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Solent in Expiationem Animarum

Saint John the Apostle says: “Zefián, the computer of the Duoverse of the Verthian world, indicates the order of his creation of the world, according to the transcendental plant living matter, in the interstices of time itself that exists within sidereal time. Noting that matter and time, is governed by all mythological beings in a compartment with monotheism, will be defined by atavistic laws, which are the deity of the intense hiding place of procreation, endowing great contextual residences, for habitat and a world in which larger non-residential scales, which go from passerby between the lines of time, and cosmological phenomena, which in the Duoverse face vicissitudes of the stars and their physicality added to the arcs of memory and emotions. Thus the main task of how the structure of experience surpasses consciousness, to novelize the orthogonal movements of the Universe, but in a Vernarthian world with great explorations of matter, which are quantified and volatilized in the field of its ethereal existence. The laws will be governed by your Zefian computer, describing codes that will verify the fulfillment of pivots in the reactions of the universe, but with refractions when reasoning about the consummate phenomenon. Starting from here in the experienced biology that will overcome the laws of physics, since its value is above the limits that allow the bold line of gravity that bounces in the lines of time, and its distances promoting more discretion when resisting threats. of a possible tiring case, a product of some relative dominance not included in all worlds with each other, in some case that does not rescue us from loss of links of some omitted sidereal reminiscence, attracting us to a universe governed by hemicycles of merely material particles, and not existential biological ones. The dimensions emerge from the beginning of the same universe, but more delayed from the interval and the second limit of the space that rests, to inaugurate the one that comes. Being the orbit of translation twice rotating towards the sun, but nth times rotating on itself, to go out to another stellar dimension not present. Its geometry will be from the intendancy of the resumption of Cinnabar in Tsambika and Helleniká, to later cancel each other out, making their integration in Patmos, on the coast of Skalá, with curvatures that validate the nullity of successive expirations of material lives, between spiritual expirations alive.


Duoverso is born and will be reborn, every time the years are subject to the loss of everything quantifiable and not, under the light that will be lit on all the darkness, Zefián being, in paronymy in which they lack to appropriate the support and merit of to have it absorbed in the tabernacle of Vas Auric, in the privilege of nothingness itself and nobody, adding itself in what is preserved of the physical support of itself. For just sidereal speed, in which it will have to travel on its same axis of rotating time on itself, in paradoxical of the One-dimensional Beams, these coexisting with the same low and high universes, reconverted into angelic vital luminances, creating orbits and optics in the visions of Christian temporality. By empowering them to enable them in the overexcited that derive disorders of intermittency of memory and physics of time, to reinsert themselves in the sequence that inhabits the residual of the speed of the Beam, as a Theo-Philosophical entity, of cellular multiplicity or cells of seasonality. of retrograde times, for the independence of temporality, under the regime of the past made up of an unbelievable yesterday. Overcoming the conserved immediacy of conviction in the One-dimensional Beams (Kafersesuh), it is observed denser when every mortal admits to being due to integrating and later brooding, dissecting organic matter into inorganic matter, suspended in the richness of a world of Faith and Prayer, of the most anti-gregarious desert and lost in the world, but supported by hollow walls, which do not exist in Vernarthian emotional matter.

The movements being physical, they take us on conjectured layers to discern their magnitude, emphasizing the rigor of their measurement on us, instead, the ambivalence of Zefian, delivers in both chromatic the Dark and White Duoverse, under the reference of the behavioral alternations of the Diospyros, source of the arboreal, for the procreation granted in the hands of Leiak. Relying on this equational exercise, with less time to design for its genealogy, but rather on its apocalypse, reinstalled in abolished primary unknown spaces, to have it once again in the light of consciousness, recognized as an inert matter of the past, but living off the immanent eternity of nebulae that personalize the earring of the Caltrop, taking temporality, but not snatching any hand to tear it from his own.

Vernarth says: “In the rhetoric of the Universe-Duoverse theorem, it is worth noting the past with entity, present and future also, connected to the time of Verthian inspiration, Holderlin-Heidegger, on issues of physical habitability, as a complement to the entity, which anticipates the present/future in the vicinity of death in the past and future, but tangentially in lively whims of existentialism-mortality, for a way of being rented out at death, as a way of being, dwelling in death itself and in the act of embodiment having existed, but with its own mandate after having been rented. The Vernarthian World appears in this current, prolonging existence from non-existence, granting complementarity of more past existence, before an unlived death. Ontologically, This theory stems from the One-Dimensional Beams of Kafersesuh, in Ein Karem. Essentially Christian, as the matrix of existence between Ein Karem (Nativity of the Messiah) and Gethsemane, as an interconnection of materiality in metaphysical reflections, a product of the immaterial of life not lived, as an urgent sacrilegious death, and of the anticipated dimension of the life process- death-life of Christian Messianism.

Vernarth says: "with the slaves in my disparate hands, one picked up what the other was carrying. With my right hand, I took the Duoverso, and with the other my porter; I held my reins on the maxims of Elpenor, before falling to the cliff. One naughty day but with the worst pain in my chest, I went to see him in his room, and I structured him as an immortal, at the time of forming the world, "knowing not even being part of an identity" favoring him to be part of me. combustion and ignition due to the friction of the Universe on the Duoverse. Such was that fearlessness and affordability that it decorated me with unexpected tears of belonging by imprisoning me with superfluous boastfulness. But his courage will be mine, and he will have to anticipate being in the middle of grace, as in Gaugamela wounding my two hearts, one deleterious and the other not..., verbatim saying:

Says the Carrier: “I have to agree to your mandate my lord Vernarth, I have arranged my emetic knights to take him to the empyrean, more remote at nightfall. I know that my own death will also take him, for we are double lives loving death, which falls on a night given to the seventh Falangist soldier. In the midst of souls already disheartened by the misfortune of life, in the figure of eternal death that refuses to receive us discouraged "

Vernarth says: "I do not know if I am or will be brave, because I have forgotten to die, rather I do not know what it is ?, but in the midst of the horses and the hosts of the block, from the anvil of Gaugamela that I have not felt it again..., which is death after feeling my hands and legs severed, but not felt when appropriating some amputee. I know that among the Hypaspists we used umpteenth arrows to mobilize their war apparatus 665, but from the wasteland jump we gathered the delirium of the Falangist command in the Seleucid 666 row, rather detached from every man, in a substantial way in favor of the Alexandrian life, "Of course he was already in the hands of eternity, which hurts more than the tip of an arrow, even being unfaithful to his mortality"

and not in the Universe chained to its fractality, rather of its present-present of the new universe for those who make it negative of itself, towards a clone and neatness, granting it recklessness, who continues to sweep its entity, its dimension, its space, the distances, the matter to receive it in their being. Vernarth, besieges the discursive thinking, under the tides of the tenements and the fears of late emotionality, changing to all the best heroics of the follow and all the experiences of harassing flat lights of the target, in the necropolis that speak resurrected, not being chimera in the best leisure districts live, but immortal of a district..., with steps to constitutive slogans of "succumbed cities, but..., with eternity", connoting after all abolished transference, in eternity present between two beings of mortal rank, the Carrier and Vernarth, Vernarth and Heidegger, but here the last one bringing him the closest radiogram between expiration and eternity, with significant death (End and chaos) and eternity (creation), in the limbo-purgation ratio, as the source of the potion. His total contention and affinity in Heidegger's dialectic, passing through a moment that marks his reincarnation, in the rambling of finite eternity, moving away from Vernarthian ontological and metaphysical reasoning. It was attached magnetic in the Universe, feverish kiss in ambitions of the temporal Being, as substantial of perpetual objectivity towards the unworthy survivor of the Vernarthian theories. So far no similarity is compared to whoever wants it or not, it is part of any estimate or spreadsheet of a complex Duoverse, Within the emerging frontis of progeny, there are ranks derived towards the first to form compound swaths of shelters in the Camels Gigas, who from Jerusalem escorted them with their plantar consciences to Ein Karem, then returning to Gethsemane, to finish in the port of Jaffa. Originally arranged by the children of Israel and the strongholds; Vernarth, Saint John the Apostle, Eurydice, Raeder, and Petrobus with animality, Etréstles, and Kanti, to finally mention King David, who goes to his catafalque before leaving for Jaffa, to return winds to Patmos. Of this primogeniture, the legatee is Vernarth, being presented as co-first-born by giving his portion to Saint John the Apostle, for trust assets of the benefit of a third party for both, and granting the patriarchal and reimbursement to each of his inheritances, being of expeditious aim the liberation of the world that lodged them not authentically in the mediocrity of ascendant ancestors. This prerogative will be decisive to define the dimension of the Duoverse and the One-dimensional Beams as consanguinity, simultaneous nascent and mortal worldview, to radiate them in the beams that support the universe, and from this same, they are transferred to the vision of child-man, child-cherub., for the purpose of defining the Universe-Duoverse physically composed of four areas of its consistency. Time, Being, Divinity and the Four Wings of the Cherubim, as a concept of biodiversity in Lepidoptera, Bumblebees, Bees, Wasps, and Fireflies as tetra-winged animal entities, originating the warnings and impositions in cardinals and poles of their primogeniture, rising from chaos, up to now as mandatory Duoverso, constituting the alpha world, rising of the Animalia and the intermediate visions of the heights that guide the material essences of the imperishable spiritual elemental and structural physics. Being ineffable matter, in the stars that prostrate itself, before each pause of advent and of creations that ****** other creative flashes, in pursuit of a gnoseological doctrine, as a slavish instant, ending in another for the study of the meaning of conceiving in the diligently part of a new world, on the borders of the unknown and of repelled nothingness, suspecting itself in the living artery of nihilistic nothingness, without leaning towards nonexistence that endorses it, or perhaps from a twin Duoverso univitelino in the chaos of unfertilized nature..., rather empowered to the first heir by the law of the Messiah district. Allow yourself, in this way, in the face of this premise and history, to continue and be part of an establishing whole, looking for God in a new world and universe as well..., but shaking before the nothingness that sustains it, as a basic knowledge of value and of immobile Faith. The hypothesis Prosapy-Centric, defines blood lineage unifying the Duoverso as follows:

a)Eternal Existentialism:

He talks about how compassionate creation is and its factotum, that it will be better that way. At the entrance to the Vernarth mouth, within its buccal cubic meters, the Zig Zag Universe, the promoter that caused the Duoverse, broke out. Here your thoughts of eternity are born; not from your brain and discernment, psyche or mind. It exists in a present that will be distributed without end or beginning, in the holistic of the anticipated existence of the being itself, so that everything holistically arises from the mouth of Vernarth, becoming the light of his luminance-ejector thought, being in some way the Zigzag universe that emerges from the outgoing access of its mouth and that manifests itself in some change of quantum physics in a state of hyper-connectivity and always present. The Zig Zag, coexists in eclectic variability of angles, creating regularities in its time and displacement. For the sake of results and translational parallelism as a promoter of the Duoverse, based on the holistic that brings together the effect of the word-fact, but eminently aimed at the morphology of extra language of intellect, rather in the kinetics of the language of human zigzag and physical-material, typical in various line segments of lightning and space storms, resembling his lost and bleeding soul in full battle at the site of Arbela. The other meaning is his salvation from the Council of Patmos, being already Installed in the Eclectic and invisible portal of the Evangelist of Saint John, levitating in his sacred basaltic cavern in Katapausis, in the Patmos archipelago (Koumeterium Messolonghi, Chapter 16 / page 114. Editorial Palibrio- USA). They would find themselves in communion with the archaean clan, which would resemble its proper ectoplasm; thus each one forming a unique part in the masonry dictated to redirect them towards their messianic labors at this stage of the ascension. Vernarth; is aware that he will have to enter the cave, after having ceased his work on standby for three months. He continues to fester in myriad wars and parapsychological regressions, he will remain in a daze to dedicate himself to the beautiful landscapes open towards a horizon..., a neighbor to Palaeolithic and astronomical painting. In the flashes of mathematical prayer, you will capture the spiritual intensity that inspired Saint John to build the temple near his cave of the Apocalypse on the island of Patmos. The saint appears only on certain days looking at him from afar to encourage him in his progress..., Portal Eclectic and invisible is the facet of the face of light, after the invisible that manages to be appreciated with the principle of transferring its connectivity of the immaterial with the material, but done in the finished quality of "Merciful", deriving everything in what supports the splendor of the facts and their objective analysis, by no means the same, because the Zigzag universe, originates theory or thoughts from the perspective of external language and integrally unites it through the optimal results, always imponderable and categorical to follow them and attract them to eternal spiritual good. Being exhaustive of the fact of action, although it is subdivided into executability..., it will continue to be timeless, therefore eternal, in the hands of a universe of thick eternity and stationary death.

The final communion of Zig Zag with the Duoverse, will make this key momentum to replace the Universe of the former Vernarthian world, for inflections of the continuous present, more in the distance of the limits that have to originate than by a simple gesturing stupidity of disbelief, abounding more than a universe that is created in eternity, and that will never again resurface as a physical dimension. The successive potentiality of this theory of holism subtracts actions and not facts, since it always culminates in the limit of infinity, always beginning and never-ending, to then restart in a present that is reintegrated into the access of the oropharyngeal and non-cerebral embouchure, since it has of limiting itself in its shock and subsequent confusion of language-emotion and feeling, to change all eternal emotion, always going hand in hand with the unequivocal and assertive light,

b) Being Universal multi-evocation:

Over Rhodes the auroras could be seen retreating, to attract the new luminances crossing between the atmospheres of the ancient worlds, with stars that were ordered among others, descending at great speed from the Universe, fascinating all Greece, coming from celestial bodies that brought from great Relative distances and proximity between the Duoverso and its satellite widening, allowing to grant subsistence, and routes to the nascent species of the Vernarthian sub-mythology. The Sabbath energy Light is overbreathed repair; here Saint John the Apostle influences through the conduit of the Cinnabar towards the Light of the Mashiach, with the intemperance of life on drops of crystallized water as gifts of Taphoric Light, with synoptic signs of transformation of all the green grass growing like a beard on the slopes of the Willows, where Saint John the Apostle goes back to prayer prayers; so such in repetitive sentences and prayers towards the Universe, which were falling as it was on Mount Tabor in the Transfiguration. All this in the fervor of the willow chins that fell from the galaxies, with their cascades one after another in orderly colophons of fervor making the sky a great source of Moshaic and Elijah voices. (Moses and Elijah) to Christianize the holy oils of the radiant glory of the Universe that was complemented by the Heliac Ortho that was appreciated in different coefficients according to this new position of the parameter of Greece, observed from the Constellation of Pisces, being symbolized as piece as SOS, since Eratosthenes tells us about the fish that saved Derceto (Goddess of Assyrian mythology), after falling into a large lagoon. Seeing therefore in the sky as Fum Al Samakah, Arabic for “snout of the fish” (or Fomalhaut star from the Greek translation). Pisces being bright and of the great dimension to mold it as a whole iris, which was rooted from the formal pelagic accent, towards a spectral affinity of the Duoverse, like leaves of Willow temperatures, on the reflection of the Multi-evocation. For antithetical referendum of the Pleiades between light-years that diminish behind the stars of the magnetic field and its exo-planet. It is necessary to consider that in the wisdom of God, there would be his ordering conscience, on each constellation, and then detach itself before each other that guards each one in centuries of light-years, and in each one of the children as light-years of millions, but of numerical present time quantum; that is to say, all translation on average over ups and downs of spatiality and in remote ages, to zero or from null numerals in the integrality of millions of non-existent light-years, but accumulated and equidistant between the Universal Being and Multi-evocation. An example of cartographic observation shows us Greece at Latitude 39.074208 and Longitude 21.824312, influencing the Duoverse as a complement to the rise of Greece with the latitude of the Heliac Ortho, being Sirius eleven days after the Ekadashi and eleven days before the other at 10 °, Maximizing the light herbalism of the unconscious, to systematize the rise of the Universe imbuing Greece. Refulgent and small electromagnetic systems, led by the Divinity, are freeing themselves of all the units that bind in the minimal Units that can expand with the apostolic energy, rather than a trans-human receiver, in blocks of circulation of waves, related to a Defined spatiality, divine and with its own energy of opening of small worlds of provision of light, and radiation emitted by the deleterious convex of invisible essences in properties that are released from overflowing stagnations of creation, and from the skylights that are more distant than the wavelengths than from a breath of Demiourgy in the chemistry of all multidimensional hyper-existential between frequencies of energy widely displaceable by lines of how many..., in static energy of rest. Ultra colors intensify on the coasts of Rhodes, as a sulfur photoelectric effect of Cinnabar, formalizing mechanics in those sedimentary particles, which undulate in anticipation of the precise amalgamation of both universes, evolving towards the matrix of origin of physical and non-biological state and period, but of eternal divine inspiration, from the mouths of Vernarth, as a resurrected Being electro vigorous, dwelling spacious and sinuosities of curvature and psychic spiraling, The Vernarthian nature will call this phenomenon the Son, since it is the similarity of the halo in the Taphoric Light and in its effect of the baptismal of this Christian Universe called Duoverse, in accordance with the presence of Saint John the Apostle light, among the attending raptor niveous. strangers, arrival-departure and between the nebula of pendency in the nimbus gaseous clouds of fields that mutually heard each other recognizing each other..., leaving only Saint John the Apostle in the perfection of the sky as a universal and Duoversal shadow, first of all being of light being baptized, crucified and risen-ascended, in the metaphysical transfer of his body, as a universal body, as a quantum point between the earth and the sky, between the universe and the Duoverse as a complement of gaseous and spiritual atmospheric earth. Ministering in the judicious and prophetic occlusion, being a juridical part among the myriad bundles of Constellar Pisces that supported the transfigured and converted prophets, before a brand new universe, "Duoverso", witness to the amazement at the proximity of the multi-evoked Universal Being.

c) Reflection space (Light-matter)

The Duoverse having been pulled from its entrails from Vernarth's mouth, and objectual free fall is noticed after disengaging from the quantum Universe, rather than an elusive cacophony that unfolds separated from their bodies in all dimensions, except Vernarthian time, Alluding to the stoning him so that he ignores himself in agony and returns to look for him to revive him as Space-Light, in the presence of matter reflected from himself, which will unfold throughout the Hellenic Panagias, from Kímolos to Tsambika, to make the curves the direct passage that once again bends time towards a fragmented dimensionality. Barefoot was the apostle with Vernarth in the three quarters of the axioms and algorithms, where the conceptuality would overcome the low calculation of what was already ministered by them. Creating space for lapses in dreams of the Stairs, with steps of Topaz, in this particular case of Saint John the Apostle, "seeing open skies and angels of God go up and down on the son of man." Here some sidereal Solar gleams are illuminated that have nights for a sunny day, Vernarth resting on the side of the Monastery with a stone on its head and dozing to dream like Etréstles in the Hexagonal Baptistery of the Shepherds in Ein Karem, but of the compact sweetness of the famous luminous Cinnabar ascending vertically where the Yahvic Being, who was presented to him as the Abrahamic patriarchate nexus. Endowing him with celestial dreams about stones that inherit west and east towards the north noon, in space of hallucinations of Jacob's subconscious, for the satisfaction of the luminous pictorial ligament. Thus, a timid but decisive reflex pointer of space and reflection is detected, which includes fragments of spectrum and tonalities of a machine unconscious, to raise the Duoverse in a depressive day of the scathing moment.

