The Modulators

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Esperanza Spalding‘s “12 Little Spells” is like a game for your ears; the harmony is always shifting and arrangements as well! You constantly slip and try to hold on to something you recognize, but it keeps going, with the drums, the bass, or the chords… You’re a bit lost, but it’s pleasant, too.

In modern music, this is an extreme example of how artists play with harmonies and modulations. A well-known example is the vocal introduction of this Kate Bush song. The way she walks inside the song is incredible – as if it were a “multi-room” song:

So what? This IS what I like in music. Modulations. Sometimes it’s very obvious and “catchy”, like in The Riddle. Some parts of the song are very “chord simple”, but the transitions are wild, and the break is silly. It modulates like crazy!

This is what I love. Sometimes, the craftiness is deeply hidden in the music (Depeche Mode, Röyksopp), sometimes it’s pretty bold and wild (Genesis, Yes), even in quiet music (John Barry!). I love the sudden, clear modulations that you find in Klaus Schulze and his “stairs of music” (it’s often just a transposition), or in Pat Metheny’s music. Some are kings, they just like it boldly (Joni Mitchell, Stevie Wonder)

Clearly, sometimes you wonder if modulating is just the purpose of the song (like here in Again and Again):

In classical music, it’s all the same. I love it when it’s in the fabric of music (Brahms, Puccini) or bolder like Prokofiev or Chostakovitch.

Now here’s an article about “types of modulations” I asked ChatGPT to write (my English is very poor and my personal harmonic skills are meh, so I couldn’t do it myself):

Types of modulation and examples drawn from selected popular and film composers

Introduction — why classify modulations in contemporary music

Modulation (a shift of tonal center or key) is a fundamental expressive device. In contemporary, popular and film musics it appears under many guises: abrupt “brutal” key changes used for dramatic shock; smooth “invisible” modulations that relocate a tonal center without the listener’s conscious detection; common-tone or mediant shifts that provide colour rather than functional reorientation; and modulatory techniques that generate prolonged tension (pedal points, drones, slowly shifting ambiances). Understanding these categories clarifies how different artists use modulation as an expressive resource. Foundational expositions and practical categorizations (pivot-chord, common-tone, direct/phrase modulation, enharmonic/pivotal re-spelling, chromatic mediant, etc.) are available in modern theory literature. 

Taxonomy of modulations (with musical examples)

A — 

Brutal / direct modulations (sudden, no pivot preparation)

Definition & effect: the music jumps to a new key without a shared pivot chord or gradual harmonic preparation; effect is immediate change, dramatic acceleration or heightened urgency. The classical term is phrase modulation or direct modulation. 

Examples & artists

  • Nik Kershaw (1980s pop): many 1980s synth-pop arrangements favour noticeable, assertive key shifts between sections to lift choruses or to maintain pop momentum. Analyses and listeners’ breakdowns of Kershaw’s more complex songs point to multiple, sometimes abrupt sectional shifts typical of the era’s production aesthetics. 
  • The Beatles: several Beatles songs employ abrupt shifts (for example, sudden modal/tonal shifts between verse and middle-8) to contrast narrative fragments; A Day in the Life and other late-period Beatles tracks show fragmentation and sudden tonal refocusing. These are often arranged as dramatic sectional contrasts rather than smooth classical modulations. 

B — 

Invisible / pivot-chord modulations (smooth, functionally camouflaged)

Definition & effect: using a chord common to both keys (pivot) or a diatonic chord that functions in both places to create a gradual, almost seamless transition. This is the typical “invisible” modulation used in theatre and film to preserve narrative continuity while changing key. 

Examples & artists

  • John Barry (film music): film composers who write extended orchestral cues often prefer pivot-based modulations or common-tone devices so the music can shift emotional register without jolting the viewer. John Barry’s Bond scores routinely use functional pivots and orchestral re-voicing to move between keys while maintaining dramatic flow. 
  • Pat Metheny (jazz-informed harmony): Metheny frequently modulates through ii–V–I sequences and smooth voice-leading; his approach often masks modulations inside sophisticated but seamless jazz functional progressions, enabling melodic continuity across tonal areas. 

C — 

Mediant / chromatic-third relationships (colouristic shifts)

Definition & effect: moving to keys a third apart (chromatic mediant) — e.g. C major → A♭ major — produces striking color without the functional gravity of dominant-based modulations. Used for tonal colouring rather than conventional cadence. 

Examples & artists

  • Joni Mitchell: Joni’s dense palette arises from alternate tunings and modal shifts that produce chordal relationships not easily expressed in standard tuning; these tunings and voice-leading choices create many color shifts akin to mediant relations and modal interchanges used for expressive colour. Her later jazz influences deepen the use of third-relations and modal shifts. 
  • Kate Bush: analyses of Kate Bush point to ambiguous tonal centers, chromatic neighbor motion and mediant-like harmonic transformations that contribute to her eerie, shifting soundscapes — a colouristic modulation rather than a classical functional key change. 

D — 

Common-tone and enharmonic modulations (sustained pitch as bridge; re-spelling pivot)

Definition & effect: hold a single pitch present in both keys (common-tone) or re-spell a chord enharmonically to reinterpret its function and thereby pivot to a distant key. These are favoured for elegant, sometimes theatrical changes. 

Examples & artists

  • The Beatles: use of common tones or modal borrowing to connect sections; Paul McCartney in particular often uses subtle common-tone lines to reframe harmonic function. Penny Lane and Here, There and Everywhere demonstrate careful voice-leading and chromatic pivoting. 

E — 

Prolonged tension through modal/dronal shifting (slow spectral or ambient modulation)

Definition & effect: rather than an immediate key change, the music sustains a pedal or drone while slowly altering colours, resulting in a sense of unfolding modulation or evolving tonality. Common in ambient, electronic and some progressive rock contexts. 

Examples & artists

  • Klaus Schulze (electronic ambient / krautrock): Schulze’s work frequently creates slow, expansive textures built on drones and evolving synth timbres; the sense of modulation comes from timbral filtering and added pitch content rather than conventional pivot chords. His technique emphasizes process and gradual shift. 
  • Röyksopp: in modern electronic music, modules of layered synths and subtle pitch/interval additions produce perceived tonality shifts; tracks such as those on Melody A.M. rely on textural layering and modal colouring rather than explicit classical modulations. 

F — 

Modulation by arrangement and orchestration (film & theatre practice)

Definition & effect: orchestration itself can imply or realize a modulation: re-voicing, doubling, and reassigning melodic material across sections can make a modulation feel more or less dramatic. Film composers exploit orchestral color to make small harmonic shifts read as major narrative events. 

Examples & artists

  • John Barry: his Bond work shows how orchestral timbre and layered harmonic textures can perform the work of a modulation — the listener experiences tonal shift partly because of timbral re-contextualization rather than a simple harmonic pivot. 

G — 

Jazz/“inside–outside” modulations and extended tonal movement

Definition & effect: jazz idioms introduce modulations by extended II–V cycles, modal interchange and deliberate “outside” playing that temporarily undermines the home key; the result can be fleeting tonal excursions or sustained re-centering. 

Examples & artists

  • Pat Metheny: blends “inside” tonal phrases with progressively “outside” harmonic choices; his compositions and improvisations often imply modulations through modal interchange, extended dominant chains, and sophisticated voice-leading rather than explicit abrupt key changes. 

H — 

Sectional/episodic modulation (progressive rock / long-form structures)

Definition & effect: in long, suite-like forms, entire sections may inhabit different tonal regions; transitions may be abrupt or gradual, but the architecture of the piece treats modulation as structural segmentation. 

