#Inman Square

[grungeouttakesabstracts]

1423

Cambridge, Massachusetts -- 2/17/16

[lilith-of-stardust]

Best part of living in a city is everyone is a neighbor. People are always delighted when you say "oh, you live in X Square? I live by Y Square, just a 10 min walk, we're basically neighbors!"

[vaguelyprophetic]

y’all I have horrible news.

the social network bar has closed.

[jkflesh]

Godflesh "Pure"

The grotesques in the CD pressing of “Pure” 

"Nightmares in the Sky: Gargoyles and Grotesques," 1988. The angel was photographed in Graceland Cemetery, Chicago IL and the male face at Inman Square, Boston MA by f-Stop Fitzgerald, 1986-88. 

[religion-is-a-mental-illness]

By: Brendan O'Neill

Published: Apr 25, 2024

I’m in Australia at the moment, which means I am bound by Australian law. If I do something here that this great democratic nation has decreed to be a crime, I’m in hot water. And rightly so. Yet when I jet back to Britain in a week’s time, that will no longer be the case, right? Surely no Aussie lawmaker, no Aussie cop, no Aussie bureaucrat will enjoy jurisdiction over the behaviour of this free Brit some 10,000 miles away? Actually, they might, if Australia’s ‘eSafety commissioner’ has her way.

Australia’s top thoughtcop – let’s call a spade a spade – is one Julie Inman Grant. She has the power under the Online Safety Act 2021 to demand the removal of ‘Class 1 material’ from the internet. That’s anything that depicts ‘revolting or abhorrent phenomena [that] offend against the standards of morality, decency and propriety’. The vast bulk of what gets wiped off the web is child porn. Sometimes clips of violence are culled, too. Right now, Ms Inman Grant is seeking to excise a video of a stabbing. But here’s the twist: she doesn’t only want to block Aussie eyes from seeing it, but everyone’s eyes. Everyone in the world. All of us. Tyrant much?

The clip shows the horrible assault on the Assyrian bishop, Mar Mari Emmanuel. He was stabbed in his church in Sydney on 15 April allegedly by a teenage boy yelling ‘Allahu Akbar’. Emmanuel suffered grisly injuries but survived. The livestream of his sermon captured the stabbing and inevitably, it went viral. Ms Inman Grant has instructed both X (formerly Twitter) and Meta (owner of Facebook and Instagram) to take the clip down – everywhere. Meta has complied, but X has pushed back, on the sound basis that the Oz government should not get to dictate what every soul on Earth may see.

Elon Musk, boss of X and scourge of censors, has actually kind of complied with the commissioner’s instructions. He’s ‘geoblocked’ tweets that show the stabbing, meaning people in Oz can’t see them. Job done: Aussie censors don’t want Aussie folk watching this clip, and now they can’t. But that’s not good enough for Australia’s overlords of online safety. Australians could still use a VPN – a Virtual Private Network – to trick the internet into thinking they’re somewhere other than Australia and thus see the clip. So, they say, X must erase it everywhere, in every territory, for every population.

It is a truly extraordinary demand. Even the coverage in Musk-sceptical media outlets cannot help but capture the chilling nature of this act of global censorship. The eSafety commissioner is furious that clips of the stabbing are ‘still accessible globally’, reports the Guardian. She expects her rulings to ‘cover overseas content’ as well as Aussie content, says the ABC. In short, this local bureaucrat lusts after global power. She seeks dominion over all earthlings. You feel like you’ve wandered into Oceania.

Imagine the precedent it will set if the eSafety commissioner wins out over X (they’re currently warring in court). Might other governments likewise demand the global obliteration of social-media clips they consider offensive? Perhaps the Chinese government will instruct platforms everywhere to take down clips of violence from Tiananmen Square in 1989 – you know, to keep Chinese citizens ‘safe’ from such politically troublesome images. Maybe Iran will issue takedown orders for clips of its revolutionary guards visiting their theocratic violence on anti-hijab protesters. Giving local functionaries global power is a recipe for tyranny.

Fragile officialdom has long argued that the worldwide web threatens national sovereignty. This Wild West of content might infect our citizens’ hearts and minds with vile stuff, they say. And so they erect great firewalls to keep it out. And yet, the Oz v Musk case suggests it’s the web-wary censors of the 21st-century technocracy who are the true menace to democracy. Australia’s haughty insistence that a vid be erased everywhere shows staggering disregard for the laws and norms of other nations. It would make us the colonial subjects of an eSafety commissioner on the other side of the world. Our eyes would be covered by the long arm of Aussie bureaucracy. It is unnatural, irrational and unjust for any government to presume the authority to control what the citizens of other nations may see and say.

