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waitmyturtles · 7 months

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I Feel You Linger in the Air, episode 7. Tee Bundit, BACK on his bullshit. The episodes keep getting better.

Ooooooh, I am so full with this episode that I'm not sure I can conjure meaningful anaaaaalysis per se, so let me just yelp at a lot of the themes and elements that I took note of that I really appreciated seeing, and I hope this comes together.

So many oppressed people in this story. Fong Kaew, forced to marry to Robert, will stay with him to investigate the crimes against her family (FK was a TEN in this episode). Maey, sold into prostitution and abused. Eaeung Phueng (EP), likely arranged in marriage to Robert before Fong Kaew came on the scene. Nara, the character in the book that Yai reads to Jom, forced into marriage for her family's livelihood. Yai, comparing himself to Nara, talking about his own oppression vis à vis filial piety -- knowing that if he were to live his truth, he would be the reason for his family's ruin, as was hinted towards again and again in this episode.

Yai says to Jom, "if I had the opportunity to choose my own path, I would just want to spend time with the person I love." Even for a privileged individual like Yai -- his life, just like that of a servant in 1920s Chiang Mai, is prescribed for him. His path is determined. He must lead a straight and narrow life for the sake of his family's present and future.

Jom's life is also, interestingly, prescribed for him as a servant. Despite Yai's love for him, Yai has MANY competing pressures. Yai must dance with Uncle Dech's daughter at his father's promotional party. We are assuming now that that daughter will be Yai's future arranged bride. Yai also must see Jom as his servant, because -- well, Jom's his servant, and Yai asks Jom to continue playing with little Lek because, well, that's Jom's job. Jom clearly has already had enough of having his life prescribed for him -- we already know from earlier episodes that he wants Yai to think about the rights of the servants, and whether or not servitude is even ethical. But.... Yai's a son of 1920s Chiang Mai, and is just not there in his thinking yet.

The adults, very clearly, are also not progressive. They're the dinosaurs that get criticized so often in progressive Thai television (cc: so many of Jojo Tichakorn's works, and the GMMTV Midnight series from earlier this year). But -- the adults are also living their prescribed lives to earn and preserve the power, as Uncle Dech says to Yai's dad, that they've gained from generations past. Uncle Dech warns Yai's dad to keep tabs on anyone in his life that may take a path that risks Yai's dad's career. He asks Yai's dad: "Do you think that Yai is different from the past?"

I want to offer a small clown theory here, as my friends @lurkingshan and @neuroticbookworm both stated that "different" in this case might mean just that Yai is gay, which is highly likely true. However, I read that line the first time as meaning that Yai may have been caught in the past trying something out with someone (and my second clown theory is that that someone is Yai's dad's butler, Chan). I wonder if that's connected to Yai's hesitance about getting physically closer to Jom during the oil scene.

And: boy. That oil scene. DUUUUUUUUUUUUUUUUUUDES. MY HANDS. WERE SLAMMING. THE TABLE. NONKUL. ATE. THAT SCENE. WOW WOW WOW WOW WOW. (And I believe others are writing about the INSANE cinematography of looking at your beloved in mirrors, which happened a lot in this episode. STUNNNNNNINNNNGGGG.)

Nonkul as Jom is communicating just BRILLIANTLY without as many words as we'd expect. Jom's horny, baby -- before he time traveled, he was without his boyfriend, Ohm, for two years. And as a modern gay man, he might be used to things moving a little more quickly and openly, as the acceptance of queerness in modern days is so very much more open (but not entirely legal) in modern Thailand. Yai's certainly inexperienced, but I also read that he's fearful, and hesitant for his position and his future to feel totally comfortable in being open with Jom -- at least until the end of the episode, where (CLEARLY, I HOPE) they run back to the house in the rain and.... ya know. And: considering Yai's considerable immaturity in grabbing Jom at inopportune times to be caught (including within snooping lines of other servants, like LITTLE MISS GOSSIP CHASER, get outta here), Yai's likely going to be the reason as to WHY they'll eventually get caught and punished. And: considering Yai's station vs. Jom's station -- it might be Jom who gets a more severe punishment.... as the show hinted at at the very start of the episode.

(I need to stop my unwinding on the episode for a sec to meditate on a Tee trend. I just want to give him a big hug for this. I'm honestly not sure if Yai's dad, played by Nu Surasak, will change to accept Yai and his lesbian daughter, EP. But remember: Nu Surasak started out as a VERY unaccepting father to Gene in Lovely Writer. And he just ate that role, god, including the dad's revelation to Gene that he, too, was a queer man who struggled with acceptance and had to end a relationship because of the times he lived in, in which living and loving openly as a queer man wasn't acceptable and even safe. I see this theme as one that Tee likes treading; to choose a classic BL elder in Nu Surasak to take this role means a lot. Again, the history of this show will likely not allow Yai's dad to take Gene's dad's path, but this is clearly something Tee likes to play around with.)

Whew. Okay, more. I love when Jom kinda rolled his eyes at Yai during the apology scene in the house -- it is clear that Yai's really inexperienced at all this, and Jom, before time traveling to the 1920s, has had experience, in sex and relationships. I read in that slight exasperation (that melted into love, mind you) that Jom really needs Yai to get his head outta the damn books, and to pay attention to what's in front of him -- which Yai is not doing, as Yai continues to take risks in being with Jom out in the open.

But, dang it. While I was SCREAMING at the dudes to STOP dancing and making out in the open, god, WHAT A SCENE THAT WAS ANYWAY. An acceptance fantasy of dancing in front of their community. Their family and friends clapping in happiness to accept them. (Remember the wedding in Cherry Magic? The joy of having your community celebrate your love. I had so many crying face emojis to share in that moment, watching Jom and Yai dance.)

GOD. Tee covered A LOT IN THIS EPISODE. Secret love, for the ill-fated lesbian couple at the start of the episode, for Jom and Yai, for EP and Maey. Keeping your personal secrets secret for your safety. No hope of acceptance or openness. The literal threat of life lost. The threat of the loss of power among the powerful parental generation. Fates made by parents -- Yai prescribed into marriage, Maey prescribed into prostitution. EP needing to fight Robert at every angle for her own existence. The desire for acceptance. The way GOSSIP is used to harm people, for power, or (in a servant's case) maybe out of misplaced trauma for the servant's OWN station. And more, and more.

I am watching Tee with my Lovely Writer hat firmly on, watching him do a LOT with a LOT, seeing it continue to succeed well into a series, and being VERY hopeful about it. This show is SUMPTUOUS, and is not stepping away from what it needs to handle to tell a holistic and historical story of acceptance, and of Jom's fear and need to protect himself -- which he very well may not be able to do. Let's see what Tee and his source material can conjure for us. I love Only Friends, I do, I do, but IFYLITA is the show I'm looking forward to the most right now.

#i feel you linger in the air #ifylita #ifylita meta #i feel you linger in the air meta #bright rapheephong #nonkul chanon #brightnonkul #jom x yai #yai x jom #yaijom #nu surasak

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lurkingteapot · 7 months

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I feel you linger in the air หอมกลิ่นความรัก Ep 7

This episode was both incredibly beautiful and incredibly, INCREDIBLY anxiety-inducing – I was waiting for the other shoe to drop right up to the moment the credits rolled. The realities of Khun Yai just not clocking servants as people were never quite as obvious as when he repeatedly insisted on variations of "nobody's here" "nobody's going to see" on a property FULL of people, and it did not help my apprehension.

