Thursday, May 7, 2026

 

ExternalRadio — a genuinely random 4-lane music system

How it works, where the music comes from, and just how unlikely any particular combination really is.

When you hear this stream, you are not hearing a playlist. You are not hearing an algorithm that weights popular tracks or moods. You are hearing four completely independent lanes of music drawn at random from my entire body of recorded work — simultaneously, continuously, without repetition logic, without curation.

Here is where that music lives and what that randomness actually means.


The sources

86,743YouTube videos
5,328Alonetone tracks
2Bandcamp catalogs
1Archive.org collection
YouTube86,743 videos across 6 channels@h92o and others
Alonetone5,328 tracks, recordings going back to 2011alonetone.com/newbold
BandcampFull album catalogs, both accountsh92o · xik6
Archive.orgAudio uploads and recordingswvn1 / William Victor Newbold

The 4-lane system

Four lanes run at all times. Each lane picks from the full pool independently — no coordination, no awareness of what the other lanes are playing. A lane finishes one track and immediately starts the next random pick. The result is a mix that no one has ever heard before and no one will ever hear again in exactly the same form.

Lane 1random pick
Lane 2random pick
Lane 3random pick
Lane 4random pick

Every track is normalized to the same loudness level before it enters the mix, so nothing drowns anything else out. A 2-minute field recording and a 54-minute performance piece are treated the same way.


How random is it, really?

The combined pool is approximately 92,000 tracks. Each lane draws independently from that pool. The number of possible 4-track combinations at any given moment is:

92,000 × 92,000 × 92,000 × 92,000= roughly 71 quadrillion unique combinations

That is 71,639,296,000,000,000. Across a 12-hour session with tracks averaging 10 minutes each, each lane plays roughly 72 tracks. The number of possible complete 12-hour sessions is so large it is not a useful number to write down.

In practical terms: the mix you are hearing right now has never existed before. The probability that any future listener hears the same four-track combination in the same order across all four lanes is, for all meaningful purposes, zero.


Everything logged

Every track that plays is written to a timestamped log — title, source, lane, and start time — organized in 12-hour blocks. Those logs become the tracklist for each video description. The silence you sometimes hear in older broadcasts was a lane quietly failing with nothing to revive it. That is fixed now. All four lanes run indefinitely with automatic restart if anything goes wrong.

The music is all mine. Every source, every track, every recording. This is not a shuffle of someone else's catalog — it is the full history of what I have made, playing itself back in combinations I did not choose and could not have predicted.

Wednesday, April 29, 2026

Fractal stream light and sound dimensional experiments

Fractal Stream — Live Visual Art by William Victor Newbold  —-

Real-time fractal art generated live and broadcast directly to the stream.   Every frame is computed on the GPU as it happens — no pre-rendered footage, no post-processing, no editing. What you see is what the machine is calculating at that exact moment.

The visuals blend multiple mathematical universes simultaneously — Mandelbrot sets, Julia sets, 3D Mandelbulb ray-marching, and Euclidean geometric shapes, all mixed together and morphing in real time. A local video is decoded live and wrapped directly onto the fractal surface using the escape-time mathematics as a texture coordinate, so the footage becomes part of the geometry itself rather than sitting on top of it.

36 Iteration Equations

The engine runs 36 different fractal iteration formulas, each producing a completely different class of visual structure. They can be blended against each other in real time or flashed through randomly by the glitch engine:

Classic set:

0 · z² + c (Mandelbrot / Julia) · 1 · sin(z) + c · 2 · exp(z) + c · 3 · cos(z) + c · 4 · sinh(z) + c · 5 · cosh(z) + c · 6 · Burning Ship · 7 · Tricorn · 8 · Newton z³−1 · 9 · Phoenix · 10 · zⁿ + c (arbitrary power)

Extended set:

11 · tan(z) + c · 12 · z·exp(z) + c · 13 · Celtic · 14 · Magnet I · 15 · zαΆ» + c (self-power) · 16 · Manowar · 17 · Perp Burning Ship · 18 · Time-spiral · 19 · z³ + z + c · 20 · cosh(conj(z)) + c · 21 · Polar→Cartesian warp

Mandelbulber 2 set:

