From American Internet Celebrity to God Among Men

198: Chapter 198 The Silent ArrangementIn northern Siberia, data on the ”Sleepless Iron Mountain” unfolded across the screen in Alex’s study, like a cold medical record from the end of the world.

There was no physical presence, no direct perception of energy residues—only dry text, data, and limited imagery. Geological survey reports indicated the existence of an astonishingly large anomaly enriched with iron-nickel alloy underground, its shape a nearly perfect ellipse that was completely incongruous with the surrounding geological structures. Fragments of ancient Yakut legends mentioned that ”the iron within the mountain never sleeps, emitting a hum in the depths of the polar night that only the wind and spirits can hear.” Three scientific records from the twentieth century (1908, 1963, 1991) showed that several hundred kilometers above these coordinates, brief, intense, and spectrally anomalous geomagnetic storms and auroras had erupted. These did not fully match solar activity cycles, and their peak radiation intensity pointed toward the surface.

Alex’s task was to construct a behavioral profiling hypothesis for this potential ”historical node.”

He first shut down most of his subjective conjectures, imagining himself as an extremely precise ”pattern recognition and texture association machine” with limited input signals. The data was the input, and his Information Texture Discrimination experience base and logical reasoning were the processing core.

Step One: Strip away cultural filters.

The legends of ”never sleeping” and the ”hum heard by wind and spirits” could be interpreted as: this location may have historically released some form of low-frequency vibration or electromagnetic radiation, either continuously or intermittently. Its frequency might partially fall below the lower limit of human hearing but could be indirectly perceived by sensitive individuals or animals (”spirits”), or manifest through object resonance (the ”wind” hearing it). This aligned with Team K’s hypothesis of ”abnormal energy release.”

Step Two: Analyze physical data.

The perfect elliptical shape and the iron-nickel enrichment inconsistent with the surrounding geology strongly suggested a non-natural origin or an extremely violent non-natural modification. Recalling the ”unnatural” characteristics of the SPO-α signal and the ”energy imprints” found in places like Greenland, one could speculate that this might be the wreckage of some ”device” or the legacy of a powerful effect. The three recorded anomalous geomagnetic storms, spanning nearly a century with irregular intervals (55 years, 28 years), ruled out strict periodic activity. It more likely pointed to the intermittent ”activation” or ”energy release” of this ”device/legacy” under specific conditions (such as geological stress accumulating to a threshold or being triggered by an external energy field).

Step Three: Introduce ”texture” intuitive association.

Alex closed his eyes, constructing the scene in his mind: beneath the permafrost, a massive, cold, unnatural metallic structure. It remained silent most of the time, as if dead. But after long intervals, it would briefly ”wake up” due to internal or external causes, releasing a powerful energy pulse that distorted the local electromagnetic environment—like a deep-sea whale surfacing for air, leaving a strange glow in the sky.

This pattern of ”long silence—brief, violent eruption” was texturally distinct from SPO-α’s continuous, low-intensity ”status broadcast + interactive testing.” Its ”emotional color” leaned more toward being inert, triggered, and possessing a quality of ”release/venting” rather than active inquiry. If SPO-α was like a continuously operating unmanned lighthouse, then the ”Iron Mountain” was more like the wreckage of an ancient electromagnetic bomb buried underground, occasionally detonated by accidental geological activity, or a depleted ”capacitor” slowly charging and discharging.

Step Four: Construct the profiling hypothesis.

Alex began drafting his response:

[Suspected Node #01 (Siberian ”Iron Mountain”) Behavioral Profiling Hypothesis v0.1]

· Core Functional Tendency Speculation:

· Primary Possibility (70%): Remains of a high-energy storage/release device or residual effects after severe damage. Its ”activation” behavior is closer to unstable leakage of residual energy or a passive reaction to external excitation, rather than purposeful operation.

· Secondary Possibility (30%): The explosive legacy site of a one-time ”beacon” or ”marker” with a specific function. Its ”elliptical” form might be the result of a violent event (such as an impact or directed energy bombardment), with subsequent anomalies being continuous environmental disturbances caused by the remnants.

