Nov 2016
some say it's called dart-eyes, a kaleidoscopic venture
that might leave you myopic, oddly enough i know
that people say a lot of far fetched things,
and the excuses are usually metaphors,
there's the literal cardinal,
the literal spanish inquisition,
and metaphors of demons in the bible -
i still want to experience a fully
theocratic world: where man's words come
forth from man, and god's words come from
the mouth of god... again: poetry without
a god is like biology without chlorophyll,
no one even suggested a kneeling process and
ardent prayer to be invoked,
all it took was a spare thought away from
the daily commute and the daily invigoration
from some sort of ethic, oddly enough it always
ends up being an ethic of work...
i guess that's why in the west everyone is
nearing an addiction thoroughly apparent that's
named workaholism... once the relationships
fail, the only saving string of hope is work,
an absurd work ethic, because wouldn't you
take a syringe filled with ink and do shifts in an
office beyond the norm, thus entering the world
of night shifts and anything else antisocial?
people can't really be friends, we're fired up
toward formal relationships and what's guiding us
to these relationships is hierarchy...
oddly enough the Aztec or Mayan
pyramids don't have that sort of feel to them,
they don't prescribe interpretations of hierarchy,
quite the opposite,
ask someone who doesn't have a conquistador
heritage to explain that they are:
the gallows... guillotines... the tyrant is not
buried within, these aren't caves to entombing a
tyrant with all his riches...
there are no chambers in these structures...
they were intended as architectural symbols of
common law... those presumptions European
*******... human sacrifice? a myth...
these were sights of capital punishment,
you stepped out of line: you'd get your heart
carved out and your body would drop from
the execution altar down the steps for
the scavenger mob to tear you apart
even further: had you transgressed communal
consent... justice has to become overpowering
but that does not mean we carve a mount
Rushmore akin to the statues of the valley of
the kings of enthroned pharaohs...
much of ancient Egypt lingers in what we
call "modernity"... esp. in America...
and the world is currently establishing
itself into cold war ii (i said that once,
can't remember when)... and until this is firmly
established, that it's clearly accepted that we're
dealing in a cold / intellectual war, then
we'll pass all that intelligence and engage in a hot war /
and emotional war, as characteristic overflowing
of populism, which at present times: has
all the coordinates, but no proper vector to
allow a congregational march toward impeding
dangers... but better a second cold war than
a third world war... so much of ancient Egypt
in America... the washington memorial for one...
what's the other name for it? ah... obelisk;
or what the pagans built to counter the fear of
impotence: well... we've established a bountiful
supply of humans... can we do a floral pattern
now? oddly enough we embraced tomb-pyramid
builders from the north-eastern side of
Africa's brain-dead region, and trusted
conquistadors wiping out a people that used
pyramids to stress the importance of law:
i can't see no reason to think that those pyramids
were intended for human sacrifice...
capital punishment? well, d'uh... because wasn't
Golgotha so unspectacular as to be less
than what it was? had they crucified him in private,
in some back-alleyway crucified to a door,
would history open its doors to the advent of
Christianity? don't think so.
what i'd really love to see is people with
necklaces of silver, and the thing dangling on them
would be a different torture mechanism...
an iron maiden... it's like prescribing pain is
necessary... it's a dogmatic ruling on a once upon
a time (even the briefest) chance of happiness...
but even then certain philosophers say:
why be happy, when you can be interesting?
how interesting do you have to be so many times over
to not even wish for a stillness of neither want
nor drive to go beyond what you already have?
i don't know if this is an adequate comparison,
but in terms of interesting...
a movie (side effects, 2013) utilises only two songs
in its official title:
the focal point of a ******
is staged to a "sleepwalking" woman preparing
a dinner for three (only two people are in the apartment),
the song? thievery corporation's the forgotten people...
i knew the band prior, and i've seen the film
before... but i never bothered to watch the credits...
i remember the odd couple who'd sit in cinemas and
engage in watching the end-credits, always the one
odd bunch: as if saying thank you to all the people
involve... a quick stroll through a graveyard is probably
comparably akin....