22 · Buffalo · 23 · Perp Celtic · 24 · tanh(z) + c · 25 · Nova (Newton z³−1+c) · 26 · Lambda z(1−z)·c · 27 · Barnsley 1 (IFS) · 28 · SimFp sinh(z)+z²+c · 29 · Ikenaga z³+(c−1)z−c · 30 · Rudy z²+c/z · 31 · Magnet II · 32 · z⁴ + c · 33 · Glynn z¹·⁵+c · 34 · Mandelbar Celtic · 35 · z²·sin|z| + c

Chaos Domain Warp

Before iteration begins, the complex plane can be pre-distorted by one of 7 chaos warp systems baked directly into the fractal structure — Turbulence (fBm), Logistic map, HΓ©non attractor, Shred scanline drift, Lorenz, Clifford, and Ikeda attractors. This couples chaotic attractor geometry into the fractal orbit itself rather than applying it as a post-process.

42 Stream Blend Modes

The primary video and overlay video compose against each other through 42 blend modes including the full GIMP standard set plus extended modes: Subtract, Divide, Hard Mix, Vivid Light, Linear Light, Negation, Reflect, Glow, Phoenix, Grain Merge, Grain Extract, Stamp, Freeze, Heat, Gamma, Chromatic Split, XOR, and HSL component swaps (Hue, Saturation, Color, Luminosity).

Glitch Engine

A probabilistic chaos system fires random short-duration events at configurable rates. Each glitch type modifies the fractal or MIDI state for a moment and then auto-recovers — Julia Jump, Formula Flash, Zoom Punch, Blend Scatter, Power Spike, Offset Shift, Blend Mode Glitch (randomizes the stream blend mode), Filter Glitch (randomizes video or overlay filter), Chaos Warp Glitch (activates a random chaos attractor), Velocity Spike, Pitch Scramble, and Ghost Note. A random CC burst mode fires random MIDI CC messages on every glitch event, which route through the MIDI mapper to modulate blend, filter, and chaos parameters automatically.

Full MIDI Mapping

Every significant parameter is MIDI-controllable — blend weights, Julia C, power, zoom, pan, formula A and B, formula crossfade, chaos mode and strength, overlay blend, all 42 stream blend modes, video filter selection and parameters, overlay filter selection and parameters, color synthesizer (hue, saturation, luminance, oscillator rate and amplitude). All mappings are learned live or assigned manually with configurable min/max ranges.

All music selections and mixes are by William Victor Newbold. All visual settings, parameter choices, MIDI mappings, color design, and fractal configurations are by William Victor Newbold, built and operated using a custom fractal stream engine developed specifically for this project.

Broadcast live via Restream and recorded simultaneously to a local archive file.

No two streams are ever identical.

πŸŽ› Visuals and music by William Victor Newbold

πŸ–₯ Custom real-time fractal engine — C++ / OpenGL / GLSL / FFmpeg

πŸ“‘ Live broadcast via Restream

#fractal #mandelbrot #juliaset #mandelbulb #generativeart #livevisuals #shaderart #realtimerendering #glitch #midiart #williamvictornewbold #burningship #newton #chaos #lorenz


I play,..

The Novation Supernova II (SN2): This is a legendary virtual analog synthesizer from the late '90s/early 2000s. Mentioning that the creator has used the same unit since the year 2000 adds a layer of "legacy" to the sound—using vintage digital tech to create futuristic glitches.

• Synesthetic Connectivity: The idea of a "glitch engine" that affects both music notes (via MIDI) and video visuals simultaneously is a powerful concept. It suggests a world where the audio and visual are literally sharing the same "nervous system."

• The Struggle with Latency: The mention of waiting for "wireless MIDI connectors" and dealing with "broken" phone displays vs. high-speed desktop connections adds a grounded, DIY-hacker aesthetic to the project.

The Visual Aesthetic: Digital Entropy

The images showcase a "fractal landscape" style characterized by:

• Geometric Distortions: Sharp, crystalline structures that look like a GPU struggling to render a 3D environment.

• Chromatic Aberration: That purple and green fringing (especially in the second image) which gives it a "broken signal" or VHS-glitch feel.