Examples & artists

  • Mike Oldfield: Tubular Bells and similar long-form works are built from episodic sections that reframe tonal centers; modulation functions at the level of formal design — sections move, return, and contrast through a series of tonal environments. 

I — 

Pop harmonic strategies: lift-modulation (classic “truck-up”)

Definition & effect: a well-known pop device is an upward semitone or whole-tone modulation for the last chorus to heighten excitement — often deployed in commercial pop, musical theatre finales, and film songs. This is a form of direct modulation used to amplify the climactic section. 

Examples & artists

  • Stevie Wonder: while not always using the classic “semitione lift” as a gimmick, Wonder’s harmonic language uses chromatic passing chords, secondary dominants and blues-derived alterations which can produce rising dramatic moments; his harmonic craft often disguises modulation within rich extensions. Analyses of Wonder’s writing show frequent chromatic neighbors and altered dominants rather than naive direct key lifts. 

Short comparative observations (how these artists differ in modality/modulation approach)

  • Texture vs. function: electronic and ambient artists (Klaus Schulze, Röyksopp) often “modulate” by timbre and additive pitch content; their shifts are spectral and processual. Classical/pop/film writers (John Barry, Beatles, some Broadway composers) typically employ functional pivots or clear, theatrical key changes. 
  • Instrumental technique as a cause: Joni Mitchell’s extensive use of alternate guitar tunings produces harmonic possibilities (open clusters, unusual voicings) that enable coloristic shifts and mediant relationships not easily achieved on standard tuning. This is an example where an instrumental technique generates frequent modal/harmonic surprises. 
  • Pop production aesthetics: 1980s pop (Nik Kershaw et al.) and later pop/rock often use multiple abrupt sectional key shifts as a production tool to maintain momentum or create punchy contrast; these changes are frequently arranged for effect rather than as classical functional modulation. 

Conclusion — practical takeaways for a listener or analyst

  1. Classify first, analyze second: listen for whether a change is accomplished by pivot chords, held common tones, an enharmonic re-spelling, abrupt phrase shift, or by textural/timbral processes — the category suggests the composer’s intention (dramatic shock, seamless narrative, colouristic re-framing, or ambient evolution). 
  2. Look beyond the chord label: many modern practitioners create the perception of modulation by orchestration, tunings, or surface voice-leading rather than by textbook pivot-chord sequences. This is true across the roster you gave (from Schulze’s drones to Mitchell’s tunings to Barry’s orchestration). 
  3. Use targeted listening examples: for practical study, compare a direct pop lift (an 80s chorus key change), a Beatles mid-section pivot, a Joni Mitchell guitar passage (alternate tuning) and a Schulze ambient drone — the contrast makes clear the taxonomy above. 

References and selected reading (short list from my web search)

  • Open Music Theory — Chromatic modulation and common-tone modulation (reference summary). 
  • Puget Sound Theory module — Modulations Without Pivot Chords / Direct Modulation. 
  • JoniMitchell.com — Tuning Patterns (official material on tunings and harmonic practice). 
  • Gibson / Sweetwater analyses — articles on Joni Mitchell’s tunings and technique. 
  • Sound on Sound / Film Music Notes — analyses of Mike Oldfield and John Barry (film orchestration and long-form composition). 
  • Klaus Schulze features and interviews — on drone, timbral process and synth techniques. 
  • Selected analytic pages and lesson-type articles on Stevie Wonder, Beatles and Kate Bush (music theory forums and magazine analyses). 

Old NSFW Terrible Wonderful Comics

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There’s a Twitter account called Old NSFW Terrible Wonderful Things. It captures exactly what I want to express here – so perfectly, in fact, that I borrowed it as my title.

In the early 1980s, when I was about fourteen or fifteen, I used to borrow those small Italian comics called fumetti – little pocket books of short stories with a slightly horrific and/or erotic twist, “for adults,” you know. In France, they were published by a company called Elvifrance.

I kept one of those books: a strange story about a golden beetle, “Le Scarabée d’Or”. The other day I picked it up again. It was dumb, honestly, but some of the drawings were great, and something about it intrigued me.

In France today, you can buy these comics by the dozen for almost nothing on the French Craig List, called LeBonCoin. So I bought a box, then another. I now read maybe three or four every week. For each one, I give it a rating and write a short comment. You can tell the artists were under pressure to produce quickly: the quality varies wildly.

So where does the pleasure come from? Where’s the real interest?

Nostalgia, of course. Sometimes I even smell the pages, and suddenly, I’m back in 1980.

And sometimes, amid the rough, hurried work, there’s a moment that shines. A background scene, a silhouette, a face caught in perfect expression. The artist gets it.

What do I sense?:

Respect — even if these comics were cheap and rushed, I see the human effort, the artist behind the pulp. They had to be fast!

Affection for imperfection: I appreciate these works not despite their flaws, but because of them. There’s a cuteness here.

Curiosity: I’m analyzing what made them work, even unconsciously, to a teenage reader. Many times I smile (for example, when the artist uses an actor’s face, I see what you did here, buddy!

Nostalgia — I’m certainly not looking for “great art,” but for emotional traces: the smell of the paper (ahhh, I always smell inside those books), the pulse of a forgotten time.

Where are the tools?

  • Nostalgia as Time Travel: A physical object – its smell, texture, and color – can instantly transport us decades back.
  • Beauty in Imperfection: Even “bad art” holds moments of grace; flaws often reveal the human hand more than perfection does.
  • Emotional Archaeology: Digging into old, imperfect works lets us uncover forgotten parts of ourselves.
  • Cultural Forgiveness: We learn to love again what once embarrassed us, our teenage tastes, our early fascinations.
  • Rediscovery of Effort: Behind every pulp story lies an exhausted but real artist trying to make something work.
  • Reconciliation with Time: To revisit old, “terrible” things is to accept that beauty and ugliness coexist — as they do in life.
  • The principal: inside a pretty bad book, I sometimes find a nugget, a perfect little drawing…

Thanks for reading!

I’m banned from Facebook because of an Italian painter, tatataaaaa…

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In summers I usually go on holiday for one week to explore one city of France I don’t know yet. It’s been Angoulême, Carcassonne, Sarlat, Strasbourg, and this year: Lyon!

Of course, I visited the Arts Museum, and found great things, but one name impressed me more: Tintoretto, a Renaissance painter. Everything was fascinating in Tintoretto, the “no finito” express, his bold style, and risks.

So I began to read and buy books about the Renaissance. I mainly know the 19th century. So I began to draw links between painters (Titian, Veronese knew Tintoretto), cities (Firenze, Venice), and so on.

Enthusiastic, I posted this on Facebook, the cover of a book I was reading.

The day after, I was banned from Facebook for 180 days. I needed almost a week to understand that it was about the nipple seen in the painting!

Facebook wants me to “take a video selfie”, something like that, and I will not do that, of course.

This happened two weeks ago and made me think about habit of posting what I discover on Facebook, an image, a book, a meme. I sometimes get a couple of “reactions”, and so what?

In 6 months, my account will be deactivated (I’m not sure of that!). I have some time to meditate on art, algorithms, internet and the meaning of all of this!

Thanks for reading!

PS:
Titian, Tintoretto, and Veronese, three pillars of the Venetian Renaissance, are distinct artistic archetypes that shaped Venetian painting.

Titian, the Master, represents classical authority and innovation refined through mastery; his command of color, composition, and portraiture set the gold standard for generations. He’s Kubrick!

Tintoretto, the Rebel, challenged conventions with dramatic intensity, rapid brushwork, and bold, theatrical compositions that often blurred the line between chaos and genius. He’s Tarantino!

Veronese, the Visionary Courtier, merged artistic grandeur with opulence, infusing his vast, luminous canvases with elegance and narrative sophistication that appealed to the aristocratic elite. Christopher Nolan?

