antiaøthøicificialintelligent
Date: 2026-07-28 · Tags: filmmaking, nonlineari film co.
And Another point which is very important to perceive in the perception of sound and reality or sound imagery, is that how do we suppose to know interactions of sound and music or the differences between interpretive ideas and interpretations of vision, of visionary, the image that we have intrepid or created, in a sense, are actually partly in the real of the realistic rim, of the world that actually what we created are generally speaking in terms of like, a foundation of the arts, lesson.'s say, for example, the influence of the creation of images, images in psychological understanding, all the interpretations. How are we actually creating a piece of work that has no relation to the to the previous version of each version actually should be in the science side chained or side chaining system, which is a kind of a productive way of actually allowing strands or stems of sound to actually be in a mold, connecting with one another in that sense. But sidechaining is actually a mastery of actually how audio production have been done in the last half century. Over the last 50 years, I think, the analog experience in the maiden of actually creating sound device, and producing the sound within in studio environment or recorded in the environment with an inside studio is that actually production are an important step in creating the story that flows throughout the piece of work that actually what is visual or what is a sound piece. So throughout the performances, these might be someone's goal to understand the understanding of their goals to achieve that the last bit of the accompaniment of an audience. Although, for example, if this piece of work is actually as a box, within built for an audience, particularly in isolation sense, on this individual or this group of individuals will accompany the piece of work together. Then the interactivity of the work in itself is an interpretation of the copy machine idea, some mechanical reproduction of perhaps what Benjamin was talking about, the reproduction, or mechanical reproduction of the first half of 20th century is how industrializations and the mechanical process has taken over, and we have done understand that these is the creativity more importantly to us than actually what we want to accomplish as a performformer who actually accompanied by a group of audience and actually doing a group of interpretations of the mechanical process within a time frame in the environment. So as to say, this is a kind of a difficult concept to explain on, but actually any space, any kind of performance environment needs to be interpretively designed, or perhaps what we want to do is actually, we have to interpret how to influence ourselves to be driven by the concept of creating a space as what it is installation or performative.