I loved the way the intimate scenes were filmed! Moey and Ueangphueng and what I'm pretty sure was Ueangphueng switching into Northern Thai (which most of the servants speak and I don't think we've heard any of the family speak yet) was so sweet and I was so worried. And Jom and Yai … whoa. The way expectations/interpretation of Khun Yai's request that Jom rub oil on his back differed so much between them — Jom with his 21st century background clearly expecting it to go somewhere, Yai either just not thinking that far or chickening out. The way they intercut Jom's memory with the masturbation scene … man, this episode is gorgeous. Same with the dance scene at the end of the episode. The framing, the way it's shot … incredibly pretty. And then! the kiss and the eye contact and the silent agreement? that tiny, decisive nod?? WHOA. I've seen half-naked make-out scenes that weren't as charged as this. Incredible.

I'm ever more worried for next week because it looks like Ueangphueng and Moey are going to get in bad bad trouble :(

Lastly: as I've been told some people enjoy them, my live watch notes are under the cut.

This is in Thonburi? did Thonburi get mentioned before?

oooh so it's a news story.

"there's nobody here, no-one will see" incredible how Khun Yai just doesn't seem to see servants as people even when he's in love with one

the peekaboo framing is making me so nervous

that was a pretty modern story at the time the story played out, huh. published in the 1920s …

Jom's face is like told you so

annnd now he's said it

Ming my MAN

I love you so much Ming, and Prig, too

and they're like "fuuuuck they're in trouble"

MY FAVOURITE LESBIANS please let that scene earlier on this ep not have been foreshadowing, please, PLEASE

the intimacy of Ueangphueng switching into gammueang to reassure Moey!!

oh, this is a good kiss I really like how they both were so searching going in

oof those are some gnarly scratches? whip marks?

Ueangphuengggg don't make her retraumatise herself for your curiosity, ffs

Ueangphueng, you DID ASK

oh, this is a lovely way of expressing just how sensual an action that was. Gorgeous, and incredibly well acted imo

ahaha Yai chickened out, huh. or got overwhelmed by the horny radiating off Jom. He IS just a kid.

afsdfasdfsd these shots are really framed for maximum horn, huh.

SOMEONE's not used to being a servant, and the ones who ARE will definitely gossip about that

oh man, Yai, you're not helping

I can get ZERO read on how old Lek is supposed to be, because he LOOKS 10 but ACTS 5

Mingggg!

coming right out with the "it's about Khun Yai, right?"

Jom, Ming's your friend and on your side and you better get him in on this so he can help

a is that a ZIPPER?? on a KNITTED GARNMENT? what in the anachronism

ooof

Ueangphueng is so prettyyyy

oh this is gonna go wronggggg

"do you mean 'to the party' or 'here'?" I kind of like uncle Dech despite him being clearly dangerous, at least he doesn't, idk, beat around the bush

aaaah Ming, Moey is asking about herself, too

Moey, ILU. "it's normal, just being treated as though it's not"

Ming really has it hardest, poor boy

asasfadsfadsf Yai could you NOT cause a scene, tf

this is so annoyingggg I wish these boys would THINK, Khun Yai especially

he just!! STORMED OUT!!! people are gonna come looking! wtf is he DOING!

OH that cutscene holy shit this is EERIE. them in the quiet echoing hallway, with everyone looking on.

god this episode is artistic af

oh thank f someone in the background moved, the way they're all still makes it WORSE

oooh oh no now I'm sad

they're dreaming, huh? of everyone smiling and cheering them on. when it's not going to be that, in reality.

aasdfasdfasd he's RAPPING???

oh that's a KISS, wow

boys please get a literal room but WOW I do like this, even if it's probably-definitely going to blow up in their faces

god, the silent question and tiny nod!!!!!

#I feel you linger in the air #ifylita #หอมกลิ่นความรัก #ifylita ep 7 #bl watch liveblog #my nonsense

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jgthirlwell · 1 year

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2022 Year In Review

This year once again I invited some friends and colleagues to reflect on 2022

JG Thirlwell

Composer Foetus Xordox Manorexia Steroid Maximus Venture Bros Archer www.foetus.org

2022 was a marathon year. I took on too much work, but somehow got through it. It challenged me. I played some excellent shows in Woodstock, Los Angeles, Orlando and NYC. Reconnected with Soft Cell at the Beacon. Reconnected with Sarah Lipstate. Wrote a ton of new music for Archer and a Venture Bros movie. Taught a class on film scoring at the New School. I still woke up 5am in a panic on too many occasions. And I saw some great concerts.It was difficult to whittle down this list but here are a lot of albums I enjoyed in 2022, in no particular order.

Tyondai Braxton Telekinesis (Nonesuch) Zeal & Ardor Zeal & Ardor (MVKA) Papangu Holoceno (Bandcamp) Extra Life Secular Works Vol 2 (Bandcamp) Carl Stone Wat Dong Moon Lek (Unseen Worlds) / Gall Tones (Unseen Worlds) / We Jazz Reworks Vol 2 (We Jazz Records) Louis Cole Quality Over Opinion (Brainfeeder) Ben Frost 1899 OST (Invada Records) Loraine James Building Something Beautiful For Me (Phantom Limb) Persher Man With The Magic Soap (Thrill Jockey) Anna Meredith Bumps Per Minute (Moshi Moshi) Sault Air (Forever Living Originals) The Smile A Light For Attracting Attention (XL) Shamblemaths Shamblemaths 2 (Apollon Prog) Julia Wolfe Oxygen (Cantelope) Heiner Schmitz’s Symprophonicum Sins & Blessings (Big Band Records) Burial Antidawn EP / Streetlands EP (Hyperdub) Gotho Mindbowling (Controcanti Produzioni) Oliver Coates The Stranger OST Gilla Band Most Normal (Rough Trade Records Ltd) Blanck Mass Ted K OST (Sacred Bones) Arcade Fire WE (Interscope) Yeah Yeah Yeahs Cool It Down (Secretly) Catarine Barbieri Spirit Exit (light-years) Felicia Atkinson Image Language (Shelter Press) Netherlands Kali Corvette (Three One G) Kemper Norton estrenyon (Zona Watusa) Elysian Fields Once Beautiful Twice Removed (Ojet) Simon Hanes Hurricane Salad Two Fingers Red Bass DJ Mix 22 (NoMark) Backxwash His Happiness Shall Come…(Ugly Hag) Bob Vylan The Price of Life (Ghost Theater) John Elmquist’s Hard Art Groop Stars and Bells / Zero Rest Mass / Trip Up reissues (Bandcamp) Dan Deacon Hustle OST (Netflix Music) Bent Knee Frosting (TTTH) Boris Heavy Rocks 2022 (Relapse) Wet Leg Wet Leg (Domino) Author and Punisher Kruller (Relapse)

Honorable mentions Hudson Mohawke Cry Sugar / Rival Consoles Now is / Haunted Horses The Worst Has Finally Happened / Sirom The Liquified Throne of Simplicity (Tak:Til)/ Meshuggah Immutable / Ani Klang Ani Klang / Pimpon Pozdrawiam (Pointless Geometry)

Shows

The Smile at Kings Theater Julia Wolfe Steel Hammer Carnegie Hall The Protomen LPR Tristan Perich St Thomas ChurchSparks Town Hall Anna Meredith Elsewhere Lingua Ignota LPR Royal Blood Terminal 5 Kraftwerk Radio City Hiro Kone Pioneer Works RATM / RTJ MSG Matmos LPR Rammstein MetLife Stadium Yeah Yeah Yeahs Forest Hills Stadium Melvins Irving Plaza Roxy Music MSG Sean Lennon Stone Elysian Fields The Owl The Comet Is Coming Bowery Ballroom Child Abuse TV Eye Fennesz Pioneer Works Helm Elsewhere

Film / TV

The Stranger All Quiet In The Western Front Dont Worry Darling Moonage Daydream The Velvet Underground Elvis Men Northman Unbearable Weight Of Massive Talent White Lotus

Books

I read a ton of memoirs this year. Standouts were

Kid Congo Powers Some New Kind Of Kick Danny Sugerman Wonderland Ave

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Kemper Norton

LISTENING

My favourite album of the year was the dayglo psychedelic joy of Panda Bear/ Sonic Boom’s Reset , with honourable mentions for the amazing Aethiopes by billy woods and Alison Cotton’s beautiful The Portrait You Painted of Me. Also, must mention the massive , varied and crucial Rental Yields compilations on Front and Follow /Gated Canal Community in aid of homeless charities in the UK.