Together, they reflect a dynamic interplay between tradition, disruption, and refinement at the height of Venetian art.

Look at a typical “Cene” by all of them:

The Conceptual Zoom

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I can’t draw or paint, but I like to create images with AI, with different models like Stable Diffusion, or here DMD2. I can’t code, so I asked the GPTs to help me code colabs in Python, I wrote a few articles about that already.

I use different techniques to create “accidents” in the prompts, one of which is to “mix 2 artists.” I create hundreds of combinations (like “Van Gogh + Pablo Picasso”) to invent styles.

Today I found that I could melt the styles of Mickael Vrubel and Lee Madwick. Vrubel brings facets, a color dominance of grey and blue, and Madwick brings lonely quiet houses. Here they are:

The secret here is to make the vaguest prompt: “by Mikhail Vrubel, and by Lee Madgwick”, that’s it! I found this combination in the middle of more than 300 more ones, these 2 pictures:

So I made more, plenty more:

I realized I could explore a bit more. THIS is what I call the “conceptual zoom”. I decided to put this world on the seashore, but also to add a disturbance (a spaceship):

Interesting. I asked the help of ChatGPT to create other images with more diversity:

I loved the boats, and the copper flying things, so I dug in this direction:

I made plenty of “lighthouse and zeppelins”, so…

Then I decided to put frightening things underwater:

…and outside of water too!

Sometimes, I get some good accidents:

Later, I asked ChatGPT for a dynamic prompt to create portraits:

You come to wonder, “What does she think about?”:

In the end, I asked ChatGPT to create the pictures it wanted! This is a prompt I got:

I love this process and I feel like a child having fun finding seashells. It can bring ideas to a designer, but to a storyteller as well…

Thanks for reading!

Keeping our inner child: immaturity or curiosity?

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Imagine for a moment the peculiar creature that is the human being: capable of solving quantum equations in the morning and having pillow fights in the evening. Our relationship with our “inner child” resembles a sophisticated ballet between maturity and pure creative madness.

The Realm of Eternal Adolescents
On one side, we have the tribe of the “never-grown-ups” – those adults whose apartments resemble museums dedicated to pop culture, where Funko Pop figures nestle beside the latest gaming consoles like conceptual art pieces. Their motto? “Growing up is optional, maturing is not mandatory.”

These individuals are the modern archaeologists of their own childhood, carefully preserving each vestige of their adolescence like sacred relics. A Marvel t-shirt at 45 is no longer just clothing – it’s an existential manifesto.

The Realm of Eternal Explorers
On the other side, we find the true guardians of the childlike soul: those whose curiosity knows no age limit. These are the scientists who continue to ask “why?” like a 5-year-old, the artists who deconstruct the world with a fresh gaze, the philosophers who perpetually challenge the established.

The Subtle Ridgeline
The challenge, dear readers, is not to stay young, but to remain intellectually alive. It’s like walking a tightrope between Peter Pan syndrome and bureaucratic boredom.

The inner child we’re talking about is not the one who refuses to do the dishes or pouts when asked to clean their room. No, it’s the one who:

Observes the world with fresh eyes
Asks uncomfortable questions
Is equally amazed by a sunset and a mathematical equation
Accepts error as a learning stage
A Philosophy, Not a State
Keeping your inner child alive is not a permanent state, but an active philosophy. It’s about transforming every experience into a learning opportunity, every encounter into a potential discovery.

It’s understanding that the adult within us is not meant to extinguish the flame of curiosity, but to direct it with intelligence and nuance.

The Anthropological Bonus
Sociologically speaking, this ability to maintain a childlike perspective while remaining anchored in reality is probably what distinguishes innovators from conformists. Didn’t Einstein say that the most important thing is to never stop questioning?

Conclusion: A Manifesto
So yes, preserve your inner child. But not just any child. Not the one of tantrums and immaturity, but the one of perpetual wonder, insatiable curiosity, and open-mindedness.

Stay young, my friends. But above all, stay alive.

Remaking Images with AI: How I Use One Picture to Create Another

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I recently embarked on a fun experiment. As someone who doesn’t know how to code, I’ve found that ChatGPT can be a great help in navigating the programming world. For instance, you can run Python programs on websites called “Colabs” (short for Google Colaboratory), which allow you to execute code directly in your browser. This is where I’ve been exploring AI-generated images using prompts—and having a blast while doing it!

But then I had an idea: What if I could use an AI to “read” an image and generate a new one based on it? That’s where a smaller AI called CLIP comes in. CLIP can analyze an image and generate a description—or “prompt”—that could have been used to create it. From there, I could feed that prompt into a more powerful AI model to generate a brand-new version of the image!

How could we call this? Translation? Remix? Redoing?

So, for example, I enter the Mononoke screenshot, CLIP brings “anime character with green hair and a white dress, princess mononoke, 1 9 8 9 movie still, wearing a native American choker, unique hairstyle, in the movie dune, by Gyula Derkovits, young greek man, 256435456k film”, which is a weird prompt. One model respects the “anime” style, the other one does not. I get clouds, a necklace, a white shirt, etc. Of course, the prompt is saved, so I can use/enhance it to make other images in this world.

Sometimes, the prompt is not precise enough, and here, for example, I lost the street life, though I got the guy with the hat, the shadows…

Sometimes, CLIP sees things, like a cat in the prompt, where there’s no cat at all. I love these accidents, it can bring ideas!

Then I had the idea to feed my colab old pictures made in 2021 with AI (here, VQGAN-CLIP). I got “there is a large metal structure with a lot of people walking around it, steampunk zeppelin, corel paintshop pro, marker art, from the movie the thing, lithograph, restored photo, by Eddie Campbell, cockroach, artistic depiction, winter scene, blimp”, which is pretty cool, right?

VQGAN images were very… bad. It was the first day of images made with AI, and everything was… mehhh.

So, obviously, a bridge in the mist with strange wing-like structures, something like a vehicle (but what was the red thing?), and two weird silhouettes near a window…

The lovely part is that CLIP tries its best to prompt this. As the pictures are “vague”, you can get cool things (angels, a wooden train, ghostly meeting…):

So, a vague snowy Russian painting brings:

That’s a cool way to visualize progress in AI, from 2021 to 2024:

Of course, I put the “original pictures” in a folder, dozens of them, and batch all of them, with variations (the prompt for each image is used 4 times (original size, custom size, and one variation for each:

All this with the help of ChatGPT-4o, which I use in POE (free ad!).

Thanks for reading!

Music Inventions

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Discovering the Quirks of Classical and Modern Music

In the liner notes of Poulenc’s CD, this Andante is described as somewhat mischievous. It’s very Mozartian, but with its “brutal” modulations, it feels a bit wobbly. I imagined Mozart hearing this with a slight wince. For us, it’s harmless, but for 18th-century ears, it must have been madness. You can experience this piece yourself on YouTube.

On Beato’s channel, Sting explains that every song needs surprising elements, something that catches the ear off guard. Beato analyzes Every Little Thing She Does is Magic in detail, which you can watch here.

Sting and Summers explain many aspects of the song, but Sting elaborates on why his bass line changes “unexpectedly” in the chorus (instead of just repeating his part). Watch Sting discuss this here.

I asked ChatGPT to transcribe:

Even after playing it hundreds of times, Sting never performs the song the same way twice live. He constantly seeks small incremental changes to the song’s arrangements each time, whether in his bass playing, vocal phrasing, or other parts. This could include subtle changes in the bass line, vocal phrasing, or how the other instruments are arranged for different sections. The goal is to keep the song feeling fresh and like a “living organism” rather than becoming routine or a “museum piece” over time. By continually infusing “oxygen” into the song with these small variations, it remains alive in their live performances after decades.

