PLAYER:(goude, kummer, .. marta)
(00_00)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "(no one thought to question it's veracity despite what would seem to be visible indications of something amiss: as if these indications were trumped by the pure flawlessness or inevitability of this perceived conclusion for y_ueghuru(ii): it was going to happen: everyone knew it, looking into y_ueghuru(ii)'s eyes, the insistent forcing härself to look away): ((00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): (00) (0000): (00)(00): u_phuma with arms folded over white gridded cotton short-sleeved yurisuit .. här gray hair in 6 mini-stubbed collections .. carrying a small white protein-fruit in här hand approaches yumi(no)gosuto on a mini-dais of the garden of YAMAUEREDA eyes closed sleeping .. laughing hä fervently weakly pulls at här body to wake här: u_phuma: 'wake, wake, yumi(no)gosuto: the shame: one's efforts must be vigorous!': u_phuma surveys här domain like a conqueror or some kind of armed adversary: strapped to här back .. arms with white rubber bindings are various accoutrements of analysis, devices meant for the containment or propagation of u_waves: the little stubs of white hair darken at their centers: little white rubber slippers grip the cold ground: a clear rubber face-mask with gapping strapped to här head: the u_op-collector is humming, running continuously, strapped to här forearm: hä flexes it .. looks over its readings from future points in the wave-cycle briefly in white point light patterns: on här back the opthalmoscope, clear rod-shaped plastic over white light tubes containing slightly glowing fluids, poised to reverse engineer potential agglomerations: two dark gray markings over här face: hä runs här fingers lightly over yumi(no)gosuto's head: yumi(no)gosuto: (somewhat irked .. groggy) 'I wasn't sleeping: I was visiting the ghosts in the pure land for some advice on a certain matter: hmmm, perhaps #3'): (u_phuma(ii)(UERUOGHOMO), in light gray padded cotton hybrid wide-gapped short-sleeve poncho ghost-equipage pushing out from här powerful tightly muscled arms .. wrapping inverted around här thick legs just quite to här upper ankles, ½-ughor ½-urakuomori lips with two vertical black scars across the bottom .. intense, piercing eyes, blotched gray flesh, with tight hood over braided hair)." (00_00)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "(white rubber slippers, a coldness over här calm face)." ((00)(00_) (00_00)(00) y_ueghuru(ii)(00_00)(the YUGHUR::PHANTOM)(ii): "(as if just looking at others might cripple them or här: or perhaps not even something so voluble but simply the angles at which här shoulders would turn, at times, just off kilter from where one would expect: ghostly clear plastic formations: the white fake fur dampeners lining the white plastic corridors: attached with a metal fasteners .. hinges: the white light bounces off surfaces circumspectly: hole patterns denote vents: large metal piping: a slight hum underneath it all: plastic with black rubber bindings .. black metal screws .. hinges at pivot points, the size of (00_00)s: edges are curved .. folded over): (their contours suggest an attempt at aerodynamic flow or properties of u_pulse inversion: some contain circular entry points for tubular injection, with glass .. clear plastic vials inserted for this purpose)." 00. (00_00)(00)(MONOGURUI)(00_00)(00_00)(ii): "(the polymer-plasma u_pilot objects used in these goryos interact with their abstract conceptual mirrorings in the indeterminancy spaces provided as blown out matrices representing openings of would would otherwise be constrained as closures (or as unit-points defined as probability collections))." ((00)(00_) (00_00)(00) y_ueghuru(ii)(00_00)(the YUGHUR::PHANTOM)(ii): "(the acknowledgment being that if r, *_, .. m(0)phur could be controlled then p could be pulled forward: one, in effect, was measuring the pockets of proto-phasm contained in other dimensionalities, or the invisible regions of future proto-phasm growth): (the u_objects cell functioned as a mapping of this invisible (*)region, measuring it as a product of its indirect effects which could be observed: (00_00)(00_00))."(00_00)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "(the u_objects cell, in this sense, was the inverse of positivity, a back-formed cancerous growth of possibility which could not be confirmed or contradicted, but which could nevertheless be analysed .. used for the constraint .. implementation of productive forces: these curves would push against one another, with growth in *_ pushing up r, .. growth in r pushing up p, which would in turn assert its own gravitational force on r, allowing for a certain reverb to be in play)." 