Fractal Culture
Back inside the final Industrial vision, before the future actually hit, there was a lot of desperate posing.
Fractal Culture, expected from fractal mathematics ala Gleick, or the seminal book by Mandelbrot, or the many swirlies...but which had been written about best as a culture perhaps in Gibson, was an idea of fractalicious future consciousness depicted in jumpy editing and hand held cameras.
Our attention span beset by such diversity of subject with so much coding and over-coding and under-coding, that overwhelmed, we would be stunned.
The collective, incremental coordination of the disposing of "paperwork mentality" has already occurred.
There is a crescendo, yet, in this case as it is new, the crescendo slowly ascends, losing those whose computing power is not merely rated in megaflops per second, but in collusion with group goals, for instance, the taking over of another Nation's internet.
Or, maintaining a double internet, internet 2, wherein, slowly the intelligence staff sifts the population into this control group, and those others, say allowed to face the ultimate void of total "self and identify" identification without internet 2 stunts.
And whatever freedom in this voidy, the isolation, can be mediated by this Virtual-Remote-Interactive-Avatar.
Why not..but, what that is bound by is the total amount of time one spends with media.
Driving, talking to family, the quotidian eating, sleeping, yet, very little looking around for very long, until media is engaged. Listening to music while driving.
Talking with family online, or through the phone, with eating and sleeping and actions that dont fit into that always in media paradigm of today and less varied into yesterday, such as opening eyes.
Actually having the time to record in full such actions. Not edited down to the dramatic pace...but these bits of action having full coverage, this can be a squelchable factor. Nipping the header and footer, even.
The, a sequence probably having multiple transitions from the camera swarm, ...which as a sequence would be
Waking up, which is rising from supine. Sitting up or sitting on edge of bed...about the same frequency for the same moment.
Immediately, fiddling with media of some greater variety than just splitting the moment of action in two, is the lifting up the hand held, or reaching out to the clock radio, turning on the light, all fiddling with covers.
That is a three swarm sequence. A swarm of 24 cameras.
Thats a range of 6 motions for each. Starting after the first one, just as a methodology in action. With other methodologies mentioned in previous articles.
Walking while holding a media device, or not, to the bathroom.
Walking not holding a media device into hallway
Walking, not holding, into other room.
Back inside the final Industrial vision, before the future actually hit, there was a lot of desperate posing.
Fractal Culture, expected from fractal mathematics ala Gleick, or the seminal book by Mandelbrot, or the many swirlies...but which had been written about best as a culture perhaps in Gibson, was an idea of fractalicious future consciousness depicted in jumpy editing and hand held cameras.
Our attention span beset by such diversity of subject with so much coding and over-coding and under-coding, that overwhelmed, we would be stunned.
The collective, incremental coordination of the disposing of "paperwork mentality" has already occurred.
There is a crescendo, yet, in this case as it is new, the crescendo slowly ascends, losing those whose computing power is not merely rated in megaflops per second, but in collusion with group goals, for instance, the taking over of another Nation's internet.
Or, maintaining a double internet, internet 2, wherein, slowly the intelligence staff sifts the population into this control group, and those others, say allowed to face the ultimate void of total "self and identify" identification without internet 2 stunts.
And whatever freedom in this voidy, the isolation, can be mediated by this Virtual-Remote-Interactive-Avatar.
Why not..but, what that is bound by is the total amount of time one spends with media.
Driving, talking to family, the quotidian eating, sleeping, yet, very little looking around for very long, until media is engaged. Listening to music while driving.
Talking with family online, or through the phone, with eating and sleeping and actions that dont fit into that always in media paradigm of today and less varied into yesterday, such as opening eyes.
Actually having the time to record in full such actions. Not edited down to the dramatic pace...but these bits of action having full coverage, this can be a squelchable factor. Nipping the header and footer, even.
The, a sequence probably having multiple transitions from the camera swarm, ...which as a sequence would be
Waking up, which is rising from supine. Sitting up or sitting on edge of bed...about the same frequency for the same moment.
Immediately, fiddling with media of some greater variety than just splitting the moment of action in two, is the lifting up the hand held, or reaching out to the clock radio, turning on the light, all fiddling with covers.
That is a three swarm sequence. A swarm of 24 cameras.
Thats a range of 6 motions for each. Starting after the first one, just as a methodology in action. With other methodologies mentioned in previous articles.
Walking while holding a media device, or not, to the bathroom.
Walking not holding a media device into hallway
Walking, not holding, into other room.
Its sorta like taking the Sims, but making each action individual and different.
Adding a real talking simulator. Maybe just comments being read by actors...and this file recorded, yet sometimes ill fitting, though being delayed...aligned to coincide with the expressions on the faces of the Sims.
That is a kind of robotic presentation...using the Sims to model better, the actual spontenaity of humanity to some degree and with greater eloquence, but without much plotting or the amount of plotting you can get away with in the Sims...more than my puny imagination could think of right now.