d) Physical energy (molecular entropy)

From the bases of Theoskepasti, the physical system emerged in two sums after the movements of the pendular censers that exceed the elliptical of the Cinnabar and the potential of the ejectable force field, for ductility of its forces that emanated from the triad with the archpriest, helping him Etréstles and Kanti, who would take them to the Hellenika Necropolis. They make of their golden bodies the ephemeral speed mechanized in the originality of the homily system, to break in the guardian friction of the gravitational axial of the body of Light of the cinnabar, which received the sulfur kinetics of the defective organic matter that was wrapped in a bizarre alloy of sulfur light, and in all the forces gathered, not rubbing with the cinnabar obelisk, already invaded by the energy that made it superficial, between the shell of the Panagia Theoskepasti covering and the strange normality that made them physical-organic. No scrubbing would continue the movement of the fleeting angle of the anvil of Hephaestus, but the static on the surface, lay unchanged before the forces of the back and forth of the molecules that sank late, shooting from the pendular area of his bowl and then starting with full power for new angles that will take advantage of the mechanics of the forge and the friction clean and **** before the joint, and the resistance of the reactivation of the second period of the movement, to forward them to Tsambika in the response signal. Quantifying later between the inferiority and the intangible shock reaction in the light radiosities of the cinnabar re imparted towards Rhodes, forming resistance, but with immanent entropy, with a high degree of fineness, in such a way that once the conservation rays are fired, the response to Rhodes will come from Kímolos with the particles and combustions of sulfurous gas and mercury, generating entropy of two quantum and physical times between the Dodecanese and Cyclades, knowing that the inert matter is inactivated alive, thus envisioning the contingent presence of iron in the geology of both islands, with more than eighty percent, and of gravitating oxygen for the Vas Auric and its materialization, as a ****** impression reducing its physical dimension and enlarging its water content in pelagic beings of the Aegean. This would suggest the homogeneity of both island territories, appease the conception of substitutions that frolic from north to south, to break their normal balance, depleting what is island land towards oceanic land. In this way they will be mixed entropically for a new generation of fertile life that balances in chaos, already in the hands of Saint John the Apostle and Vernarth, in the main nave of the Monastery that seemed to oscillate atomized and vanished, but then atomically restructured, slyly dividing the canons of traditional entropy, and making it disproportionate to the biodiversity ordering of the sterile and the fertile, reordering itself as a mutable force excluding the reality of act-effect, invested in the integrity of life-death-life, as a molecular target in a double physical dimensional unit, making the prospective universe by splitting from any other format, to become another and another physical dimension. Universe-Duoverse, they shake like two spheres, almost joining each other, but separating into heterogeneous classics, as a panegyric, under the invocation of Conviction and Faith. The universes self-recomposed and redistribute themselves before our eyes, but before the consistent devotion of this homily, it makes them astonishing and phenomenal (everything that happens is recomposed - if the tree fractures, but then it straightens re-fractured, before our eyes being recomposed). Thus the chaos of the Universe is resolved, appropriating a new sequence of continuous creation, starting from the same creative property, but of molecular entropy, almost in adverse defect, but of constriction of the yielded body, to be incorporated into the Cinnabar beam of light. dynamic, generating ignition at the ends of each part of the structure obelisk, in order to release and stimulate on the absorbent..., of the Hexagonal Birthright in Tsambika,

e) One-Dimensional Beams

From the hexagon, everything is dimensioned on the peaks that can be seen in the starry nights from the curved kilometers of Bethlehem. Everything goes on top of the desert mountains and valleys, above the vagaries of climatic heights, and landslides of an entire believing community and its followers. In twelve advancing camels, of which the first six are exclusive to the Birthright, and then the seventh Giga camel is from King David of Bethlehem.

The beams are the architectural support portion of the physical-ethereal God and of his ethereal-physical word, supposedly of advent in grazing of the hardwoods, and the secret anomalies of a new Aramaic message, anticipating the vigor of insects and birds that were grouped together. in the journey that goes back and forth. The Beams are stars of heaven sustained by the Cherubim and the Archangels, through the paths of conversion and the support of the Christian time; haughty and implacable hegemony for the propaedeutic of phylogeny, but more on the very chemistry of creation carrying its winged Lepidoptera tetra, pheromones, and the obfuscation of an elemental nascent child in his own evangelical philosophy from an inter-sword dimensionality, and of the gloom of a manger shouted Kafersesuh, before compendiums of two pyramidal landmarks of inflection of his word in created animals, in the affinities of the world and the Animalia, personalizing shepherds carriers of pollinations, totalizing the generational of the language that is concealed so far, as well as the turns in the musks, and their legitimacies from the Baptistery of the Shepherds in Ein Karem, parabolizing their nomenclature and Polygonia of a child made man, already coexisting! but representing himself as a lifeless man in the fullness of a child of a distinguished canon. and his legitimacies of the Baptistery of the Shepherds in Ein Karem, already coexist! but representing himself as a lifeless man in the fullness of a child of a distinguished canon, that followed him towards the superlative moment of the bending near him, twisting and changing squeezable pressure in the cords that forged his path, towards the cornices and trusses of the upper celestial vault, where the shed of doubts was next to the Cherubs. Giving mechanics to the prism that arched the beams in the horizontal lines, taking them towards the amplitude of other lines, which remained solid before the variation, suspecting mutating to one of sudden two-dimensionality. The sections of the timber framework, which looked fatigued before the primary classification, which showed the attitude of the little Messiah, taking out effulgence from its beams, and rolling on other pillars, postponing the vectors of the tangential, contributing bits in rhomboid specialties, that blurred the cylinders of amplitude and field of vision of all those who remained in their nativity. Making diametrical glances so as not to be distracted and adore him with a broad and rectilinear heart, in transversal visualizing for all, the one-dimensional crossed wood, which in its geometry schematized letters and numbers of kabbalah, which differ in dissimilar resistance of Christic ambivalence, as a forerunner of martyrdom. on the wooden cobblestone of Golgotha. This presaged capacities to read them in the Torah and Zohar, gathering everything in a whole, in those vivid tormenting lapses that he felt in advance, as reversible entropy, turning their substance to prepare them for the day of an abolished martyrdom. Making diametrical glances so as not to be distracted and adore him with a broad and rectilinear heart, in transversal visualizing for all, the one-dimensional crossed wood, which in its geometry schematized letters and numbers of kabbalah, which differ in dissimilar resistance to Christic ambivalence, like the anticipation of martyrdom on the wooden cobblestone of Golgotha. This presaged capacities to read them in the Torah and Zohar, gathering everything in a whole, in those vivid tormenting lapses that he felt in advance, as reversible entropy, turning their substance to prepare them for the day of an abolished martyrdom. which differ in dissimilar resistance to Christic ambivalence, like the anticipation of martyrdom on the wooden cobblestone of Golgotha? This presaged capacities to read them in the Torah and Zohar, gathering everything in a whole, in those vivid tormenting lapses that he felt in advance, as reversible entropy, turning their substance to prepare them for the day of an abolished martyrdom, pigeonholed him towards a pre-existing Hellenistic aspect in characteristics of patronage as a representative figure of a male, and a lady of Ptolemaic Egypt in great iconic religiosity, coexisting as a priestess of a female order in the Greek protocols with him. Becoming inseparable in the preeminence of mother and son, as unilateral gender, and of substantial element for the social and political order that reigned in the ancient era. Laying here the unilateral gender indispensable for the social and political order, which is substantiated at the dawn of the empires of all the time, and the patriarchal society? Symbolically Joshua in this cogitabundant providence, adds the feminine value in the society in the Kafersesuh's outlet of the Judah manger, dispensing mainly to women, A great Zohar light, gathered all towards a whole in those errors that Joshua felt in advance, as reversible entropy, giving back his wise existence to prepare them for the day of his sacrifice. Pre Existing in catharsis and substance of divinity connected with the phylogenetic species, classifying up to an Aramaic pontificate of pheromones settled in the lithospheric site of Gethsemane, in a biological sense and in close coincidence in lapse wading, or the phenomenological simultaneity of Eukaryota and Glaucophyta until late Animalia, giving relation parental in characters of the vibrational timbre of the Beams, and its atavistic pedestal, readapting in evolutionary ellipticals of winged tetra species. Allowing to change the ancestral linguistic accouterments in processes of redesigning the divine genetic historical tree and increasing anomalies in the human earthly culture, and not human anthropomorphic in a reviving profanity of fruitive frequency amplitudes, for those who resort to it, monopolizing and synchronous in diachronicity of their specimens. The lights of Joshua's gazes are the Light of Christian Life and Time, in the entity of Joshua born and bloodless from the nature of Child-Man, but of mortal design in the same compulsion to see the luminescence of life in the manger Kafersesuh and only incorporeal unity. Being in exemption from Ego with its structure of living child and dead man, he rushes rebellious and ostentatious in the architecture of the One-dimensional Beams, yielding the glimpse of the aforementioned progenitor "Eye versus Eye", seeing himself like this..., son hovering in the arteries of a Universal-Duoversal life, from a single dimension of cyclical one-dimensional length, encompassing conjecture and biological, the symbolic-allegorical conception of extreme co-divinity, as an exclusive precept of the delicate infinity of the Being of a Messiah, with paraphrases or glosses of Aramaic exegetical affinity, tracing from a linguistic period. Here are the contortions of the Olive Tree Berna, transfigured into everlasting orality and refractory syllable, to incubate eternal rabbinic gifts of perpetual reluctance, beyond the reach of the ego-annihilating will and of apathetic, inert ultra-affections and of miraculous phenomena.

f) Hexagonal Birthright

Civilization has an arched inflection in its regency at the head of the favorable family caste in the blessing, whose hiding place will have to be entrusted to a clan, having to make inquiries that formerly only related to consanguineal minorities from the same family trunk, thus protecting the pantries and accessories in warfare to consolidate the economy, and invigorate its commercial coffers. The land would be and would be an essential partition insignia for the legitimate transmission of epochs and inter-seasons, which received them from its descendants for representation of geomorphological heraldry, given in its regional condition. In the noise of the seventh seal, heaven was silent for half an hour and the seven angels stood before God, and they gave seven trumpets, the other is to appear in front of the altar with a golden censer, to compile it in other prayers in all the saints, on the golden altar that was in front of and in front of the throne - And from the hand of the angel the smoke from the incense with the prayers of the saints - And the angel took the censer, and filled it with the fire of the altar, and threw it to the earth; and there was thunder, and voices, and lightning, and an earthquake - And the seven angels who had the seven trumpets got ready to blow them - The first angel sounded the trumpet, and there was hail and fire mixed with blood, which were thrown upon the earth ; and a third of the trees were burned up, and all the green grass was burned up - The second angel sounded the trumpet, and like a great mountain burning with fire it was hurled into the sea; and a third of the sea was turned to blood - And a third of the living creatures that were in the sea died, and a third of the ships were destroyed - The third angel sounded the trumpet, and a great star fell from heaven, burning like a torch, and it fell on a third of the rivers, and on the springs of the waters - And the name of the star is Wormwood. And the third part of the waters became wormwood, and many men died because of those waters because they became bitter - The fourth angel sounded the trumpet, and the third part of the sun, and the third part of the moon, and the third part of the stars were smitten, so that a third of them would be dark, and there would be no light in the third part of the day, and also at night - And I looked, and I heard an angel fly through the midst of heaven, saying with a loud voice: !!

"Being in six instants at the Golden Gate of Jerusalem with Saint John the Apostle, they reordered the majority for a protected subordination in the minor family descended from the eldest son, for the purpose of sustaining them to reach the possession of their theological morphology, in this door, being the only one that will remain closed…, until the second coming of the Messiah. The scheme of the camelids in their osteometry tells us that their heads before Advent! Distorted their calypso lights on the surface of their skeletons, locking the jaws of other camelids, thus bypassing the Apostle's strap, which through the foramen of the supraorbital, thickened the strides that pretended immobile before the opening of the Golden Door. Of course, they were prisoners of their self-denial for the length of their footsteps to the rhythm of the sensitive skulls, In the fourth camel Raeder, he cleared the margins that allowed them to increase their attempts to withdraw them from the golden doors, but the dislocation of the orbits of their ocher eyes, denoted their holes in the condylar fossa, distancing the vicinity of the Tehillim advocated by King David in the Seventh Seal of a stuck Giga Camel. The metric form innovates them of ubiquity, for omnipresence in the camels before the gates, and after the gates, thus leaving the site of the eighth gate, deserting the camels behind the gates and arcades pointing to the old cemetery. of the prophecies that Elijah holds, and in procuring generational stoning of inter camelids, which would be channeled into twelve plus another dozen, but behind all, appearing to be six, later joining King David, who would provide the parallelism of the Seventh Seal. This caravan was numbered from one to six, saving the vertices of the Golden Gate that joined modestly at the odd vertices, under the odd cross of the same vertex, which made the equilateral coherent according to the three angles where Vernarth and Etréstles went, and then joined other pairs of vertices in a crucified chain in the flat and secondary complementarily of the seventh angel, but with epilogue character of the Seventh Seal. Thus it would be numbered according to the Gigas Camels, the Golden Gate, governing them for a family of six family angles and a seventh seal, for the performance of the family sustenance of primogeniture in the reinsertion of Saint John the Apostle, since he was banished by Emperor Domitian. Making themselves succulent of the gold of the Seventh Seal, on the collective unconscious of the first-born, for the good of the sub-genitor son. Here the indication goes for the purpose of populating the consecration of granting greater goods to those who second and could lead forces of abandonment and secular sedentary, for the need to welcome sacrifices of goodness and preferences of lay annoyance and earthly secular strengthening. The kinetics would move the six numbered over the vertices of the Sun in three bevels, joining the pairs in vertices covered in the circumscribed mesh of vehemence, which is impacted with the solid Golden Gate of Jerusalem, depositing the concentric radii of the polarized magnet on the struts of the camel of the central ram, for the affinity of the contraption of a trajectory for all Judah, in six predestined latitudes to Ein Karem, in the Hexagonal Baptistery of the Shepherds".

With symmetrical scrupulousness at a certain time, the rounded bisector of the psychic lines of the peritoneum fold of the solitary flanks of the Camels Gigas, towards a vocal peritoneum set six times more than a seventh, was estimated, in the apothem of the two-dimensional figure of the Febo hexagon angel, with less centrality, for the foundation of the Apostle and Vernarth, regulating them by points and sides, on the perpendicular bezels, prostrating towards a more orthodox and straight line, mutinying with radials phases on the bisector..., giving a quotient of odd numbers, which cut the first round of anointing, among all those that were retained in the daydreams of catching them for involuntary deaths. From Gaugamela's stratagem, three thousand muscular Hetairoi descended, towards the implantation of heart nuclei in the camelids, on the Susa Gate and the oblique break marching towards the war site, creating a fissure between camels, and the sphinx of Alexander the Great breaking into the Left-wing of the Golden Gate. This was the casuistry of Vernarth's psychic advance impetus, who once was at the precise moment of stalking, hypnotizing the gap of the Achaemenides, but unaware of that mechanical moment, persists in going after the Giant Camels. He guided them with his right hand to both sides, equipped with heart irons that exorbitated the whispering of his pectoral canals, interrupting the dawn of the Cinnabar, with the antigen readjusting the hinges of the door before falling untimely. Vernarth, with his sinister, calls upon the Hindu family who tried to open the breach of Alexander with his Macedonian baggage, thus preventing him from lying in the reliquary in contrition towards Vernarth himself. The infamous moment must have passed through the swords of some who resisted when fleeing from the held Golden Gate, giving up the rear of Vernarth with the camels recovered and saved from the abandonment of their afflicted hearts, resigning themselves with empty hands and with an outpouring of victory, but with two units confronted in his Portal of Imagination.

g) Reflection temporality

In cavern series, the lava was converted into cations of hydronium, in underground pits that glowed in Tsambika's temporality when the homily was officiated. Some pieces and calcareous boulders rotated random by the humid and dark narrowness of the subterranean reflection, having lived in the heavenly paradise that formed them by the volcanic tube and its syngenetic, by the erosion of the subsoil of Rhodes. The speculative rock icons expired of the symptoms, with albuminous cliffs of the genetics of the Theoskepasti chapel, Etréstles carried under his arm the expiration contract of the Universe, to deliver it with his signature, for the dimensional transfer will. Everything flourished with attractive mineralization systematizations, under an astral posology, In the cognitive, Kanti memorized his wanderings in Crete, imagining his physical body united with his mind on the paths of the shoulder of his ancestry, with batches of clockwork that went and passed through his physiognomic, bathing with the piece wind, but also with the hard shoulder that came straight towards him, showing him new encephalic pathways, which surrendered in epistemological globes, but levitating in excess of the hard shoulder and the unknowns, for states of temporality that became mentalized in pursuit of a supra desire..., disease or typologies long-standing who used the supposed ontological formalization, gave functioning the property of body with the memory of advanced towards a new Duoversality. The officialization of Ars Choralis, is solemnized for processes of emotional property; In this way the cave of Being and its Temporality is made haughty, self-isolating for intra-cave investigations, as corollaries and agility in those who yearned for identity, being able to attach themselves to deities in dozens of epicenes, which would be from tens to ten, thus being seventy tens and a half, which would be seventy-five of the seven tens, and of the unconscious of the syntagm that Etréstles carried away, separating the syntactic of the Vas Auric hypothesis, so that they coexist..., although the pestilential decays before the rolled-up syntactic of Kanti's head. Untreated and conscious-unconscious to his instinct, resorting and harassing the procedural bars, of the Ergo Sum parameter. The temporality of reflection, In momentum ac Diadem, it shone from the third trumpets of the Seventh Seal to the potential of the twilight corrodes and their regions that made the shoulder of the shoulder the awareness of temporality reflected in required dismayed collectivities, to transcribe exhortations to the behavioral pattern of the temporality of love Faust. Little remains immobile, little drive when two masses of consciousness withdraw to the storehouses of the Universe, already advantageous of their exhaustion, but inheriting them in precipitous emotions towards the pre-consciousness factors in the heights of the mountains of Crete and Kímolos.