This, in my opinion, is the secret of successful bands: The Beatles, ABBA, and Bowie are three examples. There’s always something surprising. A 4/4 that turns into a waltz in the chorus, an unexpected chord progression, etc.

Yesterday, I was listening to Rainy Day Women by Dylan, a sort of crazy fanfare. Here’s the story of its recording:

Bob didn’t usually talk much to the musicians, but one late night, he asked them what they did to relax. Learning they occasionally drank beer, he introduced his new song with the refrain “Everybody must get stoned,” telling them he wouldn’t record it with sober people and that he’d order something for them. The studio assistant fetched powerful Leprechaun cocktails from a nearby bar. Although some remained sober, most of the musicians were high during the recording, with alcohol and joints circulating freely.

Bob said he wanted a sound like a fanfare, but not too polished. McCoy called Wayne “Doc” Butler, who brought his tenor trombone from his Ford’s trunk and went straight to the studio. McCoy played the trumpet. The other musicians decided to swap instruments to achieve the wobbly fanfare sound Bob was after. Moss told Strzelecki he wanted to play the bass. “I don’t care,” replied Strzelecki, handing him his guitar. He played Kooper’s organ. Unable to use the pedals with his feet, he lay on the floor and pushed them with his hands, creating a comical dom, dom, dom, d-d-d-dom sound. Kooper shook a tambourine. Buttrey dismantled his drum kit and set the bass on two chairs facing each other. When everyone was ready, around midnight, Buttrey counted the group in by striking the side of his bass with a timpani mallet. He played a splash cymbal with his right hand and the hi-hat with his left “to avoid getting too complicated.” Doc Butler played a foggy carnival-like trombone note—”I wasn’t even warmed up.” And Bob started singing the lyrics with the repeated phrase “Everybody must get stoned.”

Although lying down, Strzelecki’s head was near a mic, and he laughed out loud. “I was so high, I laughed throughout the whole track, man.” Soon, everyone was laughing, including Bob, who stumbled over the lyrics watching the musicians go wild. “We were having a fabulous time,” Moss said. After four and a half minutes, everyone laid down their instruments and went to listen to the playback in the control room. They patted each other on the back, saying what a hit the song would be once finished. Buttrey put his arm around Bob. “Hey Bob, what’s the name of this song we’re working on?” he asked facetiously. They had heard “Everybody must get stoned” so many times that the title seemed obvious.

“Rainy Day Women #12 & 35,” Bob replied, without a smile. Moreover, it wasn’t a rehearsal. The song was finished. It was released as a single a month later and climbed to number two on the charts.

To conclude, I recall the adorable Doug, who discovered a Renaissance piece with his headphones. A professional with perfect pitch, he appreciates the voice, the lyrics, and thus understands “in real-time” what’s happening. Watch his reactions here.

It is literally hilarious to see him constantly surprised. He “sees” what’s coming, reproduces it on the piano, but is always taken aback (watch his body language). After the first “chorus,” check out his expression at 3’54” (a sudden chord change… which quickly breaks again, look at his arms!) up to 4’10”. Sure, it’s a bit of “progressive” folk, but it’s amusing to see how the composer spends his time making us believe we’ve guessed what’s next, and… no!

You can also watch Jake Borg dissect Dancing Queen or Analyzing my favorite Beatles song by David Bennett, also on YouTube. This pianist is clever and literally explains why Billie Eilish or Radiohead works.

There are other criteria for successful music, but this one has always been the most compelling to me!

When “Good Music” Doesn’t Fit the Graph

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This graph, while intriguing, presents a rather narrow view of musical taste. It suggests that regardless of the generation, the “best music” is that we encounter, as you see, between the ages of 10 and 20, the peak of the curve. After that, its impact supposedly lessens, and by 30-35, we’ve moved on.

I must confess that during my middle and high school years, there was a grain of truth to this. In those formative years, I was rather smitten with the ABBA of the era (Voulez-Vous, Super Trouper, The Visitors) and found myself captivated by the likes of The Police, Pink Floyd’s The Wall, and later by Simple Minds’ New Gold Dream, Talk Talk, and even ZTT (Art of Noise, Propaganda, Frankie Goes to Hollywood), along with Yello, Dead Can Dance, and the artists of the 4AD label – all exemplars of a sophisticated synth-pop, wouldn’t you say? My musical zenith arrived during university, at the tender age of 18, with David Sylvian and This Mortal Coil.

However, my peers were all about hard rock or the band Téléphone – genres that did nothing for me. I, on the other hand, was beginning to cast a curious ear back to the music of the 70s.

And that’s where my experience diverges from this curve. For me, “all good music” seemed to have been created around 1973 when I was but a lad of 7 – a full decade behind the curve’s prediction. I became the resident mixtape DJ for the handful of kindred spirits who, like myself, found solace in the sonic landscapes of Pink Floyd’s Dark Side of the Moon, King Crimson, Yes’s Close to the Edge, and Mike Oldfield’s Tubular Bells. The “music of my 20s”? It hardly registered.

When I stepped back into a record store in 1989, my tastes had evolved considerably. I was immersed in a different realm altogether, from the minimalist compositions of Steve Reich to the ambient soundscapes of Brian Eno and the entire EG Records roster, along with Harold Budd, Wim Mertens, and Ryuichi Sakamoto. And, of course, a healthy dose of progressive rock – Genesis, Crimson, Oldfield, the lot.

What was popular at the time? Prince, the resurgence of Queen, Midnight Oil, Sade, Smashing Pumpkins, R.E.M., the burgeoning French rap scene, Mylène Farmer, Oasis, grunge, Britpop, house music, Britney Spears, The Cranberries – all languishing at the bottom of the curve, according to this graph!

So, tell me, where do your musical allegiances lie? Do they adhere to this so-called “nostalgia curve,” or do you, like myself, find yourselves drawn to a different rhythm?

AI-Made Images in Art Education: Opportunities and Considerations

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This paper explores the potential of AI-generated images in art education. It examines how these technologies can foster creativity, develop critical thinking skills, and introduce new artistic concepts. The paper also acknowledges ethical considerations and offers practical guidance for educators.

Enhancing Creativity and Exploration

The introduction of photography significantly impacted painting by offering new perspectives. AI-generated imagery presents a similar turning point for art education. By providing students with a tool to generate visuals based on textual descriptions (prompts), AI can spark fresh ideas and fuel creative exploration.

Batching and Curation: Developing Critical Judgment

AI tools often allow users to generate multiple images based on a single prompt. This functionality can be leveraged to teach students how to select the most effective visual elements from a range of options. By evaluating and discussing these variations, students develop critical thinking skills and hone their artistic judgment.

Dynamic Prompting: Exploring Creative Possibilities

AI art generation can be particularly stimulating when prompts incorporate diverse artistic styles or introduce elements of randomness. For example, a prompt combining the style of a specific artist with a particular theme can lead to unexpected and visually intriguing results. This approach encourages experimentation and broadens students’ understanding of artistic expression.

Merging Styles and Disciplines: Fostering Innovation

AI art tools can facilitate the exploration of interdisciplinary connections and the blending of various artistic styles. Students can experiment with merging visual elements from seemingly disparate artistic movements, fostering innovation and challenging traditional boundaries.

Visualizing Abstract Concepts: Developing Expressive Skills

AI art allows students to explore and visually represent abstract concepts like “melancholy” or “persuasion.” This process encourages students to connect with their emotions and translate them into visual language. By analyzing successful and unsuccessful attempts, students can gain valuable insights into the effectiveness of artistic choices.