Call me a cynic, but I don’t believe the Aussie government cares all that much about this one video. Apart from anything else, huge numbers of Australians have seen it already – and they didn’t morally collapse as a consequence. Also, Bishop Emmanuel himself has said the video should not be taken down – surely his opinion counts? No, it seems to me that officialdom Down Under is exploiting this awful incident to try to clip the wings of social media, to bring to heel these platforms that are notoriously difficult to control. This spat is a Trojan Horse through which a government hopes to restore its censorial authority over modern media and us, its allegedly fragile users.

Witness the speed with which this clash morphed into a bigger discussion about the supposed scourge of unfettered speech online. They’re now arguing over ‘misinformation’. Australian PM Anthony Albanese thundered: ‘I find it extraordinary that X chose not to comply and are trying to argue their case… Australians want misinformation and disinformation to stop.’ What is he wittering on about? This clip is not ‘misinformation’. It shows a real event, that really happened.

That Australia’s rulers flit with such ease from blather about keeping people ‘safe’ from violent content to handwringing over ‘misinformation’ exposes their true motivation – not the protection of citizens from ‘harm’ but the protection of officialdom itself from images and ideas that make it feel uncomfortable. In this case, it seems pretty clear that the allegedly Islamist nature of the attack is a key factor in the government’s desire to memory-hole footage of it. They don’t want Australians having an open, frank discussion about radical Islam and the social disarray it springs from. Hide the video, stop the debate.

The very idea of an eSafety commissioner should horrify all who love liberty. It is not government’s job to keep us ‘safe’ from images and ideas. It is its job to keep us safe from threats and violence, but they’re often so busy policing words that they forget to police crime. The idea that every human being’s right to see an image of a suspected terror attack must be revoked in order to protect the feelings of some people in Australia is the definition of authoritarianism. Global freedom sacrificed at the altar of presumed sensitivity. Musk must prevail in his war with Australia’s bureaucracy.

==

BTW, Julie Inman Grant is a disgruntled ex-Twitter employee who has had it out for Twitter for years, long before Elon Musk took it over. She has a visceral authoritarian streak, seeking to use her overpaid position and un-elected power-grab to do to Twitter/X from afar what she couldn't do from within the first time around.

[kootiepatra]

#FFxivWrite Day 2: Bark

Keimwyda approached the fallen maple tree with a sense of reverence and excitement. This would hardly be the first time she chopped firewood—indeed, she was nearing her fourteenth nameday, and of a size, strength, and responsibility that Miss Estelle had entrusted her with the task for more than a year now.

She knew the rules of this forest well enough to always show respect and gratitude when receiving of its bounty. The elementals were exceedingly particular about which trees may be cut down, but when one was blown over by the wind like this, their permission was all but assured. Still, she laid a hand on the trunk and said a quick blessing, as she had been taught.

“With peace in our hearts, in harmony with the land, we thank thee for thy bounty,” she recited to the air. “For this, the gift of warmth and shelter…” she smiled as she added her own ending, “...and music.”

=======

Miss Estelle had a generous heart, but she did not have very much to give. Her homestead was the site of a life lived simply—gardens and baking, foraging and sewing, living off the land for what one could, and sharing and trading amongst neighbors for what one could not. She never had much gil to her name, but then again, she rarely needed it. Indeed, most locals in the nearby village were just as happy to receive a loaf of bread in lieu of the coin that could buy it. For small transactions, it hardly seemed worth it to bother with currency at all.

There were, of course, exceptions that only gil could buy—imports, large farming implements, and the occasional luxury item. 

And one such luxury had recently caught Keimwyda’s imagination.

Mr. Inman seemed as if he must be the oldest man in town, at least by Keimwyda’s reckoning. He had retired to the village to get as far away from every big city as he could, in pursuit of peace and quiet, as he would always say with a sad smile. Though he never really opened up about what exactly he wished to leave behind, he was a kindly person, and a fixture in the main square. He had been a professional musician before retirement, and he often would spend his days perched in front of the inn where he now resided, playing a wandering tune on something—woodwinds and strings, for the most part—and he was very, very good. Whenever Keimwyda and Estelle’s errands took them into town, the girl loved lingering and listening to him play.