Kanti the steed says: “Deus Nostri Pontificatus Annis et ad eum, God is my pontificate and my way to Him…, Adonis in the relative absence of credit, before Ephebos with absolute deafness, surprising me here in the Diospyros and neuro archetype flight. I ride farther than my physical-emotional, contributing in the micro-fusions of the tubules, in quantum, and interacting with the fineness of the minuscule substance, within themselves. Almost injuring the storms that vibrate in the mine of a risk prop of a steed, in pursuit of a trance that only ends up being the architect and augur of knowledge..., of when and where it agonizes more than once, but within the limit of the Duoverse crushed at his own peril, continually evaluating himself to transfer a genetic force into my hooves of solid steel, but ornamental and of Reflected Temporality.


h) Expansion and Aramaic Taxonomy

Organic taxonomy, as a pre-ordering order, classifies the harmlessness of language before the invasion of Alexander the Great. Although there were implosions of the Greek language, its transboundary taxonomy would be shifted towards Judea. Pre cited is its variant pharyngolaryngeal tracheo, in this assertiveness and occasionality, it predisposes emphasis on orthographic rather than phonetic incidents, citing Galilea as a precursor of the Aramaic and taxonomic thesis of Gethsemane, prior to its expansive conventionalism of enrapturing her in her differentiation, and in the expansive hotbeds necessary to channel the basic axons of commerce, between antiquity under the prerogative of supplied ethics and pre-classified inputs, such as food and geographic furnishings of economic arts, as well as, the syntax of words that could have curvature and geometry in the forms or linear designs of the time. Any letter could be interpreted as a physiognomic form or as tools of manifest imperialism, coexisting execrable or blessed as languages or keys of immunological communication, with symbolisms of languages spoken in rituals of systematization, and of obfuscation of a metaphysical Messiah, always an angel, for when this is the case. In other words, the water speaks to him in dialects and adults with an oriental language, appearing cryptic in the appointments that are related to the language of the great Extra Universal heritage.
Vernarth's Aramaic is an ***** composed of valuation graduation and generational expansion, opening evolutions combined with the matrix of “Ethereal Spatiality”, towards a channel or rib with a common end in what is done on the margin of Faith. and it is predestined on the basis of object and substance, as a regulatory organism, for groupings of species within the biological language or not, as well as in the fissure of a Cladia of lichen fungi, forming the optics of expression as spelling and not as a utilitarian concept. Amplifying what a camel is; this is how it is importunate, being its **** consensus with the "S" backward in a perfect camelid, the "T" also being a perfect Cobra approaching the three S's of the Syriac Aramaic alphabet. The “Y with L fused” of the Aramaic alphabet with a large elephant, and finally the “H” as a pelican simile, like the pelagornithids or Pelagornithidae, fossilized in the emotional collective of rock tribes, progressing from elephants, camels or pelicans in the search for a literate language and consonant shapes that are attributed to their jaws and pharyngolaryngeal substrates..., observing long vowels, as in the language of an organic universal alphabet. The matrix is timeless, branching out of the mechanics of natural and phenomenal selections, if it is metaphysical or is contributing Demiourgy on the infinity of the encodings or depending on the size of its geo-referencing, it will contribute energy exchanges with predictive purposes of information of orders, and adaptations of the calcified scientific space, Vernarth, dives into the ponds or Naídes of the Aegean and survives, just when the networked volcanoes were swallowing all the seas in the world. It braced being only part of the laps of the sea, tattooing with its gaze the chthonic nymphs, before envious and backsword ogres with gills, which multiplied more than any myth-poetic. Its power of convergence is inhibited by the poetic myths of primordiality and of cosmology as a natural branch in nautical miles traveled by its arms, without knowing who crossed them, survivor, in its advance, and treasuring the arm plunges on and under the scalded clay objects, perhaps as implantation of the muddy and hyper-flood lexicon, empowering itself in its translation from Syria to Patmos, and from linear B Mycenaean to Syriac Aramaic languages,


i)Sub - Verthian Mythology (Camera Obscura)

Adhered to the ancient parallels of the cult, the mythology of Horcondising lashes out. Stale and axiomatic source of pragmatic and rational earth that emanates from this constrained fusion of the Universe in the metamorphosis of Duoverso-Horcondising. Social and genealogical plates date more than seven hundred years from Lombardy and northern Venice in Italy, Spain, and France. The mission of the Horcondising is the transhumant myth, and Chaos of the ancestral family cenacle, in view of a family rule, succeeding in continuous litanies that consecrate rites beyond genetic archaeological death. The consolation of souls will revive and will be under the edict of the Sub-mythology in repose landing in successive parapsychological regressions, which will speak of deaths suffered at the edge of their test tube lives, Under the mythology, there is the sub-fable, prone to boundaries where the statement innovates the entire structure of hermeneutics, as a written notification and complacent verb, for lords of the grass and granaries of granaries, narrating myth-stories in messes of revived verbality. Thus in Rhodes and Patmos, Andronicus of  Rhodes will guard the doorway of his hobbies again, so that these disciplines are conducive to sponsorships of words under reasons of a nature concerning Saint John the Apostle risen in flesh and spirit, in contrast to the conclusions of the reason to leave breathless the destiny that the just cheer and disapproval of diction of not certain science, under ships that cover the commendable salvation in exegetical storms that go from a liberated shelter, as well as in what differs from the et Grammatica institutione arithmetica in that each one writes what it understands, and adds what humanistically makes existence in a biblical alphanumeric dimension, from the imaginary in some of its leaders such as Zefián, Borker, Leiak, Kaitelka, in Hyperdisis and the Zig Zag Universes. Making the mythical an ensemble with deities that rule the infinite, achieving more secular religiosities than in a radius of religion, founded by characters that are already pagan mythology. This is the raison d'être of the sub-mythology, which springs from one already narrated and rationalized, but in the contradiction of what underlies under the very observance that unites itself, forging itself creditor of very new myths within others, with characters that have never been or have been parasitizing on another source of cognition. Thus becoming extensive and prolonged in its passage liers sumptuousness of other arcane myths, within the same ones that inhabit the mythological lie, without blemish from veracity belonging to the living-lie in pursuit of a dead-truth. Even if it is in this way or hermeneutic method, continue to beat and go to meet the Castellar Imaginary del Horcondising and the Camera Obscura, which always live and revive in the sub-imagination, but from a mythical truth in a regime of multitudinous voice. and myth-poetics.

From the sooty Camera Obscura the spindle was obtained over the diameters of each edge, Vernarth of the same chaos, converged from the square but not the spherical world, from this sooty box together with his master Zefián, who polished and shot vines of light over the projection of the same box, and of the quantum ark on the acropolis of Leiak, simulating entelechy in its projection with the ultraviolet light of light similar to the earth, but not square, rather appearing to be a square sphere. After repeated intervals, Vernarth opened the slits of his hands, also hollowed, here other globules appeared but not spheroids, rather quadrilaterals at the end of the third phase in the last three series that showed the complete reflection of a tiny world, that just clamored for amnesty as a matter that had been beginning to form with another factor on a large scale, from this fractality that would appear as Vernarthian sub-mythology. Camera Obscura, in a combination with twelve atomic masses, stands out starting in the irradiation of sexagesimal nomenclature; imagining fractionality between sixty microseconds to sixty in the hexagonal polygon of the Primogeniture and the Baptistery of Ein Karem. Being used in the elevations of the stars and the Heliac Ortho of dawn, which would find the black box that was nailed in its twelve apostolate angles. The whole times were divided into more exact numbers that surrounded him in his Camera Obscura doing trigonometry with other rectangles of three equilateral, making multiples of twelve on the line of the hypotenuse of sixty, dividing by the hexagonal, which is the angular line of the six sides of progression of the Duoverse becoming a spheroid square, for an analogy of Hexagonal Birthright with the multiple of twelve for the sake of the Giant Camels, leading them to the obfuscation of the Horcondising fused with the Duoverse, by means of Pi (π), in the diameter equidistant between the Universe and the Duoverse disintegrated in two by the concentric radius of both geometric units. In the same way, Vernarth multiplied the existence of his new sexagesimal world in nths by sixty followed by infinite numbers of zeros, canceling the radical time of the masses of anodyne particles. The corondels or watermarks, overflowed with all the irregularities of the system, showing the decimal after the comma.


j)Verthian Apostolic Conception - Kashmar

Vernarth, was in Sardinia in the megalithic complexes Nuraga when he conceived his apostolate as a messenger, biologically entrenched in the taxonomic stasis, with a merely profane and urban framework. Whose classification he would transmit to his relatives after long periods in Macedonia, sailing and doing his falconry and philosophical avant-garde chores with Aristotle, in a laxity that invited him after long rejoices to record and sculpting messages with the doves of his village. Near Pella, in the central region of Macedonia, where his general Alexander the Great resided, south of the Axio River, his abode was nomadic and was on a hill near the lakes and mountains surrounded by Greco-Barbarian inhabitants, tracing the Chalkidian league., after the Peloponnesian War. He was in great campaigns in the former Pella, His will as an artist is precisely to be an apostolate of a thought that would intersect with the Yahwist gift to an apostolate of the Apostle Matías, whose connection would provide his transliteration of the post-mortuary link of the Jesus of Nazareth, replacing Judas Iscariot, due to his apostasy. Vernarth, distressed by this episode, became Commander of Alexander the Great, lying already primitive in his ranks of Hetairoi, transcending over the scourge of Judas Iscariot, to face in the arena of Pella. In a reverie near the Thermaic Gulf, he genuflected under the sacrosanct trees near some illustrious Kashmar Cypresses, channeling his furious and tramontane spiritual into the gulf, to take him out of a banal summer in the transition of an immolated soul, and make him walk for thirty days barefoot, without sweet potatoes in his hands to ego stone him, only naming him slavish stubble of the crops in the deleterious nesting places of the Ravens of Kashmar, bidding him so that his blood is ****** by the heels of the rooted trees of Thor forest, usurping his "Gift of Iahvé ”In dishonor of its Hebraic appellation, for the onomatopoeic of its rhetoric, resulting from the feckless roar of black lineage, which will emanate from the mouth of the Aulos, whistling inside the Cobra. In the aforementioned link, the group of twelve was recomposed, being in the gulf and in the incidences of the re-indoctrination of the twelve apostolates, he is with his prayer and atonement in the mystical character for the community worshiping the Kashmar; which roots hardened towards the silent immolation portent as Judas entered the black night, for excessive twists of the bifurcations, intertwining with the Beams of the Thermaic cliff, like a lynx observing the height and its prominence in that of Judas dwindling over the stained areas of hell..., thus its remains were scattered by the synod of bustard birds in the sprayed sky of globular creation, faded by conclusive hordes of the late Neolithic Druid and by the deity Belinus, with ingots of sooty petrified poplar from Hecate boiling in the Underworld. We shoveled over the holm oak groves and their trees, sacralizing their factotum after the ritual of the sanctuary of the thus his remains were scattered by the synod of bustard birds in the sprinkled sky of globular creation, faded by conclusive hordes of the late Neolithic Druid and by the deity Belinus, with ingots of Hecate's sooty petrified poplar boiling in the Underworld. We shoveled over the holm oak groves and their trees, sacralizing their handyman after the ritual of the sanctuary of the thus his remains were scattered by the synod of bustard birds in the sprinkled sky of globular creation, faded by conclusive hordes of the late Neolithic Druid and by the deity Belinus, with ingots of Hecate's sooty petrified poplar boiling in the Underworld. We shoveled over the Holm oak groves and their trees, sacralizing their handyman after the ritual of the sanctuary of the Dodona, in uniformity towards a murmur in the leaves from oak in the spell of man towards an oracle, to consummate it with the mendicant count of the Ziziphus Spina-Christi; hawthorn of the crown of Jesus but with implants of Kashmar, on the crown of Judas already immolated.

Vernarth walked alone through the inlet of Skala, on Patmos, when he had to undertake a trip to Judah, even so, he also walked bi-location in the inlet of Sardinia, after being in the megalithic complex Nugarhe, Vernarth, Etréstles, and Walekiria, they approach matching Tuscany. Once they were instantiated in Sardinia, a coastal sailboat transported them in the middle of a stormy day, it was a great happy day to arrive in La Spezia. Here they parked at night following the Liturgy, standing out those that coincided with Lent of Holy Week, where one day they were seen talking with Petrarca and Laura de Noves. The olive trees keep pietism with the phantasmagoria of the Kashmar, who made the double murmur of the spell of the Duoversal man. Always in Tuscany, the tracks below the garden have been occupied, which has a distant view of the roofs and towers of Florence. The monumental fountain set on a steep hill on a side flank of the garden terrace has a seated god flanked by lions in relief of stucco from a niche decorated with pebble mosaics and padded masonry. " Here at the Verbena of a long feast day, all together with Vernarth get drunk with Corinth Wine, which they brought and did not stop swinging to the rhythm of the music that made them foresee multi-existence beyond limitless sensibilities, turning their role closer to from the instigated destiny to Patmos in the hands of the original Duoverso with translation, rotation and Duoversal Theurgic orbit, for the spell-dogmatic invoking ultra-sensory powers of angels and gods, in order to signify with his country land near Pella,

k)Fractality and Spirit-Cinnabar Dynamics

In the black camera obscura, certainly connected blues made other dark holographic areas that were enlarged super connected to the optical perspective, conceiving of the infinity of a luminescence that was fractalized, the black-blue pre-existing towards the Z pattern = Exp (Z / OB ^ 4), what is the equivalent to the set of the Bernese Olive Tree Rapa, on the border of its Lipogenesis, which would appear in the chromatic version and final maturity of the olive tree, for the fractal exponential of Z =; where all the points of the complex plane Z = (OB, iy) are iterated in the corresponding function Olives Berna in a set of IY, and in all the iterations where an arbitrary constant (Cx, iCy) is added Cinnabar in lines of orthogonal sets X and Y, in such a way that the choice of the constant "seed" will determine the unique shape of the profile and the color of the fractal, once the chromatic pattern has been defined. In the paradigms shown in this continuation, a constant has been chosen, as it will only produce divergence and will have been qualified with the escape velocity algorithm, to contract exact self-similarity stratagems in this, which is the most restrictive type of car. -similarity; requiring the fractal to appear identical at different scales.

The holistic spórtula of the Cinnabar in some pecuniary exercises, are impelled for a tacit and absent society, in Every night beginning at dawn, everyone retreats and the Cinnabar appears like a kaleidoscope apostolizing in glorious joy, where the Aramaic synergy between the Garden of Olives and Gethsemane, is concatenated with the entirety of the Phylogenetic species with the homily in Tsambika and Theoskepasti, such as the new relationship of the link between species that were improper and endemic to the region near the stable in Bethlehem de Kafersesuh, to be inter-inseminated in the banks of the slopes of Gethsemane, in such a way, that the linguistics would begin to be absorbed in Joshua, and it would go for a closer shortcut towards the classification of the traditional and omnipotent variants, which migrated through the Olives to renew and preserve the Aramaic or Aramaic languages, from a shared origin now, for the omnipotent salvific languages that were to be addressed in Gethsemane. Once starting the splendor in the city of the eight gates, and from such interference, involve the Lepidoptera taxon, inseminating the populations of organisms related to lexicons to shed life and language,

l)Vas Auric – Cinnabar (Φ)

The pecuniary prerogative of spórtula, makes the Vas Auric and the Mandylion its residence, tending towards an algebraic sense of the two diametral in a cross by the perpendicular, towards the tension of the shortest segment by the long, tracing a circumference of radius and a half. Homologating in the interposed eclipse of the golden or golden number, for the divine proportion in consequence of irrational fractioning numbers. Shortening the passage of the algebraic numbers with the infinite decimal towards the Cinnabar with seven arches in parentheses reflecting in the partition of the apse in both temples of the homily, making the period of antiquity, files registered in mega center of the quantum memory of Cinnabar, before disrupting the genesis of the Duoverso.

The First Treatise of the Vas Auric fell into the hands of Vernarth, one day of heavy plutonium sheets en masse of the golden number. The vertical avalanche was segmented when the dichotomy of another line that collided with the segments was not altered, or rather omitted by certain temporary blindness of the Duoverso world that it just boasted. Compositions of number Z are made, and subdivision in its cinematographic optics, divided into two slow shots of a small element that became part of the controversy of Vas Auric as a medallion and Auric as Mystic Gold, with distribution laws.

"Zeus wakes up shaky, full of headache saturated in Pro-headache Herbs
Jophiel is speaking this time in the Kabbalistic Torah language...
with its golden commoner and super zone of Organikon Sorousliston Papadikon….
secular music that supplies Zeus with protein albumin,
to make him more human... Zeus accepts Jophiel placing him in his discernment
over the house of Jophiel; divine island to throw cartomancy...
bring the second ray to the Sahasrara on his crown,
pacified love that is the suspicious and risky loser of everything...
risk in the head, especially when condemnation is born!

And the floristics, over the stolon of the veins, moves synchronously with the prolongations, speeds, and acceleration of the emancipated leaves of the first order of the upper crown, up to the lower ones, thickening the golden spirals of a certain type of inflorescence, confining the umbilical zones of Vernarth, and the plantar area of its feet between three and more than a hundred steps that come from certain metamorphoses, creating peduncular areas, acting as a support for Vernarth and its Elder areas, brought from the Bumodos stream, after a string therapy, creating psychic supports to endorse globalized neuralgic. Understanding that the line of his neuralgia oscillates the greater analog of the Messiah in the cross pierced by the Hastae Praetorian, in the most remote of the elliptical of pain, reduplicated by accumulated energy, almost like mystical suffocation. On the part of the growth of the tangent in growth and of the evolution of the reflection, where the attenuation of the opposite effect is unleashed, allowing convalescence zones in signs of propeller blades around the Vas Auric, crossing vertical and horizontal beams of lights, in search of Light Angled and refractory solar, for the palfrey of the Kanti Steed, abstracted from excessive rain, which uncrossed the tempos of the aura of the organic and aerial underground, towards the duplicity of curves of the multi-cloned numbers and angered by their industrious dynamics of skewed movement, towards the effective solar..., tending to the effects of successive trends of the vaporous numeral of Vas Áurico Cinnabar.