· ”Emotional”/Intentional Color Tendency:

· Significantly different from SPO-α’s ”procedural coldness” and ”active inquiry.” Tends toward inert, non-intelligent, passive release akin to a ”natural phenomenon.” If residual ”intent” exists, it may be closer to a ”warning” (if it was a one-time event) or simple ”energy signature residue” (if it is a ruin). Lacks intent for sustained information interaction.

· Potential Correlation with SPO-α:

· Low (based on current data). Both are ”unnatural,” but their behavioral patterns and ”texture” families differ vastly. ”Iron Mountain” is more like a dead or dying, single-function ”point,” whereas SPO-α is a living ”continuous signal source” with basic environmental interaction capabilities. It cannot be ruled out that it belongs to a more ancient or specialized (or more unfortunate) type of ”network node.”

He emphasized that this was purely intuitive reasoning based on limited data and that its reliability was questionable, but it might provide a priority reference for field exploration (if conducted)—for instance, prioritizing the detection of underground structures to search for ”device” wreckage or mineralogical evidence of violent energy effects, rather than expecting to capture a continuous signal.

After sending it, he felt a strange sense of satisfaction. This was different from solving a specific problem or completing a creative work; it was more like playing a high-difficulty game of ”historical and phenomenological detective.” His abilities had found a new training ground in this game.

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The Detroit project team sent over the first draft of the narrative framework and preliminary edited audio-visual materials for ”Rust Belt Elegy.” Problems surfaced immediately.

The materials were rich: the oral histories from old workers were full of detail and emotion; the recorded textures of the factory environmental sounds were excellent; and quite a bit of historical footage had been found. However, when weaving these elements into a powerful ”sonic narrative documentary,” the team hit a bottleneck—how could they avoid letting the program become a simple collage of ”nostalgic interviews + environmental sound illustrations”? How could they truly make the ”silent narrative” speak?

Alex gathered the core creative team for a remote brainstorming session.

”We recorded Old Joe talking about how he could hear tiny flaws in engine assembly with his ears,” an editor said. ”It’s very vivid. But just hearing him talk while the visuals show his interview and the audio is our dubbed factory sounds... it feels... like there’s a barrier.”

”We need to let ’memory’ and ’place’ converse directly,” Alex said thoughtfully. ”Even let the ’place’ itself become one of the narrators.”

He proposed a more complex production idea: ”Can we do this: when we play the segment of Old Joe talking about ’hearing abnormal noises,’ the visual isn’t Old Joe’s face, but the empty quality-control station area from back then. But for the sound, we apply slight time-stretching and reverb to Old Joe’s narration, making it sound like a ’memory echo’ in a vast factory building. At the same time, when he reaches a key point, like ’that creaking sound, like a bearing wasn’t tightened...’ we don’t just use general factory noise. Instead, we use sound design to ’synthesize’ that extremely specific, slight ’creak’ he described out of thin air, and have it appear exactly in the spatial sound field at that ’position’ of the quality-control station on screen.”

”Let the audience ’hear’ the sounds in the memory, ’reappearing’ at the location where the memory happened?” The sound designer immediately caught on. ”That requires very precise spatial audio design and psychoacoustic techniques... but it can be done! It will turn oral history from ’telling’ into a ’ghostly live recreation’!”

”Exactly,” Alex nodded. ”And those collective emotions. Like the surge of people during shift changes. We don’t just have the old workers’ descriptions; we also have that... ’tidal sensation’ I perceived. We can use ultra-low frequency sound effects, layers of footsteps and conversation sounds that move from far to near and back again with complex reverb, paired with slow-moving shots of the now-empty entrance to imply that massive human energy that once existed and has now vanished. Not expressing it directly, but using the ’absence’ and ’traces’ of sound to express a former presence.”

This line of thinking opened the creative floodgates for the team. They began discussing how to use multi-track environmental audio, minimalist visual symbols (like an old nut rolling slowly on empty ground), and artistically processed oral voices to construct a kind of ”archaeological site of sonic memory.” The project’s difficulty spiked, but the potential for artistic expression and emotional impact increased exponentially.