And then, one day, he brought out his harp.

It was a gorgeous instrument, finely made. The polished wood was the color of honey and gleamed in the sunlight, its many strings pulled taut, shimmering as they vibrated in tune. Silver tuning pins sparkled like jewels in Keimwyda’s young eyes, and the sound—oh, it felt as if it might cause her to float away on a cloud.

Her rapture must have shown plain on her face, because before she knew it, Mr. Inman was laughing and inviting her over to have a closer look. He let her touch it, and invited her to even pluck a few strings.

She could hardly believe herself when she found the courage to ask if he might teach her to play. She was doubly surprised when he quickly and joyously agreed. Whenever she and her guardian were in town, he said, she should pay him a visit, and he would teach her what he could.

Their errands took them into town every week or so, and whenever Miss Estelle could spare her, Keimwyda met Mr. Inman on the porch of the inn, as eager a pupil as anyone could hope for. He taught her how to hold the harp and how to play its scales. He taught her notes in sequence for some simple folk tunes. She learned them by heart. All small malmstones, to be sure, but each one felt to her like a monumental accomplishment. 

Some few moons into their lessons, he asked, “‘Wyda, have you given thought to practicing at home? Pleased as I am with your progress, there is only so much we can do on one day every couple of weeks.”

Keimwyda shifted awkwardly. “I have been memorizing all the notes for the Harvest Dance, if that’s what you mean? I could sing them for you if you like.”

The old man smiled. “I am sure you could. But I mean… have you given thought to getting an instrument of your own?”

She hadn’t. It had not even occurred to her as a possibility. After all, Miss Estelle did not have much to give. And Keimwyda did not—would not—ask much from her. The very fact that the woman had taken her in at all struck her as unfathomably generous. While Estelle had assured her from the start she was welcome, Keimwyda could not help but feel like an imposition. She had food, clothes, and shelter, and a kind upbringing—surely more than she deserved. What right did she have to even ask for something like this?

“I could send a request to the artisans in Gridania, if you like?” Mr. Inman offered, seeing her blank expression.

“Are… are they very expensive?” 

“Heh,” he chuckled, in a tone that made it clear he wished he could give a different answer. “For ones like mine? Very much so, I fear. But! We may yet find you a student model that is a bit more attainable. May I look into it for you?”

Keimwyda nodded. “Thank you so much. I would not even know where to buy one.”

“Leave that to me,” he said proudly. “Matron willing, I shall have news for you when next you return.”

The following week, he made good on his word. No sooner had Estelle set foot into the village than he was flagging her down, excitedly waving a paper with quotes from Gridania’s luthiers. Keimwyda hung back, embarrassed, as he waxed on about the promise she showed, and the leaps and bounds by which she would improve if she had a harp of her own.

Estelle was genuinely interested. “I wish you would have asked me!” she beamed at her young charge. “I think it is a wonderful idea.”

Keimwyda shrugged and looked at the ground. “I just didn’t… um. Thank you,” she said quietly.

And then Mr. Inman showed her the paper. 

Estelle’s smile froze, and then sank, as she looked at the prices. 

“Now, you can spend about as much as you wish to on an instrument, of course,” Mr. Inman began, oblivious. “But these are the small ones designed for students—fewer strings and made of more common woods—but I assure you, it will be enough to get her started!”

“...and these prices are for those small ones?” Estelle clarified, trying not to sound as rattled by the numbers as she was.

“...Ah. Er. Yes. Yes they, are,” he replied, recognizing her discomfort. “I take it that is a problem?”

“No!” Estelle interjected, finding a smile again, “Well. We may not be able to take advantage of this kind offer just yet, but that just means we have a goal. We shall simply have to come up with a plan. Isn’t that right, Keimwyda?”

Keimwyda nodded, not looking up, only barely managing not to cry. She should have known it would be too much. She should have just been content to leave well enough alone.

=========

That day, Keimwyda followed her guardian around on their errands with scarcely a word—from disappointment, yes, but even more so, a crushing sense of guilt. Estelle noted her silence with concern, but would not do her the discourtesy of pressing her publicly about it. On the cart ride home, however, when they were alone, she tried to lightly broach the subject.

“So I have been thinking,” she began. “The berries have come in nicely this year. If we manage to preserve a few more jars than usual, we can sell them the next time a merchant…”

“I’m so sorry!” Keimwyda interrupted, bursting into tears.

Estelle looked at her, agape. “Why, whatever for?”

