(yumi)(no)(MONOGURUI)(iii):(U-YAMABUSHI)(digital copy)

Name: (yumi)(no)(MONOGURUI)(iii):(U-YAMABUSHI)(digital copy)
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(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): (the development of phylum inequalities led to the concept of inverted points, an inverted point being (df) the collection of all possible functions for a given codomain producing the given point: roughly one could compared this to the concept of the monad, such that a given point was a mirroring of all potential worlds containing the point: from there everything else would just be inequalities, in the sense of running out the implications for one's probability fields: all of this was non-parametric as possible: the base schema would be a neg-information generator, such that if conditions ran out unaltered one would reach equilibrium in one's ergodic space at range i, fitted against an 0* representing the force applied, .. resulting in a u_pulse predictor, conceiving of regions of the imagined space at which one would be likely to find convergences: these phylum inequalities could be found hiding in the unattainable spaces gapping the phenomenogical field, such that the construct that we conceive of as reality consists in a direct .. experiential way of the guesses .. imagined forces that we apply to invisible space between objects of perception: (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00): (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00) (00)(00): 'upstream' was a distorted dystopian future where proto-phasm was imbued with special gravitational forces that imbued its proprietor with the special powers of a defense compound regime morphed into a futuro-agricultural inter-regional phase of nomadic conglomerations: as if a formalist utopia were imposed upon the (*)region by functionalist planners equipped with perfectoids .. radials in place of linear formations: you could commute these flows only in a context where, not only the future, but also the past was path-probabilistic, shifting oneself from one flow to another to fall back on a mapping to a causal reverbs that preceded one only in a counter-fictional sense: interstellar polders pushed propagation flows into these newly forming agricultural commune units, pulling in migratory labor in waves, leaving behind them research centers .. proto-phasm unions whose occupation levels would pulsate with dispersed trends of adoption: what is the process of yamabushi recoding at either of these poles that forms ergodic volume?: ergodic volume as generated by the pulling inward of future/past proto-phasm: mathematical monadism could ride movements in either direction, as long as its ejento could model their wave forms to jump ahead of shifts in the proto-phasm coefficients in play: holes at each side of här mid-riff in grid patterns allowed for breath .. moisture to push out/in: a slight tremor in här lips suggested that här large body was pushing to its limits now: the white acrylic shimmered slightly in the light: hä pulled här shoulders inward, stopping momentarily to listen for unexpected movements: what would cyclomonadism be in this context?): (y_ueghuru(i) in black rubber tightly fit overall with short-pants bound firmly just below the knees, black face-paint around the eyes .. up over the head in three lines, looks to the corner of the bare, white room, its placid sterility, to the *-being which has emerged, its three-balled prutrusion head .. large white-ish body covered with vapors, indistinct, its sharp-toothed fearsome little mouth pushing out slightly, thin, dark eyes almost lidded, .. stub-clawed hands at its side, peering back at här curiously: its low, indistinct murmured growl or breath: y_ueghuru(i): 'why are you here?': *-being: 'perhaps we are fond of