and the other song? Bach's
orchestral suite no. 2 in B minor, bwv 1067 -
but i can't remember whether it's actually featured
in the film, simply because there's no focal moment
in the film where it can be heard as prominently as
the first song... and then there's thomas newman in
between (no surprise);
but a film like that is a meditation...
if only two songs are used, chances are
the dialogue will have many strengths, because there
will be a multiplicity of consistent reinterpretation,
a bit like talking into a Tate Modern and seeing
Rodin's the kiss statue (inspired by Dante's divine
comedy), sketching it from the northern perspective,
the southern, western and eastern perspectives...
i've seen few films that accredit a very minimalistic
soundtrack... on that note, how songs could literally
be translated into film titles: side effects - the forgotten people,
dead poets' society - carpe diem, american beauty -
any other name, are there others? there probably are.
but that's nothing compared to last night's antics...
some people climb the Everest... clap clap clap...
some people design super-suction vacuum cleaners...
clap clap clap...
from time to time i solve sudoku drunk
(no clapping)... but there's a narrative involved,
the narrative goes when you try to map out solving
one of these 81 "rubic" squares... applause for
speed with these babies like applause for premature
*******... aren't they compatible?
we all have limitations, mine came yesterday,
when i allocated superscript numbers to the journey,
quiet literally an optical tangle, i should have used
things like ª ' “ ‘ ¨ † above the plotted line...
but it only takes one mistake to ground you
and then you have to go back and make minute corrections,
as the notes themselves suggest (crazy eyed darting):
exhibit a.
0 0 0 0 0 2 7 0 0
0 0 0 0 4 0 0 2 0
2 0 5 1 0 7 0 0 8
0 9 0 0 0 0 2 0 1
7 0 0 8 0 0 0 6 0
0 0 6 0 7 0 5 0 0
4 0 8 7 0 0 1 0 0
0 1 0 0 0 5 0 0 0
0 0 9 0 1 0 3 0 0
exhibit b. html that doesn't allow subscript
or superscript notation, hence the brackets
denoting movement (pending)
9 (24) 0 3 (23) 0 8 (5) 2 7 1 (2) 0
1 (12) 8 (8) 7 (9) 0 4 0 0 2 0
2 0 5 1 0 7 0 3 (13) 8
8 (7) 9 4 (18) 0 5 (33) 0 2 7 (1) 1
7 5 (16) 1 (14) 8 2 (20) 0 0 6 3 (21)
3 (19) 2 (17) 6 0 7 1 (15) 5 8 (6) 0
4 3 (27) 8 7 0 0 1 5 (28) 2 (26)
6 (30) 1 2 (22) 4 (31) 3 (32) 5 8 (3) 0 7 (11)
5 (29) 7 (10) 9 2 (25) 1 8 (4) 3 0 0
it is no surprise that the notation played a key part
in having failed to map out the route taken,
when you're using numbers in a puzzle
it's almost an inevitable path to failure,
since you're making superscript "bookmarks" at
high concentration, and without any distinction to
what the puzzle demands, hence you go "cross-eyed"
in solving the puzzle, and superscripting your progress
using the same symbols that are required to solve it,
but given that the puzzle involves 81 slots
with 9 x 9 identical components (only so rearranged
to be not contradict the rule of the puzzle
i.e. 9 symbols in each square of the nine in total,
with a 9 x 9 variation on all linear arrangements not
involving two similar symbols, i.e.
1 2 3 4 5 6 7 8 9, rather than 1 2 2 3 4 5 6 7 8) -
what became a hope to correct the mistake, but given
the intricacies of the progress, all the more harder to
recount steps and subsequently move forward with
the spotted error...
hence a refresh, and the need for schematic,
given that there are 81 slots in total, with
27 already in place, and given that there are 26
units of alphabet... how handy to actually persist in
using these characters, but adding diacritical variations
to make up 54 necessary, without invoking
a 10 or a sz...
exhibit c.