“I had no idea what they cost. I don’t need one. Please don’t bother.”

Estelle pulled the reins, bringing the bird to a stop, so she could put her hands aside Keimwyda’s face. “Sweetheart. There’s no need for tears. Shhh.” 

Keimwyda struggled to steady her breathing. Here she was, thirteen whole years old, already a little bigger than Miss Estelle, and crying like a baby. “I’m sorry.”

“There is no need for that, either. Now. What is all this about?”

Keimwyda’s words tumbled out in disjointed half-sentences—how she was grateful for everything, how she didn’t want to ask for something so big, how she completely understood if it was just too expensive. It was fine. She didn’t need it.

Estelle found herself at a bit of a loss. So many years ago, when her son was Keimwyda’s age, he would have been prone to sulking over not getting what he wanted. She had navigated that hurdle before. She was not so sure how to approach this one.

“It… is all right to want something,” she said carefully. “Even if it is expensive. I am only sorry it is out of reach for the moment.”

“I don’t want you to go to the trouble…”

She stopped her. “My dear. Some things are worth going to the trouble for. We just need a plan. It will take some time, but we can start saving, and we will figure something out. All right?”

Keimwyda sniffled. She was grateful. She was. But it just felt so… so… unfair. “But I’m not even your daughter,” she whispered.

Estelle exhaled a heartbroken sigh. She gently pulled Keimwyda’s head down onto her shoulder and cradled her there as best she could. “Oh, honey. It is as I told you: We are in this together now. And this? This is part of what that means.”

========

The following week, on their return into town, Mr. Inman was once again waiting for them, waving another handful of paper. Estelle had to head straight off for an appointment, but Keimwyda approached him tentatively.

“Um. We haven’t really had time to save up yet,” she said apologetically.

“My girl,” the man said through a wide smile, “I believe I can do you one better.”

Keimwyda felt her stomach drop. “You didn’t buy it, did you?”

He shook his head. “It has been a while since I had the gil to throw around as I wished. But, tell me: does my old mind play tricks on me, or have you mentioned that you are learning a bit of woodworking?”

She blinked in momentary confusion. “Well… yes. Miss Estelle has shown me a few things.”

“Then look at this.” He unfolded the paper from his hand and spread it across the porch railing.

Keimwyda did not know very much about reading carpentry plans yet, but she knew a harp when she saw one. She drew a sharp breath.

“Do you think you could manage something like this?”

She looked at the design. It looked much simpler indeed than Mr. Inman’s harp, more roughly hewn, and not nearly as pretty. But if it played…

“I… I don’t know,” she said, attempting to decipher the instructions. “I have not made anything like it before. …But maybe I can try?”

“That’s the spirit!” he said, almost giddy with excitement. “I may not be able to get you a whole instrument, but pray, allow me to make you a deal. If you can provide me with a frame, then I can get you the strings.”

Tears welled in Keimwyda’s eyes once more—but happy ones, this time. “Really?” she asked, clasping her hands under her chin. 

“Really.”

It was two short days later when the maple tree fell, not even a quarter malm from the house.

They would make full use of it, of course. There were logs to be chopped to prepare for the winter; bark to carefully strip and dry to later weave into baskets. But as Keimwyda studied the branches, she could practically see the pieces she needed to hew hidden within them. Miss Estelle had given her blessing; of course she could have them. Those branches were hers.

She closed her eyes and took another breath, her heart feeling fit to burst.

“Thank you,” she whispered out loud again, to everyone and to no one, before readying her saw and setting to work.

[mischif]

[jonathankatwhatever]

Today is 12 Sept 2024. I feel like I’m at an End. I’m trying to work but I can’t stop, can barely slow down, intense sexual feeling. A wanting. And a needing.

My parents told me I would love to flush the toilet to watch the water swirl down. When told to stop, I’d say, ‘I need it.’ My parents told me that was confusing needs and wants, but it’s really just reading the other side of the feedback loop, which is that the want it provided, that visual spatial processing over a specific time period which, with older toilets, could take many seconds to develop, met a need, acted as though it were in a loop with that need because that is where the Triangular forms with links want and need, and which generates the 1-0Segment Between.