”We might not be making a documentary,” the team director said excitedly, ”but creating a ’Sonic Memory Theater’ or an ’Industrial Ruin Requiem’.”

”Then let’s work toward that direction,” Alex set the tone. ”The goal is for the audience to not only understand the history after watching but to ’feel’ the weight and temperature that history left in the space. It will take time and technology, but it’s worth it.”

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From Vienna, Taylor sent the latest rehearsal recording of the premiere version of pressure gradient, along with a fragment of an improvised hum she recorded on a portable device for inspiration for a new work.

Alex listened to the rehearsal recording first. After the final stage of meticulous polishing, the fusion of strings and electronic sounds was now seamless. That tension between cold and warmth, suffocation and struggle, was controlled with precision and infectious power. He only marked minor adjustment suggestions on a few micro-dynamic points: the entry of a certain cello could be delayed by another 0.1 seconds to enhance suspense; the brightness of a certain electronic pulse could be lowered by half a dB to let it blend better into the overtone cloud of the strings.

Then came the inspired humming. Taylor’s humming melody was broken and drifting, as if capturing the invisible refraction of light in the air. She described in the voice memo: ”I was thinking... when light passes through media of different densities, like water, glass, the atmosphere, its speed changes, its path bends, its colors disperse... just like when information passes through different consciousnesses, cultures, and times, does a similar ’distortion’ and ’delay’ occur? I want to write a song about ’cognitive refraction’.”

Alex listened to that broken melody repeatedly, and Information Texture Discrimination quietly activated. What he captured was not a formed intention, but an exploratory curiosity, a fascination with abstract relationships, and a sliver of ambition to ”sonify” the invisible. The texture was bright and full of fluidity, but at the base was a layer of calm, almost physicist-like rational framework.

He replied with the adjustment suggestions for the rehearsal recording and then addressed the new inspiration:

”The light refraction metaphor is great; it introduces the variables of ’medium’ and ’observer position.’ Sonically, perhaps you could try using different filters and delay effects on the same simple sound source (like a pure sine wave or a single percussive strike) to perform multiple processing, simulating its deformation after passing through ’different media.’ The melody itself can maintain a sense of purity as a ’source theme,’ but every time it appears, it takes on a different face due to the ’medium’ (instrumentation, harmony, rhythm). You could even introduce some ’observer effects’—for instance, subtly adjusting the balance of certain sound elements based on the listener’s position in the stereo sound field? This would require more complex interactive design, but the concept is very interesting.”

Taylor replied quickly: ”Medium deformation! Observer effect! You always manage to grasp the core instantly... Interactive design might be too complex, but this core sound design idea of ’medium deformation’ is fantastic. I’ll have to have a good go at it with the guys at the Flashpoint lab. I’ll start right after the premiere!”

The cycle of artistic exploration continued: as one project reached its peak (with the premiere imminent), new seeds had already been sown. This never-ending creative vitality gave Alex a sense of heartfelt joy.

A few hours later, Team K’s response to the ”Iron Mountain” profiling hypothesis arrived. They did not judge it as right or wrong but instead gave highly practical feedback:

”The profiling hypothesis has been incorporated into the analysis matrix. The distinction you proposed between ’inert release’ and ’SPO-α’s continuous initiative’ resonates with our preliminary geological risk model (the former is more likely to cause uncontrollable environmental disturbances). This supports our decision to postpone field exploration of ’Iron Mountain’ type nodes. Simultaneously, your hypothetical classification of ’single-function wreckage’ versus ’living signal source’ provides a valuable intuitive framework for us to categorize other suspected nodes. Please continue with the next node analysis (data has been sent). We are currently re-evaluating the potential ’functional differentiation’ of the global network based on your ’texture family’ difference approach—some nodes might be responsible for long-term monitoring (like SPO-α?), some might be energy nodes or communication relays, and some... perhaps are just silent tombstones or warning signs.”

Functional differentiation... tombstones... warning signs...

Alex looked out the window at the deepening night. Under the starry sky of history, it might be filled with these ’constellations’ of unknown meaning. And he was attempting to sketch the first blurred star map for a few of them.