GIGS

Didn’t get out much this year but live events I loved this year here in Brighton, UK included the blasted joy of deafkids at The Hope, the final gig of the mighty Slum of Legs at The Green Door Store, and playing alongside Alexander Tucker’s Microcorps and Opal X at The Wire’s 40th anniversary shows at The Rosehill as part of the reanimated Outer Church.

In terms of radio, as well as Elizabeth Alker’s essential breakfast and Unclassified shows on Radio 3 there were loads of great shows on the fantastic Repeater Radio ( many previously on the mighty Neon Hospice) including Afternoon Delight by Ix Tab and the best of Eastern Europe showcased on Slav to the Rhythm by Catherine and Iris.

READING

Apart from the works of nonconformist Cornish poet Jack Clemo and American novelist Pete Dexter ( Deadwood and Paris, Trout ), new discoveries were thin on the ground this year. I read and reread a lot of old favourites ( Ray Bradbury, Cormac McCarthy, Pat Barker , Elmore Leonard ) and finally fell in love with Jane Austen.

WATCHING

My film and TV viewing in 2022 was largely informed / enforced by my 5 year old daughter, and the essential texts we rewatched repeatedly were the lively and proactive Gaby’s Dollhouse, multi-species global explorers the Octonauts , surreal UK gem Sarah and Duck and of course, the inspirational Aussie masterpiece Bluey. I did manage to catch a few films either new or new to me in 2022…

Wake in Fright ( 1971) : another Australian key text ( although less adorable than Bluey ). The horrors of closed environments, toxic masculinity and continuous drinking.

Enys Men (2022) : Cornish filmmaker Mark Jenkin’s spooky and minimalistic follow-up to his incredible Bait (2019) , a wonderful drama of local economic realities and identities. Would love to score one of his films but unfortunately he does an excellent job of this himself.

Stalker (1979) : As good as everyone said it would be.

EATING

Chorizo with honey Chinese black fungus

DRINKING

Everything by Burning Sky brewery ( Sussex, UK)

CREATING

I managed to churn out two tape releases in 2022 in between all the watching, listening, eating, drinking etc.

Estrenyon was released on tape and download with the Barcelona label zonawatusa and was inspired by historical UFO sightings throughout Cornwall from 1888 to 2021. Rife is the story of a Sussex Spring day and was released via Woodford Halse, who have released loads of great electronic and folky music by the likes of Xylitol and Sairie. On top of that , our first volume of download-only pay-what-you-like winter tunes Montol Melodies is available on our bandcamp until the traditional English old ‘ twelfth night ‘ ( January 12 2023).

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Lee Ranaldo

2022 LIST

I’m terrible at lists like this, and usually don’t keep track towards such a year-end summary. Pardon the self-focus, this is my year-in-review accounting, mostly just remembering to myself.

August in Vienna Leah and I spent the month of August in Vienna, creating a public artwork, sound+image, called Fermata. I discovered the world of small-body, near century-old, German + Austrian guitars. I wrote the main melodic material one one of these tiny, wonderful instruments,. At one point we had 3 of them in the apartment down in the MuseumQuartier. A whole new world of sound to explore. Side trips to Berlin and Prague. (https://tonspur.at/soundworks/lee-ranaldo-leah-singer/?lang=en) Exhibitions in Berlin and Eupen, Chile Media Arts Biennial, Covid Flowers online Exhibitions of my Black Noise record print editions in Berlin, Lost Highway road drawings in Belgium, and watercolor covid-flowers online. In Chile Leah and I created an outdoor sound/art work, Do You Read Me?, in a field of trees surrounding an observatory above Santiago. Sounds were generated from signals collected from deep space by another observatory in the Atacama desert. A sound displacement work.

Medicine Singers in Brasilia, Montreal, NYC Had fruitful wanderings this year with Yonatan Gat, working with indigineous players from the USA, Brasil and Canada. Recording sessions in Montreal at fabulous Hotel2Tango studio, and in a splendid house set on the edge of the city in Brasilia, one of my favorite places. Happy to have been invited along for this most interesting ride.

Touring resumes Mostly in Europe, mostly quite wonderful. After 2 years at home it felt good to stand up in front of audiences again. Lots of solo acoustic shows playing In Virus Times and singing songs, but also interesting collaborations with Yuri Landman; My Cat Is An Alien, Jean-Marc Montera and Sophie Gonthier, and a special ‘Velvets Suite’ with French legend Pascal Comelade in Banyoles, Spain. Also the beginnings of a new collaboration with Chicago guitarist Michael Vallera, in a great new space in NYC for experimental music, 411 Kent (aka Shift). Leah and I premiered the new version of our Contre Jour performance with suspended guitar and films, in A Coruna, Spain and at the Three-Lobed Fest in Durham, North Carolina – which was an amazing three days of music. Also a short NorthEast tour with Jeff Parker in May.

London/Paris/Leah/ Catpower My touring year ended with a month split between Europe and the UK. A friend-lent apartment in Paris as base, with shows and lectures in Nantes, and Brittany. Five shows in the UK, the most I’ve played in some time there, including a free-ranging set with the Pop Group’s Mark Stewart and an eclectic band. Wild night! Leah flew over to celebrate her birthday, with CatPower at Royal Albert Hall (first time there for us both) recreating Bob Dylan’s legendary show there – both acoustic and electric sets – from 1966. What a great night, and our time together, in London, Paris and Brittany, was splendid.

Hurricane Transcriptions This year I played solo keyboard shows for the first time ever – the solo-for-Fender-Rhodes performance of my Hurricane Sandy Transcriptions, first at Karma Gallery in NYC, accompanied by films from LA Artist Mungo Thomson, and also at a Xenakis celebration in Vienna and at the opening of my exhibition of Lost Highway drawings, ‘The Road Is Like The River, Constantly Changing Yet Ever The Same’ – at IKOB Museum in Eupen, Belgium. (ikob.be)

Circuit des Yeux at Green-Wood Cemetery I think my favorite gig of the year was Circuit des Yeux in Green-Wood Cemetery on a rainy night in June. The weather threatened the show all evening, which made this incredible performance – just Haley and Whitney Johnson (Matchess). Just a magical, powerful night.

Godard’s King Lear In late August I committed to introduce Jean-Luc Godard’s King Lear, which I’d never seen, at TriBeCa’s Roxy Cinema, which has been doing terrific programs organized by Illyse Singer. I love Godard’s films, they are an important touchstone for me, and I took this as an opportunity to discover both the film and Shakespeare’s play; my Shakespeare knowledge is terrible, so I boned up on the play. Four days before the screening, the great master died, which cast the whole night in a new light. The film has been described by Richard Brody of the NY’er as ‘one of the best films of all time’ – wow. Burgess Meredith, Molly Ringwald, Norman Mailer, Julie Delpy, Leos Carax, and Godard himself center-stage and the plugged/unplugged oracle Professor Pluggy. What a film. As usual with a Godard film: what a sound mix!. See it in 35mm.

