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Patrick L. Cheatham

Patrick L. Cheatham is a retired U.S. Air Force Captain, a Master of Science in Aeronautical Engineering, and is presently a self-employed solopreneur, as Media Artist for Talon 38 Personal Media Single Member Limited Liability Company (SM-LLC). Patrick’s personally valued and enjoyed activities are quite varied, yet nearly all coalesce in some manner, and at some time phases, with heavy desktop personal internet client computer usage, and with continual self-invested sense of eventual delivery of authored media to others for their enjoyment, empowerment, or valued utility, whether by personal social media posting, or by delivering media in commercial trade capacity. Patrick remains responsible to his officer oath of office, as do all retirees. He possesses the U.S. Air Force Research and Development badge, and the U.S Air Force Pilot badge, from service as an airframe-propulsion integration engineer, and as an F-15E evaluator pilot.

Autumn Flaw Music Project Musician Biography

Autumn Flaw is a one-man ambient techno music project by Patrick L. Cheatham. Autumn Flaw music fits New Age Instrumental Electronica ethereal styles, but with more intensity such as in Techno or EDM music, and with more demanding song evolution. Mixing typically incongruent musical moods is common in Autumn Flaw music. Bright and light melodies alternate or blend with dark passages, exploring new musical moods. Percussion intensity, and sudden edges to starts and stops of sound fragments, bring late twentieth century synthesizer Ambient, Techno, New Age, and Chill styles into combination with a stormier hardcore sound and pace. Autumn Flaw is named in honor of a natural philosophy appreciative of imperfection. Flaws from absolutely impossible perfection abound and lend character to everything. Our flaws and the flaws in life are that of which we are made and are the heart of our warm and flexible humanity. Nature’s deviation from idealized cloned perfection provides uniqueness, freedom, and beauty to all. Often looked over yielding, fluidity, and slip are imbued in the actual sciences and in our beautiful human imperfection. Patrick adopts an experimental approach to making music, with the idea of allowing the music to somewhat compose itself. He invests in unexpected or accidental occurrences of synergy between software instrument parts that show fair to strong potential. This is all accomplished via computer software. Foundations of songs are grown this way, after flexibly and unconcernedly composing synthesizer software instrument note pattern fragments, reorienting them often. Patrick also chooses to only refine into solid final music those interesting sound qualities he happens upon, rather become self-stymied by reaching for special traits, an arranging approach to which he cannot rise. The artistic goal is for each song to finalize as merely congruent and whole, being steadfast in not growing progressively more unsatisfying upon repeated listens over weeks and years. Listeners are treated to variety, surprise, and sudden maneuver in music. Autumn Flaw music presents listeners with frequent changes to the evolving listening experience, with no song part dwelling long without relief much past 10 seconds. This style is designed for listeners who might be enduring hardships. Sweeping airy backdrops, swift driving synthesizers, drum sampler percussion pattern scattering, and variations of short time delays deliver an uplifting rush, unoppressive temporally — a matter of time duration — considering that pause and stop options for the listener are at the ready, while listening. Patrick has a very open public policy concerning bipolar brain illness in his background About, to combat away stigma by personal example. Patrick is a retired and disabled U.S. Air Force Captain and is a Master of Science in Aeronautical Engineering.

On Authorship

I started my authorship career back in the year 1990. The required extensive writing involved to produce a Symposium Paper, and later a Journal Article, for the American Institute of Aeronautics and Astronautics, cued me to finally prepare ahead by learning to type, using an educational typing software package. After that, I realized that not having typing skills had been an unnecessary time sink, during a great deal of USAFA aircraft and engine design report writing. Two-finger tying is no way to enjoy writing. In the many years since I acted as lead author for an engineering journal article for the Journal of Aircraft, I have tended to now and then return to a passion and devotion toward technical and scientific writing, plus philosophy writing as a related extension of the form. Long ago I cleared the philosopher’s bane, as I call it, which arises when an author falls prey to feeling his or her writings are inventing or modifying nature, which they are not, actually calling for no such responsibility, but which early on becomes the feeling about the theories and opinions an author aims to provide to readers. Taking it too seriously is another philosopher’s bane, which can hurt cognitively with headache, and which also hampers the quality of writing by tending toward a dour cast. In authoring, I also cleared beyond the novice’s burden of organizational instruction on writing, which emphasizes persuasion of the reader as paramount. Instead, I prefer to write more fairy, and not stoop to distort my knowledge or opinion in order to convince the reader to adopt my opinions or my personal interest in the subject matter. Finally, after authoring many essays, I discovered that there was just no need to have the reader like the subject, like me as an author personally, or like the conclusions. I refuse to dumb down my advanced writings, and I write in a manner respectful of the readers maturity, intelligence, and freedom to desist and find other pursuits, besides reading my writing, to be more suitable to him or her. In terms of treatment of readers, I did notice I was taking care not to unfairly disturb, nor hide material maybe disappointing to some readers until a fast and sudden exposure late in the written work, preferring instead to alert each reader of the tone, style, and context of the entire essay, by hiding nothing for later, while starting an essay up in early paragraphs. I’ve found that adding a word or two here and there can result in the sentences being easier and speedier to read, rather than just aiming to lean down to minimum wording. This is because the longer sentences are structured with a logical integrity more relatable to the reader, and harnessing cognitive process smoothness in considerations and study. I’m big into urban and wilderness natures, and I am big into human nature. I have long decades confidence that nature and humanity are quite beautiful and informed enough at all times. So, for me there is no counterproductive tense urgency to my desire to teach, nor is there any feeling that failure to teach would be any letdown of the subject matter, and instead would only be a personal letdown in opportunity for me to leave wonderful ideas documented for posterity, quite clear of urgency, and more akin to bonus available recreationally readable essays, articles, posts, and books. I have comfort with potential failure to teach, and I have an aversion away from parental, leadership, or teacher insistent drive to impart knowledge in a manner made overly imperative, and presumed to be crucial and pivotal, which is regularly full of unintentional overselling one’s own ways, style, beliefs, and opinions. This is, for parents, leaders, and teachers, a bane only of accidental vanity, and leadership experience soon enough presents enough awkward and frustrating reminders to each teacher, to result in author rejection of over-importance to one’s own work, and adoption of a somewhat contradictory valuation yet liberation of the written teachings, in a more humanist focus instead of an idealist focus.

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