you, y_ueghuru(i): why should we not choose to visit you, simply for our our own entertainment': y:ueda(i) bobs a little back .. forth sideways lightly on här feet, probing for clues as to its presence: the *-being walks with measured slowness, glimmering in semi-opaque presence, one way through the room, toward the window overed with white plastic filter, .. then the other, drifting over to the large metal work desk, allowing its upper body to bend down slightly to gaze closely into the interors .. outer form of one of the two ewers of mini-chrysanthemums aranged there: *-being: ' you always have some such nice floral decorations, y_ueghuru(i): we appreciate this: perhaps it is this which we come for: we do not have such where we are from, you might have guessed: why would they appeal to use in this way, draw us in?: none of the evolutionary forces which capture you would apply to our form, …. .. yet ….: perhaps there is something to their form, their underlying homologies, which draws us in: or perhaps merely a random fluctuation: uninterpreted(?), as your kind might say: it hesitates, .. reaches out for a moment, almost as if it intends to touch the motionless petal edges clinging to their boughs: *-being: 'you have given up on your resistance to their presence, we see: how does this feel, now, …. to know they will always be inside you, part of you?: is it relief?: does it give you pleasure to allow yourself to give in to them?: this is what their form is designed for, perhaps': it pushes its body back upright .. moves just slightly forward towards y_ueghuru(i)'s poised figure): (a pushing out of the radiating limits of proto-phasm calibrated of a balance of forces in one direction, entropism,or the other, phasm-force: y_ueghuru(ii) coughs/shudder, cold: pieces (images, text) are in connection with the (-)(00) process generated .. hä moves här lips slowly: clear rubber tubing pulsing with –ach: merging with one another instead of built on top of on another: the madhymaka process was deemed sufficient by y_ueghuru(ii)(00), (0000): later hä would pull clear rubber leg-bindings(00) up to här knees: (00)(00) moves här lips slowly: scanning it’s op.-scope over a monitor running blue pink .. white circle patterns out in concentric circle wave forms: its squat 1.58(m) form with modular silver-chrome components plaited over black rubber joints with metal fittings: its reflection bounced back dimly at it for a moment from the glass plait set into the wall as the yumi(no)gosuto bodies receded back into its depths, shimmering just slightly, for just a moment: nevermind the cold air that pushed against it: the uri(00)ughuryor was forthright in its confidence in its endeavors, its perceived ultimate victory as an attractor pulling it inward: black sans serif text runs over some of its contours with descriptive specs: the mini-op.-scope hinges up from upper-body just over mid-body glass cylinder fronted by 6 black circles: small dimples of condensation formed on a few of its clear plastic surfaces: occasionally one of these dimples would pop or recede to be replaced by a growth elsewhere: it flexed its black rubber hand .. turned away from the yumi(no)gosuto body to leave it to its development .. padded its metal feet across the clear plastic floor to a long shimmering metallic corridor: its movements echoed down its stretch .. back again in reverberation: the clear plastic walls: gray plastic 3-pronged feet click lightly against the clear plastic floor: fronting the shoulders are 2 chrome-silver block filters swiveling forward: hä could feel it coming up här body from somewhere deep in här stomach, pushing up into här mouth .. här head, inorganic, or sterile .. impure, with the taste of cold metal): (y_ueghuru(ii) in clear padded acrylic mech:suit with white bindings .. outline .. weak