0 0 0 0 0 2 7 1ą 0
0 0 0 0 4 0 0 2 0
2 0 5 1 0 7 0 0 8
0 9 0 0 0 0 2 7α 1
7 0 0 8 0 0 0 6 0
0 0 6 0 7 0 5 0 0
4 0 8 7 0 0 1 0 0
0 1 0 0 0 5 0 0 0
0 0 9 0 1 0 3 0 0
exhibit d.
nb. α = 1, ą (ogonek) = 2, á (acute) = 3, à (grave) = 4,
â (circumflex) = 5, ä (umlaut) = 6, cedilla missing,
ã (tilde) = 7, b = 8, c = 9, ć = 10, č (caron) = 11,
ĉ (circumflex) = 12, ā (macron) = 13, ç (cedilla) = 14,
d = 15, e = 16, é = 17, è = 18, ê = 19, ě = 20, ë = 21,
f = 22, g = 23, ǧ = 24, ḡ = 25, ĝ = 26
(now i figure, could have used Greek... d'uh!
ahh, i'll use it for the finishing touches),
h = 27, i = 28, ı = 29, í = 30, î = 31, ï = 32, μ = 33
j = 34, δ = 35, k = 36, λ = 37, ł = 38, τ = 39, n = 40,
ń = 41, ñ = 42, o = 43, ō = 44, ø = 45, p = 46,
q = 47, r = 48, s = 49, γ = 50, φ = 51, χ = 52, ψ = 53, ω = 54.
before i begin the puzzle... there's a reason why a caron
g (ǧ) might exist, and why a grave z might not...
and why there's a piquant difference between
an acute z (ź) and ż - depending on the aesthetician,
who decides to move away from the national linguistico-aesthetic
dogma... for example the name George,
orthodoxy states you must learn the aesthetic version
of Grze'gosz... but you would also be able to write
the alternative: Ǧegoš - given that rz is equivalent to ż,
and given that there is no grave accenting of z,
but there is the acute (ź), perhaps you could consider
the dot a convergence point that could assimilate
sound, immediately over the caron g... of course none
of these remarks are intended for application: because
they would never reach a consideration in a learning
curriculum of any nation, a whimsical idea derived from
the remnants of the esperanto experiment...
from what i can see, ǧ would equal grz, and
the reason that rz exists at all, and it equivalent to ż
is because a grave version of z is missing, and that
the acute z (ź) exists, and there is no point of balance
that otherwise is the foundation of the caron...
i wouldn't have thought focusing on such "trivial"
signs above letters provided so much pecking-orders.
exhibit e. focal points in greek notation
9ǧ 4ñ 3g 6o 8â 2 7 1ą 5τ
1ĉ 8b 7c 5p 4 3q 6ń 2 9ł
2 6γ 5 1 9r 7 4n 3ā 8
8ã 9 4è 3s 5ψ 6ω 2 7α 1
7 5e 1ç 8 2ě 4ø 9ō 6 3ë
3ê 2é 6 9λ 7 1d 5 8ä 4k
4 3h 8 7 6χ 9φ 1 5i 2ĝ
6í 1 2f 4î 3ï 5 8á 9μ 7č
5ı 7ć 9 2ḡ 1 8à 3 4j 6δ
thus completed: there's a reason why the majority
of the narrative is done utilising diacritical marks,
i could have used many more distinct symbols,
but the point is: there are very few focal points
that can be ascribed distinct markings,
most of the puzzle is done on the basis of "crazy eyes",
i.e. darting eyes - focal points do emerge after
much darting about the squares, notably when
a linear sequence is completed, or whenever one of
the 9 squares is completed, or when all nine squares
contain nine 7s or 8s...
or that's one way to go about not having any whiskey,
the rain pouring outside, and the night stretching
into a near eternity -
exhibit f. narrative of correction, actual excerpt
it began at h, i.e. labyrinth corner no. 27,
******* trainspotting! this is going to be like reading
the time for the next train to arrive at Waterloo!
5(28), 5(33)?, 5(28),
6(30), 4(31), 3(22), 5(33), 33? 9(38), 4(34),
6(35), 4(36)...
6(41) < 4(40) < 5(39) < 9(38) < 9(37)....
4(42) < 6(43) < 9(44) < 4(45) < 5(46) < 3(47) < 9(48) < 3(49) <...>
6(58) > 9(51) < 6(52)...
longest period spent on 3(13) / ā -
and the notation that gave way to this spiral?
