# To Do > [!multi-column] > >> [!bug] Overdue >> ```tasks >> not done >> (due before today) >> hide task count >> hide due date >> hide edit button >> short mode >> ``` > >> [!success] Today >> ```tasks >> not done >> (due on today) >> hide task count >> hide due date >> hide edit button >> short mode >> ``` > [!multi-column] > >> [!note] Current Papers >> ```dataview >> LIST WITHOUT ID file.link >> FROM #paper/current >> SORT file.ctime ASC >> ``` # Health Tracking > [!multi-column] > >> [!abstract] Weight Tracker >> ```tracker >> searchType: frontmatter >> searchTarget: weight >> folder: / >> line: >> title: "Weight Over Time" >> yAxisLabel: Weight (kg) >> lineColor: "#69b3a2" >> ``` > >> [!danger] Beer Tracker >> ```tracker >> searchType: frontmatter >> searchTarget: beer500ml >> folder: / >> line: >> title: "Weekly Beer Pattern (500ml bottles)" >> yAxisLabel: "Bottles" >> lineColor: "#ff6b6b" >> ``` >> >> ```tracker >> searchType: frontmatter >> searchTarget: beer500ml >> folder: / >> summary: >> template: "🍺 Weekly Beer Status:\n- Bottles this week: {{sum()}}/8\n- Remaining: {{8 - sum()}}\n- Standard drink equivalent: {{sum() * 1.52}}\n\n📊 Status: {{8 - sum() >= 0 ? '✅ On track!' : '⚠️ Over budget'}}\n\nℹ️ Quick Reference:\n1 bottle = 1.5 drinks\n2 bottles = 3 drinks\n3 bottles = 4.5 drinks (over limit)\n\n🎯 Session Targets:\n- Ideal: 2 bottles (3 drinks)\n- Max: 3 bottles (4.5 drinks)" >> style: "color:var(--text-normal); background-color: var(--background-secondary); padding: 10px; border-radius: 5px;" >> ``` # Notes > [!multi-column] > >> [!summary]- Created Today >> ```dataview >> LIST WITHOUT ID file.link >> FROM "" >> WHERE file.cday = this.file.day AND file.name != this.file.name >> SORT file.ctime ASC >> ``` > >> [!example]- Modified Today >> ```dataview >> LIST WITHOUT ID file.link >> FROM "" >> WHERE file.mday = this.file.day AND file.name != this.file.name AND file.cday != this.file.day >> SORT file.mtime ASC >> ``` > [!multi-column] > >> [!danger]- Created Yesterday >> ```dataview >> LIST WITHOUT ID file.link >> FROM "" >> WHERE file.cday = date(this.file.day-1) AND file.name != this.file.name >> SORT file.ctime ASC >> ``` > >> [!info]- Created Two Days Ago >> ```dataview >> LIST WITHOUT ID file.link >> FROM "" >> WHERE file.cday = date(this.file.day-2) AND file.name != this.file.name >> SORT file.ctime ASC >> ``` > [!multi-column] > >> [!abstract] Recent Thoughts >> ```dataview >> LIST WITHOUT ID file.link >> FROM #thought >> WHERE date(today) - file.cday <= dur(14 days) >> SORT file.ctime DESC >> ``` ## Quick Links > [!multi-column] > >> [!example] Quick Links >> ```dataview >> LIST WITHOUT ID file.link >> FROM #quicklink >> SORT file.cday DESC >> ``` # [[Scratch Pad]] ## Notes on Forsey [[Donald Crawford]] argues that judgements of [[dependent beauty]] are really just disguised conceptual judgements about an object's perfection. On [[this view]], to judge something as a beautiful X (e.g. a beautiful church) is just to judge it as a perfect exemplar of its kind (i.e. a perfect church). Forsey objects that this reduces judgements of [[dependent beauty]] to purely cognitive or classificatory judgements. It leaves out the [[aesthetic dimension]] of appreciating [[the object]]'s beauty, which for Kant involves a feeling of pleasure arising from the [[free play]] of the faculties. By equating [[dependent beauty]] with perfection, Crawford effectively eliminates beauty as a distinct mode of appraisal. ## Notes on the twin peaks talk 1. **Failure to Integrate with Reverberation** - **Unnatural Acoustic Properties**: The backwards voices often lack the expected reverberation effects, making them sound **detached** from the space. - **Perceptual Disconnect**: Without proper reverberation, the voices do not contribute to the spatial cues that inform the listener about the environment. - **Impact on Spatial Hearing**: The listener cannot accurately perceive the size or nature of the space based on the voices, leading to a sense of **disorientation**. 2. **Incompatibility with Room Tone** - **Spectral and Temporal Mismatch**: The reversed phonetics of the voices create sounds that **clash** with the continuous background noises. - **Interruption of Background Continuity**: The voices disrupt the room tone by introducing elements that are **anomalous** and **attention-grabbing**. - **Break in Atmospheric Consistency**: The inconsistency between the voices and the room tone leads to a **fragmented auditory environment**. 3. **Interference with Fusion of Ambient Sensible Qualities** - **Resistance to Fusion**: The backwards voices do not blend with other sounds due to their **unnatural characteristics**. - **Shift from Peripheral to Focal Attention**: The strangeness of the voices draws the listener's focus, reducing the influence of ambient qualities. - **Prevention of Atmosphere Formation**: The inability of the voices to fuse with ambient sounds **hinders the creation** of a cohesive atmosphere. 