m) Psychic Trisomy

The species and somatic acquired deposits of DNA spirals, given their characteristics, will make transformations in more than one cellular taxon for a homologous pair. Here Kaitelka the whale down from Sub-Mythology, will circle in the Baltic Sea, compromising neuralgia in it as a superfluous essence due to its trisomy, making a comparison with psychic trisomies that Vernarth suffered at least four times a month, from the first and eleventh day, after his parapsychological regressions when he sailed over abysses and anesthetized zones on glacial plankton in the North Sea. Kaitelka individualized her cellular regressions, becoming a prehistoric cetacean and when she lagged beyond or before her creation, she transferred psychic trisomies due to her twenty-one chromosome. Kaitelka's karyotype was directed towards the crease of her eyes, due to an infection in the area of her basal inter fins, which disturbed her heart rate in a short interval where Poseidon magnified her coefficient in high amplitude, after being inseminated in a tempered state and gifted as a Super Goddess. Kaitelka in nativity in the transversal valleys sailed in the air atmospheres of Hyperdisis, and she was always seen in the company of Leiak; the omnipresent and vague spirit of the watery ductile dancer, living on the liquefied element with his astringent slimy chin..., seeing him with his grotesque back-breaking swampy lines between knuckles, and hedges of tricks collected before the first station, in one of the first of the three Remaining nights before reaching Joshua de Piedra del Horcondising volcano, that upset her heart rate in a brief interval where Poseidon magnified her coefficient in high amplitude, after being inseminated in a moderate state and gifted as a Super Goddess. About seven hundred meters high she becomes Kaitelka Down godmother, adding the psychic chromosome twenty-two that contracts in the connection with Vernarth, in the extravagant massifs when in the autumn afternoons they collect Ceratocystis fagacearum Fungi, and irradiating them with insects such as the borers. When   Kaitelka recovers its chromosome by detraction in the natural selection of Trisomy, express is spilling on the dry and gelatinous Laurus leaves of all its dead cells, which are promptly seeped from the retracted membranes in frank adhesion, causing regeneration of the disease. After wanderings and ringed symptoms of lesson in the atmosphere of the ecstatic Horcondising, the wooly will be magnanimous and challenged from the chromosome spilled in the emulsion, is contained in the alpha proteins in the transverted Vernarth genome, as a warned whole and abundantly diploid, before reaching the lethal processes of reciprocal adversity, both as a zoo-anthropoid or a triple zoo-anthropoid-botanical effect. Pre-Existing Kaitelka Down with forty-two chromosomes (22 pairs) and the Lepidoptera Agrodiaetus (134 pairs), in its haploid, that is, half remains vitalizing between two species of the sub-mythological world, and in its psychic cellular compound, and later implant it in germ cells for the effect of Venarthian ambivalent psychic transmission and vice versa. By discard, there are four fewer chromosomes than the hommo sapiens and 222 less than the Lepidoptera Agrodiaetus, for a meta sense of flourishing with the power of Poseidon, brother of Zeus, Meta sense and discernment, encephalic they will be cogitated by conscious where their sensory cognitive is interrupted, towards an unconscious through the photons of hypocaloric temperature, to define in the prehistoric psychological memory of their psychic, more than random brain, coexisting of habeas corpus content and remote brain energy, before the magistracy and power of Poseidon that confines him. Graduated from southern impassable seclusion, their memory is isolated in their E-Cloud. Namely; stored in electromagnetic and electrophysiological stimuli, incontinent and weighted in the square miles of floating Poseidon outbursts, in the category of super cetacean down, with only four meager chromosomes from the remnants of the human procedural genome. The trisomy field, On the fourth of August of the year of the Lord, 1617, when Klauss Rittke was cleaning the main stained glass window of the Cathedral of Avignon, he heard heated dialogues between a Friar and a Gentleman, who was once an assistant to the clergy. Klauss could come closer and listen to their conversation more clearly, until the Friar Andrés Panguiette, babbling, demanded of Raymond Bragasse indulgence or one or the other. (Compendium of Marielle Quentinnais). Relating in its narrative evolution, about some Albigenses of this work set in Avignon, time of the Antipopes, crossing with the psychic waves that have just been mentioned, and of prophecies of who precisely Guillaume Bélibaste was born into a Cathar family. Having noted that 1321 in 296 years apart from Marielle Quentinnais, it takes place in Carcassonne on the same day as Bélibaste was executed, given his licentious life breaking Cathar dogmas, incriminating himself with civilians from the region, marrying women in exile, etc., was condemned by the Holy Inquisition, where many were purged for the sole fact of holding biblical books in their abode. Among the flames of his bonfire the prophecy of the laurel will be homologated, whose shadow will fall on the centuries to come. Note the coincidence 3, 700 years ago, where the first signs of life were appreciated on our planet and in the Hylates Forest in Cyprus (700, 000 thousand souls) in the imprint that unifies the Christian scrolls, blowing gold dust on Walekiria's hair..., and being liberated, as a tantric body of physicality. No one spoke, not even the 700, 000 thousand souls who also claimed to be liberated (Vernarth, page 313 - paragraph 2). And finally the seventh portion of the sea, with Poseidon. Here the Psychic numeral of Vernarth and Kaitelka coincide, who appears with the laurel of Guillaume de Bélibaste after almost seven hundred years, facing the unification of the prophecy of the Laurel, whose shadow will hover over the centuries to come. Templars, perfect bone Hommes and Cathars meet, in this historical feat, through the secret path safe from traitors and conspirators thanks to the most surprising allies. Bélibaste's fast-paced story will allow us to get closer to the most unknown ceremonies and rituals of his confession, showing us his revelations in the flames and turning green in the Laurel of 1321 in sync with 2021. Given the little and nothing that exists of the revealing enthronement and the psychic environment, it should be noted that historical facts fly like pollen, with the waves in their same vibrations of the aeolian autogyro. This entails physical vibrational material, which is in every corner of existentialism, without beginning or end, only rewinding through the infinite axon of karma and samskara, for physical-ecological convulsed means and intermediates, in revealing semblances of the primitive psychic field before us, like the Aspís Koilé, as a shield or as an omnidirectional parabolic antenna, bringing us events after events that strangely interchange phases, and intertwined efforts over time in quantum physics and subsequent biophysical changes in the genome chain, especially in its Psychic Trisomy.

to be continued...
DUOVERSE
Robert Ronnow Aug 2015
You can feel it spinning
                                         fast
the Chinese, Japanese, American and European junk
orbiting at several thousand miles per hour could
                                                           ­                             punch
a hole in your armor, future. Thanksgiving passes, then Christmas.
A nuclear detonation, we absorb that fact. The scientist in us
delays sadness by recording observations. What is is,
sorrow's for tomorrow.

By reducing probabilities to near zero I hope to avoid sorrow.
In yr suburb.
In history when there were many fewer people we still found reason
to cross space, explore, trade and war. Now
                                                             ­                 overpopulation
may not be the problem but food and water shortages
get our attention.
                              I have Korf's fears.
And hear what I want to hear.

Some hear singing, some hear speeches or complaining.
Martin Luther King sang his complaints, dreamed of a brotherly nation
which came to pass, spinning fast, past Thanksgivings, past jailings
into reconnaissance, small wars, drones, renaissance, inventions.
At the border,
                         where the Juaristas fought Maximilian:
Benito Juarez (1806-1872) Zapotec Amerindian who served five terms as president of Mexico. He was the first Mexican leader who did not have a military background and also the first full-blooded indigenous person to lead a country in the western hemisphere in over 300 years. For resisting French occupation, overthrowing the Empire, and restoring the Republic, Juarez is regarded as Mexicoxs greatest and most beloved leader. 

Each soldier chooses what war at what border, or just
                                                            ­                                   shows up
spinning with the planet.
The neighborhood and surrounding nature is orderly.
But always there is implied force, violence holding it together,
                                                       ­                                                       chaos
is contained
kept out of the playground, government buildings, childrenxs games
but lies within
the force maintaining order, a spinning tumor, a gyroscope of
                                                              ­                                                inertia.
The force of the spinning, the speed of the force bring one to one's
      death
seasons, weather, earth.
                                         While the emperor's being beheaded
enduring seeds are discovered and invented, cross-fertilized and bred.
Corn, yams, potatoes, sunflowers, rice.
                                                           ­       Food is life and a good study,
useful discipline
                           daily meditation.
                                                     ­   The fighting man protects the farmer
and the farmer feeds the fighting man.
They elect the governor
                                        who serves the people. Peace out.

Peace and war are transitory manifestations of spinning
electrons, planets.
                               The sun's a nuclear detonation, essential
to spring and planting. Food is life. Seeds endure
if man goes to his daily discipline. If woman is man.
Birth and death
                           together are orderly, the border can be known,
voluntarily. How we live together, by prayer or force,
is our story.

Knowledge
from laboratory to starry corridor keeps us very
                                                            ­                         versed.
Did Juaristas consider the rights of animals not to be eaten?
Not during that spinning.
                                              And perform the history that surrounds us.
All that can be done
is written in the spinning:
"The people of the land, the Indian farmers of North America - like their counterparts in Mesoamerica, the Andean region, and the Amazon - have continuously cultivated maize, beans, squash and other crops for more than five thousand years. One of the salient features of their traditional farming systems is the high degree of biodiversity. These traditional farming systems have emerged over centuries of cultural and biological evolution, and they represent the accumulated experience of indigenous farmers interacting with the environment without access to external inputs, capital or scientific knowledge. In Latin America alone, more than 2.5 million hectares under traditional agriculture in the form of raised fields, polycultures, agroforestry systems and the like document indigenous farmers' successful adaptations to difficult environments."
--Wikipedia,  "Benito Juarez"
-- Altieri , Miguel A., Foreword to Enduring Seeds: Native American Agriculture and Wild Plant Conservation, by Gary Paul Nabhan, The University of Arizona Press, 1989

www.ronnowpoetry.com
mia ransom Jan 2010
This little man that I know with money in his sockets and routine in his pockets has self proclaimed that he is a tight ***. When I envision a *** such as this, I imagine a bundle -- of securely aggregated, perfectly sharpened number two pencils. The businessman just shy of adulthood and too tired to remember –even the beginning of his of disclosure, denied his struggle to acclimate a multifarious lifestyle, appropriately suggested in the form of a triangle, and a circle, both of which embody polar opposing adaptations of humanistic routine.

The two shapes: The circle, denies the break in motion by imposing a constant cycle of diligent compression, there is no room for pause only steady flow and relentless drive. This influence of life impression slows down the heart, body, and soul while speeding up time. This particular commitment accommodates the dry colorless beings that embrace and accept boxed imprisonment.

Traditionally, the triangle denotes rhythmic patterns that elevate and drop to a point in which imposes a healthy reflective pause: progression, reflection, balance. As stated, as a provincial approach, a regular triangle flat on its base, peaking at the top represents a healthy, solid life routine. In contrast, the triangle can be flipped upside-down introducing an entirely new dynamic, composed of flat-lined monotony, tapered off to a regressed realm of destruction, regret and disorder. Despite the uniqueness of the standard triangle model to the man in question, it is important to compare the negative reflection, for it applies to the entirety of this investigation.

We used to be lovers, he and I. We shared my giant pillow-top that I bought on the black market for a meager two-hundred fifty. -- A mere steal at that rate.


We occasionally exchanged ideas, mainly about ethical concerns related to globalization and the environment.

I attempted to give him a cooking lesson once, but that failed, indefinitely. The bust was not my doing, but simply, a great disinterest on his part; or better yet an inability of not being better than me at something.

Everything has gotten so crowded.
judy smith Apr 2017
So you know you’re looking at two very different styles of dress, here. But precisely what decades? When did that waistline move back down? What details are the defining touches of their era? How long were women actually walking around with bustles on their backsides?

Lydia Edwards’s How to Read a Dress is a detailed, practical, and totally beautiful guide to the history of this particular form of clothing from the 16th to the 20th centuries. It tracks the small changes that pile up over time, gradually ******* until your great-grandmother’s closet looks wildly different than your own. As always, fashion makes for a compelling angle on history—paging through you can see the shifting fortunes of women in the Western world as reflected in the way they got dressed every morning.

Of course, it’ll also ensure that the next lackadaisically costumed period piece you watch gives you agita, but all knowledge has a price.

I spoke to Edwards about how exactly we go about resurrecting the history of an item that’s was typically worn until it fell apart and then recycled for scraps; our conversation has been lightly trimmed and edited for clarity.

The title of the book is How to Read a Dress. What do you mean by “reading” a dress?

Basically what I mean is, when you are looking at a dress in an exhibition or a TV show, reading it in terms of working out where the inspirations or where certain design choices come from. Being able to look at it and recognize key elements. Being able to look at the bodice and say, Oh, the shape of that is 1850s, and the design relates to this part of history, and the patterning comes from here. It’s looking at the dress as an object from the top down and being able to recognize different elements—different historical elements, different design elements, different artistic elements. “Read” is probably the best word to use for that kind of approach, if that makes sense.

It must send you around the bend a little bit, watching costume adaptations where they’re a bit slapdash. The one I think of is the Keira Knightley Pride and Prejudice, which I actually really enjoy, but I know that one’s supposed to have all over the place costuming-wise.

Yeah, it does. I mean, I love the BBC Pride and Prejudice one, because they kept very specifically to a particular era. But I can see what they did with the Keira Knightley one—they were trying to keep it 1790s, when the book was written, as opposed to when it was published. But they’ve got a lot of kind of modern influences in there and they’ve got a lot of influences from 30, 40 years previously, which is interesting to an audience and gives an audience I suppose more frames of reference, more areas to think about and look at. So I can see why they did that. But it does make it more difficult if you’re trying to accurately decode a garment. It’s harder when you’ve got lots of different eras going on there, but it makes it beautiful and interesting for an audience.

The guide spans the 16th to the 20th century. Why start with the 16th century?

Well, partly because it’s where my own interest starts, in terms of my research and the areas I’ve looked at. But more importantly in terms of audience interest, we get a lot of TV shows, a lot of films in recent years—things like The Tudors—that type of era seems to be something that people are interested in. That time is very colorful and very interesting to people.

And also because in terms of thinking about the dress as garment, obviously people wore dresses in medieval times, but in terms of it being something that specifically women wore, distinct from men’s clothes, I really think we start to see that more in the 15th, 16th century onwards.

Where do you go to get the historical information to put together a book like this? What do you use as your source material? Because obviously the thing about clothing is that it has to stand up to a lot of wear and tear and a lot of it doesn’t survive.

This is the other thing about the 16th century stuff—there’s so little surviving. That’s why that chapter was a lot shorter and also that’s why I used a lot of artworks rather than surviving garments, just because they don’t exist in their entirety.

But wherever possible, you go to the garments themselves in museum collections. And then if that’s proving to be difficult, you go to artworks or images, but always bearing in mind the artist will have had their own agenda, so they won’t necessarily be accurate of what people were actually wearing. So then you have to go and look up written source material from the time—say, diaries. I like using letters that people have written to each other over the centuries, describing dress and what they were wearing on a daily basis. Novels can be good, as well.

Also the scholarship that has come before, the secondary sources, works by people like Janet Arnold, Aileen Ribeiro. Really well researched scholarly books where people have used primary sources themselves and put their own interpretation on it can be really, really helpful. Although you take some of it with a pinch of salt, and you put your own interpretation on there, as well.

But always to the dress itself wherever possible.

What are some of the challenges you face, or the constraints on our ability to learn about the history of fashion?

Well, the very practical issue of trying to see garments—some of them I did see here in Australia, but a lot of them were in the States, in Canada, in New Zealand, so it’s hard to physically get there to see them. And often, even when you can get to the museum, garments are out on loan to other exhibitions or other museums. That’s a practical consideration.

But also, especially when I’m talking about using artworks and things, which can be really helpful when you’re researching, but as I’ve said they do come from a place where there’s more interpretations and more agendas. So if someone’s done a portrait and there’s a beautiful 1880s dress in it, that could have been down to the whims of the person who was wearing it, or the artist could have changed significantly the color or style to suit his own taste. Then you have to do extra research on top of that, to make sure that what you are seeing is representative.

It’s a fascinating area. There’s a lot of challenges, but for me, that’s what makes it really exciting as well. But it’s really that question of being able to trust sources and knowing what to use and what not to use in order to make things clear for the audience.

Obviously many of these dresses were very expensive and took a lot of labor and it wasn’t fast fashion—people didn’t just give it away or toss it when it fell out of season. A lot of times, you did was you remade it. When you’re looking at a dress that’s been remade, how do you extract the information that you need as a historian out of it?

I love it when something like that comes up. I’ve got a couple of examples in the book.

Well, it can be quite challenging, because often when you’re first looking at a piece it’s not obvious that it’s been remade. But if you’re lucky enough to look inside it and actually hold it and turn it round different angles, there’ll be things like the placement of a seam, or you’ll see that the waist has been moved up or down according to the fashion. And that’s often obvious when you’re looking inside. You can see the way the skirt’s been attached. Often you can tell if a skirt’s been taken off and then reattached using different pleats, different gatherings; that can give you a hint that it’s then been remade to fit in with a different fashionable ideal.

One of the key ways is fabric. You can often see, especially in early 19th century dresses when they’ve been made of these beautiful 18th century silks and brocades. That’s nice because it’s the first obvious clue that something’s been remade or that an old dress has been completely taken apart and it’s just the fabric that’s been used. I find it particularly interesting when the waist has been moved or the seams have been taken off or re-sewn in a different shape or something like that. It can be subtle but once your knowledge base grows, that’s one of the most fascinating areas that you can look at.

You page through the book and you watch these trends unfold and there are occasional sea changes will happen fairly quickly, like when the Regency style arises. But how much change year-to-year would a woman have seen? How long would it take, just as a woman getting dressed in the morning, to see styles just radically alter? Would you even notice?

Well, this is the thing—I think it’s very easy, when we’re looking back, to imagine that in 1810 you’d be wearing this dress and then all the frills and the frouf would have started to come in the late 1810s and the 1820s, and suddenly you would have had a whole new wardrobe. But obviously, unless you were the very wealthiest women and you had access to dressmakers who had the absolute newest patterns and newest fabrics then no, you wouldn’t have seen a massive change. You wouldn’t have afforded to be able to have the newest things as they came in. You would have maybe remade dresses to make them maybe slightly more in line with a fashion plate that you might have seen, but you wouldn’t have had access to new information and new fashion plates as soon as they came. To be realistic, there would have been very little change on a day to day level.

But I think also, for us now—it’s hard to see it without hindsight, but we feel like we’re fairly fluid in wearing the same kind of styles, but obviously when we look back in 20 years, we’ll look at pictures of us and see greater changes than we’re now aware. Because it happens on a slow pace and it happens on such a subconscious level in some ways.

But actually, yeah, it’s to do with economics, it’s to do with availability. People living in towns where they couldn’t easily get to cities—if you were living in a country town a hundred miles away from London, there’s no way that you would have the resources to see the most recent fashion plates, the most recent ideas that were developing in high society. So it was a very slow process in reality.

If you have a lot of money you can change out your wardrobe quicker and wear the latest styles. And so the wealthiest people, their clothes were what in a lot of case stood the best chance of surviving and being in modern collections. So how do we know what working women would have worn or what middle class women would have worn?

Yeah, this is hard. I do have some more middle class examples, because we’re lucky in that we do have quite a few that have survived, especially in smaller museums and historical collections, where people have had clothes sitting in their attics for years and have donated them, just from normal families over the years.

But, working women, that’s much more difficult. We’re lucky from the 19th century because we have photographic evidence. But really a lot of it will come down to written descriptions, mainly letters, diaries, not necessarily that the people themselves would have kept, but there’s examples of people that worked in cotton mills, for instance, and people that ran the mills and their families and wives and friends who had written accounts of what the women there were wearing. Also newspaper accounts, particularly of people who would go and do charity work and help the poor. They often wrote quite detailed descriptions of the people that they were helping.

But in terms of actual garments, yeah, it’s very difficult. Certainly 18th century and before, it’s really, really hard to get hold of anything that gives you a really good idea of what they wore. But in the 18th century—it’s quite interesting, because then we get examples of separate pieces of clothing worn by the upper classes, like a skirt with a jacket, which was actually a lower middle class style initially and then it became appropriated by the upper classes. And then it became much fancier and trimmed and made in silks and things. So then, we can see the inspiration of the working classes on the upper classes. That’s another way of looking at it, although of course that’s much more problematic.

It’s interesting how in several cases you can see broader historical context, or other stories happening through clothes. Like you point out that the rise of the one-piece dresses is due to the rise of mantua makers, who were women who were less formally trained who were suddenly making clothing. Are there any other interesting stories like that, that you noticed and thought were really fascinating?