• The "Glitch Engine" Look: It perfectly mirrors the creator’s comment about a built-in glitch effects engine. It feels like the visual equivalent of a bit-crusher effect on a vocal track.


Saturday, April 18, 2026

Trilateral Oracle Song

Trilateral Oracle Song

88 keys · chords & melody · I Ching augury · Elder Futhark · stanzas
cast to begin
throws 12
chord size 4
88-key acoustic matrix — selected keys illuminate
A0 · 27.5 HzC8 · 4186 Hz
choose throws and chord size · cast to generate your oracle song
oracle song — full score

Wednesday, March 18, 2026

Solzhenitsyn’s Six People: A Blueprint for Resisting Tyranny That Nobody Used — Until Now

Going with direct & fired up based on your energy in this conversation — tell me if you want it dialed back.

Here are all three, ready to copy-paste:


πŸ“˜ FACEBOOK POST


A Soviet dissident wrote the blueprint for resisting tyranny in 1973.

It was called The Gulag Archipelago. He wrote it in secret. His neighbors hid the manuscript. The KGB seized a copy anyway so he published it immediately — from exile.

Here’s what he said that nobody talks about:

The entire Soviet arrest machine — which swallowed 18 million people — ran on one thing.

Your compliance.

He asked the question out loud: what if just six neighbors in a Leningrad apartment building had set up an ambush in the stairwell? Axes. Hammers. Whatever was at hand. What if the operatives who came at 2am couldn’t be certain they’d go home?

He said: “The machine would have ground to a halt.”

Not because of an army. Not because of a revolution.

Because of six people who decided together, in advance, what they would do.

That’s it. That’s the whole argument.

So we built something. A community charter called The Stairwell Compact — the Solzhenitsyn principle applied to right now, in America, in 2026.

Five stages. Six principles. Three operating rules. One oath.

Free to copy. Free to share. Belongs to nobody. Belongs to everyone.

πŸ”— Full charter in the link below — download it, print it, pass it on.

πŸ‘‡ Two questions in the comments:

1. What’s the biggest threat to freedom in YOUR community right now?

2. Who are your six people?

If you don’t have six people yet — that’s what we’re building here. Comment, connect, start your local group. The stairwell starts with one neighbor deciding to show up.

Share this if you believe freedom has to be practiced to be preserved.

#FreedomIsAPractice #KnowYourRights #StairwellCompact #CivicResistance #TruthJusticeFreedom #CommunityOrganizing #Solzhenitsyn #SocialJustice


🎬 YOUTUBE SCRIPT

(talking-head or voiceover — adjust to your style)


TITLE: A Soviet Dissident Described Exactly How to Stop Tyranny — Nobody Listened

THUMBNAIL TEXT: “6 PEOPLE. THAT’S ALL IT TOOK.”


[OPEN — no music, straight to camera]

In 1973 a book was smuggled out of the Soviet Union that described — in precise, surgical detail — exactly how tens of millions of people were arrested, imprisoned, and destroyed by their own government.

The author’s name was Aleksandr Solzhenitsyn.

He’d spent eleven years in the camps. He interviewed 227 survivors. He wrote the whole thing in secret, memorized chapters so they couldn’t be seized, and hid the manuscript with neighbors who risked their lives to protect it.

The book is called The Gulag Archipelago.

And buried inside Chapter One — the chapter about arrest — is a passage so precise, so cold, so devastating that I have not been able to stop thinking about it since I read it.

He’s writing from inside the camps. Looking back. And he asks this question:

“What would things have been like… if every Security operative, when he went out at night to make an arrest, had been uncertain whether he would return alive?”

He describes it concretely. Six neighbors. A stairwell. Axes, hammers, pokers — whatever was at hand. You already knew, he says, that the men coming up those stairs at 2am were coming for no good purpose. You had nothing left to lose.

And then he says — if that had happened, consistently, across the country — “the machine would have ground to a halt.”

The entire apparatus. Eighteen million arrests. Stopped.

Not by an army.

Not by a revolution.

By six people who decided together, in advance, what they would do.

[PAUSE]

Now. I want to be really clear about what he’s saying — because this is not a call to violence. The point is not the hammers.

The point is the decision made in advance.

The point is neighbors who knew each other well enough to act together.