5(33), which actually ended up being 5(53) / ψ.
that might leave you myopic, oddly enough i know
that people say a lot of far fetched things,
and the excuses are usually metaphors,
there's the literal cardinal,
the literal spanish inquisition,
and metaphors of demons in the bible -
i still want to experience a fully
theocratic world: where man's words come
forth from man, and god's words come from
the mouth of god... again: poetry without
a god is like biology without chlorophyll,
no one even suggested a kneeling process and
ardent prayer to be invoked,
all it took was a spare thought away from
the daily commute and the daily invigoration
from some sort of ethic, oddly enough it always
ends up being an ethic of work...
i guess that's why in the west everyone is
nearing an addiction thoroughly apparent that's
named workaholism... once the relationships
fail, the only saving string of hope is work,
an absurd work ethic, because wouldn't you
take a syringe filled with ink and do shifts in an
office beyond the norm, thus entering the world
of night shifts and anything else antisocial?
people can't really be friends, we're fired up
toward formal relationships and what's guiding us
to these relationships is hierarchy...
oddly enough the Aztec or Mayan
pyramids don't have that sort of feel to them,
they don't prescribe interpretations of hierarchy,
quite the opposite,
ask someone who doesn't have a conquistador
heritage to explain that they are:
the gallows... guillotines... the tyrant is not
buried within, these aren't caves to entombing a
tyrant with all his riches...
there are no chambers in these structures...
they were intended as architectural symbols of
common law... those presumptions European
*******... human sacrifice? a myth...
these were sights of capital punishment,
you stepped out of line: you'd get your heart
carved out and your body would drop from
the execution altar down the steps for
the scavenger mob to tear you apart
even further: had you transgressed communal
consent... justice has to become overpowering
but that does not mean we carve a mount
Rushmore akin to the statues of the valley of
the kings of enthroned pharaohs...
much of ancient Egypt lingers in what we
call "modernity"... esp. in America...
and the world is currently establishing
itself into cold war ii (i said that once,
can't remember when)... and until this is firmly
established, that it's clearly accepted that we're
dealing in a cold / intellectual war, then
we'll pass all that intelligence and engage in a hot war /
and emotional war, as characteristic overflowing
of populism, which at present times: has
all the coordinates, but no proper vector to
allow a congregational march toward impeding
dangers... but better a second cold war than
a third world war... so much of ancient Egypt
in America... the washington memorial for one...
what's the other name for it? ah... obelisk;
or what the pagans built to counter the fear of
impotence: well... we've established a bountiful
supply of humans... can we do a floral pattern
now? oddly enough we embraced tomb-pyramid
builders from the north-eastern side of
Africa's brain-dead region, and trusted
conquistadors wiping out a people that used
pyramids to stress the importance of law:
i can't see no reason to think that those pyramids
were intended for human sacrifice...
capital punishment? well, d'uh... because wasn't
Golgotha so unspectacular as to be less
than what it was? had they crucified him in private,
in some back-alleyway crucified to a door,
would history open its doors to the advent of
Christianity? don't think so.
what i'd really love to see is people with
necklaces of silver, and the thing dangling on them
would be a different torture mechanism...
an iron maiden... it's like prescribing pain is
necessary... it's a dogmatic ruling on a once upon
a time (even the briefest) chance of happiness...
but even then certain philosophers say:
why be happy, when you can be interesting?
how interesting do you have to be so many times over
to not even wish for a stillness of neither want
nor drive to go beyond what you already have?
i don't know if this is an adequate comparison,
but in terms of interesting...
a movie (side effects, 2013) utilises only two songs
in its official title:
the focal point of a ******
is staged to a "sleepwalking" woman preparing
a dinner for three (only two people are in the apartment),
the song? thievery corporation's the forgotten people...
i knew the band prior, and i've seen the film
before... but i never bothered to watch the credits...
i remember the odd couple who'd sit in cinemas and
engage in watching the end-credits, always the one
odd bunch: as if saying thank you to all the people
involve... a quick stroll through a graveyard is probably
comparably akin....