Reinforcing Artistic Fundamentals

AI-generated art offers a rich resource for studying artistic fundamentals such as composition, color theory, and light (chiaroscuro!). Students can analyze both successful and unsuccessful outputs to understand how these elements contribute to the overall effectiveness of an artwork.

Expanding Artistic Vocabulary

AI art tools can introduce students to a wider range of artistic concepts and terminology. By generating images that exemplify specific stylistic techniques (e.g., pointillism, surrealism), AI can make these terms more tangible and relatable.

Engaging and Assessing Student Learning

Unique Portfolios: AI-generated art can be integrated into student portfolios, showcasing their ability to utilize technology creatively.

AI Art Contests: Friendly competitions based on AI prompts can stimulate creativity and provide opportunities for peer evaluation.

The Ethical Landscape of AI Art

Copyright and Originality: The use of AI art generation raises questions about copyright ownership and the nature of artistic originality. These are important topics for discussion in the art classroom.

Artist vs. Assistant: Does AI threaten to replace artists, or does it provide them with new tools? Exploring this question can lead to valuable discussions about the future of art and the role of the artist.

Integrating AI Art into the Classroom

Existing Tools: Many popular design applications now incorporate AI art features. Integrating these tools seamlessly into the curriculum allows students to leverage this growing technology.

Demystifying Terminology: Educators can help students understand technical terms like “parameters” and “ControlNet,” making AI art creation more accessible.

Educational Resources: A wealth of user-friendly AI art generators are specifically designed for educational settings.

The Future of AI in Art Education

Evolving Possibilities: The potential of AI in art education is vast. From AI-powered installations to interactive experiences, the future holds exciting possibilities for how art is taught and learned.

Conclusion:

AI-generated imagery offers a powerful new tool for art education. By fostering creativity, critical thinking, and a deeper understanding of artistic concepts, AI has the potential to transform the art classroom. As this technology continues to evolve, educators have a unique opportunity to integrate it into their curriculum and explore the boundless creative possibilities it presents.

Revisiting the West: “McCabe & Mrs. Miller” and “Little Big Man”

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The Western genre, with its iconic tales of rugged frontiers and lone gunslingers, has been a staple of American cinema for decades. However, the 1970s saw a shift in the portrayal of the Old West with films like Robert Altman’s “McCabe & Mrs. Miller” (1971) and Arthur Penn’s “Little Big Man” (1970). Both movies deconstructed the myths of the American frontier, offering audiences a raw and realistic portrayal of the era.

“McCabe & Mrs. Miller”: A Subdued Ballad of the Old West

Robert Altman’s “McCabe & Mrs. Miller” is often described as an anti-western. The film stars Warren Beatty as John McCabe, a charismatic gambler who opens a brothel in the burgeoning town of Presbyterian Church. Julie Christie plays Mrs. Miller, a madam who partners with McCabe to run the business. Their entrepreneurial success catches the eye of corporate miners, leading to a conflict that is as much a battle of wits as it is of guns.

What makes “McCabe & Mrs. Miller” stand out is Altman’s rejection of the genre’s traditional heroism. Instead, he delivers a nuanced look at the lives of people on the margins of the West. Coupled with a haunting soundtrack by Leonard Cohen, the film’s atmosphere is imbued with a sense of melancholy and impending doom.

“Little Big Man”: A Satirical Epic

Arthur Penn’s “Little Big Man” takes a more picaresque approach, recounting the life of 121-year-old Jack Crabb, portrayed with wit and flexibility by Dustin Hoffman. Crabb claims to be the sole white survivor of the Battle of Little Bighorn and narrates his life among Native Americans and whites alike. Through his eyes, we encounter a satirical revision of American history, where legendary figures like General Custer are stripped of their romanticized veneer.

“Little Big Man” was groundbreaking in its sympathetic portrayal of Native Americans, a far cry from the one-dimensional depictions prevalent in earlier Westerns. The film is a blend of comedy and tragedy, a sprawling narrative that examines the identity crisis at the heart of the American experience.

Common Threads in Uncommon Westerns

Both “McCabe & Mrs. Miller” and “Little Big Man” defy the conventions of their genre to offer a more authentic version of the American West. Here are the common threads that weave these two films together:

The Revisionist Western

They’re both seen as revisionist Westerns, deconstructing classic tropes to critique the legacy of the frontier. This genre-bending approach offers a richer and more complex depiction of historical events and personalities.

Critique of American Mythology

The films are critical of the mythologizing of the American West, exposing the harsh realities behind the romanticized tales of expansion and heroism.

Complex Characters

Neither film is content with simple archetypes. McCabe and Crabb are multifaceted characters who defy the black-and-white morality typical of the genre.

Cultural Commentary

Both films offer a poignant commentary on American society, capitalism, and the cultural genocide of indigenous peoples. They serve as a mirror to the times and values of the era in which they were made.

Technical Innovation

Altman and Penn brought new techniques to their storytelling, from natural lighting and unconventional camera work in “McCabe & Mrs. Miller” to the nonlinear narrative in “Little Big Man.”

Lasting Impact

Decades later, these films are revered for their artistic courage and influence on subsequent generations of filmmakers.

“McCabe & Mrs. Miller” and “Little Big Man” remain landmark films for cinephiles and historians alike. They offer a vision of the West that is more truthful, critical, and introspective. By looking backward at such films, we gain a clearer view of the path forward—not only in cinema but in our understanding of the American psyche.

Thanks for reading! What should I watch next?

These are anti-westerns: what is this way of working?

The anti-western, or revisionist western, is a subgenre that emerged as filmmakers began to question and deconstruct the conventional narratives of the classic western. Traditional westerns often celebrated the myth of the American frontier, with clear-cut heroes and villains, and embraced a simplified moral universe where rugged individualism and frontier justice were idealized.

Anti-westerns take a different approach by challenging these norms and reevaluating the historical and cultural perspectives that traditional westerns often overlooked. Here’s how they work in terms of form and codes:

Respecting the Form

Anti-westerns still operate within the form of the western genre in that they are set in the American West and often during the same time period as traditional westerns (the second half of the 19th century). They use familiar settings, such as small frontier towns, saloons, and wide-open landscapes. They may also involve characters typical of westerns, like outlaws, lawmen, settlers, and Native Americans.

Not Respecting the Codes

Where anti-westerns diverge significantly from their traditional counterparts is in their treatment of these settings and characters. Here are several ways in which they do this:

  1. Moral Ambiguity:
    • Rather than the clear-cut good guys versus bad guys dichotomy, anti-westerns introduce morally ambiguous characters, complex motivations, and often a deep sense of irony.
  2. Realism:
    • These films often strive for historical and social realism, portraying the West as a place of hardship, violence, and injustice. They might highlight the suffering of marginalized groups such as Native Americans, women, and the impoverished.
  3. Critical Perspective:
    • Anti-westerns often critique the myths of Manifest Destiny and the glorification of expansionism. They scrutinize the actions and legacies of western figures instead of lionizing them.
  4. Focus on Consequences:
    • The violence and romanticized “gunfighter” lifestyle are shown to have real and often tragic consequences.
  5. Stylistic Choices:
    • Visually and tonally, anti-westerns may eschew the grand, sweeping style of classic westerns for grittier, more subdued aesthetics.
  6. Structure:
    • They may employ unconventional narrative structures that defy the linear, adventure-centric storytelling of traditional westerns.

By respecting the form but not the codes, anti-westerns create a space for reflection on the myths and legends of the American West. They encourage the audience to consider the ethical and historical truths behind the romanticized veneer. Through this subversion, anti-westerns provide a commentary not only on the era they depict but also on the times in which they are made, often making statements about contemporary issues through the lens of the past.

ooOOOoo

the anti-western as a tool for the mind operates on several levels. It functions as a critical instrument that encourages audiences to reflect on the narratives and histories presented to them, not just within cinema but in the cultural discourse at large.

