I work in kitchens, and most of the job revolves around approximation of different measurements. For example, the goal is to 'cut' a perfect 6oz steak, but due to margin of error a 5.7oz steak is just as good as a 6.3oz steak. With practice, this 'cut' becomes a subconscious feeling and thus easier to approximate to a more precise degree of consistency. Although with mashups we strive for the least amount of 'cuts' as possible, the feeling I think is very similar. I base my structure off of the Kubrickology already existent. 2001 (134 minutes) related to DSOTM*3 (129 minutes) is still within the margin for error regarding a perfect 'cut', but it seems there is something to be said about the relationship of closer approximations, one you've illustrated in the past is Harry Potter Deathly Hallows Part 2 (130 minutes), and I have also found Hobbit: The Unexpected Journey (129 minutes) and Tommorrowland (130 minutes) work surprisingly well, ad infinitum. If this is the case, it seems there is a heightened connection considering the extent of the length of the relationship of mashups is endured. You could possibly loop a single song 50 times but it doesn't particularly have the same impact as a collection of different songs on loop 3 times or perhaps less. This can be simplified with a mashup I consistently use and I'm sure you've experimented with, which is DSOTM+The Wall+Echoes. Utilizing the Meddles version of Echoes, this gives a 140 minute playtime still within the margin of error to 2001's 134 minute playtime. The selection of the Echoes version of Echoes contrastingly gives a playtime of 147 minutes which is a closer margin of error alongside The Shining's 146 minutes. I believe there are different thresholds of impact and that specifically the 144 minute interval may somehow relate to the speed of light (as 144,000) and the crossing of this boundary. 42 is inherently figured in this, and thus the idea of 42 minutes.
I was listening to an older Always Record episode you appeared on in which you said 2001 is one of those films you can explicitly remember from childhood. The most impactful in my childhood were the movie "Castaway" (144 minutes) and the album "Electric Ladyland" which when looped twice is 147 minutes. The mixing of Electric Ladyland is not great, but it still lends to the idea that this lost/uninhabited island which is also the land of electricity and furtherly, media, is the same place we journey towards under the influence of synchronicity.
I was a bartender, so I can relate to the uncanny feel that is acquired.
even after a five hour rush, more often than not, I could guess the total sales within ten dollars. This serves us well in these waters.
Film/album syncs that require no edits are like Prime Numbers. Film/album syncs that rearrange soundtracks or edit any part of the video or music are Numbers.
They all are part of the same set of phenomenon, but Primes are part of a separate set. These are syncs that no one can claim ownership of. They are not created, they are discovered.
Primes do not have any other factors besides one and itself. Logos and itself.
Numbers often have multiple factors. One is always included, but the one true logos must contend with multiple mitigating factors. This leads to corruption and propaganda.
Propaganda is not evil, or inherently bad, it is just that the priority is local concerns. Political, financial, attention, etc.
The Logos is always pure, non-local. When you are in the presence of Logos, you are elevated into a new environment.
Propaganda pushes you into different environments. Thus the need for multiple cuts, edits, etc.
The Logos between Sound and Vision = reality is made of language.
The Propaganda between Sounds and Visions = The Ego is made of language
Human manipulation of Sound and Vision disturbs the freedom of each, causing them to ultimately collapse into its most base form: television, the cube
So the collapse of reality creates a very small environment (TV compared to Internet), and this environment is the quintessential mutatation of logos into propaganda.
Notice the language and content on public television vs language and content of radio.
Side note: the one major sync that I did explicit edits with is called The Black Lodger. This is for a very obvious reason.
One, it says I am not innocent. I visit that space. But if you set up camp there, and your goal is to curry fame and fortune? Good luck 🍀
Press play when Spice is on the air
ReplyDeleteI work in kitchens, and most of the job revolves around approximation of different measurements. For example, the goal is to 'cut' a perfect 6oz steak, but due to margin of error a 5.7oz steak is just as good as a 6.3oz steak. With practice, this 'cut' becomes a subconscious feeling and thus easier to approximate to a more precise degree of consistency.
ReplyDeleteAlthough with mashups we strive for the least amount of 'cuts' as possible, the feeling I think is very similar.
I base my structure off of the Kubrickology already existent. 2001 (134 minutes) related to DSOTM*3 (129 minutes) is still within the margin for error regarding a perfect 'cut', but it seems there is something to be said about the relationship of closer approximations, one you've illustrated in the past is Harry Potter Deathly Hallows Part 2 (130 minutes), and I have also found Hobbit: The Unexpected Journey (129 minutes) and Tommorrowland (130 minutes) work surprisingly well, ad infinitum.
If this is the case, it seems there is a heightened connection considering the extent of the length of the relationship of mashups is endured. You could possibly loop a single song 50 times but it doesn't particularly have the same impact as a collection of different songs on loop 3 times or perhaps less.
This can be simplified with a mashup I consistently use and I'm sure you've experimented with, which is DSOTM+The Wall+Echoes. Utilizing the Meddles version of Echoes, this gives a 140 minute playtime still within the margin of error to 2001's 134 minute playtime. The selection of the Echoes version of Echoes contrastingly gives a playtime of 147 minutes which is a closer margin of error alongside The Shining's 146 minutes. I believe there are different thresholds of impact and that specifically the 144 minute interval may somehow relate to the speed of light (as 144,000) and the crossing of this boundary. 42 is inherently figured in this, and thus the idea of 42 minutes.
I was listening to an older Always Record episode you appeared on in which you said 2001 is one of those films you can explicitly remember from childhood. The most impactful in my childhood were the movie "Castaway" (144 minutes) and the album "Electric Ladyland" which when looped twice is 147 minutes. The mixing of Electric Ladyland is not great, but it still lends to the idea that this lost/uninhabited island which is also the land of electricity and furtherly, media, is the same place we journey towards under the influence of synchronicity.
I was a bartender, so I can relate to the uncanny feel that is acquired.
Deleteeven after a five hour rush, more often than not, I could guess the total sales within ten dollars. This serves us well in these waters.
Film/album syncs that require no edits are like Prime Numbers.
Film/album syncs that rearrange soundtracks or edit any part of the video or music are Numbers.
They all are part of the same set of phenomenon, but Primes are part of a separate set. These are syncs that no one can claim ownership of. They are not created, they are discovered.
Primes do not have any other factors besides one and itself. Logos and itself.
Numbers often have multiple factors. One is always included, but the one true logos must contend with multiple mitigating factors. This leads to corruption and propaganda.
Propaganda is not evil, or inherently bad, it is just that the priority is local concerns. Political, financial, attention, etc.
The Logos is always pure, non-local. When you are in the presence of Logos, you are elevated into a new environment.
Propaganda pushes you into different environments. Thus the need for multiple cuts, edits, etc.
The Logos between Sound and Vision = reality is made of language.
The Propaganda between Sounds and Visions = The Ego is made of language
Human manipulation of Sound and Vision disturbs the freedom of each, causing them to ultimately collapse into its most base form: television, the cube
So the collapse of reality creates a very small environment (TV compared to Internet), and this environment is the quintessential mutatation of logos into propaganda.
Notice the language and content on public television vs language and content of radio.
Side note: the one major sync that I did explicit edits with is called The Black Lodger. This is for a very obvious reason.
One, it says I am not innocent. I visit that space. But if you set up camp there, and your goal is to curry fame and fortune? Good luck 🍀