noizejoy

>> Painting out these movie mistakes as part of a restoration is wrong.

> It's really not the equivalent though. I don't see anything wrong with fixing a license plate or removing a reflection or a modern-day wristwatch.

I think it depends on the primary objective of the restoration. If I’m trying to preserve history, I shouldn’t fix errors. If I’m trying to make a (by implication derivative) work that maximizes enjoyability for (new) audiences, then it’s ok to fix.

e.g. a long time ago, I once transferred vinyl recordings of an extremely amateur community musical group to CD.

After thinking long and hard, I decided to fix recording technology flaws (a bad hum) and vinyl degradation flaws (crackles, dust, etc). But I didn’t fix any of the musical performance flaws.

Bottom line: I decided to respect the history of the performance, and disrespect the history of the recording and playback technology/medium.

> … find other life and hopefully it doesn't lead to conflict.

… well, that would be a first.

> ... looked cool, but from a biomechanical perspective were inefficient to pedal. They were pretty tiring to pedal a significant distance.

You simply had to take a few longer breaks when going on longer distance trips to re-charge your muscles. ;-)

> The one anomaly bucking that trend are all of these K-pop groups that are very popular and viral right now.

I’d argue, that those aren’t bands in the same intuitive sense as The Beatles or Radiohead, but manufactured brands owned by producers, who hire the “band members” as employees. This concept has been around the music business for a long time. From The Monkeys to Milli Vanilli to Spice Girls and many more.

Also: Many so called bands were effectively solo artists operating under a brand name. Sometimes with very long term employees (band members) sometimes only for a limited run of projects (albums and/or tours). From ELO to NIN and countless others.

And then there is “Yes”.

> Software development is a social activity, especially with relatively high-visibility projects like Asahi, and it comes with just as usual burden of social troubles as any other kind of social activity.

Yes.

> The only way to do that is to never collaborate with anyone else.

Not necessarily. You can also treat project politics and social skills like any other technical skills that you need on your team like network engineering or database optimization.

If you can find trusted collaborators with those social and political skills, you can make a lot of things happen without necessarily being very good at it yourself.

Team building has a lot of parallels with building a full stack technology. Or building a sports team.

> I think calling this art is a stretch, as they usually aren’t the author.

So I guess in your worldview a concert violinist also doesn’t make art, when they are playing a Mozart composition?

Price increases due to multiple factors from higher interest rates to trade wars, etc. are tempering the financial enthusiasm of customers to buy at the higher end, maybe?

> IMO they are disproportionate.

Typing the three letters in “IMO” is most certainly easier than doing/documenting complex financial analysis.

Almost. Not sampled from the original, but recreated by the same voice actor:

> Actor Patrick Allen, who narrated the associated public information films, recreated this narration … [0]

[0] https://en.wikipedia.org/wiki/Protect_and_Survive#Cultural_i...

TFA author links to this page:

https://artasartist.com/what-is-generative-art/?ref=thecodis...

I’m fascinated by the idea of my future music making DAW computer having one of those manycore monsters.

That’s also because my favourite software synthesizers are increasingly modelling instruments, rather than sample based instruments. And that reduces the need for RAM and storage, but increases the thirst for CPU cycles.

I don’t have the right background/expertise to dig deeper into a different way of looking at this, but am still hoping that some writer will analyze this as a kind of asymmetrical warfare.

Because looking at it that way, might open different analysis than most of what I’ve seen so far.

I’m not AL either, but I’ve been close to a couple of trademark applications and even a court case - so that’s why I was curious. Looking through some of the attached PDF, I wonder if it was, or will be denied unless amended, because the words are just too common and/or the scope for the trademark is being cast too wide? The examiner apparently sent a notice to the applicant earlier this year, and there seems to be some sort of extension to the application in play. This may suggest, that unless amended, the current application won’t be granted?

“Under Examination”?

https://tsdr.uspto.gov/#caseNumber=98321164&caseSearchType=U...

Close, but not quite the same, since I don't even need a YT account or subscription page.

