Alvin Lucier
Alvin Lucier (born May 14, 1931) is an American composer of music and sound installations exploring acoustic phenomena, especially resonance, as well as a former member of the Sonic Arts Union along with Robert Ashley, David Behrman, and Gordon Mumma.
As a self-acknowledged composer of experimental music, Lucier's compositions sometimes deal with elements of indeterminacy. Much of his work is heavily informed by science, revolving around the physical properties of sound itself: resonance of spaces Read Full BioAlvin Lucier (born May 14, 1931) is an American composer of music and sound installations exploring acoustic phenomena, especially resonance, as well as a former member of the Sonic Arts Union along with Robert Ashley, David Behrman, and Gordon Mumma.
As a self-acknowledged composer of experimental music, Lucier's compositions sometimes deal with elements of indeterminacy. Much of his work is heavily informed by science, revolving around the physical properties of sound itself: resonance of spaces, phase interference between closely-tuned pitches, and the transmission of sound through physical media.
Lucier was born in Nashua, New Hampshire and studied at Yale University and Brandeis University and spent two years in Rome on a Fulbright Fellowship.
His pieces include Music On A Long Thin Wire in which a piano wire is strung across a room with magnets on either end, producing changing overtones and sounds, Crossings, in which tones played across a steadily rising sine wave produce interference beats, Still and Moving Lines of Silence in Families of Hyperbolas in which the interference tones between sine waves create "troughs" and "valleys" of sound and silence, Music For Solo Performer, the first piece to use brain waves to produce sound, and Clocker, which uses biofeedback and reverberation.
As a self-acknowledged composer of experimental music, Lucier's compositions sometimes deal with elements of indeterminacy. Much of his work is heavily informed by science, revolving around the physical properties of sound itself: resonance of spaces Read Full BioAlvin Lucier (born May 14, 1931) is an American composer of music and sound installations exploring acoustic phenomena, especially resonance, as well as a former member of the Sonic Arts Union along with Robert Ashley, David Behrman, and Gordon Mumma.
As a self-acknowledged composer of experimental music, Lucier's compositions sometimes deal with elements of indeterminacy. Much of his work is heavily informed by science, revolving around the physical properties of sound itself: resonance of spaces, phase interference between closely-tuned pitches, and the transmission of sound through physical media.
Lucier was born in Nashua, New Hampshire and studied at Yale University and Brandeis University and spent two years in Rome on a Fulbright Fellowship.
His pieces include Music On A Long Thin Wire in which a piano wire is strung across a room with magnets on either end, producing changing overtones and sounds, Crossings, in which tones played across a steadily rising sine wave produce interference beats, Still and Moving Lines of Silence in Families of Hyperbolas in which the interference tones between sine waves create "troughs" and "valleys" of sound and silence, Music For Solo Performer, the first piece to use brain waves to produce sound, and Clocker, which uses biofeedback and reverberation.
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I Am Sitting In A Room
Alvin Lucier Lyrics
I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.
Contributed by Parker P. Suggest a correction in the comments below.
To comment on specific lyrics, highlight them
Snowdenbleep
Hey there! Im a recording engineer and might be able to differentiate this a little bit further. Mike is absolutely right!
There are three main elements in analysing the result of this recording: 1. microphone and speaker system freuency response. 2. the acoustic properties of the room and 3. the recording medium. These elements are all interacting with eachother.
The order of impact is 1: the acousics, 2 the recording medium (harmonic distortion and compression from tape) 3. the microphone and speaker (comparatively neutral).
The main effect we are hearing is the acousic properties of the room he is recording in. The different decay times of different frequencies are specific to the geometry and materials of the walls.
This room has a low resonant frequency (louder and longer decay time) of 163 herz and 320 herz, as well as many other partial (quieter) frequencies. This high fundamental suggests the room was quite small. As you record, these louder frequencies essentially begin feeding back.
The second most improtant variabke is the recording medium. It sounds to me like tape. This is important because tape does not allow for much dynamic room and begins to distort when the dynamic range is used up. Thus as the amplitude growd through repetition the distortion also created aditional harmonic content with each repetition. This also introduces hiss into the recording with each pass. Edit: the tape distortion is a huge part of the sound we here here, especially at the end. Tape also applies a type of "compression" which is very desirable in music. As the fumdamental gets louder the other frequencies are attenuated, and pop back to fill the hole as the fundamental drops out. This creates a lot of movement and excitement. A flatter digital system would not sound neary as exciting unless you deliberately and progressively added harmonic distortion and compression :)
Microphone and speaker frequency response have a negligable impat over the course of many repetitions compared to thebfirst two variables. Given that the mic and speaker used are able to represent all audible frequencies to a lesser or greater degree, the same resonant frequencies would have been produced no matter what brand or type of mic or speaker was used. Incidentally the same resonanant frequencies would have been produced independant of the origional source (replacing Alvins voice with an accordion or banging on a table), provided it contained a certain ammount of the relevant frequencies to get the feedback going.