Broken Circle / Spiral Hill I have had a long fascination with the work of Robert Smithson, since discovering the book of his writings in the 70s. In the early 80s on the first few SY tours, I ‘coaxed’ the band into visiting one of his 3 still existing artworks – Broken Circle/Spiral Hill – in the countryside of northern Holland. Back then it was like a treasure hunt trying to find it, in the dark, late on the way to Club Vera in Groningen. In 2020 I visited it for a third time w friend Carlos, in the week before the world shut down. It had been totally restored and ready for it’s moment – just at it’s 50-year mark. In 2022 the site-an old, long-unused quarry – was opened to the public for the first time in ages, across 8 weekends. This year I narrated a podcast for the Holt/Smithson Foundation and the Netherland’s Land Art Contemporary, about Smithson and the work, which went live in November. (brokencircle.nl)

Birdsong Project I worked on this project, as both producer and performer, to raise money to benefit the Audobon Society for the preservation of avian habitats. Over 200 musicians contributed to this 20-LP set, as well as writers, poets and artists. Uplifting and surprising. (https://www.audubon.org/birdsong-project)

James Jackson Toth In the early 2000s I produced an album – James and the Quiet – with Mr. Wooden Wand, who’s music I love. This year a group of friends organized a birthday tribute to James, with 33 of us recording versions of songs from his vast catalog. I recorded ‘Wired to the Sky’, a favorite from the album we made together, recorded in our Viennese apartment in August, which closes this Birthday Blues collection. (https://aquariumdrunkard.com/category/jamesjackson-toth/)

Some Music/Art/Books etc:

Lou Reed – Words + Music, 1971 RCA Demos David Bowie – Divine Symmetry Catherine Christer Hennix – Selected Early Keyboard Works (https://blankformseditions.bandcamp.com/album/selected-early-keyboard-works) Plus Instruments, Februari-April ’81 (first record I was ever on) on Domani Records, NYC. In/Out/In, Sonic Youth. So cool to see this release welcomed so warmly! Cecilia Vicuña, Tate Modern Turbine Hall Venus of Willendorf, Naturhistorisches Museum, Vienna Matisse: The Red Studio, Museum of Modern Art, NYC Claude Monet – Joan Mitchell, Fondation Louis Vuitton, Paris Marco Fusinato, Desastres, Venice Biennale Family Affair, a 20-minute short film included in the Criterion Collection edition of Josh & Benny Safdie’s 2009 Daddy Longlegs, outlining our two families intertwined involvement in the making of the film. The most glorious home movie ever. The Double Life of Bob Dylan: A Restless, Hungry Feeling, Clinton Heylin. First of a 2-part bio of the (other) Bard, making first use of all the new material out from Tulsa’s Bob Dylan Center archive. Loved: Olivier Assayas’ Irma Vep mini series. He’d used SY’s ‘Tunic’ in his original 1995 film, and we became friends and occasional collaborators. The new limited series mines the story anew, meta-mixing in his 1995 film and Louis Feuillade’s 1915 original, Les Vampires. The most contemporary piece of ‘television’ I’ve seen in ages, just wonderful, with fantastic cast including a spot-on stand-in portrayal by Vincent Macaigne as the director, Alicia Vikander as Irma Vep, and Lars Eidinger as Gottfried. Also Devon Ross, Carrie Brownstein, many other great performances. Loved it. Still watching: Westworld, Handmaid’s Tale. Hal Willner Memorial, St. Anne’s, April. Miss Hal all the time…

---LR, Winnipeg, December 2022

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Brian Chase

Yeah Yeah Yeahs

Brian chose to write about one album that impacted him in 2022

This write-up is in no way meant to be a formal review - I don’t deem myself qualified for that task here - rather, this is meant to share personal enthusiasm and bring an album to light - like, "Have you heard this, it's really really amazing and inspiring and why isn't there more talking about it, and…" As a musician working within a greater community, I am acutely aware of the creative drive to continually uncover new modes, methodologies, practices etc. of expressing our chosen art form - each performance and each album serving as an instance of discovery and offering new perspectives on old conundrums. Whether the genre is rock, jazz, noise, free-improvisation, modern classical etc. the relationship of discourse and dialogue is still the same. At the forefront of this dialogue is John Zorn, as he has been for decades, and a major contribution to the conversation is the 2022 album Incerto - Existentialism, Psychoanalysis, and the Uncertainty Principle. Here, Zorn is the composer and the performing ensemble consists of some of Zorn's tightest in recent years: Brian Marsella on piano, Julian Lage on guitar, Jorge Roeder on bass and Ches Smith on drums. As Zorn says in the liner notes, "Incerto is about possibilities, probabilities, inevitabilities and improbabilities." Formal logic for musical structure is considerably expanded with these compositions and never before have I heard such new forms for improvisation. In these pieces, unexpected juxtapositions and superimpositions abound, as foremost examples of its many distinct features. The syntax of this music is beyond the scope of any previous way that I've conceived of music existing. Not only are harmonic and rhythmic conventions regularly reconstructed - often replaced with adjacent compliments and aggressive contradictions - but entire paradigms of improvisatory behavior are game as well. Shifts in genre/mood/tempo/texture/harmonic character/melodic personality place the improvisor in varying contexts - often in a short amount of time - and each context requires its own set of responses. The whole scope of musical history+trends+possibilities takes on a dynamic relational co-existence, in ways that I've never previously heard or thought possible - like when angular atonal lead lines enter on top of a serene ostinato, or impressionistic chords alternate between stillness and motion, or genre styles and idiomatic references collide, or gravelly density and noise build tension culminating into a placid release. Plus, so much of the composed material is really just so cool. Paramount to it all is the music’s immense depth of feeling. The moods on this album are evocative, romantic and ecstatic as much as they are revolutionary, kaleidoscopic and mystifying. As the music winds through its structural twists and turns, the key that holds it all together is sincerity of spirit - the performance of this music, as well as listening to it, is a literal experience. And within each singular track is the remarkable performance of the individual musicians themselves - each a respective master at the craft. Additionally, the album as a collective whole, being comprised of eleven very different tracks, functions as a macro-structure in itself which expands on the themes present in each individual track. So many new modes of music making are presented here - integrating them into current music making will take a while as more people discover its brilliance and begin to absorb the concepts and ideas it conveys. It is uniquely Zorn and there for us musicians to process and in turn produce that which is uniquely ours. Incerto is a gem in the conversation - we can listen and run with it how we like - but we have to hear it first.

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David T. Little

composer www.davidtlittle.com

MUSIC (new, revisited, & in rotation)

Vile Creature – Glory! Glory! Apathy Took Helm! Burning Witch – Crippled Lucifer tryphème – Aluminia Louis Cole – Quality Over Opinion KANGA – You and I Will Never Die DELANILA – Overloaded Amyl & the Sniffers – Comfort To Me Kae Tempest – Let Them Eat Chaos Graindelavoix & Björn Schmelzer – Josquin, the Undead: Laments, Deplorations & Dances of Death Run The Jewels – 1, 2, 3, 4 The Cure – Disintegration, Wish, Show, Pornography Tenderheart Bitches – High Kicks George Walker – Piano Sonatas (Steven Beck) Rammstein – Herzeleid, Mutter, Sehnsucht, Untitled (in heavy rotation after the MetLife Stadium show) Living Colour – Vivid Utah Phillips – We Have Fed You All For A Thousand Years Tom Morello – Hold The Line (track, feat. grandson) ACRONYM – Oddities & Trifles: the Very Peculiar Instrumental Music of Giovanni Valentini Late Stravinsky (various) Son Lux – Everything Everywhere All At Once (ost) Harrison Birtwistle – The Moth Requiem Christopher Tin – The Lost Birds Karim Sulayman, Apollo’s Fire – Songs of Orpheus Hermann Nitsch – Symphony No. 9 “The Egyptian” Jay Wadley – Swan Song (ost) Herem – Pulsa diNura Danny Elfman – Big Mess / Bigger. Messier. (Deluxe.) Scott Walker – The Drift