This specifically orients formation of a gs to the center, to the Bip. That’s because this 1-0Segment is the root of a 2Square. Didn’t see that coming. It is the root of a 2Square. And the Bip locates at the pole which marks the orthogonal 2Square, the Irreducible forms of 2Squares. That converts the grid into a diamond pattern at ½ area and a quarter scale to and from 2, meaning 4:1 holds. If I look at the grid, I see the diamonds are in fD form, alternating orientation xK and yK. So that’s a literal translation of 2bT, in pairs or at least matching counts, within any of the 2Squares, which now overlap because they construct over any 2Square grid. There are 2 forms, the one which pairs yK and xK in the expected, meaning the fD’s match, and the one in which the fD forms are the reverse of the axes. In that one, it’s xK orientation of the fD in the yK orientation of the pair making the 2 pair of the 2Square , and thus the yK fD in the xK orientation.

That’s an example of the issue we’ve been thrashing out regarding time complexity. It was difficult to describe a simple drawing using words, but easy to reference the description hashed out. It works because descriptions are layers, whether badly abstracted or perfectly done, and it loses ‘exactness’ with time because it can’t construct exactly the same way twice. That’s the idea behind can’t step in the same stream twice. The reasons depend on how deep you want to go, like entropy, that a repeating process like in mass production is the highly managed coming together of a vast variety of processes, some also requiring precision, some not. It takes investment to build that, to generate that so it continues. Symbols help but they can’t capture the accompanying thoughts and they can suck out the life, and not in the good way.

Anyway.

So the Bip is generated at the center of a 1Square which is the intersection of layers of 2Squares which alternate orientation. And that is the reverse form, the one where the xK fD is in the yK pair. The other form generates at the standard grid Ends. All overlapping so the characterization of each part segments.

This enables true false because it forms out of half truths, half falses, meaning that we can combine labels to read at a grid End or at a Bip. Let’s say we want to locate some specific Thing. That translates into a Bip, which is then the other End of a search.

That material about half truths, half falses needs more. This is at ½ scale because 4:1 at 2Square is ½ scale, and 4:1 is inherent in the generation of the grid square, of the 1Square. It’s also a statement of f1-3, which we further translate as representing a bT and its 3 inherent states, thus demonstrating Emanation out into those states and Inmanation from those to the one.

That fits directly into the context structure, beginning with either Minimal or Local context. Minimal is tough because it isolates Halving as existence: Is or Not.

I have a sudden desire for Nestlé Quick in my latte. Is that a half false?

So, some combination of fD’s in their alignments? Or the fD’s fit to this structure? Or both? And what about the distortion: they’re not true Triangular fD’s. Each triangle runs from 2 Ends to either a 3rd grid End or the Bip. That gives me a weird thought: what if we treat the other 3 triangles as being in Hexagonal? Then we have a Hexagonal made by attaching those 2 bundles over the fD. That literally maps 2:1. That is, if we contain ourselves to just the triangles, then we confine ourselves to a gs on either side of the attaching fD. That is a beautiful result. That means we construct a map from 1Square to 2Square to 2:1. Wow!

I need a break.

[financeboston]

CAMBRIDGE – FinanceBoston Arranges $5.1 Million in Debt and Preferred Equity for 3 New Luxury Homes near Inman Square. https://bit.ly/3VExeYX

[grungeouttakesabstracts]

Hott

Cambridge, Massachusetts -- 5/9/15

[portablekissingbooth]

First Outing

The hat came with me to a party around Halloween time. It was a radon-themed basement party hosted by a couple MIT phd candidates near Inman square. I think their basement had recently been cleared of radon. They were well stocked with booze and there was a stripper pole. It was generally a good vibe.

I wore the hat for a while, no bites, this was a little too bold for the crowd and the moment, so I kept it on a side table and watched it in action. Someone picked it up right away. He was pretty fratty looking: tank top, big chest. I hope he doesn’t read this and get offended. He was dancing with the hat on. So I went up to him and asked him if he wanted a kiss, and he freaked out, he said, WHAT. Then he said, If you come outside with me I’ll kiss you but not here. I declined.

The hat started getting passed around through the crowd. People wanted to try it on. No kissing, but a lot of giggling and side looks.