Dwarf Angel
Daisy, Daisy, give me your answer do,
I’m half crazy, All for the love of you,
It won’t be a stylish marriage,
I haven’t got a carriage,
But you’ll look sweet, up on the seat
Of a bicycle built for two!
Daisy, Daisy, give me your answer do,
I’m half crazy, All for the love of you,
It won’t be a stylish marriage,
I haven’t got a carriage,
But you’ll look sweet, up on the seat
Of a bicycle built for two!
Daniel Bromfield
plot twist: he's actually standing
Hayden Mesnick
@Lady Alfhildr of the Forest of Violet Mists This is called the Lucier Paradox.
Bobby O'Dell
plot twist: He doesn't play a musical instrument so he has to record his voice and make weird noises.
Metra Augskapa
<3 best comments
Lady Alfhildr of the Forest of Violet Mists
Plot twist: I time travelled and I'm sitting in the same room as Mr. Lucier as he records this, listening to the recording on youtube simultaneously.
He is not sitting in a room any different from the one I'm in now.
IIIllllIIIIlllll
Then who was sitting? (Spoiler: Chuck Testa)
Ben Buckley Productions
"I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice, and I am going to play it back into the room again and again, until the resonant frequencies of the room reinforce themselves, so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room, articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have." <- My favourite quote from the video.
Sebastian Duarte
@Alexander Bayramov yo these lyrics are great
Alexander Bayramov
B̷̨̦̎ë̶̢̞͙́ñ̴̯͕̞ ̷̖̩̺̆̄̍B̷̳͓͖͒ù̷̺͋͝c̷̱̥̝̈͒k̷̥̗̪͆͂̉l̵͎̍ẽ̶̮̟͝ẏ̸̠͎́ͅ ̸̫̱̜̓̔P̴̯̜͋r̸̭̿̌̊o̵̥̽̊d̴̨͍̅̀͠ṵ̴̟͉͝č̶̢̫̦ẗ̷̮͚́i̵̲͂o̶̫̿̄͝n̶̞̮̲̒͌̏s̴̠̎̔͑
̶̬͖̓"̸̢̜͙͋̒I̷̮͕̣͌̈́͌ ̵̼̭͂̒͘a̶̪̔̊m̷̦̎̈́͝ ̴̢̤̏̚ͅs̵͙͂i̶͉̽͗̈́t̴̡̿̅͝t̴͇̅͘͝ḯ̵̖͚̌́n̷̡̳̓̃g̴͚͈͒͂ ̵̢̢͎̋i̶̥̔́n̴̛̪̙̗͋ ̵͉͊ã̵͕͓̆ ̴̛͓̻ŕ̵̛̬̘̭͝o̸̟̰͌ó̶̘̅m̴̬̠̟͛ ̶̬̑ͅď̶͈̫ͅi̴̘̿f̴̟͈̹́f̵̛͉̟̄ê̵̮̗̇͝r̷̦͒̅ẻ̷͉͉̒n̸̯̝̤̂͊t̴̡̬͗̇͛ ̷̢̫͊f̸̮̗͉̾̏r̵̯͔͂̕ö̵̹̅̑ṃ̶̗̗́̆̿ ̷̡̋t̵̤̠̆͜h̸̖̮̳͘͝ē̷̝͛̒ ̸̢̰̹̑ǫ̶̱̜̔͌n̶̢͍̄ḛ̷̬͕͐͗ ̶̤͋y̷͇͙̣͊ö̸͔̾͝ͅu̴̺̒̿̑ ̴͉̝̔͋̄͜a̸̰͎͈̎̽r̸͈͌̌ē̵̪͕̥͋̊ ̸̖͆į̶͕̎̿͝ṉ̴̨̛̟̊ ̸̨̮͋n̴̯̏õ̵̞w̴͇̽́̓.̸̰̪͇̐̌͝ ̶̩̏̒̔ͅI̷̳͒ ̴̰̱̽̇ͅa̸̱̜͑̀m̷̨̱̻̈́ ̸̪̱̟̃̽r̵̨͕̝̓͛̆ḛ̸͖̗̈́̈̈c̵̣̬̤͆͛͠o̸̟̥̰̾̇̐r̶̲̬͛d̸̟̜͆i̴̞̻̦̓͛̃n̴͇͕̻̍̽̽g̴̺̮̠̏ ̶͎͉̊̒̒t̶͖͑͌h̷̪̥͊e̵͇͙̣̾̃ ̵̩̅s̶͙̻̤̈̔o̴̦͓̺̓̅u̷͎̿̏̎͜ͅn̵͙̂d̷͔͔̈́̔ ̷̛̘͋̓o̴̤̊̚f̶͇̘͆͋ ̸͍̘̃m̶͔̅y̸̛̤̐ ̸̭͆s̷͎͖̫͐͐͆ṗ̴̻̫̗̆e̶̳̫͌͌͌a̵͚͗̍k̵̝͔̾̀ͅi̴̼̥͑̔̍n̶̠̭͝ͅg̷̞̅͗̏ ̷̞̥̪̂̈́̕v̵̝̓ơ̸̫̱̺̇͂i̸͓̇̓̀c̷̊͐͜ë̶́̀̀͜,̵̠̲̆͘ ̵̦̞̩̾a̴̛̠̫n̶̢̩͖̿͘͠d̴̜̫̩̒͝ ̴̢̗͐͆I̴̡͔̼͝ ̵̖̭̒ă̵̤̈́m̸͍͓̚͘ ̴̳́͊͑g̴͖͖̓̂ò̷̆͘͜i̵͎̕͜͝n̴̖̽̀g̴̰͛̀̔ ̴̖͖͐̄̍t̴̯̲̺͌̎o̷̡̔̒͝ ̵̥͐̓p̵̢͈͗̓l̸͚̯͆͊ȃ̷̯̥͘y̷̖̣̟̿̚ ̸̢̭̅̊̚i̷̢̡̞̎̀t̸̲̗̲̃̽́ ̶̟͍̂͗b̴̝͝ḁ̷̜͛̓̚c̶̗̟̉͗̍k̵̰͆͂ ̸̠̪̀̑̃ì̷̲̫͔̋͝n̵̘̫̳͋͋̚t̷͈͝õ̶͇̭ ̷͖̖̪͆t̷̹͙͗̎h̵̳̠̦͑̐̏e̸̱̓̾͌ ̶̫͌͗̍r̸̹̘͋́o̵͚̾̉͠o̸͉̩̟̾m̸̱̉̔͘ ̴̭̌ǟ̸̙̤̏g̴͍͙͙̈̓͝a̵͔̼̜̚i̴̡͖̣̓̈́ṅ̸̬͙ͅ ̴̖͒a̶͇͐͑̄ǹ̶̳̟̬ḑ̸͑̒ ̴̖͚̤̊̌a̵̧͛g̸̱͋a̷̧͉̖͠í̷̗n̸̢͚̙͑,̶̻̞̭̐̓̇ ̴̡̻̲͊ụ̴̑͒͆n̵̨̛̩̿ẗ̶̹́i̸͈̫̓l̷̺̅̑͜ ̵͕̮̍͜ẗ̵̰͑h̸͎͖͎͝e̸̢̗̒̑̚ ̶̧͕̃̈́ř̷̥̐̎ẽ̴̦͉̒ṡ̷̩͛͂o̴̪̮̰̓̐̎n̴̢̠̣̔͂̾a̷̫̓̕ǹ̸͎̦͔̇̓t̸̥͓̀̈́ ̸̭̄̓f̵̩̐̓͝ṟ̸̭̠̑e̴̼̿̅͠q̴͍͓̣̀̇̕u̷̘̓͠ͅe̸̤̺͌̊͝ņ̸͖͂͆͗č̴͓̿i̵̟̖̯͑̋́e̴̩̜̪̔s̷̪̰̒ ̶̫̝͗̃͐ỏ̶͓́f̷̧͕̺̀͋͆ ̷̨̮̣́̾̂ẗ̸̳͕͜h̶̺̙̖̎ẽ̴̗͖͠ ̸̙̜̑r̷̛̹̩̍̌o̴͍̩͔̎͗̈́o̷̧̡̎̈́m̸̟̓ ̵̛̖͍̄͝r̶̬̱͗ẻ̵̬̫̫ì̵̲̇̋͜ǹ̷̗̼̎̇ḟ̴̝o̴͕͐r̷̻̟͗̄̇͜c̶̢̐̌͝e̸͙̳̎̈́̌ ̶̤͓́̊͘t̸͓̿̊̓h̵̬͊ḛ̶̭́̂m̷̨̘̤̓͊̅s̸̻̩̎̔e̵̠̫̝͂̾́l̶̘͎̈́̿v̶̹̝̩̍̒͒e̶̲̰̣͌̕s̴͈̥̈́,̶͕̮̠͐ ̵̯͋ș̵̯̖̿o̴̤̙̫͐̋ ̵̙͂t̶͈̮͠h̷̟̟͓́̈̃a̴̲͘͜t̶̻̓̆ ̸̯̅͋ą̵̙͊̀͑n̷̢̠̒̈́y̴̜͎͖͆̚ ̷̹̿s̵̠̈́e̶̩͖̥͒̚m̵̢̝̄̊̽ḃ̸̢̖͊͆l̷̙̯̭̾͑ả̸̡̮̮n̸̻̅̆c̶̱͎̝͗̔e̷͕̓ ̶͈̉ơ̴̪͝f̸̭͕̫͠ ̶̺͉̽m̶̪͐͌͠y̷̠͋͌̇ ̵̻̓͜͠ṣ̷͓́͆̀ṕ̵̧e̸͚͂e̶̺̼͙͊̽ċ̵̜͉h̴̞͂͝,̴͈̥̋ ̵̭͂w̶͓͔̅ì̶̬̈̔ṫ̵͍̏̚h̵̨̛͕̱̊ ̷͍̌͘p̴̺̱̈́e̶̛͙̻̬̐r̶̤̦̋̊h̴̳͈̥̀̇ä̵̘̦͍́p̸̧͙͋s̴̹͉̅́̈́ ̵̭̹̜̈́̑̂t̴̟͙̅́̈́ͅh̸͇͇̦̏͛e̸͂͒ͅ ̴̘͆͋̈́è̷̘̂̅x̵̖̝͕̽̆c̶̡̫̳͆̓͠ë̴̘̱́̋͗͜p̵̣̿̃t̸̡̰͋ḭ̶̟͗́o̴̟͒̌̚n̶̦̰̅́͝ ̵̛̦͔͑o̷̭̠͗f̸̨̮̂ ̶̤̠̈́̈r̷̨͆̇̿h̴͚͇̤̆y̸͕͇̞̋t̴͇͈̀ḥ̶̗͘m̴͓͔͍̌̉,̴̪̋̋ ̴̤̏̍͝ĭ̵ͅs̵̟̈́͜ ̵̺̑̽̚d̴̙̪͐e̵̠̖̘̅s̷̨̺̭͛t̶͙̊͛̋ͅṛ̸̟̈́̌͘ö̷̠́̿y̷͕̖̳͋̒́ȇ̵͙̣̣d̶͚͌́.