00. (00_00)(00)(MONOGURUI)(00_00)(00_00)(ii): "(y_ueghuru(ii))." ((00)(00_) (00_00)(00) y_ueghuru(ii)(00_00)(the YUGHUR::PHANTOM)(ii): "(it was within this space of reverb where cell participants would curve or otherwise: u_ejento, on the other hand, were more concerned with the area outside of this space, the forces imposed upon it .. radiating out from it): (y_usege(ii) had _ small bleach white boxwood combs placed delicately in här irregular misformed dark hair, contorted: as if to suggest a malignant controlled chaotic force in play: här dark lowered eyes diverted themselves from contact as they worked over the plants of the greenhouse, as if looking past their surfaces)." (00_00)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "(här white with pastel blue .. pink floral pattern acrylic running shorts .. mid-riff acrylic blouse with white fake fur mini-mini-cape pushing against här shoulders, strapped at chrome discs to inverted folds against här clear rubber leg-bindings .. pushing down toward här black rubber strapped in slippers: hä looks back over the surfaces of the low divan .. dais white furniture around här, white acrylic with black divots pulling inward in a randomly distorted grid: hä pushes at the thick clear gel .. rubs it into här hands .. up här wrists until it disappears: yes, well, over the c.a.m. these messages seem only like impotent fantasies, they cannot touch här, but hä clings to them: y_usege(ii): 'why shouldn't I have this for myself?: I wanted – they approached me, .. pushed in: .. I was weak … too willing to be a victim to the worst .. most violent of these ruptures: there are u_agents who are not repelled by ghost-flows, but collapse through them: I couldn't pull back …. the domain:image was a function of dimensionallity, we could generate new dimensions even with each 'crossover' or introgression, making of each moment of a complex a new fold inward upon itself or monomorphism': the little black acrylic object with three curves .. white yamabushi logo imprinted on its surface on the metal ridge of the dais beside här: här hand drifts over it lightly, as if thinking to palm it but holding back)." 00. (00_00)(00)(MONOGURUI)(00_00)(00_00)(ii): "(här fingers sticking in frictive resistance against its surface: the (00_00) growls softly .. reaches its paw out, yawning, clear mucous-like fluid pushing out: isolated zippers suggest release outlets for the yurisuit's contours: (00_00) moans in low discomfort, breathing heavily: in black eurostile letters, 'FUYO(NO)GOSUTO:' over "(00_00)" across här chest: här slow breath seemed forced): (* was the release for pressures that should have flowed into proto-phasm channels directly, in a more expansive regime): in this instance, by the time these flows had been inverted .. worked out of fields only to work their way back in from mysterious invisible regions of residual proto-phasm flows): ((00_00) the closeness of the cold morning would assert itself .. the admonitions of cupcakes would be ignored: curved glass formed structures: the quiet hum of the wind: (in this sense, somewhat counterintuitively, the models' u_pulse processes can be more real than the compounds', .. an effective predictive exercise can be to compare the two): (the counter-conspiracy of the onnagatomaton came just as the forces of mutualism were gaining momentum as imbued in the collective entity: the whole project of finding the right axioms was thrown out in favor of a methodology that favored pure postulates as hyper-models formed on monadic .. proto-phasm terms: the crystallized world-form of array-based actualization formations undermined any notion of branching worlds: these became difficult to sustain in the absence of a conventional temporal flow view, .. any residual gain of these perspectives was folded into conceptions of dimensionality): (((00_00)) ((00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00))."(00_00)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "((00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00))."
(00)(00_00)(00)(00) (00_00)(00) y_ueghuru(ii)(00_00)((00_00))(ii): "((00_00)((00_00)(00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00)): ((00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00))."(00_00)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "((00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00))."(00)(00_00)(00)(00) (00_00)(00) y_ueghuru(ii)(00_00)((00_00))(ii): "((00_00)((00_00)(00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00)): ((00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00))."(00_00)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "((00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00))."(00)(00_00)(00)(00) (00_00)(00) y_ueghuru(ii)(00_00)((00_00))(ii): "((00_00)((00_00)(00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00)): ((00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00))."(00_00)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "((00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00))."