There’s a dress in the book that a woman made for her wedding. I think she was living on her own, or she was living with a servant and her mother or something. She made the dress and then turned up to her wedding and traveled quite a long way to get there, and when she arrived, the groom and all the guests weren’t there. There was nobody. So she went away and came back again a week later, and everyone was there. And the reason that no one was there before was that a river had flooded in the direction that they were all coming from. She had obviously no way of finding out about this until after the fact, and we have this beautiful dress that she spent ages making and had obviously gone to a lot of effort to try and work out what the latest styles were, to incorporate it into her wedding dress.

Things like that, I find really interesting, because they talk so much about human and social history as well as fashion history, and the garment is the main way we have of keeping these stories alive and remembering them and looking into the kind of life and world these people lived, who made these garments.

Over the centuries, how does technology affect fashion? Obviously, we think of the industrial revolution as really speeding up the pace of fashion. But are there other moments in the history of fashion where technology shapes what women end up wearing?

One example is where I talk about the Balenciaga dress from the early 1950s—with a bubble hem and a hat and she would have worn these beautiful pump shoes with it—with the introduction of the zipper. Which just made such a huge difference, because it suddenly meant you’d have ease and speed of dressing. It meant that you didn’t have to worry about more complicated ways of fastening a garment. I think the zipper made a massive change and also in terms of dressmaking at home, it was a really quick and simple way that people had of being able to create quite fashionable styles on a budget and with ease and speed at home.

Also, of course, once women’s dress started to become simpler and they did away with the corset and underwear became a lot less complicated, that made dressing a lot easier, that made the introduction of the bias cut and things that sit very closely to the natural body much more widely used and much more fashionable.

I would say the introduction of machine-made lace as well, particularly from the late 19th, early 20th century onwards where it was so fashionable on summer dresses and wedding dresses. It just meant that you could so much more easily add this decadent touch to a garment, because lace would have been so much more expensive before then and so time-consuming to make. I think that made a huge difference in ordinary women being able to attain a kind of luxury in their everyday dress.

That actually makes me think of something else I wanted to ask you, which is you point out in your intro the way we casually use this word “vintage.” I think about that with lace. Lace is described as being a “vintage” touch but it’s very much this question of when, where, who, why—it’s a funny term when you think about it, the way we use it so casually to describe so much.

Oh, yes. It’s crazy. I used to work in a wedding dress shop and I used to make historically inspired wedding dresses and things. And brides used to come in and say, “Oh, I want something vintage.” But they didn’t really know what they meant. Usually what they meant is they wanted something with a bit of lace on it, or with some sort of pearls or beading. I think it’s really inspired by whatever is trending at the time. So, you know, Downton Abbey became vintage. I think ‘50s has always been kind of synonymous with the word vintage. But what it means is huge,
"Alexander son of Philip, and the Greeks except the Lacedaemonians--"

We can very well imagine
that they were utterly indifferent in Sparta
to this inscription. "Except the Lacedaemonians",
but naturally. The Spartans were not
to be led and ordered about
as precious servants. Besides
a panhellenic campaign without
a Spartan king as a leader
would not have appeared very important.
O, of course "except the Lacedaemonians."

This too is a stand. Understandable.

Thus, except the Lacedaemonians at Granicus;
and then at Issus; and in the final
battle, where the formidable army was swept away
that the Persians had massed at Arbela:
which had set out from Arbela for victory, and was swept away.

And out of the remarkable panhellenic campaign,
victorious, brilliant,
celebrated, glorious
as no other had ever been glorified,
the incomparable: we emerged;
a great new Greek world.

We; the Alexandrians, the Antiocheans,
the Seleucians, and the numerous
rest of the Greeks of Egypt and Syria,
and of Media, and Persia, and the many others.
With our extensive territories,
with the varied action of thoughtful adaptations.
And the Common Greek Language
we carried to the heart of Bactria, to the Indians.

As if we were to talk of Lacedaemonians now!
RazanSidErani May 2017
the millennials like to dream,
we like to believe in anything.
love, life and food cycles lasts forever
at least in photographs it does.
the age of superhero movie adaptations
and the golden age of TV.
where an epic episode cost ten million
times have changed
but we never stop dreaming
its a daydream nation out there
by RazanSidErani
onlylovepoetry Jun 2019
it is done differently - more is not necessary - more of this -
is too much;
the kissing is an exploration - to a polar destination of
virtual whiteness -
to discover more than this.  the kissing is not an end in and of itself - but a fjord unexplored leading to what? yes there are many different kinds of kisses - adaptations to a changing terrain - but the face, the face, the face (not just the lips),
the head entire -
is the first battle in a world war where the
opponents strengths and weakness are
literally uncovered and shape the nature of the war of the worlds
yet to come.

more than kissing, it is a speech and an interrogation;
an ******* revelation
of fine lines and small scars, a writing of a history, a history that existed  unbeknownst to the explorer and thus interesting and dangerous - a history composed in a different time and place and almost in a vacuum - for kissing is impactful - outlines of footsteps on never before trodden lanes - but who prepared these paths in advance of my arrival, and was my arrival forecast or just imagined?

first time kissing oft portrayed as excited glee - but this is a grievous error - a wild display of wasted resources - it is not to meant to be pesky single shots of damp I was here where next? it is a drawing, nay, a sculpting of map to be reproduced in limited quantity for only the map rooms of the greatest museums.

each individual kiss is more than an act, but a marker
connecting the previous
to the future next -
exactly a map drawn by an explorer - meant to be shared with others who love history, discovery and women creatures.

be wary of unmarked crevasses and pools where
no one has measured the depth -
novice sailors without proper charts upon unfamiliar faces -
too oft drown or are somehow sail as lost forever.

but the notion of being the first, even if you are not the first,
is so intoxicating
for the brainstorming it provokes - the envisioning of
more than kissing but of unlocking
a new nature, creating a creation born in the intersection of two waters - where fresh waters joint the brine of the ocean -
and there are untold different kinds of waters and no two terrains though similar - are ever exactly the same.

here does my entry in my log - my journal - end - though the notation of than
is comparative and therefore unending.
While in the midst of playing solitaire
(with losing outcome foreordained
after a couple moves), I became gripped
with combinations predicated on thirteen
ranks each of four French suits subsumed:
Clubs (♣), Diamonds (◊), Hearts (♥) And Spades (♠).

I  totalled a sum of fifty two variations.

If one of four possible draws for king available,
(which could be either Clubs, Diamonds, Hearts,
and Spades), that would automatically determine
every subsequent card diminishing in rank
topped off with an Ace.

Please feel welcome to challenge my presumption
within a dark alley late at night.

The above calculation logical since a standard deck
(not surprisingly) comprises 52 cards
(4 suits of 13).

Each suit (Clubs ♣, Diamonds ◊, Hearts ♥, Or Spades ♠)
contains an Ace, 2, 3, 4, 5, 6, 7, 8, 9, 10,
Jack, Queen, And King.

There are no duplicates.

No Google search yielded results
asper this nagging question, but unexpectedly
whet an immediate appetite describing
the history of plain old vanilla playing cards.

Said legacy encompassing the four suits
i.e. collectively represent four elements
(wind, fire, water, and earth),
the seasons, and cardinal directions.

They represent struggle of opposing forces
for victory in life. Each suit on a deck of cards
represents four major pillars of economy
during middle ages: Heart represented
Church, Spades represented  military,
clubs represented agriculture, and
Diamonds represented merchant class.

King of hearts is the only king minus a mustache.

Face cards (Jacks, Queens, And Kings) so called
"face cards" because the cards
have pictures of their names.

One-eyed Royals (the Jack of spades
and Jack of Hearts often called "one-eyed Jacks"),
and King of Diamonds drawn in profile;
therefore, these cards
commonly referred to as "one-eyed".

The King of Spades ♠ ranks
as one of three immovable Fixed Cards
in the Cards of Life and resides
in the Crown Line of both Master Scripts
(Spirit and Life).

Said card, in situ, the most powerful card
in the deck.

A Jack or Knave is a playing card,
which in traditional French and English decks,
pictures a man in traditional or historic
aristocratic dress generally associated
with Europe of the 16th or 17th century.

The usual rank of a Jack, within its suit,
plays as if it were an 11
(that is, between the 10 and the Queen).

Charming, resourceful, personable and easy-going
best defines Jack of Spades.

Blessed with a creative mind,
this one-eyed Jack of the deck manifests
jais nais sais quois salient scrutiny
jest via virtue of lightness of his being.

The four card suits that we know today —
Hearts, Diamonds, Spades, and Clubs
(rooted in French design) circa 15th century,
but the idea of card suits is much older.

The written history of card playing
began during 10th-century Asia,
from either China or India,
as a gambling game.

That idea found its way to ancient Muslim world
before 14th century.

The oldest known deck of Muslim playing cards,
like the playing cards of today,
had four suits: Coins, Cups, Swords, and Polo Sticks.

These decks of cards then showed up
in southern Europe, but because polo sticks
were unfamiliar to Europeans, that suit
eventually changed to Scepters, Batons,
or Cudgels (a type of club).
In France, Parisian cardmakers
settled on Spades, Hearts, Clubs, and Diamonds
as the four suits.  
    
The first adaptations of German card suits
constituted Leaves, Hearts, and Hawk Bells
(Acorns rounded out German suit).

Considering cards strictly made
for French upper class, tis little surprise
cardmakers chose expensive
Diamonds over common Acorns.

The French advanced card making utilizing
flat, single-color silhouettes for suits.

These images created with simple stencils,
made manufacture easy, quick, and inexpensive.

Innovative new, cheaper cards
flooded the market in the 15th century,
became popular in England,
and then traveled to America.    

Contrary to contemporary belief four suits
meant to represent four seasons inaccurate.

Equally questionable 52 cards linkedin
to 52 weeks of the year.

Many numerological and religious
explanations asper composition  
analogous to deck of cards postulated,
but these explanations purportedly created
ex post facto, perhaps to give deck-holders
a solid argument, that role deck of cards
maintained existed other than for gambling.
Stu Harley Feb 2015
the one drop rule
invisible blackness
black versus white
different categories of race
created by man for evil purposes
such as caucasoid negroid and mongoloid
this is a bunch of hooey
these words are just terms for
marginalising whole groups of people
by some smarty pant with a so-called degree
in anthropology and sociology
who gives people the right to classify other racial groups
I pondered it - anyway just blue smoke and mirror stuff
created by some racist people organizations and institutions
by creating racial and class division plus religion creating wars
thus
God created man - singular form
thus
God created man from the earth (black mud)
and no accident that we are made from one blood
oh yeah - Adam's blood
mankind is just a very large extended family - based on DNA
Europeans are not 100% white
they became white because of environmental adaptations
and they are no better that the rest of God's creations on earth
skin color does not make one racial group superior than another
this is just a head and mind game for social and political advantages
however everyone is a Heinz 57 mixture
White People are mixed with so much stuff - too
oh yeah baby and who is your daddy now
race mixing has been around
throughout the history of mankind and still
it will continue to mix races in the future
just remember this
the neanderthal mated on a regular basis with the homosapien
no race is 100% pure of anything
according to one drop rule - White are neanderthals too
this one drop rule is a silly and hidden taboo that is just plain ludicrous
God is a good God
God is neither Black nor White but He is a Being of Existence of every dimension
God is the all of everything - seen and unseen
God exist in every creation
God is a part of you and me
the will of God lives in every place
God is justice and equality
God don't speech hate and racism
God is love and peace toward all mankind
God does not make men slaves
God gives man the right to be free
God wants man to be inherit the earth and be good stewards
Well ain't God good no matter how you look at it
yes He is good - all the time my brother
yes god is good and everlasting
amen amen amen
Mike Essig Nov 2015
These are adaptations in Ezra Pound's tradition, not exact translations. - mce

I

The moon is gone,
the Pleiades vanished,
my youth deserts me.
In night's darkest heart,
time streams on
and yet I sleep alone.

II

On feather beds,
we spent our desire,
dancing within
each other
until no holy place
remained untouched.

III

The Muses instructed me;
My honor is their craft.

IV

We shall enjoy
each other, Love;
let stillness and sorrow
stalk those
who disapprove.

V

No warning!
A torrent strikes
the stout oak
as love strikes
my heart.

VI

Stars hide their faces
when the moon's splendor
smiles and shines
upon the earth.

VII

Taking the lyre
into my hands,
my fingers
invited it
to speak
a lover's voice.

VII

You
have set
my heart
alight.

IX

I thirst
and
I burn.
Surbhi Dadhich Nov 2018
Frozen in daylight
Molten in glaciers
Loving is living
Beyond wildest adaptations
Flabbergasted in the fray
Of messy, mixed emotions
Face deep in downfall
Of kins' precautions..
Dishes Jun 2015
Some days my heart shines like its sure the sun is its closest rival and oldest teacher,
Other days my brain convinces it that it might as well just call in sick for the day to avoid the echoing pains of nights prior,
On most days though my heart is in a constant argument with my brain,
Maybe not an argument but more of a negotiation, my brain lets my heart wander on a longer leash and play its music a little louder, but once the storm clouds roll in my heart has no choice but to be locked away for the sake of my mental foundations integrity.
Somewhere in the compounds of my body there is a soul that cant get a word in on the dialougues of my heart and brain,
Then again he has no scientific bearing in the world so he holds no worthwile input?
But what if my brain and heart are tool my sould has yet to figure out? Or vice versa? Maybe souls are adaptations and sentience is is just us learning to use those adaptations to our advantage?
Souls cant be just tools or improvements though, they are too cemented and too complex,
Too  raw, unobservable, undescribable, and undeniable.
I just wish there was a way to get all 3 on the same page.
Nothings the same lately and its like my world flipped upside down, and this is me falling out of reality into infinity and watching everything Ive wanted or known pass me bye like lines on a road.
The other day I took some acid and found myself laughing at the fact that we discover medicines and we have politics and science and that we have this curiosity to explore and this hellbent obsession with expansion and growth.
I realized at that moment that there is a simple and absolutely gorgeous futility to everything humans do,
We might cure cancer,
The sun will still blow up eventually,
We may find world peace,
But overpopulation might bite us for that one,
The point is nothing we do can stop the end times, that doesnt mean stop what youre doing and lose all motivation, it just means at the end of the day, were in the can regardless, dont sweat the small stuff and make your moments gleam.
Insanity has beaten me at poker every night this week, I think he can see my hands better than I can.
Vernarth says: "ideal of our consciences, we will open the channels in Kímolos, before our subtle bodies, in which they will be opened to us, and how we parabolize, before this pretense of Saint John the Apostle, in the head of mediumship to reach the longitude wave to Hellenika. The interactive vibrational ones will go with the expression of deep reasoning, to pontificate the Mandylion with the Vas Auric, for the effect of the iconification of the idiomatic monologues, for such edges of  Saint Jude Thaddeus and Veronica, and for such an event facing alien forces before the Messiah, that they are like a coherent gadget before the intermittence variants. Channeling to the Cyclades, they will go from east to west wading the waters of the Aegean and Mediterranean, through the channel of the Universe-Duoverse, for inter-consciousness between the Hexagonal Primogeniture in Tsambika, and the triad of Etréstles, Kanti and the Archpriest in Hellenika , with high degrees of awareness of light and the conclaves between both homilies synchronous. Of great drowsiness before the Anemoi winds, they will go through near the voyages of the Trojan chthonic ships, and before the ominous chthonic divinities, for such deities in the Mediterranean substrate, identifying themselves more obviously with Anatolia, which from prehistory has continued to the site of Troy, in a cheesy plan to unite loyalists of Agamemnon, to defeat Hector, between farmland and agricultural revolutions and Akkadian worlds BC, in peripheral outposts, to influence the central regions of Greece and its maritime trade. Hydros influences, for the cycles of the solstice and nature, with those of life and survival after death that is at the center of the concerns that are not translated. In Crete, the supposed cult of great Gods was transformed during the II millennium BC. C. as new actors appear: various animals, plants, etcetera. Given consciousness, the light will be channeled, in the three courtyards of alabaster and between the cinnabar by bending the re-fertilization of the retro channels of the Cyclades, which go from Rhodes and Kímolos, for the discernment. Sometimes it is more gratifying to listen to what you want to hear and not to the real message, the egoic mind that does not come from serials of daunted egos ..., prays with signs of technological shamanism, intervening artificial intelligences, from egomaniacal administered consciences, being strident and iconoclastic for worlds of appearances and illusions. I Vernarth with our own Khaire…, in my mind I go towards the vessels that navigate the andurriales of the elusive identity, trapping it in the totemic animal stratum, in its tracking psychology, but seer of its present ego. Today I will use my Leonatus cap, to separate the anger from the large shadow that clouds my sadness, and from my own victimhood of reduced meekness, which spews violence, blaming it for a ruthless sort of depressive shame and exclusive of everyone's own fear for everything . I will blindfold my eyes against illnesses that will heal in three days, to straighten the ecstasy that grows thicker towards the guillotine, staying on Golgotha without Golgotha, I will create the framework of cinnabar for the pain of the skull, which trembles in my hands, until the Dream becomes vaporous with anger and harmless destruction before your egos, which throb rozagant towards the host entity and the scarified madness. Awakening my nuanced, subtle and anthropomorphic subconscious dreams, with sorrows that hurt my worst self-destructive amorousities before the new memorial, on the veil of Theoskepasti, with his science sheltering itself when yielding over the defeated springs and inaugurating new miraculous courses where I will surrender, full of sorry and more distant from the veil that does not act as a viewer.

Duo time, Duo space, in one I get excited, in the other I retro project, in unreal worlds of epistemic and channeled images ignoring them, in free astrolabe when decrypting my Duoverse, between the Tsambika templets, with the decoded and mutated annelids in trisomy , in ancient trees of plain doors of the Bern Olive Trees. We look at what gratifies and weaves together what weaves the positioning of the approaching stars of the universe, like leaves in psalms, worthy of all-powerful serials, in redoubled humors on the encompassing intraterrestrial chthonic tridents, in tricks of intuition, before skewing my sword Xifos, as an original replica of a night's dream in Tel Gomel, full of alerts that make me laugh chew it in the middle of my mouth on the jerky and the strains of the bear, towards the counterweight of the message of light and lag of the high astral as a bear less. Bustard and angelic breath in withdrawal and in dissolution ... unfinished planet ..., now if I see you channeled and incarnate! Diva emotion, here I analyze my audacity and courage towards being fed up with my omniscient prosopon, such an omniscient telepathic. My soul lies, and my emotion also, because in this way I will treasure the courage of panic, by surrounding myself with the fears of carrying the universe that is resting on the underside of my back at a cost "
Harassment of psychological channeling, against the horns and sights of a peaceful energy confrontation, will make them in Rhodes and Kimolos channel with the stark human finitude of life and finite and non-eternal existence, ad portal with their Aspis Koilé. Unconscious they will continue halfway with their bouquets of flowers for Walekiria, without ever really taking the time to tell her, what time of eternity will make them more crowded for her and her reliquary poem, from deflagration in flame, to insidious break of commitment of fear by telling him that if they revive, they will be others, but if Hetairoi extra Hellenic towards the light of the incarnate vermilion ..., and in a state of loop as "Being of Light". Oh phantom phenomenon that does not scare me ..., rather it disenchants, clinging to my skins that die in the unexpected female muses in Gaia, with my burning and hypertensive ballast, still frequent in me ... As conjecture and presence of Greca life ..., having to promote the matter and atmosphere involved where the valuations, should be tempered in the pressure regulators and the contribution of biodiversity, of the species for the insular life and its chemical balance in the Aegean. The theorem will state in the image of Vas Auric, as sounds of homeostasis, in classrooms, properties of the intervened annelids are consistent, capable of keeping them in a certain internal and stable condition, compensating for the changes in the noise of the intervened patios, towards an environment through the regulated exchange of matter and energy with the outside towards your (metabolism), trying a form of dynamic balance with the sparkling properties of Cinnabar. As a self-regulating biosphere in the conditions of the planet to make its environment of physicality (especially temperature and atmospheric chemistry) more noble with the species that make up life in the compass of two islands unmanned by beings from Gaia, rather as an entropy in magnitude physics for a thermodynamic system in equilibrium, inhabited by intra-dynamic beings that nobly associate, for adaptations of worlds that are not born. It segregates them towards a departure, measuring them in numbers with Gold in their population, from high numbers in states of zero, compatible with the laws of external physicality, for the purposes of watchful guardians, if Gaia's engine is turned on, before this psychic and spiritual combustion?