The Structure of the “Way”

The structure of this “way” of engaging with narrative and genre can be understood as follows:

  1. Subversion:
    • Begins with the subversion of expectations. It acknowledges audience preconceptions based on the traditional forms and then flips them to reveal a different perspective.
  2. Deconstruction:
    • Involves taking apart the classic elements to understand their significance. It questions why certain tropes became standard and what they say about societal values.
  3. Reconstruction:
    • After deconstruction, there is often a reconstruction of the narrative in a new form that aims to be more truthful or revealing. It doesn’t just destroy the old myths but replaces them with something that is intended to be more nuanced and considered.
  4. Reflection:
    • Encourages reflection on the part of the audience. It’s about engaging the viewers so they become active participants in critiquing and analyzing what they see.
  5. Commentary:
    • Serves as a commentary on both the past and the present. While the setting may be historical, the issues addressed are often timeless or relevant to contemporary society.

Where Else Can We See This?

The method of subverting and deconstructing genres to provoke thought isn’t limited to the anti-western. This approach can be found across various art forms and media:

  1. Literature:
    • Postmodern literature frequently subverts traditional narrative structures, challenging readers’ expectations and often breaking the fourth wall to comment on the act of storytelling itself.
  2. Television:
    • Meta-fictional shows or series that deconstruct TV tropes, like “WandaVision,” play with the conventions of television genres to both celebrate and critique cultural norms.
  3. Theatre:
    • Brechtian theatre uses techniques of alienation to ensure the audience remains critically detached and thoughtful about the socio-political messages of the play.
  4. Music:
    • Genre-bending artists often mix different styles to challenge the conventions of musical genres, leading listeners to reconsider the boundaries and cultural implications of those genres.
  5. Art:
    • Contemporary art often uses hybrid forms and intermedia to challenge traditional categories of art, pushing the viewer to question the nature of art itself.
  6. Fashion:
    • Designers often subvert traditional fashion norms, playing with gender codes or combining high fashion with streetwear, to comment on social constructs and cultural expectations.

In all these cases, the process serves to stimulate intellectual engagement and challenge the status quo. It encourages consumers of art and media to be more than passive recipients; it invites them to be active critics and co-creators of meaning. This is a powerful way of ensuring that cultural products remain relevant and resonant with the lived experiences and questions of their audiences.

Pain Tunnel

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I wrote this text using the voice command of my Macintosh, using the microphone of my webcam. Thank you, Apple!

It’s 6 o’clock in the morning, and I wake up in the dark. My left arm and hand are restless, panicking: they are trapped. I then remember that my entire arm is trapped, bent in a splint with velcro straps everywhere.

I need to get up to go to the bathroom. Since several hours have passed since I took my last Tramadol (which is a painkiller related to morphine), I have to think about how I will move to get up from this couch.

First and foremost, my shoulder hurts because of my fractured scapula. It is quite well supported by my splint. Then, on the lower left side of my back, I have a massive bruise, which I think is related to a muscle strain. Lastly, my right heel hurts.

To fall asleep on this couch, I sit on the right side, leaning comfortably against the armrest. Then slowly, I move my legs onto the couch itself and wiggle around a bit to lie down, with my head and shoulder well positioned against the armrest and the back of the couch.

So, this morning, to get up, here’s what I try to do:

Very gently, I rotate my body to the right to move my left leg and make it meet the rug in front of the couch.

Once I touch the ground, I try to continue this rotation until my knee touches the rug. After that, I grab the rigid side of the right armrest with my right hand and use my arm to continue this rotation, making the right knee touch the rug.

While doing all of this, I try not to twist the shoulder in its sling too much and especially not to activate the muscles in my back, which otherwise awaken the sharp pain of my muscle strain.

Once on my knees, I straighten up, leaning on the couch’s armrest, trying to stand without putting too much pressure on my right heel.

Then, I can go to the bathroom, limping, trying not to fall.

All of this reminds me of that game where you slide a ring along a twisty metal rod without making contact – similarly, I try to find a “movement tunnel” that doesn’t activate, or at least minimizes the activation of, the pain from my tumble down the stairs.

Ouch!

Writing stories with Stable Diffusion and ChatGPT Vision

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In June 2023, I captured 138 images on this theme. I believed it to be a fascinating “universe.”

Here’s an example of a prompt: “by_Isaac_Levitan_and_Jakub_Rozalski_A_traditional_Russian_village_with_thatched-roof_shacks_enclosed_among_gentle_hills_when_monstrous_robots_trudge_across_the_panorama”.

I chose 4 of them and sent them to ChatGPT “Vision”, which can read images and interpret them, with this prompt:

So I got things like:

Image 1 Paragraph: Cold mist hung in the air, with the scent of damp earth and diesel fumes. Reven, adjusting his leather coat, approached the large mobile home, perched atop what appeared to be tank treads. A sentinel tank stood in the distance, its rusting armor a testament to years of inactivity. “Zelara’s still living in that thing?” he murmured, almost amused.

Then I get 5 stories.

I chose the first one and asked for a structure:

Now I ask DALLE-3 to make more images. We will “zoom” into the story (for teens, obviously). I got:

So I said oops: the format must be vertical now, and with the title please:

Okay. Let’s write a bit (with ChatGPT 4, of course):

Chapter One: Wanderer’s Arrival

Lina had seen a lot of things in her short years, remnants of a time long past, artifacts of unimaginable power, landscapes that told stories of civilization and decay. Yet nothing, absolutely nothing, could have prepared her for the sight that stretched out before her. Under the crimson hue of the setting sun, a bizarre, mechanized community spread out, a city on the move. Houses on colossal tank treads trudged through the barren earth, a dance of metal and power, grace and survival. The ground trembled under their might, and for a moment, Lina felt an unsettling fusion of awe and terror. With her worn leather boots firmly anchored in the gritty soil, Lina’s piercing green eyes swept over the spectacle. There was a strange elegance to it all – the choreography of motion, the intricate ballet of architecture and machinery that spoke of human ingenuity, resilience, and an unyielding will to survive. She’d heard tales, of course, stories whispered by the wind, echoing the legends of mobile communities. Nomadic conglomerates of human souls, forever wandering, forever seeking. But hearing is one thing; seeing, witnessing the grandeur, was a revelation of its own.

A gust of wind, cruel and biting, howled across the open space, pulling Lina from her trance. She wrapped her weather-beaten cloak tighter around her frame, the fabric rustling against the layers of dirt and memories of her solitary expeditions. As if on cue, the largest of the moving structures came to a shuddering halt. A metallic groan echoed through the air, a sonorous melody of old age and relentless endurance. A panel slid open and out stepped a figure, his silhouette etched against the fiery tapestry of the sunset.

“Never seen anything like this, have you, kid?” The voice, coarse yet infused with a curious warmth, drifted towards Lina. She didn’t flinch. In her world, encounters with the unknown were the norm. “No,” she admitted, her voice steady, betraying none of the awe that swirled within her. The figure chuckled, stepping into the dying light. Age had carved its tale into his face, wrinkles weaving narratives of years and battles, of lost loves and found hopes. He was Reven – though she didn’t know it yet. “Well, welcome to our moving paradise, or what’s left of it anyway,” Reven said, his eyes gleaming with a mix of nostalgia and the unyielding spirit that had seen him through the darkest days.