FILMS & SERIES (new & rewatched) Hellraiser (Clive Barker) The Rocky Horror Picture Show (Jim Sharman) Tetsuo: The Iron Man (Shin'ya Tsukamoto) Private Life (Tamara Jenkins) Double Take (Johan Grimonprez) After Life (Ricky Gervais) One Big Bag (Every Ocean Hughes) The Village Detective (Bill Morrison) Polia & Blastema (E. Elias Merhige) Sibyl (William Kentridge)

The Copper Queen (Crystal Manich) Wishes (Amy Jenkins) The Once and Future Smash (Sophia Cacciola & Michael J. Epstein) End Zone 2 (August Kane) All Quiet on the Western Front (Edward Berger) Everything Everywhere All At Once (Daniels) Russian Doll (multiple directors) Piggy (short) (Carlota Pereda) The Mitchells vs. The Machines (Michael Rianda & Jeff Rowe) WHAT DID JACK DO? (David Lynch) The Power of the Dog (Jane Campion) Pig (Michael Sarnoski) The Green Knight (David Lowery) The Northman (Robert Eggers) Muriel’s Wedding (P.J. Hogan) BoJack Horseman (multiple directors) Eyes Wide Shut (Stanley Kubrick)

BOOKS (some) Body Horror - Anne Elizabeth Moore Mrs. Dalloway - Virginia Woolf a ghost in the throat - Doireann Ní Ghríofa Cleanness – Garth Greenwell A Saint from Texas – Edmund White Out Loud – Mark Morris The Gastronomical Me – M.F.K. Fisher Agamemnon – Aeschylus (trans. Robert Fagles)

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Jonnine

HTRK

2022 good vibes - Hackedepicciotto tour photos such #couplegoals, kicking off the HTRK tour in Atlanta was exhilarating! Big hangs with my overseas buds Nathan Corbin and Yasmina Dexter, writing new songs with Nigel and keeping THE dream alive, my puppy Pali growing up into mumma’s good boy, instagram follows @the.holistic.psychologist (self healing) @cracked.bolos (cakes), DJ Sundae, Amir Shoat, ‘Crush’ by Richard Siken (borrow from Nigel) writing bonkers dreams down again, Jonathan Richmond lyrics, tik tok #stayathomegirlfriend, jamming with Brother May in London and playing cafe OTO, second season Euphoria, White Lotus, Heartbreak High, rewatching Curb, Julia Fox’s eye makeup tutorial, films The Weekend and 45 Years by director Andrew Haigh, Charlotte Rampling interviews, fam long drives with Conrad and Pali finding songs for NTS <3 <3 Conrad got me into the Kinks!

Some music i liked Actress — Dummy Corporation (Ninja Tune) Autumn Fair - Autumn Fair DALE CORNISH — Traditional Music of South London (The Death Of Rave) Delphine Dora — A Stream Of Consciousness II (for piano solo) Coby Sey — Conduit (AD 93) CS + Kreme — Orange (The Trilogy Tapes) Harry Howard - Slight Pavilions Various / Kashual Plastik — Field of Progress Jonathan Richman - Jonathan Goes Country Julia Reidy - World in World Kitchen Cynics — Strange Acrobats Liz Durette - A Christmas Gift To You Malvern Brume — Body Traffic (MAL) Taylor E. Burch — The Best of Taylor E. Burch (Downwards) The Incredible String Band — Wee Tam and the Big Huge The Kinks - The Kinks Are the Village Green Preservation Society Thomas Bush — Preludes Warm Currency — Returns (Horn Of Plenty)

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Lawrence English

(Room 40 Records)

This year was the first time I had travelled internationally since 2019. The thing I realised I've truly missed is seeing people. The opportunity to share ideas, to be curious with others and to just be in the world was, well, magical. I think if anything the past few years has reminded me (us?) not to take things for granted…especially each other. This year was also the first time I returned to making solo electronic works. It had been about six years since I had completed Cruel Optimism and, if I am honest, I wasn’t sure if I still had an appetite for making solo electronic works. Approach however proved, to me at least, I can still derive great pleasure from working alone. Unexpectedly, I found the whole process of the album very satisfying, like it was new all over again, not something I always feel.

There’s been a tonne of great input into the system this year. Ergo Proxy totally got me thinking. I was late to the party, but it was a party I am glad I did make it to. Puce Mary made some tapes back in April, both of them were totally ace, filled with an acute sense of heaviness. I very much enjoyed Boy Harsher’s work this year too, outside my usual orbit in some ways, but they are really onto something of late. I caught up with my old and dear friend Kate Crawford, and had a chance to read over he excellent Atlas Of AI book, she is a tower of radiance. Annea Lockwood’s, work occupied a great deal of my thoughts this year, realising her Piano Transplants all at once was quite simply a delight. Adam Curtis’s TraumaZone left an indelible mark in more ways than one. I returned to Vancouver to photograph the crows that started off my homage to Masahisa Fukase, perhaps that tract of work is done? Oh and thanks to a dinner with Atsuo from Boris, and the encouragement of my small humans, we all started down the pathway of the epic saga of Gundam too. I missed that when I was younger, so it’s a long road to catch up on….but I started.

Oh and on a purely personal note I was able to commission a shikishi from Yoshihisa Tagami. Seriously, my 12 year old self was reborn when it arrived. The world is so much bigger, and smaller, than that little human could ever have imagined!

Love to you all and here’s hoping 2023 is full of curious surprises and wonder.

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John Tottenham

author

A LISTLESS LIST

Best Books: Woodcutters Concrete Extinction| Wittgenstein’s Nephew Old Masters

Thomas Bernhard

A Father and his Fate More Women than Men Manservant and Maidservant A Family and a Fortune - Ivy Compton Burnett Hawkwind: Days of the Underground - Joe Banks

Best Songs: Eunice Collins – At the Hotel Gloria Barnes - Old Before My Time Sonia Ross - Every Now and Then Rozetta Johnson - A Woman’s Way Debbie Taylor - I Don’t Wanna Leave You Denise LaSalle - Trapped by a Thing Called Love Barbara Stant - Unsatisfied Woman Ann Alford - If It Ain’t One Thing Big Martha - Your Magic Touch Helene Smith - Sure Thing Best Shows By Octogenarians And Nonagenarians:

Ramblin’ Jack Elliott – Zebulon, LA / Bob Dylan - Pantages, LA / Marshall Allen (Arkestra) - Zebulon, LA / Swamp Dogg - Teragram, LA / Doug Kershaw - Zebulon, LA / Sonny Green - Barnyard & La Louisianne, LA / Tommy McClain - Stowaway, LA

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Brian Carpenter

Composer / Ghost Train Orchestra

My favorite recordings of 2022, in no particular order…also the most frequently played albums on my long-running radio show Free Association on WZBC in Boston. As I'm writing this I'm reminded that a lot of great records came out of bands from South London this year, across genres.

