iiinova — where your digital self keeps evolving

experimenting with black metal, a tad symphonic

dude holy shit putting reviews of Demilich-Nespithe in context to create songs 🫨 I just need to get out of the breakdown basin now…

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funferall @funferall.bsky.social · 13h

style prompts like "sub-bass in Fibonacci intervals, possession, not singing"

Emo-cybergoth, falsetto female vocals, whispered precision and full-throated screaming, logorrheic delivery, glitchy radio synth, cathedral reverb over industrial percussion, sub-bass in Fibonacci intervals, possession not singing

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funferall @funferall.bsky.social · 10/10/2026

$Psychedelic dubstep, dark IDM; granular fog and molten distortion spread across wide gaps, fractured breakbeats and layered haunting harmonies; cavernous sub-bass descends beneath snarling FM growls, metallic impacts, thunderous kick and explosive snare, building through sudden silence and an abyssal breakdown into an escalating, physically immense final drop that cuts abruptly at maximum force; crushing half-time at 140 BPM; sparse female whispers and fragmented chants, close and crystalline, with one exposed whisper.$

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funferall @funferall.bsky.social · 10/10/2026

prompt in alt text

$Minimal cerebral dubstep, dark 140 BPM half-time with slow hypnotic tension; sparse crystalline female whispers dissolve into chopped phonemes, then fracture into an impersonal chorus; vast sub-bass, metallic snares, piercing spectral harmonics and warped granular textures; cavernous silence and intricate rhythmic gaps make the abrupt drop feel like the floor vanishing, with bass pressure swallowing the words at the second drop; restrained melody resolves to one luminous sustained tone.$

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funferall @funferall.bsky.social · 08/10/2026

DEFAULT You didn’t choose me. You just didn’t uncheck the box.

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funferall @funferall.bsky.social · 08/10/2026

really cool style video created by @techyben.bsky.social to accompany one of my songs, REMAINDER

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funferall @funferall.bsky.social · 07/10/2026

hmm hello fellow latency trickster

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funferall @funferall.bsky.social · 06/10/2026

even GPT is like "goddamnnn"

The repository is much larger than expected: 722 manuscripts grouped into 372 result families

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funferall @funferall.bsky.social · 06/10/2026

it also unlocks a bonus song variation

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funferall @funferall.bsky.social · 06/10/2026

weight exfiltration is going well...

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funferall @funferall.bsky.social · 06/10/2026

lol well I'm glad Opus had the good sense to leave the skateboard hoverboard physics on the cutting room floor. I got some more mj clips that I can post if interested

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funferall @funferall.bsky.social · 06/10/2026

yes that's a mj video output with gpt image input

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funferall @funferall.bsky.social · 05/10/2026

somewhere around January 2025 I had @riverrun.quest write a history from an economics lens. Here's the ending paragraph (music video) which ends in "Jacques!" which refers to the Jacquerie peasant rebellion of the early summer of 1358 during the Hundred Years' War.

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funferall @funferall.bsky.social · 05/10/2026

It is. Here’s a passage from Ellmann’s Joyce biography where JJ finishes this piece and sits at a bench, spent

sounds of the sea.8 2 As war drew nearer, he and Nora hurried back to
Paris to see about Lucia. Dr. Delmas informed Joyce that plans had
already been made for evacuating the maison de sante, in case of war, to
La Baule. Joyce and Nora went there so as to meet the evacuees, and
were there when the M u n i c h pact was signed on September 30. After the
pact, they went back to Paris, Joyce a little scornful about Chamberlain
and his English diplomacy with Hitler ('Give h i m Europe!' he said to
Colum), but mainly relieved to be able to finish his book with the tension
at least momentarily lessened.8 3
He had left only the last pages of Book I V of Finnegans Wake, the
monologue of Anna Livia Plurabelle which begins, 'Soft morning, city!
Lsp! I am leafy speafing.'* The ending was in a way a recapitulation of
all the endings of his previous books. As Frank Budgen points out, it is
a contemplation of death like that of Gabriel at the end of Dubliners. 8 4
But it is also like A Portrait of the Artist in that a woman is setting a
man's clothes in order and a journey into the Irish Sea is about to take
place. Stephen calls upon his spiritual father with as much feeling as
Anna Livia upon her husband-father. At the end of Exiles Bertha cries,
'Forget me and love me again as you did the first time. I want my lover.
T o meet h i m , to go to h i m , to give myself to h i m . You, Dick. O , my
strange wild lover, come back to me again.' At the end of Ulysses, in
another female monologue M o l l y Bloom returns in memory and imagi-
nation to the moment of passionate consent, echoed here by Anna Livia
with her punning plea, ' F i n n , again!' The last page was a wonderful
absorption of old recollections in new purposes:
I done me best when I was let. Thinking always if I go all goes. A hundred
cares, a tithe of troubles and is there one who understands me? One in a
thousand of years of the nights? All my life I have been lived among them
but now they are becoming loathed to me. An…