The tremors of the moving homes hummed a silent lullaby beneath Lina’s feet as she took tentative steps forward. Every fiber of her being resonated with a mix of caution and intrigue. Here, in this moving bastion of human resilience, secrets waited to be unveiled, and Lina, the eternal wanderer, was drawn to them, as the moth to a flame. Reven studied the young explorer, seeing in her the echo of a time when the world was different, when hope was more than a distant star in the murky skies of the post-war earth. A time of Guardians. As the remaining lights of the day succumbed to the inevitable embrace of night, the shadows cast by dormant, silent mechs on the outskirts of the moving city, whispered the forgotten tales of power and protection. And in the eyes of the young wanderer, an old soul saw the spark of unsatiated curiosity, a spirit ready to venture into the echoes of the past, to unravel the enigmatic dance of ‘Rust & Resilience’.

Etc…

What does this say? AI is not the solution. It must be guided a lot, “prompted”. Then, I think that it can “bring ideas”, and one can build from that. What do you think?

Thanks for reading!

When Influencers Shake Up the Norms

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In a world where influencers are often perceived as the harbingers of the most frivolous and superficial trends (OMG Sonny Angels), an interesting “anomaly” occurs. A renowned French YouTuber has recently spotlighted “House of Leaves”, a dark and complex novel published over two decades ago. And sales are booming! This phenomenon is puzzling; it’s like a “glitch in the matrix” of influential marketing…

In an era where social media and influencers reign supreme, best-seller lists are often dominated by mainstream novels and silly reads. But today, young people are rushing to buy a demanding and deeply complex book.

This phenomenon underscores the potential power of influencers to move away from superficial content and quick-consumption products. They have the potential to direct attention towards works that require a deeper intellectual and emotional commitment. This reveals an underlying appetite for quality content, both complex and enriching, often overlooked in the race for views and likes.

Despite this potential, such occurrences remain rare. Why? Is intricate content too risky, and less likely to capture attention in a world dominated by ceaseless digital noise? And what’s the impact on a young, twenty-something audience that, intrigued, delves into texts of unprecedented complexity? Can initial enthusiasm give way to frustration, exacerbated by misaligned expectations? Or will we see a generation emerge, hungry for Bartok and opera, ECM Jazz, Faulkner, Deleuze, and Pollock?

This “glitch” conjures the image of a paradigm shift where discovery, education, and enrichment triumph over instant gratification and the consumption of Pokemon cards, Pop figurines, naive self-help, and novels mimicking “50 Shades of Grey”. A fleeting dream or an achievable future?

The unexpected resurgence of “House of Leaves” invites us to ponder the nature and impact of digital influence and its untapped potential. Is it the precursor to a new era where depth and complexity are prized, or just a fleeting anomaly in a system otherwise geared towards the superficial?

Thanks for reading!

Casual Curator

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In the era of artificial intelligence, one can rapidly be inundated with possibilities. An AI system churns out thousands of visual artworks, each piece made with a prompt (you can program random prompts, like “a { painting | photo } of a glass of { wine | coffee }”, which will build prompts by choosing the words in brackets. In this burgeoning space of infinite creativity, there emerges a new role, as critical as it is understated – the “Casual Curator.”

The Dawn of Creation

You program a good long prompt, make 2500 images, and in the morning you are greeted by a treasure trove of thousands of images, each crafted overnight by the tireless algorithms of the AI system. Every piece is unique, inviting a gaze, and demanding attention. But what to do with this embarrassment of riches?

The Dual Dilemma

One faces two immediate challenges.

First, determine the destination of these AI-generated artworks. Will they grace the virtual walls of an online gallery, or will they morph into a YouTube movie?

Second, and perhaps more critically, I must curate. I’m not just a casual observer. My eye must sift through the sea of these pictures to select those pieces.

The Eye of the Beholder

Being a Casual Curator is no casual task… It requires a visual culture. Everybody has one!

So yesterday I made almost 3000 images, with two programs, with prompts using the name of a Russian painter named Arkhyp Kuindzhi. Elements of nature, but also Science-Fiction, because… why not?
Now I’m embarrassed. I have to curate. But… what for?

Thanks for reading!

Here are 18 pictures coming from one single prompt.

Some images are just paintings. Others captivate me with their intriguing lighting or compelling compositions. I have the ability to guide the prompts, leading the model to generate specific types of imagery. Certain pictures inspire dialogue, while others when paired together, have the potential to weave a narrative, don’t you think?

What do the sisters say?

The Untranslatable “Velléitaire”

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In the intricate dance of language and translation, words aren’t just letters strung together but containers of culture. One such gem in the French language is “velléitaire.” It doesn’t have a direct counterpart in English, and I like to find those small gaps.

A Closer Look at “Velléitaire”

“Velléitaire” encapsulates a particularly nuanced state of being. It paints a portrait of an individual harboring desires and intentions but tethered by an inability to realize them. In French culture, this term often resonates as a “vague obsessional desire” – it’s not passive or merely about unfulfilled intentions. It’s more complex, tied to a profound internal yearning that, for reasons often undefinable, doesn’t transition into action.

You anticipate THAT DAY when you’ll be alone with no scheduled tasks. Finally, the moment arrives, but you find yourself doing nothing. Hahaha.

The English Adjacents

English phrases like “indecisive,” “lacking follow-through,” and “non-committal” come close but miss the mark in capturing the essence of “velléitaire.” They lean heavily into action and decision-making but do not entirely embrace the emotional and internal struggle that the French term so eloquently encapsulates. Well, that’s what I think when I read the definitions!

The Linguistic Dance

Every language, with its unique terms and phrases, offers a window into the distinct worldview of its speakers. While it’s tempting to perceive the absence of a direct translation as a linguistic shortcoming, it’s really a testament to the rich diversity inherent in each language. It’s not a flaw but a feature, an invitation to explore the depths of human experience as articulated uniquely in different tongues. And it works the other way around!

Well…

So, the next time you stumble upon a word like “velléitaire” that doesn’t have an English sibling, pause and appreciate it. It’s an opportunity to step into another world and explore the textured layers of human emotion and experience that are crafted and cradled in the unique embrace of each language.

We aren’t limited by the “untranslatable”; instead, we are invited into a broader, more colorful world where every word is a story, every phrase a journey, and every language a universe unto itself. Welcome to the dance, the delicate ballet of words that do more than speak—they sing, soar, and reveal the unsung melodies of the human soul, one untranslatable term at a time.

PS:

In French, there’s no verb “To elope”, even close.

French: “Ils ont décidé de s’enfuir pour se marier sans le consentement de leurs parents.” (“to run away to get married”).

(I wrote it with a dialog with ChatGPT and Grammarly for the mistakes)

Thanks for reading!

The Barocco Style

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In Arts, Baroque is: “Exuberance, grandeur, and elaborate ornamentation”. Emilie Autumn made me plunge into this branch of rock (this song is incredible, and the lyrics are on YouTube under the clip).

What else here? Risky fast harmonies, fractured forms, a bit of silliness. You can add the end of Bohemian Rhapsody, and some crazy Yes tracks. I add Marina, Elfman, Sparks…

Any other ideas?

“For want of anything better”, can it be a philosophy of life?

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“For want of anything better”, can it be a philosophy of life? In French, “Faute de mieux”. I learned today that it was the motto of a writer I liked (he died last year).

I asked ChatGPT:

The phrase “for want of anything better” generally suggests a fallback position, something you settle for because nothing better is available or apparent at the moment. As a philosophy of life, it could potentially reflect a pragmatic, flexible approach, but it might also come across as passive or unambitious.