The laws of this system of closed circuits and channeling will tend to maximize entropy, expiring inhibitory reactions, for the traces of oxygen and nitrogen from the worms, making an express signal of the levitant carbon dioxide, to carry it from Tsambika, in a sigh of two converged energies of Leviathan and Saint John the Apostle, for the clouds in mole of carbonate dioxide, battling over the surviving necromancers and their conditions of activity and reproduction, maintaining these habitable conditions for many and many, in classes that did not enjoy of the life-death-life cycle. Greece, as it will now look like a turbo generator and appropriate laws underlining the extensive fibers concerned, a mole of molecules, in said of equality, of said hypothesis of Vernarth as sub-mythology, rather resting on the growing ivy  to its setbacks, and strangling the signs of satiety of life with properties of open skylights, and properties in tune, with the severe penalties that hurt, even the tolling of the bells and their pain as the millennia pass! Fear, insecurity and frustration will not fit because in the cavity with them, they will cut the abenuz Diospyros, with its stamens usually in sixteen plus its hypogines or inserts at the base of the corolla; like those of female flowers, being greenish or being converted into staminodia. Diospyros with ovaries generally tetralocular, or with eight locules due to false divisions, will make us channel inseminating demigods, under the staff of sub-mythology with Zephian of Horcondising, before the vibrational migrations begin in Hellenika. Just as in this pact with silence and meditation and burning toxic flames, under vulnerable high frequency insolation ..., waking up in Gaia like a sleeping fairy, and invested with extra light shaman, with degrees of synergy and with the simple science of blizzard ... , with low puffs of air of bread and cinnabar burning in the first hosts of hummus, as the homily began.
Diospyros
Cat May 2014
My roots aren't here
They never were
I planted some crops
But they were imported
An ideal situation this land may be
To the adaptable, changing and innovative breeds
It is habitable to the natives and hybrids that are able to flourish
But me, my roots come from a different tree
They belong somewhere else
They always have
I can survive in new elements
But only with proper care and chemicals
The artificial adaptations eventually take their wear
And usually from the inside out
Without the natural nourishment I whither
So as thankful as I am for a land that harvested growth
It is essential to my survival that I find my proper home
Lily Feb 2020
Toddlers can put green crayons in the freezer without
Anybody questioning them and I
Have a problem with that.
I have a problem with the fact that toddlers can put
Green crayons in the freezer and tell their parents that they are
Preserving
The Earth and that they’ve been learning about
Animal adaptations and conjunctions in school
And that they
Love
Their friends.
I have a problem with the fact that a
Toddler’s idea of
Beauty
Is a butterfly landing on their finger during
Recess, a snowflake on their tongue, the
Grogginess of  staying up past 8:30,
****** snacks, Dora the Explorer,
The satisfaction of scraping the
First chunk out of a tub of butter, the
Giddiness and fear at your first sleepover,
The one where you had to timidly shake your
Friend awake in the middle of the night because you could
Not for the
Life of you find the bathroom.
I’m not ashamed to admit that
I haven’t said I love you in a time that
Lingers like the smell of burning.
It’s always love you or love ya and I’ve
Forgotten what it feels like for those words to
Caress my lips, to guide my heart
Out of its cage into the
Stale air.
I want to be considering beauty like a
Toddler.  I want to be watching Dora and
Learning about conjunctions, but instead I’m
Crying because I can’t fit into my jeans right and I
Don’t know how to do makeup.  I want to say
I love you and let it
Ring in the air like
Frozen music
But I can’t
Because you’re
States away and instead I brush my hair
So many times for people who don’t even like me that
There’s no personality left.
I have a problem with the fact that you
Moved on so quickly and left me with the
Loves me not flower petal and that
Dora the Explorer is not on Netflix
Anymore and the price of Happy Meals goes
Up everyday like the age of my
Heart  
And that
Toddlers can put green crayons in the freezer without
Anybody questioning them and say that
They
Are preserving the Earth.
This is an imitation of Bob Hicok's poem "Whither Thou Goest" that I did in my poetry class.  As always, please leave your thoughts! :) <3
AW Sep 2015
Though first, I evolved according to plan
Little enabled me outlive this predator
With few permanent armor plates, strong
Muscles capable of crushing
Anything, bones extremely tough,
These serious injuries go beyond
My cold-bloodedness.
I like my environment, have developed
Behaviors to control it, to save energy
That can be put to other use
An evolved entirety of reason
Is why I can go for over a year
In extreme shutdown
My own tissue will feed
On anything it can overpower
Extraordinarily adaptable
During difficult times,
I will scavenge for everything,
Digest nothing left behind
My social interactions are complicated
I primarily lead a solitary life, don’t recognize
Vocalization, postures, signals, touch
My brain more complex than that of any other
A powerful sense of perception
The ability to learn, to avoid situations
That modify me structurally
Adaptations have allowed me to thrive
But surviving human encroachment
May be my biggest challenge
Through habitat enhancement
I may be able to ensure these
Sophisticated survival skills
For years to come
This is a found poem carved out of an article titled "Crocodile Secrets of Survival".
Maria Hale May 2012
Mouths are not used for communication.
Rather they add to all frustrations,
Allowing lies, guile, and machinations.

If man had a trunk to trumpet a warning,
‘Twould be better served than a tongue used for spurning.

A narrow proboscis for nutrients to ****,
More useful than lips that spew only muck.

The double-speak game is one that must stop,
Before all good words are spun into rot.

Mouths are ridiculous adaptations,
That enable ridiculously false orations,
Telling us all we need is communication.

-M. Hale
6.10.11
Jewel Tiara Jun 2015
you were the one that taught me that people never change

no matter how many years you give them and how often the setting changes and how many new people they've met

people never change.

you broke my heart and you kept on doing it and I realized

I will never change

I'll keep loving you.

I will never change.
6/10/15 10:11pm
Necropolis of Hellenika / Kímolos
Tsambika / Philo of Alexandria

They passed each other on the outskirts of Archangelos to go to Tsambika, going to the Necropolis of Helleniká where he was waiting for them more than 400 kilometers to the west of the Cyclades, precisely in Kímolos where they would do the colloquy with to do the channeling with the Necropolis. Etréstles had traveled with Kanti the steed; on his back, they saw the distance before they arrived at Mandraki in Rhodes. They all headed down the coast towards Archangelos, but Etréstles went to Helleniká, the Vas Auric was landed on Mandraki for the purposes of the Creation of Vernarth together with the Apostle Saint John. Kímolos, it is on this island that the famous beginning of the procession towards the outskirts of the cities was to deposit their sacred remains on the way to a better one, here were the martyrs who were used to Etréstles since he cohabits in delay with Drestnia for the new millennium (His female of hers) with which he resides in the Koumeterium of Messolonghi in the ninth vertical cemetery. Having a chapel and altars this place was propitious to create between Kimolos and Tsambika which was so many kilometers away, so the meeting performance between villages would be seen in its entirety to be resurrected and worshiped between the Cyclades and the Dodecanese with pious exercises between both latitudes precisely in the chapel of Theoskepasti, while in Tsambika it would be in the Panagia Tsambika monastery. Etréstles carried in both hands some matches of some population dowries with laws of affability and generations lived there without knowing each other between the two islands and tabernacles, arguing canons of burial and exhumation. In this case of performance refer to the Vas Auric of Limassol that brought the construction of a world of the right angles for the neat reconstruction of multi polygonal spectra, adopted for the first time in Kímolos to be retransferred to a logical philosophical-architectural division seeking to enclose the perfect plans where the new Christians will reside, between Rhodes and the west of Kímolos re-installing themselves among more than a third of the venerable ones who rested in Helleniká, in syncretic neatness with dissimilar populations and creeds.

Saint John the Apostle with Vertnarth, Raeder, and Petrobus plus Eurydice would bring from the rubies of Alexandria the incorporeal honor of Alexander the Great, turning both island sites into palaces of the Muses of Helleniká for the scholars who would be at the canonization of Vas Auric. Being the precursor of the chapel of the Theoskepasti, this performance of erudition will be endowed with the new status for Philo of Alexandria present here, now being a co-demiurge who will convert this necropolis city into duality with Tsambika for distinctions of the rituals and homilies, reducing the inputs basics in ceremonies. Philo of Alexandria says that only God protects the Jews, adding to what Philo wrote in La Legatio ad Gaium, the Jewish delegation had trouble meeting Caligula and when they finally met him, the emperor declared that he wanted a statue of him to be built as Jupiter in the Temple of Jerusalem, which sowed desolation among the members of the delegation. Finally, this purpose was not realized thanks to the intervention of Agrippa I and the death of Caligula, Philo attributed the happy ending of both cases to Providence. This divine letter of these translators with Saint John the Apostle and Philo of Alexandria will make this homily the spiritual custody that will be preserved in these two cities and then towards the world of Vernarth of the Duoverse, so that invisible winds blow from the chapel of Kímolos to Panagia de Tsambika, in the frameworks that feed the Hebraic and Hellenic boundary “translating Greek into Hebrew, but in two universal sites of creation in the Theoskepasti chapel and Panagia de Tsambika, about the magic of the meeting of omniscience and grace. Says Vernarth: “with the interpretation of Philo of Alexandria and his exegesis, I will rub the tract of the successions of infinity legitimately stored the creation thought of the ZigZag Universe with the Parapsychological Regressive authority now circulating in a sniffing universe with a Verthian genealogy, tempering with my Falangist disciples but being biblical when it becomes the occasional emaciated mob of a world that falls degrading with its last pieces and challenges of the world associated with an allegorical spirit, contracted to wings of ethics and doctrinal rectitude. I have two candles in each hand, similar to Etréstles in Kímolos and in Helleniká, making delights of pleasures in these ceremonies to create the world’s ignored in the office of the super compassionate language, in more than seven days that add up between the Sun and the Earth, in a sub-mythological world being ourselves our own executioner established on the ***** that falls from the match of the wick of my Lucerne in its own mood. I still have a memory of who and of each one who will always be in my prayers, reopened in a sacredness less than my own end, here I will not continue to be stored. Rather I will continue to fall, exhumed from the very storehouse and from the struggle of the thistle that falls from itself rounded up to be competent to explain himself biblically as if he had never before been read ad limit of the doctoral, and sacred in the work of Philo of Alexandria here with us leading and there in the Necropolis on another thorn; as a perpetual creeping species growing here as an unvarying summer plant in cooler climates, which would usually be prostrated on the Helleniká slab with radiating branchy stems extending the fractal distance between Kímolos and Tsambika in thistle´s ceremonies. The hirsute silts will come from the genesis of their spiritual temporal being the same wool of the whirlpool of all the weeds attached and oppressed to the lamp of the gargoyles that are tuned together with the Gulpers of Archangelos in a happy diet following patterns of even, and odd thistles spring in the Cyclades and the Dodecanese. The Parapsychological regression XIV century - Saint John the Apostle says: “from Filerimos a sidekick monk of Philo of Alexandria has come with the image of the blessed Immaculate ****** and painted by Saint Luke the Apostle. The Knights of Saint John built the Monastery of Saint John in Rhodes with this image; everything comes from there on the Miraculous Hill of Filerimos, and the temple of Athens Polias was converted into a proto-basilica with a three-bay nave dedicated to Her. The church is known since then for housing the figure of the ****** of Filerimos (Our Lady of Filerimos). In the fourteenth century under the rule of the Knights of Saint John a monastery was built here surrounded by cloisters cells and a series of chapels, that is where the figure is the miracle worker and is reverently guarded. Being a Capuchin order after the Ottomans destroyed it; it was rebuilt by the Italians. With this image we canonize the Vas Áuric in the homily prior to the spiritual link with Etréstles in Kímolos, before every morning they illuminate the sacred Earth of both latitudes in the mystical house of Saint John the Apostle with the herbalists on the wind to fight for the Somnia in Hortum et Flos Herbarium in Kímolos, Garden of Flowers and Dreams in Herbalist in Kimolos. Knowing that the Universe is approaching the Vernarthian Duoverse, Saint John the Apostle decided with the Birthright to establish a Duoversal Garden in Kímolos with the aim of laying tremendous foundations on the base of the pre-Christians and apostolic who enlisted in the Greco-Hebrew world with the addition of compression, and medicinal valences for the herbalist of Kímolos, in such a way to reissue it in the monastery of San Juan in Rhodes and the Panagia of Tsambika. Since the grains grew and germinated they became thickets of great predestined forest in Rhodes, aspiring to continue being a well-known theology in Greek also being sufficient testimonial about its Aramaic originality, being addressed to the Sanhedrin, 37-42 AD Before Caiaphas and redirecting it to his brother-in-law Theophilus of Annas. The Aramaic Apocalypse, also known as 4Q246, is in one of the Dead Sea Scrolls, found at Qumran, with notable early messianic mention of the Son of God. Saint Luke says in the voice of Saint John the Apostle: “4Q246, we are children of God…, the Highest, the Messiah as a messianic voice, being able to be confused with the Beast or the Messiah but Philo of Alexandria will be there saying “I always ignored with the most blessed indifference to Satan, because therefore in this Aramaic manuscript he only has, and will reside forever and ever in his Messiah” Given this situation, the commanded expressions were those of astragals mysticism in herbalist and botany in this manuscript, since the unfortunate leftovers are the freshness and splendor of the flowers caressed by the wind that arrived at that moment; in regard to the wind of the Anemoi being eight gods that correspond to the eight cardinal points from which they came and were related to different seasons and meteorological phenomena, but he heralded the excitement of the Cyclades, like Sound of Sounds between Narcissus of Sharon and Lilies of the Valley. The audio-images were avocados forming the deep thickets that will move according to the inclinations of the planets, each time the Universe approached Greece among all the cisterns with water for the flower meadows that Vernarth in litanies was assigned to the paths that lead to the Vas Auric.

Vernarth says: “With these titles “Vas spirituale, Vas honorabile, Vas insigne devotionis, Rosa mystical, and Regina sacratissimi rosari”, I have to transform all the astragalus, and shrubs into the consorts with the presence of the jacaranda vase of living human nature in virtue of the meeting of the Universe-Duoverse, for the herbalist of Kímolos now imprisoned in the Vas Auric of Limassol. "Sweet Nectar of the dying, eager for eternal hunger and sweetness in withered flowers"
The end of Parapsychological regression XIV century
Saint John says Apostle: “Helleniká and Tsambika, will be the lily, the saffron, the rose and the violet but also new ones, like the marigold and the chamomile making of all a diadem crown to place the world of the Duoverse in all its radius, for the star that illuminates par excellence as a white planet without thorns, which is perfect among the perfect, anti herbicide of language and of incarnation as in the Empyrean the medieval sky in the highest of heavens. It is likewise in the place of the physical presence of God, where angels and souls reside in Paradise between caltrops and Rosas towards the alimentary plane of conventual voice, and tonics of the glycogenic Milky Way sipping third-grade milk to curdle in the children who have not been a Messiah yet. Paths of thorns will guide visitors to this gallery of flowers and plants through the Panagia monkish for the holy homily with the Lilies and through low valleys, where no more Lilies can escape from their chains of the Liliorum genome in the valleys of the galactogenic virtue. Like Mother Rosette and son Lirium, being the mother of everyone and of that…, there… your son, “Myself in the path of the three Mary’s”. Over there in the desolate place, a columbine carries me imprisoned on my heels as a bond of a son who makes my steps with the Columbine of my saving feet” At 320 meters of altitude Still, Life appeared concealed behind the Vas Áuric descending…, here everyone approached the auric circle of Moral that made them authors of the proximity of the Universe falling on Greece, and the Herbolaria that fell with all its reliable structure in the foliage where many more species appeared such as thilts, Laurel, Olive, Linen, Grenade in a simple and nuanced devotional with the pro status of the delegate; the same Hexagonal Primogeniture to make the cinnabar fistulas that were elemental by the different associated colors, and by Grail tutorials that looked indigo on top of some Rhododendrons. If it is eschatological, it is in the mystical nets of the Empyrean further from a form that is said to be called a form of antagonism, between Cardinals and their dead Lilies. As first among the last, the bulbous and clayey Tulip of the orbital and basilica symbology, peacemaker and philosophical Eritrean for spiritual quests that toil outpourings from the Empyrium, reaching the Messiah on his Colt on his way to Bethany. Around the Monastery, everyone could be seen as they arrived to the beat of the cymbals and aulós, among lyres that prowled tickling the inquiry to rest their fingers, or perhaps dressed by some Trojan villain augur in those of "Daedalus". Being the latter, here a tulip with flames of a true seeker trying to sacrifice subsistence daring over the risk of the resole of salvific death or perhaps dressed by some Trojan villain augur in those of "Daedalus".
Daedalus says: “After the incident with Perdix, I Daedalus was expelled from Athens. I then went to Crete, and in the kingdom of Minos I was placed in the service of the monarch. One of his tasks was the creation of Thalos, an animated bronze giant who defended the island from invasions. By order of Minos, I built the labyrinth to enclose the monster; the labyrinth was a building with countless corridors and winding streets opening into each other, which seemed to have no beginning and no end. Minos locked me up with my son Icarus, whose mother was Naucrate, a slave of Minos in the same building. The reason for the confinement was the collaboration of Daedalus in the escape of Theseus from the labyrinth, I have to lament for the ****** of Perdix, now turned into Partridge who now carries in his claws the creation of the Universe-Duoverse, turned into his own, and myself in envy neither harassing me about my endings, and neither starting nor finishing. That is why I appear here coming from Crete, to wrap myself in the garden and its mystery closing all the madrigals and hedges, like a world that has created me, in its splendor, seeing the humility fragrant with violets grafted onto lavender with my soul now, of a somewhat syncretism Hebrew-Hellenic and Mythological sub-Mythological, like a nobleman who walks free and without chains… passing through the Parthenon to put on tiaras in dresses that are adorned with Linens, but of evangelical lineage here in Kimolo.