and the other song? Bach's
orchestral suite no. 2 in B minor, bwv 1067 -
but i can't remember whether it's actually featured
in the film, simply because there's no focal moment
in the film where it can be heard as prominently as
the first song... and then there's thomas newman in
between (no surprise);
but a film like that is a meditation...
if only two songs are used, chances are
the dialogue will have many strengths, because there
will be a multiplicity of consistent reinterpretation,
a bit like talking into a Tate Modern and seeing
Rodin's the kiss statue (inspired by Dante's divine
comedy), sketching it from the northern perspective,
the southern, western and eastern perspectives...
i've seen few films that accredit a very minimalistic
soundtrack... on that note, how songs could literally
be translated into film titles: side effects - the forgotten people,
dead poets' society - carpe diem, american beauty -
any other name, are there others? there probably are.
but that's nothing compared to last night's antics...
some people climb the Everest... clap clap clap...
some people design super-suction vacuum cleaners...
clap clap clap...
from time to time i solve sudoku drunk
(no clapping)... but there's a narrative involved,
the narrative goes when you try to map out solving
one of these 81 "rubic" squares... applause for
speed with these babies like applause for premature
*******... aren't they compatible?
we all have limitations, mine came yesterday,
when i allocated superscript numbers to the journey,
quiet literally an optical tangle, i should have used
things like ª ' “ ‘ ¨ † above the plotted line...
but it only takes one mistake to ground you
and then you have to go back and make minute corrections,
as the notes themselves suggest (crazy eyed darting):
exhibit a.
0 0 0 0 0 2 7 0 0
0 0 0 0 4 0 0 2 0
2 0 5 1 0 7 0 0 8
0 9 0 0 0 0 2 0 1
7 0 0 8 0 0 0 6 0
0 0 6 0 7 0 5 0 0
4 0 8 7 0 0 1 0 0
0 1 0 0 0 5 0 0 0
0 0 9 0 1 0 3 0 0
exhibit b. html that doesn't allow subscript
or superscript notation, hence the brackets
denoting movement (pending)
9 (24) 0 3 (23) 0 8 (5) 2 7 1 (2) 0
1 (12) 8 (8) 7 (9) 0 4 0 0 2 0
2 0 5 1 0 7 0 3 (13) 8
8 (7) 9 4 (18) 0 5 (33) 0 2 7 (1) 1
7 5 (16) 1 (14) 8 2 (20) 0 0 6 3 (21)
3 (19) 2 (17) 6 0 7 1 (15) 5 8 (6) 0
4 3 (27) 8 7 0 0 1 5 (28) 2 (26)
6 (30) 1 2 (22) 4 (31) 3 (32) 5 8 (3) 0 7 (11)
5 (29) 7 (10) 9 2 (25) 1 8 (4) 3 0 0
it is no surprise that the notation played a key part
in having failed to map out the route taken,
when you're using numbers in a puzzle
it's almost an inevitable path to failure,
since you're making superscript "bookmarks" at
high concentration, and without any distinction to
what the puzzle demands, hence you go "cross-eyed"
in solving the puzzle, and superscripting your progress
using the same symbols that are required to solve it,
but given that the puzzle involves 81 slots
with 9 x 9 identical components (only so rearranged
to be not contradict the rule of the puzzle
i.e. 9 symbols in each square of the nine in total,
with a 9 x 9 variation on all linear arrangements not
involving two similar symbols, i.e.
1 2 3 4 5 6 7 8 9, rather than 1 2 2 3 4 5 6 7 8) -
what became a hope to correct the mistake, but given
the intricacies of the progress, all the more harder to
recount steps and subsequently move forward with
the spotted error...
hence a refresh, and the need for schematic,
given that there are 81 slots in total, with
27 already in place, and given that there are 26
units of alphabet... how handy to actually persist in
using these characters, but adding diacritical variations
to make up 54 necessary, without invoking
a 10 or a sz...
exhibit c.