Here are a couple of ways you might interpret this as a life philosophy:

  1. Acceptance and Contentment: In this interpretation, “for want of anything better” can be a philosophy of life that encourages individuals to appreciate and make the most of what they have instead of constantly seeking more or better. This could foster a mindset of gratitude and contentment, aligning with philosophies like Stoicism or certain Buddhist principles.
  2. Pragmatism and Realism: This philosophy could involve making the best of available resources and opportunities, and not getting paralyzed by the desire for perfection. It could mean being flexible and adaptable, making the most of what’s at hand, a concept that resonates with the philosophy of Pragmatism.

However, there are potential pitfalls to this philosophy:

  1. Passivity and Lack of Ambition: The phrase can imply a lack of ambition or aspiration, a settling for less than what one might be capable of. This might lead to a lack of personal growth or fulfillment.
  2. Lack of Initiative or Creativity: It might also suggest a lack of initiative or creativity, a reliance on what is already present or offered rather than seeking out or creating new opportunities.

As with any philosophy of life, much depends on how an individual interprets and applies it. If the philosophy encourages contentment, realism, and flexibility without promoting complacency or stifling ambition, it could be a beneficial guiding principle.

oOOo

To illustrate this, I looked into a folder of images my Mac made last night. For want of anything better, because I can’t draw, you know. So I developed this skill instead, “prompting”. Instead of drawing, I’ve got the state of mind of “maybe finding something cool in this folder”, like a child on the beach. Shells.

Many of them? Rubbish. But sometimes, I like the light, or composition, or something makes me think it could be a base for a short story…

Yesterday? I made trains. I don’t know why. The light is cool. The vintage mood. Silhouettes.

So if the faces made by AI are not “OK”, I often like them. It’s a good start. Faute de mieux, I could get an idea. Who’s the lady in red? Who is the lonely one?

I know someone who can’t buy as many books as he’d like because he expects them to be in mint condition. And perfect objects don’t exist. They always have a little flaw. Like people, right?

While I make these, I listen to The Pearl, and Ambient II, by Eno and Budd. Here: A Stream With Bright Fish. I know this by heart. Clever quiet piano music, like a slow Satie. Good sound. Not too much sugar. Music as a “place”.

I combined 2 artists’ names, randomly, making hundreds of pictures, “big drama” was the theme. It is sometimes a bit surreal. In a few months, I’ll combine image-making and GPT bots to create a two-lines story for each image, find a few good ones, and post it somewhere on Twitter probably.

Who’s the man? Does he wait?

Moments meant to last? Why? Faute de mieux? For want of anything better?

Thanks for reading!

I wrote a Google Colab in Python with the help of ChatGPT

Jean-Pascal6 Comments

I wrote my article, then asked ChatGPT to fix my French mistakes 🙂

I am a 56-year-old French individual with no prior experience in coding.

Over the past few months, I have learned to utilize Google Colabs, web pages that house Python code separated into ‘Cells.’ While I do not fully comprehend the code, I have acquired the ability to enter or modify the parameters to generate images using Artificial Intelligence.

Recently, a new Colab was released, featuring a new model. It can be likened to testing a new car, can it not? The process of utilizing the platform is straightforward: enter your desired image prompt, such as ‘red cat, 4k photo,’ and execute the code via the ‘play’ buttons.

However, the default code is quite basic and only generates one image with a ‘batch_size’ of one, which is inadequate for my needs. I intend to produce hundreds of images and store them within Google Drive.

Here is what I did:

I created a copy of the page (which can be done through the menus). Furthermore, I opened a ChatGPT page to receive guidance on how to make the process more clear and refined.

I wanted:

  • Display the GPU I will be using
  • Present installation and downloads in separate cells that are easy to understand
  • Create a clear “settings” section that includes dimensions, number of images, prompt, and more
  • Store every image in Google Drive.

Thus, I asked ChatGPT the following:

ChatGPT then explains:

I clicked on “Code” within Colab, which created a new cell. Subsequently, I copied and pasted each cell (there’s even a “Copy code” icon available, did you notice?).

To ensure that I understood the process correctly, I asked:

If I ask for hundreds of images, there’s a problem, so:

Afterward, I experienced a crash due to the Colab attempting to process 200 images in a single process. As a result, I asked if it was possible to process one image, save it, and then proceed to the next one:

However, I encountered crashes once again despite ChatGPT’s efforts to assist me. Although I was unable to resolve the issue, ChatGPT suggested adding a line of code to pinpoint the root of the problem. I found it astonishing that ChatGPT proposed this solution:

Subsequently, I executed the suggested line of code and obtained a result. Then:

With the implementation of the suggested line of code, the process ran flawlessly. As a result, images began accumulating in my Google Drive:

However, I faced an issue wherein the images did not appear on the webpage. Consequently, ChatGPT upgraded the code to resolve this problem:

Next, I added an image to the top of the Colab, but it was too large. ChatGPT provided me with guidance on how to display it at 50% of its original size:

Subsequently, I requested that the prompt be “written” over each image, and ChatGPT upgraded the code accordingly.

As a result of these modifications and enhancements, my Colab now looks like this and functions perfectly:

It’s here: https://colab.research.google.com/drive/1bJSxeadteHXQsbxoYDfrB4o4rA6OB9XC?usp=sharing

I made a dragon, do you like it?

“It’s full of sharps and flats!” – Rose Elinor Dougall & The Weave

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I don’t remember the path I took to discover The Weave. I’m 56 years old and almost completely disconnected from “what’s happening” – even more so because I know that today’s music world is like a vast, uncharted forest.

Nevertheless, I found myself returning to The Weave multiple times a week.

Today, I asked ChatGPT to tell me about them. One member is a guy from Blur (okay) and the other is Rose Elinor Dougall. Ohhh, I remember now that I listened to her 2019 album “A New Illusion” quite a bit. I recall the fantastic cover art, and something clicked in my head: harmonic richness.

Now I want more, and I’m curious to know if Coxon is such a composer, the “full of sharps & flats” type.

Dougall’s “A New Illusion” is a cool attempt at crafting “a cool pop song” (oh, that bass line), while her “Something Real” leans more towards the dreamy side, navigating through intriguing harmonic staircases. The piano in “Christina in Red”…

With “The Weave”, they’ve created a perfect song, an… unfolding. It starts with Dougall’s universe (voice, piano, twisted harmonies) and suddenly takes off like an old New Wave track (Clan of Xymox?). The arrival of the saxophones and the incantatory lyrics make it peculiar enough to raise an eyebrow, right?

This “pop with twisted harmonies” is what I love. The Bird and The Bee. Goldfrapp. Agnes Obel. Vienna Teng.

So I asked ChatGPT for “Female Singers and Strings Arrangements” and got this list. Some names I do not know…

  1. Björk
  2. Bat for Lashes (Natasha Khan) (great production & voice, poor harmonies)
  3. Lana Del Rey
  4. Tori Amos
  5. Kate Bush
  6. Enya
  7. Of Monsters and Men (very interesting!)
  8. Aurora (I want to listen more)
  9. Agnes Obel
  10. Austra (cool universe, original)
  11. London Grammar
  12. Cocteau Twins
  13. Dead Can Dance (Lisa Gerrard)
  14. Goldfrapp
  15. iamamiwhoami (Jonna Lee) (Don’t Wait for me, Fountain, Canyon: arrangements)
  16. FKA Twigs
  17. The Sundays (Harriet Wheeler)
  18. Daughter (Elena Tonra)
  19. Regina Spektor
  20. Emilie Autumn (OMG this universe! Misery Loves Company)

Well, thank you guys! I discovered some cool musicians/singers!

Who else?

The Belgian Coast, September 2022, part 1

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The seashore in Belgium and the north of France can be wild! The light is fantastic, and so is the wind 🙂 Here are a few pictures I took in September 2022 without any post-processing. I’ll be posting part II soon!