The point is that the machine ran entirely on the assumption that nobody would resist — and that assumption was never challenged.

He also documents something that should stop you cold: the arrests were largely quota-based. The NKVD didn’t need you specifically. They needed a body. Someone who ran — like Andrei Pavel, who jumped out a window and fled to Siberia — was almost never pursued. The people who stayed and waited for “the mistake to be corrected” got ten years.

His verdict on why nobody ran, nobody resisted, nobody organized:

“We didn’t love freedom enough.”

[SHIFT TONE]

So here’s why I’m making this video in 2026.

Because the mechanics he described — compliance at the point of contact, quota-based pressure, the assumption that you won’t know your rights, that you won’t record, that you won’t show up for your neighbor — those mechanics didn’t die with the Soviet Union.

They are operational. Right now. At different scales. In different forms. Everywhere that power concentrates and accountability disappears.

And the response — the actual, practical, proven response — is the same as it was in that Leningrad stairwell.

Know what’s happening. Make it visible. Build with your neighbors. Refuse at the threshold. Build alternatives that make tyranny unwelcome.

We turned that into a document. A community charter. It’s called The Stairwell Compact.

It’s in the description. It’s free. It belongs to nobody and everybody.

Download it. Print it. Sit down with your six people and read it together.

[CLOSE — direct to camera]

The question Solzhenitsyn asked from inside the camps — I want you to sit with it.

Not as history. As a present-tense question.

Who are your six people?

If you don’t have an answer yet — start here. Comment below. Connect with people in this community who are building local groups right now. That’s what this channel is for.

The stairwell starts with one neighbor deciding to show up.

Be that neighbor.

[OUTRO]

Subscribe if you want to go deeper. The link for the full charter is below — download it, share it, adapt it for your community. It’s yours.

And if you’re already building something local — tell me in the comments. I want to know where this is taking root.


✍️ BLOG POST


Title: Solzhenitsyn’s Six People: A Blueprint for Resisting Tyranny That Nobody Used — Until Now

Subtitle: What a Soviet dissident wrote in secret in 1958 tells us exactly what to do in 2026


There is a passage in The Gulag Archipelago that Aleksandr Solzhenitsyn writes not as a historian but as a man burning with regret.

He is writing from inside the labor camps, looking back at the moment of arrest — the midnight knock, the unwiped jackboots, the bewildered “Me? What for?” that he says was repeated millions of times and never once received an answer.

And he asks a question so precise and so devastating that it reads less like political philosophy than like a wound:

“What would things have been like if every Security operative, when he went out at night to make an arrest, had been uncertain whether he would return alive?”

He describes it in detail. Leningrad. A quarter of the entire city being arrested. People sitting in their apartments, “paling with terror at every bang of the downstairs door.” And he asks: what if instead, a half-dozen neighbors had set up an ambush in the downstairs hall? With axes, hammers, pokers — whatever was at hand? You already knew, he argues, that the men coming up those stairs at 2am were coming for no good purpose. You had nothing left to lose.

If that had happened — consistently, across buildings, across the city — the operatives would have faced genuine uncertainty. And Solzhenitsyn concludes with cold precision: “The Organs would very quickly have suffered a shortage of officers and transport and, notwithstanding all of Stalin’s thirst, the cursed machine would have ground to a halt.”

Not because of an army. Not because of a political opposition. Because of six people in a hallway who had decided, together, in advance, what they would do.


Why Nobody Resisted

Solzhenitsyn documents the reasons with the same forensic care he brings to everything.

The innocence trap was the first. Almost every person arrested was genuinely guilty of nothing. And that innocence became paralysis. The logic ran: if I’m innocent, this is a mistake, and resistance will only make it worse. People tiptoed down the stairs so their neighbors wouldn’t hear. They cooperated at every small step — belt removed, face the corner, walk to the car — because no single step felt like the moment. By the time the picture was clear, they were already inside the machine.

The quota reality was the second — and this one should land hard. The NKVD wasn’t operating primarily on evidence. They had quotas. A specific number of arrests per district, to be filled by whatever warm bodies were available. He documents a woman who came to the NKVD office to ask about her neighbor’s unweaned infant, sat waiting for two hours, and was arrested because they needed to fill their numbers and she was already there.