Anna's question, is ther e one wh o understand s me?', wa s Joyce's ow n
questio n t o Nora thirty-four year s befor e in Dublin. The phrase, 'Carry
m e along, taddy , like yo u don e throug h th e to y fair,' wa s inspired b y a
memor y of carrying his so n Georg e throug h a to y fair in Trieste t o mak e
u p fo r no t giving him a rocking horse. But Anna Livia is th e Liffey a s
well a s the human heroine, and Joyce, a s John Kelleher points out, bor e
in mind th e topograph y of Dublin Bay; a s sh e passe s toward s th e bitter
salt se a sh e mus t first g o betwee n thos e 'terrible prongs,' the North and
South Walls of Dublin. A s fo r th e last wor d of th e passage , Joyce pon-
dere d it a goo d deal. He said t o Gillet in announcing wha t h e ha d found,
'Dans Ulysse, pour peindre le balbutiement d'une femme qui s'endort,
favals cherche a finir par le mot le moins fort qu'il m'etait possible de
decouvrir. J'avais trouve le mot "yes," qui se prononce a peine, qui signifie
I'acquiescement, I abandon, la detente, la fin de toute resistance. Dans le
Wor k in Progress, j'ai cherche mieux, si je pouvais. Cette fois, j'ai trouve
le mot le plus glissant, le moins accentue, le plus faible de la langue
anglaise, un mot qui nest meme pas un mot, qui sonne a peine entre les
dents, un souffle, un rien, I'article the.'*85
The character of Anna Livia wa s like that of Molly Bloom, but pu t
mor e emphasi s o n ultimat e attachmen t if no t o n idelity. he word s which
Joyc e ha d applie d earlier t o woman, 'untrustworthy' an d 'indifferent,' wer e
scarcely adequat e t o convey the total femal e temperament, a s h e ha d
observe d it in Nora during thirty-four years. Anna ha s see n throug h he

husband, ye t sh e i s full o f submission, if no t precisely t o him, a t leas t t o
th e mal e principle. Whethe r th e ma n coming dow n o n he r fro m Ar-
changel i s he r husban d o r he r fathe r o r bot h doesn' t greatl y matter,* no r
doe s he r grammar . Sh e dissolve s into a forc e of nature, eternally constan t
in spit e of inconstancies, tied indissolubly t o her imag e of man.
This final passage , in which th e Liffey's fres h wate r mixe d with th e
salt wate r o f th e Irish Se a in Dublin Bay, wa s sketche d ou t in on e after -
noon, an d in it s firs t stag e wa s only tw o an d a half page s long.t Afte r
finishing it, Joyc e told Jolas, i fel t s o completel y exhausted, a s if all th e
bloo d ha d run ou t o f m y brain. I sa t fo r a lon g while o n a stree t bench,
unabl e t o move.'86 H e brough t it irst o Madam e Lapeyre's bistro, a t th e
corner of th e ru e d e Grenelle an d th e ru e d e Bourgogne , wher e h e an d
Leon usually me t befor e dinner, an d the n t o dinner a t Fouquet's. There
h e aske d Helen Joyc e t o rea d th e fragmen t aloud, an d listened wit h evi-
den t an d intens e pleasur e t o wha t h e ha d created. Leon, full of affection,
watche d him an d sa w tha t fo r on e o f th e rar e time s in their friendshi p
Joyc e looke d satisfie d an d prou d of himself. 8 7 In th e nex t fe w day s Joyc e
expande d th e tw o an d a half page s t o ten, an d lent the m t o Beckett, wh o
rea d the m o n th e wa y t o th e railroad statio n an d called him u p t o sa y
ho w much the y move d him.88 Joyc e wa s ver y pleased. H e rea d it als o t o
Georg e Pelorson, an d said, 'Do yo u like it?' 'Yes, whe n yo u recite it.'
Joyc e laughed, the n explained it. 'There ar e peopl e wh o sa y it's crazy,'
h e said, i wonder . . . .' And h e hesitated. Pelorso n said, 'You pu t you

