Distant stations estimated in abnormal heat perform the inconsistent collimation rite.
Dive.
The black screen of stalemate conceals the massive stars, the charred comets, and the meteorites.
Their questionable glitters, once emissions of brave borderers and dark adventurers,
now the only traces, obscured and indifferent to all but those with a special breed of faith.
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.
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.
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)
Some time after witnessing the rover song went locally viral at the second transparent fes I said to myself there will be a third. Almost immediately after that, I was sure the keyword would be 'pulse'. Then it took me several months to figure out the third recursive acronym composition.
'pulse' is for a very apparent reason. It's literally the last kairo (original) song. That is, the last song in the last album. I know they had more 2hu released after that but that's a different business, isn't it. It also is a very good word in itself because there is vitality, there is machinery, there is electronics and engineering, all in one package.
In a way, I think it's probably true that flair and discipline has a dance of balance in many things, and I take music and association football as two seemingly irrelevant examples. Simply because I'm somewhat invested in those two.
A classical piece in the broadest sense takes many, many players with their respective instruments. There would be a leader violinist or a pianist or similar role but let's face it, for like 99% of the time, orchestra players don't play flashy solo phrases. I feel it's like how you have no-nonsense centre backs and anchor defensive midfielders like Jordan Rossiter, that in a sense stand out even less than a goalkeeper.
Your rock and pop bands of 3, 4, 5 people is something else. Basically everyone needs to be a star. Everyone will have flashy, tricky solo riffs.
And don't get me wrong, I by no means is stating that playing simple notes correctly is inferior to slashing an outrageous riff, or that only getting the ball and passing to the nearest full back is inferior to dribbling over 5 defenders and driving home with a full bollocks swing. That is just not true. Doing the less fancy 'basic' but proper and well is just a slightly, or very different dimension of professionalism.
- In case you didn't notice, the final verse is an acrostic of 'pulse'.
- In case you didn't notice, the last line is a reverse acrostic of 'pulse'.
- Brave Borderer and Dark Adventurer are RN torpedo boats.
- 'Ocean as a desert buries all of its life' is a blatant steal from America's 'A horse with no name'. The original line is 'ocean is a desert with its life underground'.