Most people, he argues, were interchangeable. And the people who ran — like Andrei Pavel, who jumped out a window when the NKVD knocked and fled to Siberia under his own name — were almost never pursued. The people who stayed and waited for justice got ten years.

His final verdict isn’t tactical. It’s moral: “We didn’t love freedom enough.”


The Mechanics Didn’t Die

I want to be careful here, because Solzhenitsyn’s argument is sometimes misread as a call to violence. It is not. The hammers are not the point. The point is the decision made in advance. The point is neighbors who knew each other well enough to act together. The point is that a system of control runs on the assumption of compliance — and the moment that assumption becomes uncertain, the calculation changes.

Those mechanics — compliance at the point of contact, the assumption that you won’t know your rights, that you won’t record, that you won’t show up for your neighbor — did not die with the Soviet Union. They are operational today, at different scales, in different forms, wherever power concentrates and accountability is absent.

The response is the same. It has always been the same.


The Stairwell Compact

We built something. A community charter grounded in Solzhenitsyn’s core insight and translated into practical action for 2026. It’s called The Stairwell Compact and it operates on five stages:

Aware — Know what is actually happening. Study your actual rights. Understand how surveillance works. Know the difference between a legal order and a request. Most authoritarian contact depends on you not knowing the difference.

Witness — Make it visible. Record interactions with authority in public. Use apps that auto-upload footage even if your phone is seized. Practice organized bystander response — show up, stand at legal distance, identify yourself calmly as a witness. Individual incidents become patterns when they’re documented in aggregate.

Network — Build with your neighbors before crisis. Know who on your street is a lawyer, a nurse, a journalist, someone with a camera and no fear. Establish an encrypted communication channel. Maintain a legal defense fund before you need it. The stairwell required six people who already knew each other.

Refuse — Non-compliance at the threshold. “I do not consent to searches. Am I free to go?” You do not have to open your door without a physically presented, signed warrant. Coordinated economic boycott has ended systems that armies couldn’t touch. Jury nullification — a juror’s legal, constitutional right to refuse to convict under an unjust law — is the stairwell ambush inside the courthouse.

Build — Replace, don’t only resist. Community legal clinics. Independent local media. Mutual aid networks. Open-source digital infrastructure. The deepest resistance is constructive: build what should exist, and tyranny becomes both unnecessary and unwelcome.


The Three Loves

The charter rests on a philosophical foundation: the love of truth, justice, and freedom — not as slogans but as active daily practices.

Love of truth means naming things accurately. The euphemism treadmill is a tool of control. Call surveillance surveillance. Call propaganda propaganda. The restoration of honest language is a political act.

Love of justice means showing up and staying. Justice is slow, cumulative, and unglamorous. It requires people who are in it for the long run — at courthouses, city councils, school boards, and stairwells — saying: we are watching and we will not forget.

Love of freedom means practicing it daily. An unused freedom atrophies. Speak when silence is safer. Organize when isolation is easier. Dissent when consensus is enforced. These are not dramatic acts. They are the ordinary maintenance of a free life, repeated by ordinary people — which is the only way freedom has ever survived.


The Oath

The charter closes with an oath. Not a political pledge. A personal one:

I love freedom enough to practice it. I love truth enough to speak it when silence is safer. I love justice enough to stay when it is slow. I will not wait for someone else to begin. I am the six people in the stairwell.


Start Here

Download the full Stairwell Compact at the link below. It’s free. It belongs to no organization. Copy it, print it, adapt it for your community, pass it on.

Then answer two questions — in the comments, or just to yourself:

What is the biggest threat to freedom in your community right now?

Who are your six people?

If you don’t have six yet — that’s what this community is for. Comment below. Connect with people building local groups. The stairwell starts with one neighbor deciding to show up.

Be that neighbor.


The Stairwell Compact is a free, open-source community charter inspired by Aleksandr Solzhenitsyn’s The Gulag Archipelago (1973). Download, share, and adapt freely.


All three are ready to go, Bill. The blog is the anchor — deep, citable, shareable long-term. The YouTube script builds from the same bones but is built for the spoken word and camera. The Facebook post is the fast burn — emotion first, framework second, action third.