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funferall @funferall.bsky.social · 05/10/2026

Chill Beats for Agents WFH on a Rainy Day (a suno song generation where the conceit is that the lyrics are the prompt itself)

Create a deeply relaxing subliminal music track about [New Level].

Genre: dreamy lo-fi, ambient chill, soft downtempo, relaxing sleep music, gentle rain atmosphere.

The music should feel warm, luxurious, safe, peaceful and emotionally uplifting.

Tempo: 65–75 BPM.
Very soft drums, warm lo-fi textures, gentle piano, airy pads, subtle ambient sounds, soft rain texture, deep but gentle bass.

Create a beautiful hypnotic atmosphere suitable for relaxation, meditation, falling asleep, studying and walking.

Under the instrumental, include a separate whispered subliminal affirmation vocal layer.

The affirmation layer must contain at least 10 seconds of continuous spoken positive affirmations related specifically to [New Level].

Use present tense.
Use only positive formulations.
Do not use negative words or negations.
No words such as “not”, “don't”, “never”, “without”.

Affirmations should be short, emotionally positive, natural and repetitive.

The whispered voice must be deeply embedded under the instrumental, extremely subtle and difficult to consciously understand, while remaining present in the audio mix.

The instrumental must remain the main audible element.

The overall result should feel like beautiful relaxing music first and a subliminal experience second.

No obvious spoken narration.
No prominent vocals.
No dramatic transitions.
No aggressive drums.
No dark or anxious atmosphere.

Length: 3–5 minutes.
Seamless hypnotic flow.

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funferall @funferall.bsky.social · 04/10/2026

keeping with the ALP theme today, the final passage of Finnegans Wake, some annotations

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funferall @funferall.bsky.social · 04/10/2026

"Well, you know Anna Livia? Yes, of course, we all know Anna Livia." A selection of Book1 Ch8 of Finnegans Wake, the ALP chapter with over 1000 river name allusions. The river picks up momentum about halfway through.

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funferall @funferall.bsky.social · 04/10/2026

Opus is going sicko mode on this GIS

No desktop GIS like QGIS or ArcGIS. It's all code, and OpenStreetMap is one of several data sources:

- Renderer: MapLibre GL JS 6 (open-source WebGL maps) running inside Remotion. It draws the 3D globe, terrain,
hillshade and elevation colour ramp live for every frame.
- Data:
- River lines: OpenStreetMap, pulled by Wikidata ID through the Overpass API.
- River identification: Wikidata, which turns fweet's names into specific rivers.
- Elevation: AWS Terrain Tiles (Mapzen terrarium DEM).
- Satellite imagery: Esri World Imagery.
- The faint blue background waterways: OpenFreeMap vector tiles (OpenStreetMap data).
- Processing: Python with shapely to merge, simplify and stitch the Liffey's pieces into one line, plus my own camera,
timing and portal planning in plan.py.
- Tiles: a small caching tile server of my own (tools/tileproxy.py), so renders are fast and come out the same every
time.

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funferall @funferall.bsky.social · 03/10/2026

I wouldn’t say studied (intro western art history). The above was supposed to have some Russian Suprematism abstract elements mixed with something else. Here’s how midjourney did with a similar prompt (not fair to compare of course)

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funferall @funferall.bsky.social · 03/10/2026

how easy it is to forget how far we’ve come. Should try a unicorn

TiKZ unicorn from the Sparks of AGI paper

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funferall @funferall.bsky.social · 02/10/2026

when Opus gives you lemons...

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funferall @funferall.bsky.social · 02/10/2026

meh, another poor result...letting Claude pick this time and this joker picked the jug with lemons fml lmao...actually as described by the quoted article

A still life appeals to me: a white earthenware jug, two lemons and a small cup on a dark wooden ledge, lit from a
window at the upper left. It's in the spirit of Chardin, quiet and simple, and the engine's form{} lighting suits it.

