House in Hill

Style generation on marker sketch. I have dreamed about this place for nearly half a century. You can see out of the upper wall panels, but not in. Skinny Van Gogh trees, steppe fountain, motor lobby, more stairs go to the roof. Had a thing with stairs, Figure 1.

Figure 1 . House in hill, fsb

Dreams are sort of sticky. If you go poking into them, they change. The realization makes a limited change of questionable value in my own precise track of time, the arrow I ride.

Figure 2. House in hill, kids markers, fsb

In Figure 2, I show the original sketch used for the style filter with its crude fills, hatches, contours. In my dream, this house is inserted into the hillside like a piece of macaroni that floats on soup, like the letter ’c’, but one side of the arc is deviating from the nice curve, somewhat straighter. The part that you see in the sketch is the longer side. This is not color of the house I see in the dream. I reserve color overlays for the Van Gogh Trees. I use colors that work for online viewing.

The steppe fountain in the foreground sits at the other end of the macaroni, unseen in the hill. I will need to provide additional drawings.

Salad

Style filters play with differences. A fill is a different feature than a contour line, in terms of distribution of changes in pixel value. From one to the next. Matisse painted the difference.

In plainspeak, the hand does things over and over to make part of the drawing, and some of those things happen imperfectly, but there is a motor memory associated with certain emotions bound within those gestures, the probability that certain strokes arise over others ‘become’ styles which are predictable distributions of possible changes. Order from chaos, directionality.

If you shine a round light through the trees, you find round dapples on the forest floor. If there is an eclipse, you see little crescents and such. I learned that from watching an eclipse through a shoe box.

I f I want a good style transfer, I alter the base image I intend to transfer. I choose my coordinates, but I have limited control over the ‘source’. What shape would the source of illumination take? My sketch is an intentional imitation of a style filter. When I run the transformation, the filter has more to work with, so the transformation looks cleaner. The base image was massive, the output small. Like stars in the sky, punch holes of history. Same difference. My job is to fabricate the right holes in my awareness for the weird light coming through it to create a pattern of illumination. Change the screen of perception to produce Moire, and allow light through it in new ways. Something conducive to play in relativity.

You have an ice cream sundae. You put whipped cream on it – that’s what managers do.

Captain Lou Albano

I will paint the house from a different perspective

In this case, the house is a cavity within a hillside that just out on one end, an underground banana. Words often elude me, so I will follow up with a more detailed plan of the house. I will put the camera up high, with cutaways and such, a nice X-ray spec. Now that I found a deeper banana, I must meet it at the bottom of the well again.

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