They headed out to a club nearby once it got late, to keep the party going. The club required formalwear for the men and the host actually said, If anyone needs pants for the club, I got you. He brought out a pile of pants with him from his room to support this. The group got ready to move. I was headed out the door to go to bed, and I heard behind me, someone asking about the whereabouts of the hat…

[bostoncoring]

the intersection at inman square is among our society’s strongest pieces of evidence that we have forsaken god entirely

[hakesbros]

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[jonathankatwhatever]

It’s now 28 Nov 2023, and I feel like I’m in a play-ay-ay anyway-ay-ay. I fear there’s something deeply wrong with me that I can’t identify, an irrationality within myself, but wait: is that the right concept or is it a paste? I think it’s a cut and paste, like in visual dreams when the background is something different from the narrative action, like when the background would become my childhood house’s yard. Why the yard? Because I walked it, crawled it, rolled in it until a map existed which layered the whole and many pieces of it so it acted as a set or series of constructed Ends with various meanings that drew, like sheets of paper or something more flexible so you can imagine topologies on these sheets. The reason for the topologies is not to say it is this or that this interpretation of the Ends is fixed ordinally, but rather to indicate that the relationships drawn across the Ends construct, and that means, for example, that each threading possible, each Pathway, since that is a permutation which constructs not merely as a permutation going in one way but both ways, as the 1-0Segment in DC&R. Think of the permutation as 1Segments to get the idea. This is how the Pauli exclusion principle works: it excludes because a field manifests a 1-0Segment. In fact, all this construction and creation of objects in dimensional structure necessitates that their behavior is also constructed, meaning how objects behave constructs using the same rules as in the construction of the objects. Sorry if this is too wordy, but the glow from the screen distracts me.

The same rules means we have both permutations and Pathways. The p with a small p and the P with a capital P. We do that a lot. Example is that grid squares is a regular square before and after the regular square’s existence, no matter when measured or how. A gs is Irreducible to an rs and an rs is Irreducible to a gs. That’s D4 in grid squares becoming that intermediate, constructed state, the 3rd End, both individually and generally, which manifests 3 dimensional states in motion. As noted, this gives rise to different perceptions of the passage of time, as well as the existence of an objective clock tied to the Informational Limit.

You can now see why the IL maps to SBE, which is inherently Triangular, rather than directly to grid squares: it limits into and out of rs through a process I’m fairly certain we’ve drawn - yes, we did - in which each side of a grid square and thus of a regular square forms as the 1-0Segment connecting a 3rd End which is outside the square. That led to some interesting work about inversion over that side into the square itself: since the height of a bT is only root3/4, you get 4 Ends within the grid square, with these overlapping but wait a second: there’s a bifurcation, a K’ing we did not see before. That is the square root of .75 is around .866, while the square root of ¾ is root3/2. I haven’t thought about this at all before. Let’s see.

We did do this, but not in much detail because so much else was coming together. This makes an orthogonal 3Square over the fD, so if you think of these as ovelapping within an enclosing square, you get a cross of overlapping ortho 3Squares. You can see the overlap because each of these 3Squares projects as a line, so we get .134, and this appears at each End, meaning each sticks out into the other’s space for all but .134 at each End. So subtract and we get .732 overlapping. That makes an orthogonal square of .536 and thus a cross of those inside the larger cross. I’m unsure how to label these squares. This is a step away from an integer nSquare. And that process continues because each definition in projection becomes some level in count of steps away from the integer nSquare.

This is the same modularity process as generally exists. You can see resonance in this, and thus again Inmanation and Emanation, because that maps to the wave which conveys the effect so it can be inferred backwards, meaning it generates that causal chain which we trace back.

BTW, this is why I was actually excited about today: I realized and hoped for the level of intelligent analysis which I get when you’re just a bit away, as opposed to the overwhelming presence effects. Not a preference but something good to look forward to, to experience, and badly needed after the days of excessive work. Also, I have definitely become a bit clumsier doing basic things like carrying because my vision now alternates between reading glasses and not, so my eye-hand coordination is more general and less fixed. I can overcome with greater focus, but that tends to fail when rushed, exactly like I see in athletes not matching up to the mental demands of a higher level game. Oh and I’ve been doing some really cool movement stuff. Lots of cool knee work and just found a deep abdominal contraction which enabled super pure, friction free high knee raises and a walk.

Just had some new thoughts: a short scene of a you character being extremely distressed and hyper worried, fear, which is sometimes just a startle reflex to be awake upon touch, so a mismatch of intent, which may be absent, and perception.

I’m going back to bed. I note that the construction of a gs by Triangular, which I also now remember as connecting the idea of Triangular over gs, which is key to the grid, also invokes layers, and invokes the conception that squares, both g and r, are stretched open 1-0Segments.

[grungeouttakesabstracts]

Neighborhood park in the wee hours

Cambridge, Massachusetts -- 1/20/13