4. **Alteration of Spatial Perception** - **Lack of Environmental Embedding**: The voices do not appear to be situated within the space, undermining the sense of being **within a coherent environment**. **Comparative Analysis with Normal Speech** - **Normal Speech Integration** - **Reverberation Effects**: In standard scenarios, speech is naturally affected by reverberation, embedding it within the space. - **Harmony with Room Tone**: Normal speech shares spectral characteristics with the room tone, facilitating fusion. - **Support of Atmosphere**: Speech contributes to the atmosphere by integrating smoothly with ambient qualities. - **Backwards Speech Disruption** - **Lack of Reverberation**: Backwards voices often sound dry or artificially processed, lacking spatial integration. - **Spectral Anomalies**: The reversed sounds have atypical frequency patterns that stand out against the room tone. - **Atmosphere Breakdown**: The voices disrupt the atmosphere by failing to integrate, causing fragmentation. **Implications for the Listener's Experience** - **Heightened Awareness of Artificiality** - The unnatural qualities of the backwards voices make the listener aware of the [[constructed nature]] of the scene. - **Emotional Impact** - Feelings of unease, tension, or disorientation may arise due to the break in atmospheric cohesion. - **Reduced Immersion** - The inability to perceive the voices as part of the environment diminishes the sense of being **present within the space**. **Conclusion** - The **backwards voices** in _Twin Peaks_ effectively **break the auditory atmosphere** by disrupting the normal interplay between foreground sounds, reverberation, and room tone. - By failing to integrate with the ambient sensible qualities, the voices prevent the formation of a cohesive atmosphere, altering the listener's perception and emotional response. - This deliberate [[sound design]] choice serves to enhance the show's themes of the uncanny and the surreal, using the disruption of auditory atmosphere as a tool to affect the audience. ## Hyper Rendered 3.1 Hyper-Rendered Sounds Breaking Atmosphere One prominent example of an anti-atmospheric feature in *Twin Peaks* is the use of **hyper-rendered sounds**—specifically, the **staccato blasts of electricity** heard when the Woodsmen are outside the convenience store. These sounds exemplify how hyper-rendered auditory elements can **break through** the show's auditory space, disrupting the atmosphere by resisting fusion with ambient sensible qualities. #### 3.1.1 The Scene: Staccato Blasts of Electricity In this scene, the [[sound design]] features **very brief, harmonically rich staccato blasts** that resemble electrical noises interspersed with what seems to be **cut-up recordings**. These sounds are characterized by: - **Abrupt [[Temporal Structure]]**: The sounds are delivered in **very short bursts**, lacking sustained duration. - **Harmonic Richness**: They contain complex harmonic content, making them sonically dense. - **Artificial Quality**: The sounds do not originate from natural sources, enhancing their unnaturalness. #### 3.1.2 Disruption of Auditory Atmosphere According to Jagnow, ambient sensible qualities contribute to atmospheres by **filling the space** and **fusing** to form a distinctive phenomenal character (p. 6-7). The staccato blasts in this scene **disrupt** this process in several ways: - **Resistance to Fusion**: Their abruptness and prominence prevent them from blending with other ambient sounds. - **Salience and Focal Attention**: The sounds **draw attention**, shifting from peripheral to **focal awareness** (p. 3), which interrupts the subtle influence of ambient qualities. - **Temporal Discontinuity**: The **short, disjointed bursts** lack the temporal continuity necessary for fusion, leading to a fragmented [[auditory experience]]. Julio d’Escriván describes Lynch as a filmmaker who privileges the psychological dimension of sound rather than the representational, and argues that it is [[sound design]] that can best serve to link abstraction with representation (2009, p. 1). Lynch appears to wilfully make use of sound as a catalyst for the audience to forge their own connections with narra- tive events occurring on screen. However, Brooke McCorkle argues that sound in The Return marks a shift from previous seasons—in that it is often ‘hyper-rendered not just for an ephemeral “jump scare” moment, but rather [is] in service of the story and/or the overarching aesthetic of the Twin Peaks world’ (2017). A core part of this aesthetic rendering of the world is that it becomes ‘real’ only in certain spaces. McCorkle focuses on electricity, something that she acknowledges has fascinated Lynch throughout his career, and which she connects to the manner with which the nature of evil is presented within the season as a transient or mobile force stating, ‘like electricity, the evil is transitory or, to put it bet- ter, transmigratory’ (2017). Of course, electricity is everywhere in the universe of the real world but is rarely physically manifest, and then only through its interaction with its surroundings such as lightning or where its flow is channeled as in a light bulb, but in Lynch’s fictional world elec- tricity serves as an invisible power—a binding force that links real-world locations with extra-dimensional spaces and timelines. Dean Hurley explains that electricity is written into Lynch and Frost’s script of The Return, and that Hurley’s bespoke library of electricity sounds ‘became a defining signature of the show’ (qtd. in Joyce 2017). Again, this primacy of spaces and what connects them serves as a multi-dimensional palimp- sest where sound and image collude to determine and distinguish the real, extra-dimensional and liminal spaces of Twin Peaks from one another, and demonstrate the functioning of the portals that will allow for Cooper’s eventual return to the real world from his Black Lodge purgatory.