 'deck the shell': intentional vagueness between 'decorate the outer shell' and 'knock on the border surface'.  
 
-Light dims and dies in the rover's eyes
+A dim light dies in the rover's eyes
 Or the next one could never come otherwise
 // Thoughts: 'the light dies' because a pulse is mostly dormant you wanker. You have to let the light die so it lights up again, simple as
 

wip/wank.md

@@ -0,0 +1,31 @@
+# it's not ideal to wank in public spaces, unless publicly
+
+## outline
+This song is about why it's probably not ideal to wank in public spaces and why it's probably even a bad idea. Or not.  
+To be less cryptic, I want to try to tackle the glorious problem of how much one should be open about his own unpopular opinion (not as your usual conversation padding) in front of other human beings.  
+My take is that first you ignore other human beings as much as you can. Then voila.  
+
+If I write a song elaborating grand moral doctrines and assertions, it won't be a song no more. It'll be a boring, boring propaganda which will still appeal to those I don't intend on appealing to.  
+So instead of getting the big words out one by one I want to go extremely low on the ground. Half buried in it even.  
+
+## construction area
+
+browsing through the favourite porn site is your  
+profession, passion, devotion, and chore  
+to reach that perfectly balanced, legally dubious  
+30 seconds of physiological and psychedelic  
+outburst.  
+
+the exhausted materials are not exactly  
+below par once applied and  
+you deeply know that too.  
+still the expedition for more kicks off  
+at the there or thereabouts of the clock  
+most if not all of the days.  
+
+it's the blind faith in encountering  
+something different and in the top bin  
+even when a thousand out of ten times  
+the results are but repetitions and impersonations  
+to an effigy of nonsense that won't even  
+glance the softest of woodworks