In Kimolos; Helleniká Necropolis, Etréstles was suspended in a columbarium equivalent near the lapidem of the necropolis. There was a great amount of accumulated air enclosed in the musty cinerary walls, with the translucent specters that fluttered through other metropolises that transited inconsistently in their proto-masonry, and some resembled pink jaspers on some grooved slabs, letting pale dovecote rhizomes slip away under an oblique columbarium domain that manifested itself meagerly on an unstable podium of Folegandros. Adhering to this enormous exteriorization were Kanti, and Etréstles in their hydrothermal genesis, lying as a petra forms at a wide range of heat towards periodic effluvia of their Devonian geology, manifesting discreetly until a carbonization of sedimentary rocks attributing their curiosity when they continued to remain in areas favorable climatic conditions, simulating to be exordiums on thermal hydro sediments, leading to the carbonization of the surface of the necropolis with micas and serpentines, to cool down in the selfless natural fields that resisted the effect of the heat generated by the ZigZag Universe, etching each other on pyrites and graphite’s with the compactness that increases, and extends the widening of the mournful enclosure attentive to channeling emanations and traces, that will be the first loads of exegesis from Tsambika for prompt elucidation from Mount Hymettus in Athens, and continue to proliferate in hives of bees libating in its thickness towards the good-smelling necropolis causing its magnificent flowers and herbs to steam; so much so, that from the paved lipoids of honey astragalus and spectra will come out deposing to be toxic, yearning the strigilas or curved striaeons (reverse or straight), imitated from pagan sarcophagi.

Thousands after Thousands of Centuries after centuries, adorning themselves in the lapidem glossaries on the exterior fronts of tymbos that were embedded in the tholons, almost as in outright Constantine-Hellenic brilliance towards an unarmed cenotaph with their flat covers, pouring over them the devastated trisomy of Kaitelka, of whose diploid organism extras, aberrated by being parity triplicates of their greatest chromosomal and homologous hereditary complement. The vestiges of fossil whales here were generating disproportions of execrable variation, being destined to the patio of fall on them in three additional courtyards of marbles at the rate of inverted strata, revealing only some of their extremities appreciating them with semi-covered figures, and on reliefs filling again by genetic trisomy for gentile practices and lead them to the Christian Vas Auric. Faced with such a famous disproportion of fossil reliefs, they turn to the scourges of the Universe.

Panagia Theoskepasti Parapsychological regression Etréstles in Kímolos: The church of Theoskepasti, due to its position could be easily recognized by the invaders during their raids. However, according to a legend the church was veiled by dark clouds of mist and became invisible as soon as the assailants approached. Due to this legend the church received the name "Theoskepasti" from the Greek words "Theos" and "skepazo" meaning "God" and "watch" respectively. So, the name is 'God Veiled'. According to another tradition, when once a foreigner managed to get into the church and tried to steal the golden candle divine power cut off his hands. Also if it is watched over by God, so it is divine for the Creation that it will begin with the synchronization between both latitudes of the Cyclades and the Dodecanese. Etrestles After staying together with Kanti, they went from Theoskepasti to Hellenika, located in Dekas Bay on the west coast of Kimolos, here in the necropolis there are ruins of ancient tombs that would form part of the new humanity in the creation of the Duoverse, existing since Mycenae and the Cyclades next to the small islet of Agiоs Аndreas, also being part of the city. Many ruined tombs can be seen from the hill on the edge of Elliniká with some stones still in the sea between Kimol and Milil, in the vicinity of Psathi on this island located on the southeast coast. Kímolоs to Chοrá is 1 km away on the hill above the Psathi port from here the foreign ships trying to come to the Bay area sighted, for the advent of the Cinnabar on the scapulae that hold the Gates of the Necropolis for the effect avant-garde, and regenerator of souls that will resurface with more universal chromosome tints mutated from trisomy, more of extreme longevity. In the homily, an archpriest of the regional deanery will make a pastoral criterion for this gesture by virtue of eminence, and guide them through the orthodoxy of the chapel to the Episcopal organizational procession of the Vas Auric. It was already twilight and Etrestles was climbing onto Kanti's pony clutching the utensils of the homily, in the customary ritual before incensing and setting fire to the laurel and rosemary in the fords of Leto and Koumeterium of Messolonghi, it rotated in ellipses sprinkling crumbs of the purest loaf from Arcadia on a gray Monday with hummus to attract sour souls that they were in a catatonic state making them more esthetic or aesthesis, of reactionary rebellious natural aesthetics with nuances, then reincorporate them into the three courtyards in a magnificent concordance with Rhodes. When the Archpriest begins the talk, he derives his prayers from semi-inert materials that were made in communion with the chromosomal dyes; with the worms with absentmindedness of progenitor snakes that were grafted undulating, being in reality only worms that were amazed at the exhortation of the Archpriest in the ritual, circulating universals destined for his elegies and celebrating from an ambo or pulpit with classical Latin pronouncing the archpriest the way it died lunae, mutating it ****** to dies lunis by analogy with dies, on a dark Monday day but full of grace for the assistants doing the sermons to interpret the alabaster patios that will lead to Tsambika. The first worms were persecuted by Kanti, he believed that they were scatterings that emerged from the ground, such an earthly ecosystem was beginning to disown him due to the metamorphosis of annelids which seemed to increase their ultra-grave texture with the same remains of an irresolution without a sarcophagus, turned into sharp curves intestinal that were depressed breathing autonomously on consistent folds of the dermis of the oldest caste of the subsoil of Helleniká. Preexisting the distant origin of the Arcadias and they're dissected that silently followed the hummus and bobota, not to digest them with their suckers, but rather surround them and delegate them to explore the surroundings that would encapsulate the ground with the proximity of the transfigured universe to Vernarth's Duoverse, to phosphorus and emit the will-o'-the-wisp nitrogenous fires before the Archpriest, Etréstles and Kanti disquieting by an arcane movement. Being a full act of the herbaceous phagocytosis, they continued ascending in the curvilinear procession with their traces weaving moment without time, which was added to the sub-mythology and a finite sub-time, like unicellular procreating others that accelerated their physiognomy detached from their immateriality, towards a longer intake of the organic material on the hummus and exudation of propolis rhizomes. In this way, they resign when falling with serious cramps cleared of the digestive world, which no cell has tasted ******, but rather direct when breathing from Hellinika's lung lobes, comprised mostly by the alabaster sheepskin that was suspended to other colonies of worms that sailed to lean out towards the surface of the altar where they regenerated from the flow of the annelids. Archpriest says: “The frame of the Vas Áuric arises from the nuclei of the medallion, pending a high presence of insulation. With high mobility between the tissues and amino acids of the annelids, new basal cell functions even being visible for Etréstles and not totally for all yet. The image of the medal had a classified functionality and concrete information, but imperceptible chronological possibly being the first function of the icon in its justification with religious symbols and manifestations of the divine, and semantic still removed from a theoretical auto-iconic. When reading in Vas Auric, "What two men do not see, a man sees who does not see..., what the creeping animal sees, self-prisoner of his lack of vanity..., He will see it". Being epistemic images that provide more distant knowledge of the sub-divisible organic matter in finite mortality towards the other eternal inorganic, contributing to the super complex neuronal development, in a veiled sensation that is lost between itself and its own bodies, being able to take them with its own differentiations”

Panagia Tsambika Monastery - Channeling Cinnabar: Vernarth commanded the three architectural courtyards of Tsambika for the Cinnabar layout. They climb the steps that lead to this monastery at the top of one and to the very connection of the homily with Helleniká. In this monastery they will have to censor three courtyards, all pointing towards the west of Mandraki Bay, on some pine trees all surrounding the virtual stained glass window of the portal that joins the main avenue with the ascent of the monastery, until very close to the Virginal Marianus icon and very close to the dividing wall from where Lindos can be seen. The Tsambika Monastery is four kilometers from the city of Archangelo, the height of the monastery is leveled with pebbles on its bare floor that led everyone barefoot, towards the three nearby patios. Cinnabar as a polygonal crystal would be specially used for the perpendicular ceremony of Mercury, to sensitize the climatologically the variation that would be appreciated once it began to sponsor the bones that would spread in the extreme longevity of annelids exchanged from the moldy alabaster arcades, and carried by alluviums of crystallized mercury, granting together with the Panagia of Tsambika fertility, and parental conception for the new Universe-Duoverse of Vernarth, extending life farther than the first-born descendant's first ancestor, being the cinnabar the diversity of versed uses now been given in the upright channeling with ultra vital extensions with Helleniká. The alabaster and the three columns of these sulfated stones form compact would dare to hydrate in the silos where the windows will be poured, this is where the sub-mythological specimens detached from any temporal dimension will be used, leaving sapiens annelids free will recombining the diploid chromosomes, and profiting from molds of exact erratic aberrations to be vindicated in the dispensaries of Saint John the apostle. Thus adorning the perfumed areas intervened three cinnabar patios, for the sermon of the Vas Áuric. Thus inspiring the chair with the verses of Saint John on the immanence after the fifty days of the Messiah in epistolary verses and the evangelizations, elaborating vessels of the low rank of Faith to opt for expectations of moldings with new consciences of selenite clay, and refine them in messianic faith. Middle-range pebbles were subtracted for the interior and extramural floor of the Monastery, being rather Biblical Calcite for the Egyptian-Hellenic Alabastron psalmody praise perfume. This typology will be the quilt for the magistracy with a canopy glass exhibited near the tulip lamps, and ceiling lights of the monastery for the use of the diamantine sphere of the opaque panels that flamed from the intersection of the arachnids re sprouting from the current wind of cinnabar. Vernarth says: “Suitable for our consciences, we will open the channels in Kímolos before our subtle bodies that will make us divided just as we parabolize ourselves, before the airs of St. John the Apostle in the headdress of mediumship to reach the wavelength to Helleniká, the interactive vibrations will leave with the expression of deep reasoning after pontificating the Mandylion with the Vas Áuric, for the effect of its icon and idiomatic monologues for the edges of San Judas Tadeo and Veronica, for such a faced event in foreign forces before the Messiah, a coherent gadget will be made in the intermittence variants. The channeling to the Cyclades will go from east to west wading the Aegean and Mediterranean waters, through the channel of the Universe-Duoverse for inter consciousness between the Hexagonal Primogen in Tsambika, and the triad of Etréstles, Kanti, and the Archpriest in Helleniká, with high degrees of the light consciousness and conclaves between both synchronous homilies. With drowsiness before the Anemoi winds that will be crossing near the voyages of the Trojan chthonic ships, and before the fateful chthonic divinities for such deities in the Mediterranean substratum identifying more obviously with Anatolia which since prehistory has followed to the site of Troy, in a cheesy union plan for Agamemnon's loyalists, to defeat Hector between farms and revolutions of agriculture, and Akkadian worlds b.C., in peripheral outposts to influence the central regions of Greece and its maritime trade. Hydro-physical influences, for the cycles of the solstice and nature with life and survival after death that is at the center of concerns that are not translated. In Crete, the supposed cult of great Gods is transformed during the second millennium BC as new actors appear: various animals, plants, etc. Given the consciousness, it will be the channeled light in the three courtyards of alabaster and between the cinnabar by bending the re-fertilization of the Cyclades channels, which go from Rhodes and Kimolos, for discernment. Sometimes it is more gratifying to hear what you want to hear and not the real message, the egotistical mind that does not come from a series of daunted egos..., or signs of the technological shamanism, intervening artificial intelligence from maniacal administered consciences, being shrill for worlds of appearances and illusions. I Vernarth with our own Khaire Fíle…, in my mind I go to the vessels that sail through the landscapes of the elusive identity, trapping her in the totemic stratum, and tracking psychology, but a seer of her present ego. Today I will wear my Leonatus cap, to separate his anger from such a shadow that clouds my grief, and my own victimhood of reduced and meekness which spurns violence, blaming it on a ruthless kind of depression and excluding shame from everyone's own fear of everything. I will bandage my eyes against diseases that will heal after three days, to straighten the ecstasy that thickens towards the scaffold, staying in Golgotha with nothing, I will create the framework of cinnabar for the pain of the skull that trembles in my claws, until sleep becomes vaporous with anger and the harmless destroying itself before your egos, colorful throbbing towards your alien beings and scarified host. I will be waking up from my subtle and anthropomorphic subconscious dreams, with sentences that hurt my worst self-destructive delinquencies before the new memorial, on the veil of Theoskepasti with its science sheltering itself by giving in on the vanquished springs and inaugurating new miraculous courses where I will surrender, full of forgiveness and more distant from the veil that does not act as a viewer.

Duet time, Duet space, one with the other illusion unreal elements and epistemic images ignoring them in expeditions crackle my Duoverse, and temples of Tsambika with the decoded annelids mutating in trisomy with flat doors towards the Olives Berna. We look at what gratifies basting and plotting the positions of the stars of the universe that are attached like sheets worthy of almighty serials, and redoubled humor on the chthonic embracing tridents, before skewing Xyston as an original replica of the dream of a night in Tel Gomel. The counterweight of the message of light lagged behind the high astral like the little bear, bustards, and her angelic breath retreated in dissolution..., now if diva emotion I have my daring, and courage towards the binge of my omniscient prosopon, similar to omniscient telepathy, my soul lies and my emotion too because in this way I will treasure the value of panic by surrounding myself with the fears of resting, against the poles and sights of a peaceful energetic confrontation that will make them in Rhodes and Kimolos, channel the consumed human finitude and not eternal ad portas of his Áspis Koilé.

Unconsciously they will continue halfway with their bouquets of flowers for Valekiria, and may they never really take the time to tell her what time of eternity will make them more crowded for her, and her reliquary poem bursting into flame with its insidious outbreak and fear of telling him that if they revive they will be other Hellenic Hetairoi towards the vermilion light of the embodied sacrificed loop state as a "Being of Light". Oh ghost phenomenon that doesn't scare me... rather disappoints, clinging to the skins that die in the unexpected female muses in Gaia, with my burning and hypertensive ballast, still frequent in me... As conjecture and presence of Greek life..., having to be promoted and involved where they should be tempered to the contribution of biodiverse, and species for island life and its balance in the Aegean. The theorem will enunciate in the image of the Vas Auric as sounds of homeostasis in classrooms, properties of intervened annelids consistent, capable of maintaining them in a certain internal and stable condition, compensating for the changes of the explosion of the intervened patios, towards an environment through regulated exchange of matter and energy with the outside towards its (comparative metabolism), in the case of a form of dynamic balance with properties of Cinnabar brilliance, as a self-regulated biosphere in the conditions of the planet to make its environment (especially temperature and atmospheric chemistry) nobler with the species that make up life in the compass of two unmanned islands by beings from Gaia, rather as entropy in physical magnitude for a thermodynamic system in equilibrium, inhabited by dynamic beings that associate nobly for adaptations of worlds that are not born. It segregates them towards a departure measuring them from heightened numbers in states of zero compatible with the laws of that physics for the purposes of watchful guardians if Gaia's engine is turned on before this psychic and spiritual combustion. The laws of this system with closed circuits and brought will tend to maximize the entropy expiring inhibitory reactions for the traces of oxygen and nitrogen of the worms, making a sign of the levitated carbon dioxide to take it from Tsambika in two converged energies of Leviathan and Saint John the Apostle in moles of carbonate dioxide, battling surviving the impostor necromancers adverse to their conditions and reproduction, keeping these habitable for many who do not they enjoyed the life-death-life cycle. Greece, as it will now look regenerated and appropriate of laws and extensive fibers concerning moles of molecules said to be equal of said Vernarth hypotheses by way of sub-mythology, rather perching on the growing ivy and strangling the signs of satiety of life with properties in consonance with severities that hurt even to the sound of the rattles before the passing of the millennia! Fear, insecurity, and frustration did not fit because they will cut the Diospyros abenuz, with its stamens usually sixteen more hypogynous or inserted at the base of the corolla; as female flowers being greened or being converted into staminodes, Diospyros with generally tetra-locular ovaries or with eight locules due to false divisions, will make us channel by inseminating Itheoi demigods, under the staff of sub-mythology with Zefián, before the migrations in Helleniká begin, just as in this pact with silence and meditation and a burning flame, below the vulnerable and high insolated frequencies..., waking up in Gaia as a dozing fairy. Shamanic vested will grade synergy and simple science.
The Homily in the natural lassitude of the created, the Duoverse presented IHΣ, falling in the eighteenth letter of the Greek alphabet and in the duo hundred changes of physical remembrance. The PH (Hexagonal Primogeniture), is conceived in the presence of the Crismón, more Hellenic with the Vexillum banner and the Kantabroi to rescind the tired depressed zephyrs, since the quantum of memory was lost in the integrity of an earth acrophobia for the subsequent it would be air-water for this reason, preceded by the ceremonial that begins with the trimming of the abenuz Diospyros with its stamens usually sixteen plus it's hypogynous or inserted at the base of the corolla; like those of the female flowers having part of the gynoecium in the part of Tsambika, and of the androecium that will be of the Diospyros in Theoskepasti; usually tetra-ocular ovaries adapted to be inseminated for the raids of the demigods Itheoi and Duoverso, with the monogram HDD (Horcondising-Duoverso), tracing the bifurcations with Zefián; the chaos ordering up to modulated Theoskepasti. The changes have to be reborn in the stamen, being almost sterile and aborting in the chronicles of Galilee personifying the pollination benefit of the Diospyros resprouting in the same stem of the whorl even more so in each stigmatized part of Vernarth and Etréstles, carrying the IHS candles with the monogram and the Mandylion-Vas Auric, pointing to the Olives Bern. Before the seams of the carved heels and the canals of the annelids rise up through the alabaster up to the calyxes with the Chrismon hat. Filling the warehouse of Anemoi himself struggling with the roof, and forgetting his deposit of the breath on synaptic abbreviations continuing to argue with Saint John the Apostle in the network of Rhodes and Kimolos, in the bark of the sensory past and consequence of fallen gushes, and affecting being restored on the basis of oxygen-nitrogenated Nemo-genetic activation to summarize loss and gain of channeling between the Cyclades and the Dodecanese. The memories of the stuck Vernarth cerebellum will be loaded, trembling towards the marsh of the hippocampus where Zoroaster led the Magi to the end of the span and first-last border in the vicinity of Ein Karem. This evolutionary scale fluctuated in weak air masses with the increasing rise of the Meltemi over the Aegean taking them to Dekas Bay, on the knees of the colossus that cursed to avoid some delirium that could replace it's joint, remaining like this on a scale of reminiscent and unspoken emptiness..., it continues to be stated and not occupied and not, but raised towards the colossus from the ground of Vernarth which had unfolded bipartite from Rhodes to Kimolos, by way of the Verthian neuroscience whose prose emanated in the submissive glaciers of hyper-intuitive meditation (as a technique of knowledge and abstraction for functional links of improvisation, purgative discernment and yogic memory). All the nonsense is alluded to infringing the rationality of the Vas Áuric ceremonial in its phenomenology making curvilinear pauses to re-captivate phraseological, and diminished keys in the condensed equivalents to approximately ten terabytes from a homologous half surrendering almost when exhausted before both scholars, and their debts exchanged by driving..., thus recovering wave descents before reaching the bay of Dekas; Kímolos and final in the necropolis of Hellenika..., and vice versa before re-climbing in the middle of Mandraki, Archangelos and Filerimos to finish in Tsambika, Rhodes. As a parallel response to the archpriest not to alter the IHS monogram of the homily and the association in remembrance can affect the conduction of the mediate trance, almost prostrating it in the house of omission and frenzy, if it has to recover unstabilized. The sulfurous mercury component of the Cinnabar, came acidifying from the essences of the Vas Auric, already prospering in the tutelage of each auric conductor..., Archpriest and Saint John the Apostle, each one with the sulfurous of the Greek mountain and the arch of the Aegean Sea as a former karstic foundation for its diametric towards a change of reaction of chemical prisms up to the multi-angular of the topaz that Saint John the Apostle carried in his bag near the reliquary, hanging off some fringes of the Vexillum that had been placed near Vernarth. Immediately from the banks of the monastery, Raeder was walking with a lantern looking for those who might try to enter, he believed that it was his father from Kalymnos who came on another mission to be taken to the cinnabar, more on top of an encourage observing the quarters stationed in the sandbanks of Rhodes, Petrobus the pelican circling the ledges of the monastery, marking out the apparent slackness of his body and entreaties in case they ventured into Kalymnos for a good portent, in waters for tenth seeds and for all the rodines. From the cloister with one of its necessary dependencies, all were with white candles aggravated between the steps of each cell and attached friars they made an antechamber in the nave near the church on the hexagonal floor, being screened by the center of the garden where everything was dominated by the limits of the alabaster arcades, which only now pointed to the closet of the books, this time with plenty and saved voices with devotion. Chapter by chapter it was won..., for each cell, identifying each portion in identity up to the scriptorium and refectory, where this ceremony books were distributed to the infinite world of the Duoverse near the locutory to witness where Saint George and the Dragon raged, souring winepresses for the missal wine.