blue medium pink u_chrema logo on the chest, over white acrylic mech-harness): (they could be as small .. tight a convergence as one would like but could also blow up dynamically: u_ejento would monitor .. project the dark movements of the u_pulse currents for a given system, the blow-back that was the unavoidable concomitant of reverb: plotted out one would end up with a complete inverted model of offsets with its own intrinsic .. information rich potentialities: contractual concepts of property were by small degradations .. slippages replaced by the concept of possession, gradually, but with the eventual authoritative force of the takings ideologies behind it): (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)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "((00_00))." (00_00)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "(there is a relationship between reverberation in the proto-phasm flows as a whole .. intensions in the *pulse introgression: given low reverberation members of the *pulse introgression will be required to take on increasing neg-information to gain given residuals, .. vice versa: YAMAUEREDA: resulting in a pattern where, counterintuitively, higher reverberation (within a given range) increases stability: cyclo-intension mapping processs, in their role as injectors of 'rationality' .. 'efficiency', rein in these flows .., over time, have a dampening effect on the potency of the mathematical flows: gripping itself around each curve .. ridge: white strapped up ice slippers .. gray ½-opaque knee-leg-bindings over tightly constricted clear acrylic thermal gear: här white acrylic with circular metal discs): (clothing slightly too small for här body with multiple disc-clasps over the course: white outlines .. cleavages decorate it, .. the acrylic clings to här body with sweat: the increase in size of institutional point_waves since ___0 had been palpable, as the flows through YAMAUEREDA became more robust: studies in schizophrenia among twins show that there is a difference, (00_00), between the left hippocampus volumes of the unaffected .. the affected twin, to a degree which is determined to be statistically significant: in close fitting acrylic poncho, white with thin medium gray lined grid-pattern .. white strapping: the point being that the condition of schizophrenia does not require either a complete or pervasive closure of flow)." (00_00)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "(it is a sufficient condition for hebephrenia for a mere downturn in the limit of the flow at a given process-range: given the foundational factor of a forward u_pulse flow of proto-phasm once it gets turned around it will blow up in velocity at rates inconceivable going the reverse, .. this is inherent to the system's design .. more or less unchangeable: (00_0000) (00_0000) (00_0000) (00_0000) (00_0000) (00_0000) (00_0000) (00_0000) (00_0000) (00_0000) (00_0000) (00_0000) (00_0000) (00_0000) (00_0000) (00_0000))." (00_00)(MONOGURUI: (ft CAPT.R.) (00_00) (00_00) 00. OOOOO. y_ueghuru(-(CR(00))): (recorded on the C.A.M.) "(a methodology comparable to the plan: which was, of course, about the integration of equilibrium, reverb, flows, .. tension-release, or, in other words, people like to refer to 'the madness', but more to the point meant that the strata was about to get (0000)ed: boring (00_00)s go on .. on about the re-equilibrium part while never mentioning the others, but a calm equilibrium does little for anyone: this is just injecting impotence .. sterility into the system, which, sometimes, is the right medicine but shouldn't be some kind of aspirational baseline: the ghostline people can sit around having tea parties .. cupcakes: cyclo-intension is the mechanism by which the system pulls in, with a sort of gravitational force, proto-phasm: reverberation allows the mathematical institutes to fulfill their role as a conduit for this, their residuals being a function of the movement of proto-phasm from one u_pulse point to another: all this flutter, in other words, functions as foreplay anyway for more substantive movements): (yumi(no)gosuto looks down over här light blue rubber yurisuit with red outline .. pink insignia at the middle of här chest, här taut muscles over long body, perched up shoulders, gray-ish skin, .. 