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Dry cleaning isn’t actually dry. Your clothes go into a machine with a liquid solvent (not water) that dissolves oils and stains, then the solvent is filtered and the clothes are gently dried.
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I don’t have the tetris effect I have the trans-game effect that i’m also calling cult of the lamb effect, where I expect to be able to roll in other 2D games sometimes and forget I can’t, or after playing zelda games forget I have to manually jump in other games and just fall.
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Why are people comparing secret of the mimic to poppy playtime when it’s much more like Outlast? Like yeah there’s the straightforward chase scene, but there’s also the primary mechanic of hiding and sneaking and lockers going on. Literally just add a video camera and everyone would be calling it an Outlast clone.
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I haven’t played Peak yet but it’s such a funny thing for a video game to call itself in this day and age. Like that was a hundred percent deliberate and you can’t tell me otherwise and I love how it’s so subtle that in a hundred years no one will notice and it will possibly be a funny anecdote about the game that some niche historian will describe, like “Did you know this title is actually a subtle joke at the time? Peak was actually a slang term for a work of art that was considered perfect, so calling their game that was a subtle nod to that fact.”
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My husband trying on one of my wigs. Masculinity, intact. Cuteness, sky high. Desire to call himself a woman, unthinkable. He’s so perf.
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reflections on percussion project, after recording day, 3rd april (edited for clarity)
never thought i’d be tracyifying early 1900s music ……. so thats a lil funny. or maybe not?
enjoying practicing notation / ways of being flexible/whimsical/visual with it.. at the end of the day music is sensory information, interpretive - it’s not a frivolous or secondary thing
[it’s] funny how indifferent to theory i was in the past - i’ve come to notice over time that:
- a lot of what theory is a lot of the time is a recognition of patterns in emotional /psychological response to sound,
- then giving language and framework to that.
- theory wasn’t the problem, but how it’s taught –
- anyone that teaches theory with enough selfawareness understands it’s largely just tools and methods with significance that’s contingent and changing with context, culture, time etc.)
but also, learning to embrace the slow grind of developing skill as its own practice and not holding it to that immediate feel-good of just making something that sounds good .. the freedom that knowledge/ skill allows you if approached in the right way.. lesson i learnt from a volleyball anime
it’s easy to wish my early exposure to music was like this, but it is what it is and we’re here now.
at same time it was really valuable for me to have been so in touch with music on the senses and feelings level the way i was/am, and to have accessed these ways of existing and intuiting via that. Having that to anchor to now and forever. ..
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a little challenge was working with a session musician and, of course, it’s a new person - so it’s normal to not know their style of working/communicating. so it was a bit like figuring this out at the same time as recording the piece. tricky when the feeling/delivery of the piece is more central > playing straight notes
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ravel percussion arrangement process notes, and how to make things work when your theory foundations/stave reading is slow
1 + 2）going back to basics, harmonic possibilities in the key
3) to make it easier for me to experiment with the piece, i’d name notes for parts of the original that i was drawn to work with (motifs, harmonic material i liked). an initial example from the original:
i’d then do what i did in image 3, then feel the chords out on the piano..
this would lead to these initial chords of my arrangement:
i liked the feeling of stripping it back (also for the sake of meeting my skill level where its at/writing for an unfamiliar instrument), but preserving interesting or unexpected dissonances/harmonic moments. the simple foundations let these moments breathe
i more or less followed this process for the bulk of my percussion arrangement. other notes:
- feels like: introspection, fiddling with an instrument in a sparse room or something, then over time the sound takes more structure, specificity.. the dissonant moments play into that
- obviously considering vibraphone range/playability
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Check out the latest episode of the Solidarity Podcast. The latest about the City of Fort Lauderdale and some big Teamsters victories in South Florida.
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