The Comet is Coming - CODE Caroline - caroline Dry Cleaning - Stumpwork William Orbit - The Painter Akusmi - Fleeting Future

Electric Youth, David Sylvian, et al - A Tribute to Ryuichi Sakamoto - To the Moon and Back Portico Quartet - Next Stop The Smile - A Light for Attracting Attention Zola Jesus - Into the Wild Mary Lattimore and Paul Sukeena - West Kensington Lucrecia Dalt - Ay! Bjork - Fossora Tindersticks - Stars at Noon Original Soundtrack Kamikaze Palm Tree - The Hit Bitchin Bajas - Bajascillators Bill Callahan - YTILAER Thurston Moore - Screen Time Bill Orcutt - Music for Four Guitars Horse Lords - Comradely Objects Curha - Curha III

Sharon Van Etten - We've Been Going About This All Wrong Aldous Harding - Warm Chris Weyes Blood - Hearts Aglow Big Thief - Dragon New Warm Mountain I Believe In You Oneida - Success Brandon Seabrook - In the Swarm Jacob Garchik - Assembly Oren Ambarchi - Shebang The Lord and Petra Haden - Devotional Roedelius & Tim Story - 4 Hands Brian Eno - Foreverandevernomore Steve Reich - Runner Moor Mother - Jazz Codes Makaya McCraven - Dream Another Sun Ra Arkestra - Living Sky Danger Mouse and Black Thought - Identical Deaths A Far Cry - The Blue Hour Nils Frahm - Music for Animals Mary Halvorson - Amaryllis Kronos Quartet, Van-Anh Vanessa Vo, Rinde Eckert - My Lai Attacca Quartet - Caroline Shaw: Evergreen

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DJ Food

Music: Clocolan - Empathy Alpha LP (Redpan) Brian Eno - The Lighthouse (Sonos HD) King Gizzard &The Lizard Wizard - Omnium Gatherum LP (Flightless) Twilight Sequence - Trees in General: and the Larch 12" (Castles In Space) WTCHCRFT - Drugs Here 12" (Balkan Vinyl) Ghost Power - Ghost Power LP (Duophonic Super 45s) Dexorcist - Night Watch 12" (Yellow Machines) The Advisory Circle - Full Circle LP (Ghost Box) Fenella - The Metallic Index (Fire Records) S'Express & Daddy Squad - Music 4 The Mind (DL)

Podcasts: The Bureau of Lost Culture We Buy Records Oh God, What Now?

Gigs / Events: The Orb play U.F.Orb @ The Fox & Firkin, London Staying in a restored Futuro House, Somerset Fogfest @ Iklectik, London Funki Porcini's Lasarium @ Iklectik, London The Trunk Groovy Record Fayre @ Mildmay Club, London

Books / Comics: 99 Balls Pond Road - Jill Drower (Scrudge Books) Radio Spaceman - Mike Mignola & Greg Hinkle (Dark Horse) A-Z of Record Shop Bags - Jonny Trunk (Fuel) Mud Sharks - Dave Barbarossa Good Pop, Bad Pop - Jarvis Cocker (Vintage) House Music - Andy Votel (The Modernist) Defying Gravity - Jordan Mooney w. Cathi Unsworth 69 Exhibition Road - Dorothy Max Prior (Strange Attractor) Judge Dredd - Mike McMahon (Apex Edition) It's Lonely At The Centre Of The Universe - Zoe Thorogood (Image Comics) The Black Locomotive - Rian Hughes (Picador)

Films: Get Back (Disney+) Who Killed The KLF? (Chris Atkins) In The Court of the Crimson King (Toby Aimes)

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homo-ousios · 2 years

Text

Watch list tag game!

Tagged by @benkaaoi <3

I have a discord server for organizing my life, and one channel on there is exclusively dedicated to keeping track of shows. If I were this organized about my research, the book would be published already. Oh well.

☼ Currently Watching (Binging)

Previous seasons of Take Guy Out Thailand (yt). Not only is it gay and stupid and a great way to listen to unscripted colloquial Thai, but Lek Davika is one of the podium leaders <3 Downside is almost no subtitles, but it'll really bootcamp your listening skills.

Merry Queer (gaga). After His Man finished airing last week, I went looking for other gay reality shows and found this. Obviously it's meant mostly to educate straight viewers, so it's very gender theory 101 and all, but you do get to learn a decent amount about queer history and culture in South Korea, which I found interesting. Plus, the stories are incredibly sweet.

☼ Currently Watching (Airing)

180 Degrees Longitude (gaga). This is excellent. I'm worried about how it will end because it's serious gay media, so it might be tragic. It's not protected by the bl/romcom genre conventions. I hate sad endings, so prayer circle for this one.

Minato's Laundromat (gaga). I hate age-gap romances, but this is done pretty considerately. It's a sweet, slow-paced, slice-of-life drama, and to me it's worth watching for Japanese practice.

In a similar vein, Takara to Amagi (gaga). Again, it uses a lot of tropes that I hate (infantilized uke, oh no sex is terrifying/so sorry for having a libido, we would rather die than communicate clearly, etc.). But Japan produces relatively little bl, and it's always short, so I just watch it anyway. I need listening practice and I refuse to watch anything hetero. They need to put out a second season of Rea(L)ove, with more queers this time.

Returning to Thailand, The Eclipse (yt). I like it well enough so far. It's weird to try to see First as a high school student after Not Me, but he's a delight to watch regardless. I like that GMMTV is producing this subgenre of queer-directed anti-establishment bl. Very cash money of them.

Vice Versa (yt). I'm trying y'all, but I just don't like this one very much. It's much more in GMMTV's normal mode: cute but sexless, and without much of substance to say. Which is fine obviously, romcoms don't need to say anything. Make as much gay cotton candy as you want. So long as someone else is making KinnPorsche, Not Me, and the Pornographer, I'll be happy.

Love in the Air (yt). I've actually only watched 1 ep of this, but I'll catch up eventually. I know everyone clutches their pearls about how problematic MAME's stuff is, but I've honestly never thought it was as bad as all that, and at least it's not boring.

☼ Rewatching:

I'm not rewatching anything at the moment. It's been a few weeks, so I might take KinnPorsche for another spin. I've also been thinking about rewatching Bad Buddy, just to try and figure out what everyone's so into. I mean I enjoyed the show when it aired, but to me it was just more GMMTV normie fluff. Perfectly nice, but forgettable. People are still posting about it though, so maybe I should give it another chance?

☼ Looking forward to

Be On Cloud's new movie. I have watched that trailer 900 times and I will watch it again.

The announcement of KinnPorsche season 2. Come on, Be On Cloud, I know you got me. Don't leave me hanging.

The Cherry Magic movie. Speaking of cute and sexless fluff. Whatever though, Kurodachi can give me diabetes for all I care. I just wanna see them live happily ever after.

GAP the series. Woahhh, lesbians.

Tagging: @liyazaki @nerasvalhalla @decaffeinatedmate @snake-and-mouse @bwatchesdramas @rythyme @bitacrytic @scarefox i mean literally whoever feels like it, i will read and like your post

#thai bl #japanese bl #kinnporsche #cherry magic #tag game #bl posting

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colonialcasinotgmuresoa · 23 days

Text

วิธีการเล่นเกมบาโลน่าในคาสิโนออนไลน์อย่างไร?

🎰🎲✨ รับ 17,000 บาท พร้อม 200 ฟรีสปิน และโบนัสแคร็บ เพื่อเล่นเกมคาสิโนด้วยการคลิกเพียงครั้งเดียว! ✨🎲🎰

วิธีการเล่นเกมบาโลน่าในคาสิโนออนไลน์อย่างไร?