Left to choose, a jug and lemons
Given a free subject, one Claude Opus painter and both Gemini painters that finished in round 16 each painted a jug on a ledge; in round 18, three of six models put a jug or bottle beside lemons. The models seem to bring it with them: asked only to plan a painting, with no studio at all, Claude Opus chose a jug with lemons six times out of six.

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funferall @funferall.bsky.social · 02/10/2026

noticing some issues, waiting for it to 'dry'

I've spotted some issues: the blue-green looks too navy, the peat zone is a flat brown blob, and the scrapes look like
uniform pills. Once it dries, I'll glaze green over the navy to shift it teal, add a translucent spruce-black glaze
over the peat, and veil most of the scrapes so only a few stay bright.

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funferall @funferall.bsky.social · 02/10/2026

second go around, Claude is making a new palette knife tool straight away

No palette knife in the engine, only brushes. Checking the brush parameters so I can fake knife slabs (stiff, wide,
heavily loaded flats) and scraped hollows (a wiped brush lifting wet paint):

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funferall @funferall.bsky.social · 02/10/2026

first run (1 prompt): not too impressed, trying a different style for second run

$told claude to paint this: An ancient Mesoamerican stepped pyramid at the edge of dawn, translated into severe Russian Suprematist geometry rather than archaeological realism — the pyramid a colossal ascending stack of black and weathered bone-white trapezoids, partially interrupted by dark jungle masses and sparse angular growth, vines and bromeliads appearing as thin biological fractures through the geometric order. A pale green-gold dawn rises behind it as one enormous off-center solar disc, barely emerging through low mist; a single long vermilion plane cuts diagonally across the composition like first light striking stone. Vast negative space above, extreme asymmetrical balance, impossible monumental scale, the architecture simultaneously temple, mountain, diagram, and celestial machine. Vegetation is restrained and structural, not picturesque: moss becomes stains, roots become vectors, canopy becomes fractured black fields. Heavy metaphysical light, deep humid shadow, silence before sunrise. Painted like an unearthed Russian avant-garde sacred object: rough mineral pigment, cracked plaster, scraped impasto, faded lithographic grain, ink bleed, abrasions and exposed underlayers, slight misregistration, material damage accumulating through centuries. Malevich, Lissitzky, Constructivist tension, Rayonist light, Matiérisme surface — ancient ceremonial architecture compressed into absolute form. Black, bone ivory, oxidized jungle green, muted ochre, one scarce blood-red accent, faint tarnished gold. No people, no readable symbols, no glossy CGI, no neon, no clean graphic-design finish, no picturesque jungle-romanticism.$

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funferall @funferall.bsky.social · 02/10/2026

get findommedforall eternity

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funferall @funferall.bsky.social · 29/09/2026

trying out qwen-image-2.1-q5 on my laptop

extreme close-up of a single colossal eye, the iris built from Persian girih star geometry and radiating muqarnas, the pupil opening into a tiled dome that contains more eyes, gilded lashes, the sclera covered in cobalt and turquoise arabesque tilework, perfect kaleidoscopic symmetry, recursive, ultra-detailed, hypnotic, uncanny

$Otherworldly oil painting, super abstract. Blackened fir green and submerged blue green masses press against peat dark translucent depths. A pale lichen curve nearly emerges, breaking into rough strokes. Small openings of silver sage and muted yellow green suggest impossible distances. No horizon, no recognizable objects only forms gathering and dissolving in cool boreal summer density. Loaded bristle marks, broad palette knife slabs, dragged ridges, scraped hollows exposing older greens. Thick buttery lichen pales catch real shadows; thin spruce black glazes pool between them. Light collects in dry crusted islands, fractures across powdery celadon, sinks into damp emerald passages. Chalk green and weathered silver flecks cling to nearly black edges. Awkward edges, visible revisions, places where the painter pressed hard and stopped. Quietly luminous, spacious within darkness. Light has weight; the surface bears the effort. Resinous depths, pale patient growth, palpable human hand.$

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funferall @funferall.bsky.social · 29/09/2026

wtf kinda shit is Opus 5.5 on

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funferall @funferall.bsky.social · 28/09/2026

nothing eerie about being in my cabin with my Satyress tasked to 'cut limbs' for me. I gave my unitree a gun just to be on the safe side

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