̸̼͔̠̊͒ ̷̛̤͍̀W̵͚̆̋̈h̶̙̿a̴̛̘̽t̶͖̟̿̌̓ ̶̦͉̪̔y̷̩͑̓̕ȍ̵̡̻͉ů̴̡͕͝ ̷̣̈́ẇ̶̭̭̺i̸͈͔̐̆l̵̖̟̈́̾̓l̴͇̍̋͝ ̵̘̞̮̇h̸̩̹͛̐ẻ̶̡̠͊a̷̤̦̘̍r̷̳̙̉,̵̥̻̈́̌̚ ̵͉́̆ͅt̷̜͖̚h̴̺̜̮͂̓̚e̷̮͇̿͆͜n̷͇̅,̵͙̩̅̽ ̵̼̋͠a̶̫̒͐͋r̴̡͊̍̕͜e̶̩̞͌ ̴͍͔͓̈́̅͐t̸͈̟̒h̶̞̄̽ḙ̷̰̐ ̷̗̫̪̍ṋ̷̻̳̓a̶̳͍̤͌͛̀t̶̡̛̞̟́͑ȗ̷̦̐r̴̥̀̆a̷̹͊̀̚l̸̛̦̈́ ̶̡̳͈́r̴̠̖͋́̆e̶͍͊̎s̷͓̒͊o̴̦͔͋̚n̸̡̠͑̇̆ả̶̗̺̉ṇ̶̣̗͐̔͝t̵̙̀̃̌ ̵̡̛͓͑̚f̶̟͈͚͌́r̵̢̥͑̿è̷͈͖̈́͠q̵̰͈̒͝ư̴̛̪ę̴̡̑͗͝ͅn̸̞̬͍͛c̸̢̎i̷̢̹͑̇͛e̴̖̻͛̚s̶̰̹̼̓ ̶̦̈͋ȍ̸̳͒f̵͓̯̬̀̕ ̸̳̓t̶͓̄h̸̰͌́̅é̸̯̖͈ ̸̞͂̃̕r̴̮͚̃̒̇o̵̙̤̾͠o̴̘̝̐m̷̨̕̕ͅ,̴̛̻̝̄̕ͅ ̶̧̛͚̱a̴̤̰͂ṛ̸͇̟̊t̷̨̺̪̆ĩ̶̯͑c̴̆ͅũ̸̠̜̐͝l̷̛̲̹ạ̶̦̉t̷̢̝̞̎ḛ̸̛̙̍d̵͎̆̕͝ ̴͚͍̘̎̏̃b̵̘̾̄y̶̰̿ ̵̻̲͋͋s̶̫̫̠͌̏̄p̴̫̉̃͘ͅė̸̗̬͍̉͝e̸̡̼̓͠c̵̭͐̿͒h̴͕͛̈́͌.̶̣͊͒ͅ ̵̩͗͑͝I̴̘͉̐ ̵̪̉̈ŕ̷̮̙͐e̷̲̻̱̎̾͝g̴͈̻̗͆̽ą̵̪̣͐̕̚r̵̡̤̮̾̔ḓ̴̛͔̖̈́̍ ̸͕̆͊t̴̢͊h̵̛̼i̸͑ͅs̶̟̎̾ ̴̻̞̋̃̕a̷͙̘͌̾c̶̩̈́́t̷̲̅̓̾i̷̩̬̔͐̌v̶͎̭͋í̶͓͓t̸̜̺̣͐̎̋y̴͇͙̳̿͂ ̵̞͘ņ̵͖̹̿̈́͗o̸͔̼͛̾̍ṫ̵͎̏ ̶̜͚͕̈s̶̡͇̓̌ô̵̡̙̹ ̷̡̮̤̄̕m̷̧̄ŭ̸̢̼̦͠c̸͎͖͗̔͋h̵͙͔̾͐ ̴̦̠̓̋̿a̷̜̙̎s̸̳̓̅ ̸̗̍ä̵̫͙ ̸̼͑̋͋d̵̖̠͕͊́͛ë̸̫̩̘m̶̧̛̖̈o̷̭̰̅̓͝n̴͍̮̝͊͆͠s̵̞̘̃̄̅t̴̖̕̚͜r̶͍͒̃̕ą̷͓́͒͛t̵͍̓̈́ͅi̶̖̼̾̓͝o̴͔̝̩͒̏͑n̴̼͓̝͗̓ ̶̥̘͋ő̵̖̭̆f̸̧̞͉̂̽ ̴̼͝ā̴̯̩̲ ̴̜̲̃̒̕p̴̟̗̍h̶̛͎̠̞͐̆ÿ̸̝͍͓́̐s̶̺̯͌̏̑i̴̬͓͒͆c̶͖̤͑a̷̛̳̓l̷̫͒ ̶̡͈̽f̸͎͇̅͂a̴͖͖͐̀̃c̴̞͙̄͐̆t̶͎̍͆͠,̶̞̘̽͜͠ ̸̲̘̝̈́b̸͈̾u̸̙͑͘t̴̻̓̐ ̴͈̽̈ḿ̵̻̖o̷̬̱̟͐͠r̶̬͖͙̈̕̕è̷̢̬ ̸̢̗̋̐a̴̫̽͒s̸̻̭̣͊͘͝ ̷̛̖̀̕a̸͈̘̘̓̂͂ ̴̨̙̾̄ẉ̸̳̦̚ä̶̻̞̘́ỳ̶̩̲͓̇ ̶͍̙̓̉ͅt̷̺̖̜͊̇̌o̷̡͖̮͐̆ ̸̱̄͠ş̸̨̓̋m̸̨̩̜͂́ô̶͖̍o̴̠͐͑̆t̸̹̫̮̏̄h̸̹̼͔̾̂̈ ̴̠̍̀̑o̷̭̽̕u̵͖̞͇͛̏͠t̶̙͒̎̐ ̴͖̩̉ȧ̵̧̐̕ń̷̼͙y̶̪͍̋ ̵̫̌̐ĭ̸̭͖̿̃r̸̬̽͋͛͜r̵̨̖̼̀͌̔ẽ̷̳̭͋g̷̭͉̥̾̓u̶̡̟̿̄̃l̴̮̿͠a̴͙̻͘r̸̟͐ị̶̐ẗ̴͖́i̴̢̢̩͆̚e̸̢͇͉̽̇s̴͍̒̍̈ ̴̮̈́m̸̩̓̈̌ỹ̷͓͕̈̕ ̷̹́̑͑s̴̤̮͑͐͊p̵̣͖̌͝͝ë̶͚́͊́ẻ̶̫̦ĉ̵̣̖͠h̶̡̋ ̷͉̟̣̕m̷̮̊͗i̸̦̲̿ġ̵̪̔h̷̨͗̄t̵̤̀̒ ̶̮̑͝h̶̜̬̲̃a̷̳̬̤̔̋̂v̶̛͕͉̕e̵͚̮̜̓̀̎.̸̤̃̍̾"̶͙̃̐͋ ̴̛̙≮̡̱̦̀-̸͕͍͕̎̈́ ̸͙̑ͅM̸̖̳̻̐̄̆y̷̮̩͊̌̌ ̵̯͕̩̃̀f̵̘́͛̅ä̶̧́v̶̢͋o̶̫̐ú̶̦̻͜r̷̞̙͋̋̆͜ǐ̶̦͕̞͑͐t̵̝̭̄̕͠è̸̡̝̼̅̄ ̷̹̯͙̀̌͝q̸͉̩̩̿u̸͖͙͆̈́o̴̡̨̤͊͝t̵̘̻͙̂͆̐ẽ̶͔͕͜͠͝ ̷̳͋f̴̝͌ṛ̸̼͒o̸̢͌́̊ͅm̵͚͕̋̆̌ ̷̘͌t̷̹̭̱̓̎h̷̢̝͙̀e̵̝̮͒̈́̾ ̵̡͕̮̌̑͘v̷͍̬̜͛̔͛ì̷̭ḋ̵̫̞͎̏ȇ̸̛̹̣̌o̷̦̩͌.̷̘̻͈̍̀
̷͉͊͗̚
̸̧̉̓1̶̝̋͜ ̷̯̃y̴̬̍͜͠ͅe̵̹͉͘ͅa̸̩̭̣̓ŗ̴̙͚̈́̋͠ ̷͙̈̍̓a̸̳̎͂͜g̷̦̦̊o̶̢͋ ̶̤̟̍(̵̗͓͚̅͂ĕ̸̞d̷̗̯͙͛̊̇i̸̳̩̽t̶̤̹̏ͅę̵̮̦̑̃̓d̴̦͠)̵͔̮̆́ ̶͔̈́̔b̸̥̜͛y̶͕̓͠
Alexander Bayramov
B̷̯̕e̸̢̕ń̷͚ ̷̥͌B̷̟͘ȕ̷̞c̸̰̽k̶͉͆l̵̥͒e̴̛̬y̷̰͋ ̴͈̚P̴͉͒r̸͔͠o̸̲̒d̶̦͂u̶̻̎c̴̖͒ț̶̊ì̴̪ȏ̸̟n̷̜͐ŝ̵̹