0 0 0 0 0 2 7 1ą 0
0 0 0 0 4 0 0 2 0
2 0 5 1 0 7 0 0 8
0 9 0 0 0 0 2 7α 1
7 0 0 8 0 0 0 6 0
0 0 6 0 7 0 5 0 0
4 0 8 7 0 0 1 0 0
0 1 0 0 0 5 0 0 0
0 0 9 0 1 0 3 0 0
exhibit d.
nb. α = 1, ą (ogonek) = 2, á (acute) = 3, à (grave) = 4,
â (circumflex) = 5, ä (umlaut) = 6, cedilla missing,
ã (tilde) = 7, b = 8, c = 9, ć = 10, č (caron) = 11,
ĉ (circumflex) = 12, ā (macron) = 13, ç (cedilla) = 14,
d = 15, e = 16, é = 17, è = 18, ê = 19, ě = 20, ë = 21,
f = 22, g = 23, ǧ = 24, ḡ = 25, ĝ = 26
(now i figure, could have used Greek... d'uh!
ahh, i'll use it for the finishing touches),
h = 27, i = 28, ı = 29, í = 30, î = 31, ï = 32, μ = 33
j = 34, δ = 35, k = 36, λ = 37, ł = 38, τ = 39, n = 40,
ń = 41, ñ = 42, o = 43, ō = 44, ø = 45, p = 46,
q = 47, r = 48, s = 49, γ = 50, φ = 51, χ = 52, ψ = 53, ω = 54.
before i begin the puzzle... there's a reason why a caron
g (ǧ) might exist, and why a grave z might not...
and why there's a piquant difference between
an acute z (ź) and ż - depending on the aesthetician,
who decides to move away from the national linguistico-aesthetic
dogma... for example the name George,
orthodoxy states you must learn the aesthetic version
of Grze'gosz... but you would also be able to write
the alternative: Ǧegoš - given that rz is equivalent to ż,
and given that there is no grave accenting of z,
but there is the acute (ź), perhaps you could consider
the dot a convergence point that could assimilate
sound, immediately over the caron g... of course none
of these remarks are intended for application: because
they would never reach a consideration in a learning
curriculum of any nation, a whimsical idea derived from
the remnants of the esperanto experiment...
from what i can see, ǧ would equal grz, and
the reason that rz exists at all, and it equivalent to ż
is because a grave version of z is missing, and that
the acute z (ź) exists, and there is no point of balance
that otherwise is the foundation of the caron...
i wouldn't have thought focusing on such "trivial"
signs above letters provided so much pecking-orders.
exhibit e. focal points in greek notation
9ǧ 4ñ 3g 6o 8â 2 7 1ą 5τ
1ĉ 8b 7c 5p 4 3q 6ń 2 9ł
2 6γ 5 1 9r 7 4n 3ā 8
8ã 9 4è 3s 5ψ 6ω 2 7α 1
7 5e 1ç 8 2ě 4ø 9ō 6 3ë
3ê 2é 6 9λ 7 1d 5 8ä 4k
4 3h 8 7 6χ 9φ 1 5i 2ĝ
6í 1 2f 4î 3ï 5 8á 9μ 7č
5ı 7ć 9 2ḡ 1 8à 3 4j 6δ
thus completed: there's a reason why the majority
of the narrative is done utilising diacritical marks,
i could have used many more distinct symbols,
but the point is: there are very few focal points
that can be ascribed distinct markings,
most of the puzzle is done on the basis of "crazy eyes",
i.e. darting eyes - focal points do emerge after
much darting about the squares, notably when
a linear sequence is completed, or whenever one of
the 9 squares is completed, or when all nine squares
contain nine 7s or 8s...
or that's one way to go about not having any whiskey,
the rain pouring outside, and the night stretching
into a near eternity -
exhibit f. narrative of correction, actual excerpt
it began at h, i.e. labyrinth corner no. 27,
******* trainspotting! this is going to be like reading
the time for the next train to arrive at Waterloo!
5(28), 5(33)?, 5(28),
6(30), 4(31), 3(22), 5(33), 33? 9(38), 4(34),
6(35), 4(36)...
6(41) < 4(40) < 5(39) < 9(38) < 9(37)....
4(42) < 6(43) < 9(44) < 4(45) < 5(46) < 3(47) < 9(48) < 3(49) <...>
6(58) > 9(51) < 6(52)...
longest period spent on 3(13) / ā -
and the notation that gave way to this spiral?
5(33), which actually ended up being 5(53) / ψ.