2-braided head, contorted face, eyes low .. imposing over här hands, which hold the small clear plastic capsule of (00_00): confined in a tight white porcelain unit, sitting a low metal block-chair: white fake fur epaulets .. chaps are bound to här body by white rubber, clear plastic gapped ½-mask: to här right a small sink inset into the wall, with, to its side, a set of metal discs set into the wall: hä hesitates: 3 white flow-fields, contoured semi-cylindric pulsing masses float in the cold air befor här: to här left a white fake fur cot: behind här the walls are glass, closing off 3 separate sections holding massive metal rounded bulbous objects set into glass flooring, whose semi-opaque residual depths pulse with white light: här face is a strange combination of age .. naïve youth, several slight dark marks over the cheeks under här sullen eyes: här lips' whispered murmur pushes back at här): (((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)(モノグルイ: キャプテン r.(ヤメグ(r)u(ii))(ch.))(ii))((00))(00)(00) (00_00)(00) (00_00)( (00_00)(00_00))(ii): "(.. 押し戻されました: 内破力のミラーリングの要因として拡大が増加するという考えには欠陥があります: 内破力のミラーリングはゼロサムであり、すべての買い手に売り手が存在します: 代わりに、観察されるこのレバレッジの爆発は、u_pulse コントロールの要素として、ch._morph 生成に合わせて調整しようとする u_pulse レベルの結果です): yumi(no)gosuto の部分に対する継続的な干渉の代わりに、それを完全に the_(00)(0) は、the_lt. .. rt. 意味がほとんどないバニーになるように設計されています。私は、本物のことについては気にしないように/気づかずに捕らえられ/非常に注意するように頼まれましたが、それだけです:無差別の執着心が保持されています研究所の事情で湾.. 夕食会の一部で内に秘めた個人的な闘争による呼び出し、.. 葬儀、習慣を考慮してください (00)(00): (CR)(00) の透明なゴム製の 6 つのバンプのボディスーツ: (00)( 00).'/ P.XIV: '(00)(00) (00)(00) 穏やかな表現。じっと見つめる .. 最後の一つの綿密に計算された失策によるようだ: ハーへの反対は完全である .. 完全な追放: P.IV、その強烈な精神を持つ元ゴリョ.. カドミウムの赤い血の文化的背景 (00)(00) 行動方針 I 周囲なしで終了/ 13 の円形のヘッドピース/ 透明なプラスチック The_Ice Fields 私は全滅について言及しています - 透明なプラスチックの多球状装甲: u_chrema rt のすぐ上にある黒の 3 つの数字のロゴ。腰: ハー (00_00) 白い雪の上のポリマー製の対チョード装甲 - 呼吸するのに少し苦労している_ (00)(00) OK.'/ インディゴのスーパーレッド/ ハーの短く刈り込まれた頭からの 5 つの小さな突起 .. ミニ C.A.M. : 商業 (00) 物理主義部門へ: ハード:ソフトボディの白いショートパンツでトレッキングをすることもありました w: 言葉では言い表せない用事 ueghuruomo_ueda(ii) へ: P.IV の臓器 .. 暴露によって根性が吹き飛ばされましたが、それは公開されません今後: (00:00) からですが、おそらくいくつかのヒントが彼を驚かせるかもしれません: hä は何を言おうとしているのでしょうか? (00)(00) (00)(00) (00)(00) 透明なゴム製の黒いプラスチック製の丸いボタンが上にあり、私は特別なポイントを獲得しました。それは明らかに極端な力で部屋の小さな円の中で私の腕を一つずつ捕らえました.. ずっと(00:00)これの準備をしていたのでしょうか？彼に意図以上のことを明らかにするよう迫る：pressure-pt. 管状注射: 対チョード装甲: おそらく、問題を押し出さなければならないと感じている (00) 白いウエグルオモウエダ(ii) の白いショートパンツ/白いマルチが、アンチからウエグルオモウエダ(ii) の体を通って広がっています。 chöd (-CR)(00) w/ 5-mini-projected head: この特定の領域でセットをデザインするのが好き: (-CR)(00) しびれを切った唇の荒れた口をぎこちなく動かします: 私のオープニングの瞬間のシーンを再現します。公式のやり方で、.. それぞれの証拠とともに: 透明なゴム製の 6 つの突起のあるボディスーツの装備: w: 5 つの小さな突起のある頭に透明なゴム製のマスク: ロマンス、ポット濾過装置、顔は受動的でまだ疑問に思っていますががっかりしています訪問を手配しなければなりません w / 彼: (ここでの規律とは、一種の堅固な保守主義に似ているものではなく、束縛の意味で理解されるべきです。これらの束縛の表面の下で何が構築されているかを覚えておいてください。...最終的に誰が降りようとしているのかを覚えておいてください。それ: マクロ・ファシストたちは、彼ら(00_00)によって拘束が解かれ、疲れきったまま残され、ただ最も恐ろしい...醜い半分歪んだ満足感が唇を駆け巡った...彼らの鈍く虚ろな目だけが浮かんだ。閉じる: ハー内のすべてがハーを内側に引っ張っています。フィルター効果が全体の灌漑水路の形成として機能し、個々の流れではなくその構成を高度に制御するという考えがあります。相互関係：この意味で、濾過は一般に、「非合理性...自己破壊的本能」の力に対して正しいと誰もが「知っている」政策の実施として考えられているが、より生産的に再構成できる可能性がある。最も冷静な分析的な意味での設計機能として、つまり、フィルタリングは、システムが決められた目的に向かって継続的に設計されていると見なすことができます。この目的のためには、賞賛すべき点がたくさんあります。.. ポイントパルスでエミュレートする必要があります。残響/u-供給の): ((__)((00_00) (re (0_0))) これらの動きの背後にある根本的な哲学は、モナディックの伝達メカニズムを介して意図した効果をある程度モデル化できるという信念です。ろ過)。"

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