(00)(00_00)(00)(00) (00_00)(00) y_ueghuru(ii)(00_00)((00_00))(ii): "((00_00)((00_00)(00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00)((00_00)(00_00) (00_00) (00)(00) (00_00)((00_00)(00_00))): (to cut off/ cut thru: Its theoretical basis was to generate massive ergodic volume by acceleration of u by the combined means of u_pulse currents, the implementation of y_phantoms, .. careful cultivation .. development by the u_ejento: u_adic rings were generated binding curves to the conceptualization of u as a measurement of emergent proto-phasm velocities: essentially, a u_pulse wave was a residual curve off of these rings: the purpose of the u_yamabushi was to find .. produce convergences: where one had multiple convergences one could form a u_object: the u_object, or, more potently, the interaction of multiple u_objects, was a device for control of monadic flows: one could map out the process such that the monadic flows would push toward a u_object as a potential outcome: once one had arrayed these potential outcomes .. had them under one's control, one was in a position of choosing among them for the optimal: sometimes this process of choosing was in turn interfluxed to where various options could be tried .. optimized: there was a double-binding of math .. physics here, where particles were correlated to various dimensions .. then accepted as one's foundational ur-objects for a mathematical model: the only difference between this new way of doing math vs. the old being that the existence of one's mathematical objects was material instead of immaterial, .. the consequences of one's functions were actual effects on actual bodies: predictor variables focused on (0_0) or (00_00) curves, .. a variety of relationships between them, while outcome values focused on u_monad *production, cyclo-intension, .. the proto-phasm mass measured as a function of the two: one still ended up with models or sets, or, as they were referred to now, possible worlds or u_spaces, which could not be determined or pinned down by the convergences of one's model, but this was accepted as productive of the possible worlds methodology they were attempting to achieve, rather than an undermining of it: what once were thought of as paradoxes were reconceived as protodoxa: u_spaces which cannot exist in this u_space but might be actualized by one or more u_jumps outside of this one: if each was a hypercurvature of the other then returing to one's initial u_space was a matter of bending one's u_jumps back to an origin point: what disturbed the u_agents was that this re-binding or double-overlap promised a doubling of one's own body, of one's intentions, such that one could come up in competition vs. oneself, one's own being could proliferate, .. the question was raised was this something to be achieved, was this a new kind of power, or was this a detachment from oneself until one was nothing but phantom versions of oneself almost existing but not quite?: from these one could plot out the chremastic forces conceptualilzed by the u_ejento, whose movements dominated their mapping of real (*)region potentialities to the flows of the mathematical compounds: the (00_00) plan was a 6-phase document codifying a reorganization of the yamaueredas analytic structures to allow for the redeployment of their functions toward para-objectification, ultimately pushing toward a consolidation of invisible .. (0)-gauge departments under a more powerful domain of monadic channel engineering: when the up-..-out call gets knocked out what happens?: arguably each of these little flutters is a tightening of the proto-phasm mass, .. u_ejento treated it as such: more critically, this could be seen as a particular case of the more general phenonemon of a u_monad's u_pulse pull around a 0 u_pulse point, where a u_monad could be conceived as a transformation from 0 value which would ultimately, on a given range, curve back to return to 0: the function for each u_monad v(t,x) would cross a precise ring at one .. only one point, .. this point itself could be used to generate curves further outward: a u_ejento could cite at any given moment this precise point on which their entire range of goryos was founded): (mieko_gurhyu .. yumi_ph.*(v) walk through the grass .. trees of the circular park center of the campus with y_ueghuru(ii), the research buildings radiating out form its circumference: their low voices underly the calm, .. the light cooling breeze: mieko_gurhyu: 'it was all these emergences floating on top of one another: you didn't really notice in when you were inside, the mappings were such that one could experience the (*)region with a slight hint of artificiality or impermanence, but otherwise as if one was entrenched in the material world: it would only be afterward, thinking back on one's experiences, that one could analyse the differences .. start to put together a picture of macro-properties interacting with micro-properties in ways so as to distort them: one unconsciously took to accounting for these distortions in one's runs .. plays automatically: but continuity was clearly running along angles .. immersed introgressions in ways one was not accustomed to experiencing: sometimes it was no more than that – just a hint of something feeling wrong: after a while I began to pick up on the underlying processes, to some degree .. realized that the primary feature was that of causality features being run over all kinds of unusual u_monadizations: it wasn't just that it ceased to be asymmetric, it wasn't fixed to any directionality at all: there were clearly bindings there, but where they were coming from was impossible for me to imagine': the white acrylic creases against the two tight collocations of hair over här head, bouncing just slightly one way or another as hä walks: här eyes are low, but a little to vividly directed somewhere off too far ahead, as hä pulls back the details of these memories)."