Yet, this is a kind of sub program for the Game Show. In the game show the players interact, and create a kind of duplicate model to the Sims interaction.
However, there is not enough violence in the Sims, and the Sims does not have a cutaway to a Game Show set.
The game show set taking up most of the show time.
However, the sims sub program must include a wider range of actions per previous program, include speech and emotional expression on the faces, this transcends any licensing associations.
Simulations of action could suffice as a tag, but the Sims is a good example of a program of human simulation.
Lacking actual humanity until now, as it is simulated, even situated into a more television like product, as its animation can be Mocapped in live.
Or, at least faked to be mocapped in live.
Adding a real talking simulator. Maybe just comments being read by actors...and this file recorded, yet sometimes ill fitting, though being delayed...aligned to coincide with the expressions on the faces of the Sims.
That is a kind of robotic presentation...using the Sims to model better, the actual spontenaity of humanity to some degree and with greater eloquence, but without much plotting or the amount of plotting you can get away with in the Sims...more than my puny imagination could think of right now.
Yet, this is a kind of sub program for the Game Show. In the game show the players interact, and create a kind of duplicate model to the Sims interaction.
However, there is not enough violence in the Sims, and the Sims does not have a cutaway to a Game Show set.
The game show set taking up most of the show time.
However, the sims sub program must include a wider range of actions per previous program, include speech and emotional expression on the faces, this transcends any licensing associations.
Simulations of action could suffice as a tag, but the Sims is a good example of a program of human simulation.
Lacking actual humanity until now, as it is simulated, even situated into a more television like product, as its animation can be Mocapped in live.
Or, at least faked to be mocapped in live.
That is the model in which time is broken into smaller bits, and in the case of all footage, capable of being slowed down on demand.
Its possible the motion is captured live, but the point is the show can go on autopilot: one can sit back and relax and watch the show, then go back to the start, mocap again, and change the course of the show.
The Interstitial, wherein, even in this case there are transitions, from one set of motions to the other, as a set of multiple camera sets up in another set.
So, eyes first, then waking up sequence occurs, stops, and then standing up and going to hallways starts. These two sets of action-sequences are different, they can be tuned, or even produced there on the spot (as mocapped).
Then, each one on auto pilot, but not as a response to the live mocap, the sequence that then follows, that could follow from mocapping, is from a list of eight versions or acts of the Actions...so the first eight actions can relate to the next eight actions...while inside, there is a variety of subsets of eight.
It actually simple to visualize in other than writing:
Opening Eyes, 12345678
scene
Geting up
A From Supine, 12345678
+
B Moving cover, 12345678
X
AReaching to clock/radio
or
AReacing for hand held (then, all sets of moving with hand held until hand held is put down)
Resulting in a three steps within the second group. The third group, lets say, going first from Moving Cover to Clock Radio...these things are not randomized, yet, they are not totally free of influence yet.
But, the story goes on in these moments of interaction to being so much in mocap, actually building the story to try to achieve a goal.
Meanwhile, the player can do research by watching a lot of auto modes, but the goal sometimes changes then.
So, in auto pilot mode, the improvisational construction has this kind of field of variables: Each Moment can have on motion or more.
Each moment has a interstitial break in time.
The grain of the interstitial can be simply how much time in implied that is not there to create a transition from action to action. How big is the gap.
There was a Jarmusch movie that played with this...
And, it had the kind of rhythm that Ozu's...well, Ozu's transition I think are a bit longer.
But the point is the interstitial regions forms a kind of counter space. A negative space into which can be inserted more interpolation.
And, this can scale up so that a larger order of a gap, say, instead of 10 frames, its one year, other variables can added. But lets talk of the small gap.
Its possible the motion is captured live, but the point is the show can go on autopilot: one can sit back and relax and watch the show, then go back to the start, mocap again, and change the course of the show.
The Interstitial, wherein, even in this case there are transitions, from one set of motions to the other, as a set of multiple camera sets up in another set.
So, eyes first, then waking up sequence occurs, stops, and then standing up and going to hallways starts. These two sets of action-sequences are different, they can be tuned, or even produced there on the spot (as mocapped).
Then, each one on auto pilot, but not as a response to the live mocap, the sequence that then follows, that could follow from mocapping, is from a list of eight versions or acts of the Actions...so the first eight actions can relate to the next eight actions...while inside, there is a variety of subsets of eight.
It actually simple to visualize in other than writing:
Opening Eyes, 12345678
scene
Geting up
A From Supine, 12345678
+
B Moving cover, 12345678
X
AReaching to clock/radio
or
AReacing for hand held (then, all sets of moving with hand held until hand held is put down)
Resulting in a three steps within the second group. The third group, lets say, going first from Moving Cover to Clock Radio...these things are not randomized, yet, they are not totally free of influence yet.
But, the story goes on in these moments of interaction to being so much in mocap, actually building the story to try to achieve a goal.
Meanwhile, the player can do research by watching a lot of auto modes, but the goal sometimes changes then.