̵͎̐"̴̳̎I̵̳͊ ̷̥̓a̶̭͋m̵̟̂ ̴̼̈s̸̬̍ȋ̶̘t̶͉̅ṯ̶̽ì̴̲n̵̖̏g̴̗̋ ̴̨̇i̷̫͠n̶̩̈́ ̶̮͘ȃ̸̘ ̵̼̀ṟ̶̆o̶̠̓o̵̖̓ḿ̷ͅ ̵̨́d̴̻̈́i̷̝͘f̸̘͌f̵̯͆e̵̜͝ṟ̷͝e̴̲͌n̸͉͂t̷̬̊ ̴̡̽f̷͎̈ṟ̶͆o̸̹̊m̵̗̓ ̶̝̐t̸̺͝h̸̲͛ẹ̶̓ ̶̘̍o̸̤̾n̸̡̑e̵̺̎ ̸͕̓y̸̜̑o̶̪̅ủ̵̺ ̵̈́͜á̸͜ŕ̷̺e̷̥̋ ̴̲̓ī̸͓n̴̙̎ ̸̪̌ṋ̷̇o̷̺̍w̶̭͆.̷̪͂ ̸̻̑I̴̙̚ ̸̫̄ạ̶͒m̸̍ͅ ̵̻͌r̸̞͗ḙ̸̍c̶̱̈o̷̡̍r̸͔͋d̴̥͋ǐ̴̲n̶̥͝g̷̼͂ ̴̮̾t̷͔͋ĥ̴̞e̶̖̓ ̷͖͒š̸̖ö̸̜́u̵̞͋n̶̪̆d̸̠̑ ̶̞̈o̷̝̅f̷̤̋ ̵̙͗m̸̱͐y̸͚͒ ̴͔̈́s̵̻͝p̵̱͌e̵̺͒a̶̡͌k̷͗͜i̸͎͋ṅ̵̲ġ̸͓ ̶̰̅v̴̦̕ó̵̡ì̶̟c̶͍̈e̵̖̍,̷̜̔ ̵̹͊ȁ̸͈n̵̛͖d̸͕̾ ̴͈̍I̴̢͒ ̸̮͝a̷̯͠m̷̧͌ ̸͇̓g̶̭͆o̴͓͗í̴͉ń̴̻g̸̦͆ ̸̞͊t̴͍͝o̵̙̐ ̸̘̍p̶̗͘l̷͎͊a̴̖͂ẙ̵ͅ ̷͈́i̴̧̕ṱ̴̇ ̶̧̂ḅ̷̀a̸͖̿c̴̥̋k̵͙͆ ̴̯͠í̴̦n̵̨̑t̴̛̼o̴̯͛ ̷͓̆t̷̟͊h̶̩͗e̶̪̐ ̵̦͝r̸̡͗o̶͙̓o̴̞͐m̵͘ͅ ̵̹͋a̵̖͆g̷̥̀a̶̬̅i̶͕͐ṅ̵̮ ̸̖͌a̵̗̍n̷̖̆ḍ̸̌ ̴͍͗a̵̱̎g̶̲͊a̴̢͒ḭ̸͝n̶̜̄,̵̞͛ ̶̯̓u̴̠͌ǹ̷̼t̸͍͗ì̷̫l̷̮̄ ̸̲̎t̴̫̏h̵̞́e̷̺͒ ̵͎͝r̷̙͗e̶̜̓s̵͚̀o̷̗͆n̷̞͐a̸̝͆n̸͇̾t̷̜̑ ̶͓̑f̶͍͗r̵̥̾e̷̥̊q̷̥̈́ṷ̴̓ē̷̘n̸͇̔c̵̡͝i̸̻̐ĕ̷̯ŝ̷͈ ̵̛̪o̸̗͝f̷͕͠ ̷͚͐t̴̹̋h̴͙́e̷̯͌ ̴̯͆r̸̄͜o̵̲͛o̸͕͌m̷̩͝ ̴̋ͅr̷̥̐ë̶͖́ḯ̴̱n̶͎͂f̷̠̀o̶̰̍r̵̘̒c̶̨͐ḙ̵͒ ̸͚̌t̸̪͂h̷̪̿ë̶̺m̴͚͒s̴̢̓e̶͙̓l̴̤̀v̴̙͠ẹ̴̽s̸̯̎,̷̭̈́ ̸̳̀s̷̲͑o̸̻̐ ̶͕̃t̶͎͋ḣ̴̨a̶̘̽ț̵̛ ̶̪̎a̶͉͝n̷͉͐y̵̭̓ ̶͜͝s̶̨͠ȩ̷̈́m̶͎̽b̸͓̋l̸͈̓a̷͍͝n̵̢̑ĉ̸̞ẽ̴̟ ̵̧͌o̸͓̿f̷̹́ ̶̣̍m̷͇̏ỷ̸̠ ̸̬̈́s̸̲͆p̸̧͋ẽ̸̗e̴̡̕c̶̡͋h̴̢̽,̴͈͘ ̴̲͛w̵̮͛i̸̭͊t̵̲̀h̷̙̑ ̷̡̋p̶̤͝ẹ̷͝r̸̤̾h̶̦͝ä̵̲́p̸̮͘s̵̮̾ ̶̻͠t̶͚̅ẖ̸̈́ȇ̷͈ ̶͎͊e̴͔͘x̶͕̄ç̴̚e̶͖͝p̴̀ͅt̸͜͝ï̵̱o̴̲̓n̴͍͒ ̷̮̐o̷͍̐f̷͚̽ ̴̨̚r̸̨͋h̷͙̀ỷ̷̗t̵͕͗h̸̫͌m̷̪̈,̶̈́͜ ̷͉̕i̶͕̎s̷͕͘ ̸̟͆d̴̜̂e̸̙̅ŝ̵̙t̵̡̉r̵̟̊o̴̫̚ỵ̵̎e̸̟͝d̷̞͋.