My official YT subscriptions are now just a subset, mostly as a mechanism to give small channels a little algorithm boost.

You may think it's pedantic, but in this case it's a significant distinction.

"popular music" != "pop music"

The term "popular music" is an umbrella for music that has "wide appeal" and associated with "large audiences" [0] -- i.e. it's a statistical term.

It can apply to many "genres" (that's the music industry term, rather than categories).

One of those genres[1] is "pop music"[2]. And after your clarification, I now assume your OP actually meant "pop music".

[0] https://en.wikipedia.org/wiki/Popular_music [1] https://en.wikipedia.org/wiki/Music_genre [2] https://en.wikipedia.org/wiki/Pop_music

YT has RSS feeds for every channel.

So I’ve switched to using RSS to follow the specific niche creators that add value for me. As a result, my YT experience is entirely unlike what the YT algorithm suggests.

> In my opinion one of the most overrated songs in all of popular music.

What is the other metric you're implying?

Because "popular" is the only metric in your statement and if that's also the metric you imply with "overrated", then the statement doesn't seem to make much sense to me.

> The Era

I see what you did there :-)

> a few "stars" and legions of impoverished artists is hard to shake.

Arguably "winner takes all" economies are a very common end-point in many disciplines - not just music / the arts.

I’ve taken to follow only blogs with RSS feeds.

So, if you provide separate RSS feeds for different topics, I would be more inclined to subscribe to those of interest to me.

But if the RSS feed is a firehose of low signal to noise ratio for our overlapping interests, I’ll soon unsubscribe.

The answer may be obtained via drawing a venn diagram estimating the audience overlap between the various topics.

Unless you’re being followed as a celebrity, the full context of your life is simply not that interesting.

So the answer is more often than not: publish different topics under different brands. Cross-link in the about section, if you think there’s more upside than downside.

Or in other words: if I love your software-engineering content, but your general life content turns me off, there’s a good chance that I’ll stop reading your stuff entirely. And if you commingle topics, that’s on you. If you keep them separate and I commingle, that’s on me.

So unless you’re a super rare source of unique insight,

> this is an old partner

“Old” might be intended to mean “former” or “ex”, which could be as recent as merely weeks ago. (i.e. ESL / lost in translation issue).

> They've wrapped themselves up in an identity greater than their self, they want to associate with it and steal some of the perceived value/amazingness (that they weren't responsible for creating).

I agree with most of your post.

However, there’s also the desire to paint one’s own context, biases and giving credit to the shoulders one stands on.

How can you differentiate between negative and positive intentions of communicating one’s context? Just by (often faked) humility? And how do you spot the fake?

> but probably less catastrophic than dropping a box of punched cards.

unless they were sequence numbered and you had a sorting machine[0] :-)

[0] https://en.wikipedia.org/wiki/Punched_card_sorter

Agreed, the MT32 sounded very bad, but it inspired a scene of MIDI enthusiasts and companies making countless MIDI song files for popular and classical music that travelled via floppy discs and bulletin board systems. And the MT32 was kind of GM before GM - and its drum note assignments can still be found in the bones of some of the most recent and ambitious beat making plugins.

So I value the MT32 as an historic technology culture enabler, rather than as a sonic treasure.

That being said, I should run mine through my guitar pedalboard and see if it can be made to sound cool. :-)

Sadly no more blog posts from him in this universe:

https://www.theguardian.com/science/2022/oct/17/can-you-solv...

Can this be self-hosted?

> And some, notably Manchester, are entirely absent.

But Wrexham is shown - so the priorities seem correct. ;-)

[0] https://en.wikipedia.org/wiki/Wrexham_A.F.C.#2020%E2%80%93pr...

> you don't 'save' democracy by trampling on its traditions.

It’s maybe not that simple:

https://en.wikipedia.org/wiki/Paradox_of_tolerance

It’s so interesting, how differently us humans are wired.

I’ve always preferred to experience art without additional verbiage - even by the original creator. I have this sentiment for the visual arts as well as for music.