So, in auto pilot mode, the improvisational construction has this kind of field of variables: Each Moment can have on motion or more.
Each moment has a interstitial break in time.
The grain of the interstitial can be simply how much time in implied that is not there to create a transition from action to action. How big is the gap.
There was a Jarmusch movie that played with this...
And, it had the kind of rhythm that Ozu's...well, Ozu's transition I think are a bit longer.
But the point is the interstitial regions forms a kind of counter space. A negative space into which can be inserted more interpolation.
And, this can scale up so that a larger order of a gap, say, instead of 10 frames, its one year, other variables can added. But lets talk of the small gap.
Lets take that out and examine it...the transition not there, from the waking up to the hallway, is change in camera angle to another set.
Are necessary for processing within the moment, but also providing a streaming moment to stop or pause, and in a role playing game moment, this is where each player begins, briefly.
But then they must be combined.
Combining the separate auto pilot actions is actually re forms or uploads each model into one space.
Whose space is it? Random.
However, once everyone is in, that is a processing problem that is different.
Then, they break away on occasions back to their own ongoing sets, which are run perhaps (by Mocap choice being a frequent sudden breakaway) as a single person watching their own tv show that can then join another tv show.
So, one could transition from the Sims into Call of Duty, with still having a house back at the Sims.
And, the artificial people bots and so on, the AI running the theater of the other people if, and sometimes mixed in of course, the player gets into the game as mocap, or, directs, by some point of pause in the interstitial, their avatar to go on auto pilot and join, or remain.
One can find oneself restarting the game and being somewhere totally bizarre....however, they can load the last save, and go back.
So do we have a question for how to coordinate those going back.
The question involves how is the camera work on auto pilot or, even, how does camera also subdivide into each action. One can dial up or program a setting, or maybe even have a slower or faster camera work command.
However, the camera at default would work like this:
Some randomizing
From dividing the moment into a first, then second, then third camera, offset yet gravitating around a 180 axis around a characters head.
As the sequence stacks more actions, the camera will decrease in constructing three parts and do two parts, then four parts, then eight parts total, for perhaps a longest sequence of actions within a Character's Cardinal act.
The way the cameras cut from each other is changing the angle, but other inputs would activate the moving. And so would emotional cues, such as notes in genre, keywords spoken, voice modulation, posture.
This divided in itself by Decorum
Decorum being how fixed into the environment one is.
Then, how long is one likely to be.
Then how interactive must the environment be (on ice? during a rainstorm?)
Then matching gestures in comparison to previous actions...
This creates cameras that jump about, that pop in and out with the same rhythm.
Genre and "tone" and decorum cues create a subset of executions, slower then slowing down, to cut to the next shot being still...then it moving slightly, right before the next transition.
These are created by User choice, as in Romantic/scifi/comedy/action/opera/squirrels/eels/12oobc.
Are necessary for processing within the moment, but also providing a streaming moment to stop or pause, and in a role playing game moment, this is where each player begins, briefly.
But then they must be combined.
Combining the separate auto pilot actions is actually re forms or uploads each model into one space.
Whose space is it? Random.
However, once everyone is in, that is a processing problem that is different.
Then, they break away on occasions back to their own ongoing sets, which are run perhaps (by Mocap choice being a frequent sudden breakaway) as a single person watching their own tv show that can then join another tv show.
So, one could transition from the Sims into Call of Duty, with still having a house back at the Sims.
And, the artificial people bots and so on, the AI running the theater of the other people if, and sometimes mixed in of course, the player gets into the game as mocap, or, directs, by some point of pause in the interstitial, their avatar to go on auto pilot and join, or remain.
One can find oneself restarting the game and being somewhere totally bizarre....however, they can load the last save, and go back.
So do we have a question for how to coordinate those going back.
The question involves how is the camera work on auto pilot or, even, how does camera also subdivide into each action. One can dial up or program a setting, or maybe even have a slower or faster camera work command.
However, the camera at default would work like this:
Some randomizing
From dividing the moment into a first, then second, then third camera, offset yet gravitating around a 180 axis around a characters head.
As the sequence stacks more actions, the camera will decrease in constructing three parts and do two parts, then four parts, then eight parts total, for perhaps a longest sequence of actions within a Character's Cardinal act.
The way the cameras cut from each other is changing the angle, but other inputs would activate the moving. And so would emotional cues, such as notes in genre, keywords spoken, voice modulation, posture.
This divided in itself by Decorum
Decorum being how fixed into the environment one is.
Then, how long is one likely to be.
Then how interactive must the environment be (on ice? during a rainstorm?)
Then matching gestures in comparison to previous actions...
This creates cameras that jump about, that pop in and out with the same rhythm.
Genre and "tone" and decorum cues create a subset of executions, slower then slowing down, to cut to the next shot being still...then it moving slightly, right before the next transition.
These are created by User choice, as in Romantic/scifi/comedy/action/opera/squirrels/eels/12oobc.
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