̸͉̚ ̴̦̚W̵̥̽h̴̤͌a̷͈͑ẗ̷͚́ ̸̖̑y̸̧͝o̶͝ͅú̴̧ ̸͔̒w̷̡̑i̵͜͝l̵̖̇l̴̦͗ ̵̝̍ḥ̴̎e̵̥͐a̸̰͠r̶̳̀,̸͍̐ ̸̢̌ṫ̶̟h̴̥͝e̸̩̿n̶͍͗,̵̼̍ ̵̦̓à̷̬ṙ̵͙e̵͉͐ ̴͉̊t̴̮̚h̷̡̛è̸̝ ̶͕͛n̴̩͆a̷̖̋t̴̼͝u̴̞͠r̸̖̆ã̷ͅl̶͖̾ ̵̙͒ṟ̶̄e̴͉͂ş̴̔o̷̼͊n̶̞̉a̶̘̓n̵͎͝t̶̞̂ ̷͈̏f̵̩̿r̷̬̒ệ̸q̴̼̆u̸̫͐é̸͕n̸̺͝c̵̥̍i̷̳̓e̵̳̊s̸̯̄ ̴̳̚õ̶̫f̴̜͝ ̶͔̊t̴̝̍ḧ̴͔́ḛ̶͐ ̷̻̓r̷̃ͅó̷̯o̴̱͝m̵͈͗,̷͕̃ ̶̲̐a̸̯͝r̵͈͆t̴̜̐ḯ̴̝c̷̟̋ǔ̸̳ĺ̷̼a̵͔̋t̷̯͝ĕ̷͔d̴̮͋ ̷̟̇b̶̫͝y̴̥̕ ̶͍̈́s̸̩̅p̶̗͐ë̸̮́e̸̛͔c̶̥͒h̴̼̋.̴̘̍ ̵̜̓Ȋ̷͖ ̶̙͝r̷̙͊e̴̡̒g̸̚ͅa̵̡͗r̴̰͝ḋ̴̻ ̴̛̲t̵̟̀h̵̜̍i̵̩͗s̴̼͊ ̴̖̃a̶͍͆ĉ̵̣t̸̖̓i̶̲̾v̴̭͠ī̴͉t̷̤̍y̶̼̍ ̴̙͊n̸̺̕ọ̷̿t̸͎̋ ̷̼̅s̶̭̀o̴̝͋ ̵̘͊ḿ̸̢u̶̲͊c̶̱̀ĥ̶̖ ̵̡͑a̸͈̋s̸̤̊ ̵͇̂ä̸̟́ ̴͉͌d̷̖̋e̴̦̒m̵̮̓o̷̠͝n̷̩̈́s̸̺̚t̵̟̚r̶̘̈́a̴̺͝ẗ̴̹́î̸̢ọ̷̎n̶̯̑ ̵̙͒o̵̘̒f̸̼͐ ̵̢̂a̸̫̓ ̴̛̯p̴͖̒h̷͜͝y̶͉̐s̴̬͗i̴̦̓c̸͍̚a̴̖͐ḻ̷̑ ̸̭͘f̶̝͐ā̶̲c̸͍̐ṯ̵͠,̵̳̿ ̸̛̤b̸̬̋u̶̘͌t̶͓̑ ̸̛̬m̶̻̑ő̴̗ṙ̵̻ě̶̤ ̵͖̀ä̵̙s̵͖̐ ̸̩̊a̷̛͈ ̸͍̇w̸͙̄ả̶̦y̸̺̕ ̴̢̔t̴͇͑o̸͎̒ ̶̛̩ś̸̭m̴̮̈́ó̸͚ō̷̭t̶̡̿ĥ̵̳ ̸̯̉ǒ̴͇u̴̞͐t̸͚̽ ̸̹́a̸̹͆n̷͍̊ý̴͎ ̶̨̓ǐ̶̯r̷̪̓r̷̭̿e̵̫͋g̶̝̏ū̷͇l̷̛̯ā̵̧r̸̈ͅi̸̫͗t̸̡͑ï̶̺ë̶͇́ŝ̴̪ ̸̆͜m̶͈̐y̶̽ͅ ̴̨̊s̴̞̑p̶̪̚ê̶̦e̴̥̊c̵̤̓h̵̼͗ ̶̗̔m̸̱̎į̴̂ǵ̷̦ḥ̵͊t̷̢̆ ̵̻̓h̷͚͆a̴̟̐v̵͚̂e̴̩͆.̵̣̂"̵͕̂ ̶̫̎<̵͇͌-̷͙̏ ̴̰͆M̵̮͑y̶̛̫ ̵̺̃f̷͖͘a̸̖͂v̷̯̀o̶̫͘u̶̘͒r̶̤̀i̵̲͒t̸̡̕e̸͌͜ ̴͓̽q̸͋͜u̸̢̔o̷̳͒t̴̪̀e̴̟̋ ̵̗̀f̵̬̌ṟ̵̏ò̷̱m̸̲̽ ̴͕͘t̸̼̂h̴̬͝ē̴̞ ̷͓̆v̷̳̇ì̶̩d̵̼͘e̶͈̔o̷͓͗.̴̝̿
̴͈̉
̷̻̂1̶̝̀ ̶̧͝y̵̦̔ȅ̵̩ă̷͙r̴̯͝ ̵̜͂a̵̠̎g̵̫͝ŏ̸͉ ̸̢̇(̸͖͋e̶̖͂d̸̡͊í̶̥t̶̨̓e̴͕̚d̴̛̦)̴̧̈