การเล่นเกมบาคาร่าเป็นที่นิยมในวงการพนันออนไลน์ เกมนี้มีกฎการเล่นที่ง่าย ผู้เล่นเพียงแทงว่าคนไหนจะเป็นคนชนะ ระหว่าง "ผู้เก็บ" หรือ "ผู้เล่น" หรือ "เสมียน" ในแต่ละมือ หรือสามารถวางเงินในตำแหน่ง "เสมียน" คือการเสมียนระหว่าง "ผู้เก็บ" และ "ผู้เล่น" มองเป็นฝ่ายเสมียน

สำหรับผู้ที่สนใจเริ่มเล่นเกมบาคาร่า สิ่งที่ต้องทำคือเรียนรู้เกี่ยวกับกฎการเล่นและหลักการอย่างถี่ถ้วน รวมถึงเรียนรู้เทคนิคการเล่น เช่น การวางเดิมพันอย่างไรให้ถูกต้อง การจัดการเงินให้เหมาะสม เป็นต้น

วิธีเล่นเกมบาคาร่าไม่ยาก แต่มีความสนุกสนานและท้าทาย ผู้เล่นสามารถทดลองเล่นฟรีก่อนเริ่มเดิมพันด้วยเงินจริง เพื่อฝึกทักษะและความเข้าใจในเกมได้อย่างดีก่อน

ในสมัยปัจจุบัน การเล่นเกมบาคาร่าออนไลน์เป็นทางเลือกที่ดีสำหรับคนที่ชื่นชอบเสมียน สามารถเล่นผ่านอุปกรณ์ที่มีการเชื่อมต่ออินเทอร์เน็ต เช่น คอมพิวเตอร์ สมาร์ทโฟน หรือแท็บเล็ต และสามารถเข้าถึงเกมได้ตลอด 24 ชั่วโมง

การเล่นเกมบาคาร่านอกจากจะให้ความบันเทิงแล้วยังมีโอกาสที่จะได้รางวัลในรางวัลที่มีมูลค่าสูงได้ด้วย แต่ก่อนที่จะเล่นควรเรียนรู้กฎระเบียบให้ดี เพื่อป้องกันการเสี่ยงที่อาจเกิดขึ้นได้อย่างมีประสิทธิภาพ

ข้อกำหนดในการเล่นบาโลน่า มีองค์ประกอบหลายอย่างที่ผู้เล่นควรทราบเพื่อเพิ่มโอกาสในการชนะและปรับปรุงทักษะในการเล่น:

ความเข้าใจเกี่ยวกับกฎของบาโลน่า: ผู้เล่นควรทราบถึงกฎเกณฑ์ต่าง ๆ ในการเล่นบาโลน่า เช่น การโยนลูกโต๊ะให้ใกล้มากที่สุดกับขอบสั้น เป้าหมายคือที่อยู่ใกล้ที่สุดกับเส้นตรงของระบบโดยไม่เกินขอบตัวข้างของลูกโต๊ะ.

การทราบเทคนิคในการเล่น: ผู้เล่นควรฝึกฝีมือในการโยนลูกโต๊ะอย่างมีความมั่นใจ วิธีการเล่นเช่นการใช้แรงของกล้ามเนื้อในการโยน การปรับการวางสายตา และการเริ่มโยนลูกโต๊ะจากตรงไหนที่เหมาะสม.

การเรียนรู้จากประสบการณ์: ผู้เล่นสามารถพัฒนาทักษะของตนเองได้จากการฝึกฝนและปรับปรุงจากประสบการณ์ที่เกินมา โดยการทำซ้ำการเล่นด้วยเพื่อปรับปรุงทักษะในการโยน.

การเรียนรู้กฎและเทคนิคในการเล่นบาโลน่าเป็นสิ่งสำคัญที่จะช่วยให้ผู้เล่นพัฒนาความสามารถในการเล่นให้ดียิ่งขึ้น และเพิ่มโอกาสในการชนะในการแข่งขันแบบมืออาชีพให้สูงขึ้น.

ท่าเล่นบาโลน่าเป็นเกมคาสิโนที่นิยมมากในหลายที่ทั่วโลก ก่อนที่จะเริ่มเล่นบาโลน่า ผู้เล่นควรทราบเทคนิคต่างๆ เพื่อเพิ่มโอกาสในการชนะ นี่คือ 3 เทคนิคเล่นบาโลน่าที่คุณอาจต้องการทราบ:

การเลือกเดิมพัน: แนะนำให้เลือกเล่นเดิมพันบนเกมบาโลน่าที่มีเปอร์เซ็นต์การชนะสูง เช่นการเลือกเดิมพันที่ฝ่ายของแบงค์เข้าแม้นเพิ่มความน่าไว้วางใจในการชนะ

การสร้างกลยุทธ์: การสร้างกลยุทธ์เป็นสิ่งสำคัญในการเล่นบาโลน่า ควรทดลองกลยุทธ์ต่างๆ เพื่อดูว่ากลยุทธ์ใดที่ทำให้คุณมีโอกาสชนะมากที่สุด

การจำกัดการเสี่ยง: ควรจำกัดจำนวนเงินที่พร้อมเสี่ยงในการเล่นบาโลน่า เพื่อป้องกันไม่ให้เสียเงินมากเกินไป นอกจากนี้ ควรระวังอย่าติดใจเมื่อเสี่ยงเงินในการเล่น

ด้วยการศึกษาและปฏิบัติตามเทคนิคเหล่านี้ ผู้เล่นสามารถเพิ่มโอกาสในการชนะเกมบาโลน่าได้อย่างมีประสิทธิภาพมากขึ้น อย่าลืมทดลองสูตรเหล่านี้และปรับปรุงตามประสิทธิภาพของตนเองเพื่อเพิ่มโอกาสในการชนะได้อย่างเต็มที่ ในการเล่นเกมบาโลน่า

Theedee ban balona hai wayat duay sawng nung wayat kriaw samphas ehw ot khong phomnath wayat duay nam tukthon thi paw hla gui hai langmuan, khwamchun khong phomnath wai thung hai klum hla ela ru thi phi sam thai ban pekiaw thi phrawih kwam kriaw samphas phid khong phomnath. Phomnath ruamsai khong wayat duay khuamkhamkhong prathet nai sarajai, ea phaemekis thi pekhriakbrabprakop nai khialai korasing khong phomnath wayat.

Saelah taeh lao phap praban alelitha tau susaen tukthon khuamthan khong sarajai khuamthephehn khong bankrut phraban sam Thai wayat duay sawng khang khong phomnath. Duay sawng wayat daem chun nam daem nai saw sud dua phomnath wai thung sai hai kriaw phodaiph thung kriaw samphas.

Mai sia nam tukthon khong phomnath wai yod hai wayat duay. Wai thung duay khuam rabit khuam ru wat duay saelyod thi phak su khong phomnath. Tham lek nag nangbolaela laen sang ehtdud khong phomnath wayat duay kriaw samphas khong phomnath wayat.

Pen phiphi thi thi sabua hai banprik klaeng wai nang karaw theei thi kriaw samkhay khong phomnath wai thung yawaewai thi lung ep phomnath khuam raj khong phomnath wayat aimepawa ณ khweetain aina chi it taw tharai khon aina chi tamadanma ai.

La ha thi 4. wayat duay wayat naphri kham sing duay kriaw samphas khong phomnath. Lae apiban prathet prachokhandoi tukthon wayat duaysam chok su khuauchu hai khuam phan fa koems ehe tuk aila krith tukthbrkkhod thet.