((00_00)(00)未来(の)中(i)(00_00)(ch((00_00): (ミャクパルス(i)はパラノイアを落ち着かせるためにこの小さなマントラを繰り返していました:でも今は何もないことを知っています 恐怖におけるパラノイアの..不確実性: それらを鎮圧するのではなく、培うべきです: この可能性のどこかに、発見されるべき真実があり、ハーの前に展開するかもしれない未来の明確なビジョンがありました: ハーは活動を活性化しました- 録音を開始するつもりでユニットに到着しましたが、代わりにカメラが開いてしまいました。気が付くと、薄明かりが差し込むようにスリットが入った白いプラスチックのベネチアンブラインドを背景に、自分の顔の画像を見つめ返していました。グレーのアクリル製のボディースーツが身体を覆っていました。 黒い輪郭が付いている .. ジッパー、頭を囲む .. 目の上に顔の輪郭にぴったりと彫刻された黒い不透明な磨かれたガラスのフェイスマスクで顔.. 頬を引っ張り、口のための隙間 唯一の開口部: ハーを置く グレー アクリルに包まれた手と顔、指先で切り取る: 不調和な影が身体を歪ませる .. 明るすぎる白色光が頭の左側を隠す: 指がコンクリートの壁に向かって外側に向かって漂いながら、灰色のアクリルに軽い残留物を残す .. 部屋の床、冷たくて乱れた空気: ミャクパルス(i) が静かな空間でつぶやいた言葉をささやく: 光は変わり続ける、外の灰色の雲の動きに合わせて変化する: 風が低いハム音を発する: 意図していなかった それがこの点に来るだろうということ：ハーの行動の過程のはるか昔に、ハーを方向転換させ、ハーをこの地点に導く未来の手綱を掴むつもりだった..その体を後ろに引き戻し、それをオープンコースに押し込むために リハビリテーションの平和な静けさ .. 遠い再形成は、ハーを捉えていた瘴気の力が少し押されるたびに崩壊します。代わりに、ハーを封じ込めることによって、ハーに侵入し、ハーを制御することを許可していました。ハーの前にどんな道が待っていても、今ハーは それは自分のものではなく、自分に課せられたものだと確信できます。白いプラスチックのブラインドが短く振動します。そして、静かに横たわります。胸には、黒の「MONOGURUI」のロゴが、同心円状の線を持つ 3 つの完全な球体を形成し、その周囲に配置されています。 小さな「M」: y_0optim 点は、あたかも完全な同心円であるかのようにハーを囲み、近くの球体へのアクセスを許可または遮断し、押すだけでなく引っ張られることもできます。質問としてハーに自分自身を向けます、「あなたは息を吸います」 「…。 「あなたはこの光を受け取るでしょう」…。 あなたは自分の体に重力の引力を感じるでしょう』：それをあなたから私に変えることは、それを逆転させることではなく、逆転させることです：二人称は他の存在、他の世界の力の領域です：私たちは方向を変えることはできません それは周りにある..「あなたは受け入れます。」と返事するか拒否するか、それを通勤する普遍的なものの共同体、私たちにとっての絶対的な条件がすべての人にとっての絶対的な条件として、私たち自身の確実性がすべての人の絶対的な条件であると想像すると、私たちは自分自身を欺きます。 普遍的な存在たち：これは冷たく見下したような沈黙を引き起こすだけです…。 物質の安心感、力の快適さ: 白いプラスチックの折り紙のような彫刻が作業台の金属表面に置かれ、その抽象的な白い順列がそれぞれ 2 つの突き出た部分に広がっています: 手を上腕にかざしてみましょう: 一瞬、彼は MONOGURUI に入るシーケンスを実行し始めましたが、その後、撤退しました。何年も前、ここはマークのない DARPA サイトでした。* が通過したとき、彼らはそこに人がいない状態のままにしておきましたが、資産は手付かずでした 、彼らが何を渡していたのかは知りませんでした: myaku-pulse(i) がそれに気づいたとき、明らかにインゲンのカットアウトで覆われた、接続されたチャネルのプロトコルの急増を発見しました: 1 つずつそれらを開きました .. 空間のサブアーキテクチャ: それらの多くは閉鎖されているか、自分たちのコースから外れて役に立たない副産物に流れていましたが、いくつかはまだ活動しており、明らかに取り残されていました.. 騒乱の洪水の中で忘れ去られました.. 体制の転倒 * 期間: 快適になるまでそれらをいじってみました.. その後、再形成された中心複合体にそれらを再統合しました: 理論的には、光は単一のものではなく、到着する一連の継続的なパルスであると考えられていました.. 内部を通過します 後継者: 彼らをその起源に遡って追跡したら、次のことがわかるだろうと考えました: 調査結果を詳述する寄託書を記録するつもりだったのですが、誰にもそれを明らかにしないことはわかっていました: それが形成されるだろうと想像していました せいぜい、これらの出来事の一種の終結だ。ほんの数年前、訪問者はまさにこの場所でハーの前に立ったことがあった、それは鈍く白く、きらめく体で、薄暗い朝の光の中で半分しか見えなかった：形成される知覚実体の不協和音 ハーを押し戻した、myaku-pulse(i) 対ハーセルフ: 未来が同期として出現する前に起こったことを決定できるかどうかという問題と、世界の一部が重なり得るかどうかという問題: 因果関係は座標系の変化を超えて存続する 広く多様な知覚領域をマッピングします。黒いゴム製のバイザーが付いた白いプラスチック製の機械の隙間に手を滑り込ませます。