ในโลกของการพนันออนไลน์ การเลือกเกมบาคาร่าที่เหมาะสมสำคัญมาก ด้วยเหตุนี้ฉันจึงได้รวบรวมวิธีการเลือกเกมบาคาร่าที่ดีที่สุดสำหรับคุณ

ตรวจสอบความน่าเชื่อถือของเว็บไซต์: ก่อนที่จะเลือกเล่นเกมบาคาร่า ควรตรวจสอบความน่าเชื่อถือของเว็บไซต์ให้ดีก่อน เช่น ความปลอดภัยของการทำธุรกรรม และบริการลูกค้า

สำรวจชนิดของเกมบาคาร่า: มีหลายชนิดของเกมบาคาร่า เช่น บาคาร่าในแบบที่มีคนเล่นจริง บาคาร่าแบบออนไลน์ และบาคาร่าแบบเรียลไทม์ คุณควรเลือกชนิดที่ตรงกับความต้องการของคุณ

พิจารณาอัตราการจ่ายและโบนัส: การเลือกเกมบาคาร่าที่มีอัตราการจ่ายสูงและโบนัสที่น่าสนใจจะช่วยเพิ่มโอกาสในการชนะ

ทดลองเล่นเกมฟรี: การทดลองเล่นเกมบาคาร่าฟรีจะช่วยให้คุณเข้าใจกฎของเกมและฝึกทักษะก่อนเดิมพันด้วยเงินจริง

จัดการการเงินอย่างมีระบบ: การจัดการการเงินอย่างถูกต้องเป็นสิ่งที่สำคัญในการเล่นเกมบาคาร่า ควรกำหนดวงเงินที่พร้อมจะเสี่ยงได้และยึดติดกับแผนการเดิมพันของคุณ

โดยปฏิบัติตามวิธีการเลือกเกมบาคาร่าดังกล่าว คุณสามารถเพลิดเพลินกับประสบการณ์การเล่นเกมบาคาร่าและมีโอกาสชนะได้อย่างมั่นใจและสนุกสนาน

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performingai · 1 year

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DMSTFCTN on developing the GOD MODE game

The goal of our game GOD MODE: EPOCHS is training the AI character, which is called UntitledAI. It will be multiplayer, streamed online, people taking turns to control different parts of the simulation.

In general we’re feeling our way through how to design and make games, which is not what we do normally. We’re not really launching a commercial game, it’s an experiment to find out a lot of things. We prototyped it first functionally, not visually, because it needs automation for certain parts.

We’re aiming for a standalone version of one scene from the performance GOD MODE (ep. 1), which is the moment where the AI trains: moving around a supermarket, picking and learning items. In AI training systems, typically you have a focal object and distraction objects. That’s already the interactive part of the performance, and not so much part of the narrative; the AI is talking about its experience while it’s doing it, but this is not the prologue that explains what it is, and it’s not the epilogue which is more poetic. This part is contained, it has a goal, it’s more ‘gamifiable’.

In our performance, we controlled the view, choosing when to scan an item, for example. That would be one player’s role in the game. In the performance, the audience can change the lighting, drop objects from the ceiling, re-texture things, to make the training harder. Players of the game will have one of those abilities as well. Collectively, those abilities make the world more complex, so that what the AI learns is more robust. So as a player, you’re not a character as such, but an action – you have a role.

There’s a key problem we identified in representing training. We were talking about reinforcement learning, which is typically not used for computer vision. It’s not a big deal since we’re in a speculative space anyway, but we don’t want to open ourselves up to critique. So we’re thinking about what kind of training our AI is engaged in, and we’re thinking about what that means for finding a bug – this is a key moment in the narrative. This opens up past memories, and more broadly enables automated systems to do things they weren’t intended to do.

Having stories of other AIs who escaped is important to us. You have collectibles in games, so these could be little fragments of history. How do we show people the bug has been found? Before, we had a little frame that showed what it was supposed to look for, then that became empty, which showed the bug, and it became self-aware in a different way.

BUILDING WORLDS & CHARACTERS

In the introduction section of the performance, where the world is being generated, the AI says things like, ‘On top of nothing, floor. On top of floor, shelves.’ That’s a kind of specification language we took from something called iGibson, which is Stanford’s synthetic robot training software. We use that to suggest that the world is created in a structured way, and there’s a particular language to it, which has an impact on the way it can be considered. Currently, the AI’s voice says those words, and we’re thinking about whether to change that. We think of it as the debugger, and then there’s the more personal experience of the AI character. We’re rethinking whether this should be two voices inside the AI’s head, or two characters. One of Lawrence Lek’s recent works, Black Cloud, has a conversation, in a sort of smart city of the future which is deserted, and it seems like it’s a conversation between a CCTV camera and a self-driving car. Parts of a system conversing with each other.

We’re also guided by this game Disco Elysium. You’re a detective and you wake up with no memory. It’s kind of a role-playing game, in the sense of capabilities. You have sections of your psyche in conversation, interjecting in different ways. There’s one part, for example, that makes you more intuitive but also more susceptible to addiction.

The game came from a guy, a musician, who’d written a novel in this same world, and it didn’t sell particularly well, he had a bit of a crisis, but then decided to push through the crisis by making the world’s most complicated piece of media – a role-playing video game. And it’s been incredibly successful.

This helps us think about how we differentiate different aspects for people, through point of view, rendering style, view modes. How is the voice characterised? Thinking of TV shows like Peep Show, or Lawrence Lek’s Black Cloud. Or this gaming trope which is a voice with an internet connection – your helper, that tells you, ‘You should be looking for a red box, remember?’

We’re thinking that no one moves around – it’s automated, on rails, like the game Time Crisis from way back when. We first thought players could walk around themselves, before we realised that once you put more than two views on the screen, the graphics card explodes. How might points happen? We’re kind of keen to have a leader board. Kind of arcade-y. Is there a timer? We don’t want to do it in a sort of ‘dark patterns’ way, but a game needs to hook you in somehow.

We were inspired by worldmodels.github.io: it learns to play Doom by learning what Doom looks like, and then sort of hallucinating Doom, and training inside the hallucination rather than inside Doom itself. So it encodes patterns from the game. And then, in the same way that image-generation AIs are the reverse of image-learning AIs, it then uses that to hallucinate and replicate lots of variations of gameplay in Doom – cheaper than running the game over and over again.

It’s very nicely written up – one of the best websites of an academic paper I’ve ever seen; it loads and runs little parts, you can play with all the weights and models and stuff. What’s interesting in this is that it has a vision model and a memory model, which feed into each other and into a controller, which then decides what to do. And there’s feedback on how to do that better. This is not too far off of some models of the human brain, and also interesting in relation to what Katherine Hayles says about embodiment – it’s mimicking but is it the same? What if it’s not embodied? This helps us think what our UntitledAI is – is it a vision model, navigation, debugging? We hope to explore this more in future versions.

We’re thinking of changing the way the character’s face looks and works, to better represent the lifeworld of the character. It’s already made up of supermarket items, like a weird Arcimboldo painting. But if all it knows is what it’s learnt and seen, and if it’s inventing the representation of itself based on this, should that change over time? We made an initial version, and I’d read a couple of things, but we threw it together without really explaining what’s behind it. It worked and we used it in the performance. In addition to Arcimboldo, it also contains some ideas from Katherine Hayles, and Barthes’ analysis of Arcimboldo’s paintings – the way that they’re metaphors. We made the first version from the supermarket kit that we bought – a Sweetheart candy heart, KitKat fingers, etc. Slightly silly.

SYNTHETIC DATA

We’re using a supermarket level creator kit you can buy for Unreal Engine. We didn’t want to, and couldn’t, model everything. And we’re interested in how the rise of synthetic data comes from existing tools and data. Of course a real supermarket presumably substitutes its own real products at some point, but for a certain amount of time they can use these existing kits. There are massive 3D repositories, similar to ImageNet, and like ImageNet they’re scraped from TurboSquid, Sketchup repositories, etc. At some point we’d like to work with one of those and pull things in.

In commercial synthetic data, vendors talk about data being ‘perfectly labelled’. In a technical context, it is perfectly labelled – I’ve got a model of a car, my system takes that model, assigns it the label ‘car’, and the image that comes out is a perfectly labelled model of a car. But that ignores the way that someone assumes and categorises that to be a car – the way it’s been brought into the world, the system that’s behind it. This is one of our critiques.

We also looked at some military uses – where synthetic data and its assumptions might be extra problematic. For example automated tanks trained within video games, like navigation using Doom or Starcraft. We moved away from that because it’s hard to know – it’s a secretive world. We might move to that in another episode. But we also wanted to move away from being purely didactic: military = bad, therefore synthetic data + military = obviously bad.

All this is helping us move into Episode 2, because this was always intended as a series.

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