Sequence shot in Kimolos, Panagia Theoskepasti- Etréstles says: “according to what has to be said in this dimension, the word will be the Duoverse. Synchronically it will be aligned with the monastery in the Tsambika for the third hour after noon, reflecting on the unrevealed walls of the chapel on all the radiosities of the cinnabar, entering in electromagnetic lassitude through the trusses of the pulpit anchored in the Vox and mystical vortex, towards those who entered and left thousands of times through the counter shutters of the chapel, which collided crashing many times until by the glow of Cinnabar somewhat sulfurous, was mixed with the interlocking of some novas which also acted as a decoy for the Chrismón that Kanti carried the steed adjusted in the saddle on his back, as a mount in syntactic esotericism speaking with intangible brown colors of the Cinnabar.
Vas Auric
If we’d carefully addressed our nuances
We wouldn’t be in this mess…
If we’d spoken to the heart rather than the heartless head…
If we hadn’t turned this planet into a closed and open hell…
Like a giant burning cruise ship full of mere shells, piercing into the earth’s former self…

We ignore the trees; the trees that show us magnificence and mystery; destroying their epic lives in a heartbeat…
But the trees whisper through connected fungi, working as a team for longevity, with no concept of antipathy…

And in dark forests on the sunniest days we still glimpse those rays of true beauty…

We still have a responsibility in our vastness to steer this ship of souls in the right direction, in conjunction with nature and all of it’s adaptations…

Why stare into one hole in a cave when there are a million different pools and palaces shining through the crystal cracks, all waiting to join as we chip away at a new haven…
Imagine what aliens would think then when they came to visit our shimmering, all-embracing, reciprocal creation…
I remember ones almost my age who saved this vision early on, looked at me straight in the eye and winked as I was gone…
Cece Nov 2013
No one
is who they were
yesterday.

Minuscule adaptations form
with each sunrise
and go unnoticed
until you look back at an old photograph,
or think about something that happened
with an old friend who is now a stranger
that you know nothing about.

You are your own doppelganger.

The girl sitting in the theatre
playing obnoxious games
with her loud, aspiring individualistic friends
seems like a stranger to me.

It is impossible
to pinpoint the moment
when things started to change
and I lost sight of that girl,
and who she wanted to be.

At the least,
I wonder
when everything
started to shift.
What caused the imbalance?

Now I sit alone
in classes I don't care to pursue
with no sense of aspiration
towards anything.

I remember all of the laughter
and the sleepovers, gossiping about
everything.

I remember random details
and insignificant everyday stories
that could take up hours
upon hours
of reiterating.

When a friendship terminates
what are you supposed to do
with all of your old shared secrets?
Where are you supposed to put those memories?

The girl I am right now
doesn't talk to those people anymore
and I can hardly remember
what it felt like
to be in her shoes,

and all I really have
is knowing things
about the people
that they used to be.





*CVT
Nathan Squiers Sep 2014
"Let me make one thing clear, hombre," The Suited Man spoke in a low, purposeful voice as he rolled a cigarette, wetting the corners with a serpentine tongue a moment before passing it over his upper lip, "I have watched--with great joy, I might add--the nature of death." Then, pursing the cylinder between his teeth and offering a wicked grin, he punctuated his upcoming point with an audible flick of his lighter. Exhaling a pungent cloud in my face, he rapped his left ring finger across the length. "Everything is aware of its mortality; everything. The rich, the poor, the holy and the sinners; the birds, the ***** bees, all those saved whales and every single one of the hugged trees. Every squirming, writhing, wiggling, wicked little creeper and crawler that has ever existed and may ever hope to exist... all of them. Even the ******* atoms in the air! All things know that they're doomed--it's why even the single-celled beings have all those defense mechanisms; all those..." he smirked, flicking an ash, "adaptations, yes?--and yet, from the massive to the miniscule, none of them face their mortality with near the greed nor the total lack of grace as your kind. You've known since you were a wee lad that you'd die, hombre, so why resent it now; why fight for more time? Another hour; another day--hell, I could hand you a written guarantee that you'd have another decade to do whatever you wanted..." he shook his head and pulled the cigarette from his mouth to flick the growing ash and admire the ghostly trail that ascended to the mist-swirling ceiling fan. As the contemplative moment passed, he returned the cigarette to his mouth and leaned closer to me, bringing his cold, black eyes so close to my own that my vision knew nothing more. "What would that decade mean to you? For me it is nothing--those like me do not worry much about trivial human fictions such as time and... well, all of this"--he waved about the room with his index finger--"So I hope you'll forgive my skepticism; understand that it's just my ignorance to your pervasively infantile beliefs." He rattled three of his bony fingers on his jutted chin, "Tell me why I should sympathize with your plight over all others who have pleaded with me before you. Explain, if you'd be so bold, why I should adopt your urgency as my own."

It took me some time to find my voice. Between the smell of his herb--something that, in all my years of debauchery and romances, I'd never encountered--and the fierceness of his presence, there was a sort of little death that had wormed its way into my thoughts. I fought to sit up, but did not have the strength. I struggled to clear my throat, but could not command my lungs to work as I wanted. I worked to wet my own lips, cursing the dryness of my dated mouth. Finally, I gave up; succumbing to the reality that my body was useless for the soul occupying it. There was nothing left of me but my wits, and it was my wits that I needed now more than anything.

I shut my eyes against his overwhelming stare.

I held my breath against his foreboding aroma.

And I let the soul say what it needed to say:

"Let me make one thing perfectly clear, good sir," the voice I heard barely sounded like my own, "I have watched--with utter disdain, I'll admit--the passing of life. I believe you when you say that everything knows it will die, and I also believe that almost everything deserves to die. Not because almost everything is wicked or evil, nor because I feel some contempt or hatred towards almost everything. As I lay here I'm certain there are many eager to see me go, and I not only respect their right to feel that way," my lungs abandoned my speech's momentum and I paused to take a rasped inhale, "but I agree that I deserve the mortality that's haunting me."

"Do you understand you've already wasted more of my time than I typically allow?" The Suited Man asked, aiming his pointer and middle fingers--and the smoking cigarette pinched between them--in my direction.

I nodded, finding strength enough to hold up my hand; silently begging for a moment longer. "Please, I won't be much longer... and once I'm finished, I'll accept whatever fate you decide with dignity."

The Suited Man chortled at that, "And silence, I hope."

"Yes," I sighed, "and that." With my company motioning for me to continue, I succumbed to the voice of the soul: "You deal in death, so you must have seen enough to know that, while those like you care little for time, it is what defines all those who perish. What, if not those minutes, those hours, those days, years, and decades, are we to value? You deal in death, so I can't ask you to understand why we fight to live. To you, a book is not worth reading because it has an end, and that end represents a lack of substance; but that book, like each and every soul, has a story to tell. And the only thing greater than the limited time each and every soul has is the stories we leave behind."

The Suited Main rolled his black eyes and flicked another looming tendril of ash, "You bore me with your rant, hombre, and my smoke, like you, is running out of life. Get to the point or accept mine." He took in a rattled breath to fuel a dark and hollow voice, "Why should I let you live?"

"Stories are the most important thing for anything that fears death, good sir," I fought my growing aches to move my hand to the stack of papers at my left; the stack perched blissfully beside my old, dusty typewriter. Patting the pages--taking a certain satisfaction in the nostalgic feel of the stock I'd long since grown loyal with--I cocked by quaking skull towards the desk and its contents. "And while I await the day you'll finally escort me from my desk, there's a story that I've yet to finish."

The Suited Man narrowed his black gaze at me--the two orbs shimmering like obsidian beneath his timeless lids--before the glow of his pupils shifted to the desk for a long, tortured moment. Without looking away from the stack I still rested my hand upon, he returned the dwindling cigarette to his lips and inhaled before letting out a long stream of smoke.

Though I didn't see him stand, he was on his feet then. I took in his height with the same terrified awe that I'd received the rest of him--his sudden appearance in my late husband's chair across the room; his impeccable awareness, or my unwavering understanding of his purposes; everything that made him who and what he was--and allowed him to continue his long, tortured moment in gazing at the desk that had, just as much as the hours and days and years, come to define my life.

Then he was gone; him, his smoke, and the terror he radiated.

Letting out a labored breath, I struggled to turn towards my desk, trying to recall where I'd left off in my manuscript. As I settled in, I caught sight of a clean page secured in the feed of the typewriter with the only evidence that I hadn't been alone:

"YOU HAVE YOUR DECADE, HOMBRE. SPEND IT WELL, AND SAVE ME A COPY OF YOUR STORY."
Not really a poem in the traditional sense, but the overall theme was more poetic so I figured all you lovely HP folks would appreciate a little more ;-)

Hope y'all enjoy ^_^
ALI Mar 7
In this world we live in, everything seems muddled, as if we’re floating in a sea of digital chaos. We see only shadows of ourselves, dancing on endless screens, trying to grasp an idea, a feeling, or even meaning. But what if these shadows are all we know of ourselves?

We are now in a state of constant consumption—not just material, but intellectual and cultural too. We feed on algorithms that claim to know us, that pretend to draw closer while drifting further away. They create a parallel reality we don’t know how to escape, a reality that shapes our desires and thoughts as if imposed on us.

Have you ever felt like you’re not you? That the persona you think you inhabit is just a reflection of everything you’ve consumed? Our identities are built from our experiences, but what if those experiences are counterfeit? Repetitive, lacking real distinction. We live the same moments, are influenced by the same things—but have we truly changed? Or are we just distorted copies of one another?

Life in this age has become a labyrinth, deeper and deeper, yet endless. We chase ideas, hunt desires, and with every step, sink further into this digital vortex. Are we the ones creating these desires, or are algorithms planting them in us, tailoring them to our metrics?

Sometimes I wonder: Are my thoughts truly mine? Or are they just echoes borrowed from this digital age? Do I love the color black because it reflects a part of me, or is it merely one of the hues these networks have stolen from me?

Am I a musician, or just an image of someone battling these crashing waves of “content”? Are we following our passions, or just trying to be part of the show—part of this unending game in an era accelerating unnaturally?

When I reflect on all this, I feel like a stranger to myself. I search for myself in everything, yet find only shadows. The harder I try to be my best, the further I drift. Does this mean I’m not who I think I am? Are the personas I inhabit what make me me? Or do I exist only at the heart of this chaos?

The Psychological Struggle Between Desire and Algorithms
In the realm of social media, where our preferences and inclinations are dictated by what algorithms deem most engaging, the urgent question becomes: Am I truly choosing what I love, or are these platforms choosing for me? The more I scroll through Instagram, TikTok, or Facebook, the more I feel I’m not where I want to be. Algorithms relentlessly push me toward trending images, videos, and campaigns, drowning me in a whirlwind of visuals I must follow to belong to this digital world.

But are these desires arising within me truly mine? Or am I just adopting what these algorithms impose on my mind? Every time I hit “like” or share content, I’m nagged by the uneasy sense that I’m not shaping my choices as I once believed. With every new trend, my mind begins to think differently. Do I actually love this type of music, fashion, or even the ideas spreading online? Or have I just been swayed by what these apps bombard me with—content that mirrors what everyone else assumes I should like?

Over time, the line between “me” and what’s imposed by algorithms fades. I ask: Am I the person I chose to be, or just a replica of everything these platforms have planted in my mind? Does what I share with the world reflect my true self, or am I performing a role that fits the image they’ve forced on me?

Here lies the internal conflict. Part of me feels it follows its own inclinations, while another knows these inclinations aren’t necessarily authentic. These struggles grow sharper at the crossroads between what I want to be and what algorithms want for me. In the end, will I find the courage to break free from these digital molds and choose my own path? Or will I remain trapped in the game of images and interactions controlled by algorithms until they define me?

But what if these algorithms reflect my deepest desires? Can I distinguish what’s real to me from what’s merely a reaction to the external world? And could my urge to follow trends be a genuine desire, or just compliance with what’s in front of me?

If I’m following what others impose, am I losing myself? Or am I adapting to the world I live in—is this simply how I’m meant to be? Sometimes, I feel stuck in a maze of contradictory choices: Should I abandon these consuming apps? Or must I stay because the world can’t function without these spaces? Can I truly be “me” here, or am I fundamentally just a digital avatar?

Why do I constantly compare myself to others? Is it genuine need, or have algorithms learned to fuel this impulse? Why has every moment, every thought, become a competition, a race against time, something I must showcase to the world?

Occasionally, moments of clarity strike—I feel I’ve found the way—but in the next breath, conflicting thoughts creep back: Am I just adopting what’s popular, or simply choosing what suits me in the moment? Are these real thoughts, or echoes of what I’ve been told? Do I need external pressure to exist? Am I independent, or forced into this vortex?

At every corner of this digital world, new ideas, choices, and doubts loom. Is this truly my life, or am I just a spectator in an endless show I can’t escape? Can I be real in a world of prefabricated choices, or am I a puppet in the hands of algorithms shaping me to their will?

As I keep interacting with these platforms, questions multiply: What if I stopped posting? What if I set my phone aside? Would I feel relief, or emptiness, because I’ve become inseparable from this digital entity feeding on notifications and endless engagement?

Every choice spawns new questions. Every step toward an answer spirals me into futility. Am I me? Or a reflection of what’s shown to me? How do I separate the real from the imposed?

So many questions. A headache. Unbearable complexity. Am I truly me?

Imposter Syndrome and the Shattering of Identity
This turmoil isn’t just a clash between self and others—it’s a reflection of an ancient syndrome called “imposter syndrome.” It makes us doubt our worth at every turn, convincing us we don’t deserve our achievements, that we’re mere dolls moving to society’s imposed standards.

But it doesn’t end there. This self-doubt drowns in far greater chaos. Every moment of life becomes a question: Do we deserve what we have? Is this truly our life, or are we just playing a role the world assigned us? Where did this conviction come from—that we have no right to be as we wish? Don’t we see that, in the end, we wear masks? Our celebrations, joys, even failures—all governed by others’ expectations.

Now, blame isn’t directed inward alone, but at the world that bred this tension. We’ve trapped ourselves in cycles of failure and insignificance—not because we’re incapable, but because we were raised to believe success lies in mimicking others. What sets us apart if we’re just repeating the crowd? Society planted the idea that success requires conformity, and when we deviate, we feel excluded. But was this our choice? Or an external imposition?

**** the world! Let it shatter these stereotypes that cage us. Let it demolish the ideas that imprisoned us. For in the end, the world endlessly reinforces the image we should embody, while the truth is we’re all living a delusion, mistaking what we see for reality, when we’re victims of algorithms tethering us to alien beliefs. We need immense courage to break free from this grating repetition, to rebel against ready-made molds—because, ultimately, we lack true freedom of choice in a world that dictates everything.

Society forces us to be “imposters” every second, wearing masks to convince ourselves and others we belong, when in truth, we’re strangers in our own world.

The Child Who Dismantled Toys
Yes, I’ve asked too many questions—but that’s my nature. I’ve always been intensely curious. Since childhood, I sought the unconventional, never satisfied with what the world offered. My father noticed my love for remote-control cars and brought me one on every work trip. But what fascinated me wasn’t play—it was dissecting their mechanics. How did the battery work? How did electronic parts sync to make the car move?

Unlike kids content to play in parks or bedrooms, I sat amid disassembled toys, prying open circuits, asking: Why is this piece here? What if I modify it? I hunted details others overlooked, convinced every machine hid a secret. When stumped, I’d scavenge wood and plastic scraps from my uncle’s workshop, building something new—as if I controlled my world, seeking the best way to connect things.

This mindset set me apart. While others played tag or hide-and-seek, I turned play into learning and innovation. I refused daily routines, driven by an inner sense I could offer something unique. I ignored popular games, drawn instead to creating.

At 12, when toys lost their secrets, I coded small games and uploaded them online. These weren’t just for fun—they were bridges to share my ideas, to craft a world beyond the ordinary. While others chased tradition, I designed, programmed, and found peace releasing my thoughts into the digital void.

This childhood wasn’t easy. It brimmed with insatiable curiosity, a world of endless questions, hunting answers in every cranny.

I wasn’t isolated—I made friends in my neighborhood, inventing new games. One, called Random as Hell, blended popular games into chaotic rules. Now, revisiting memories, I wonder: Was I truly creative? Or just rearranging borrowed fragments into new shapes?

Creator or Fraud?
This doubt haunts me even in my music. At my computer, sifting through sounds and rhythms, I can’t stop wondering: Is this genuine creativity? Or am I stitching scraps of what I’ve heard, repackaging them as new?

Every track I make is shadowed by this question. Sometimes I listen proudly, then suddenly feel it’s all derivative—a trick, passing off recycled ideas as original. Maybe the algorithms surrounding us are part of this game, curating videos, music, and images, leaving me to wonder if my work is just an extension of them.

Am I the musician I aspire to be? Or a mirror of mainstream taste, of trending sounds? Do I choose notes out of love, or because I’ve seen others do the same?

Each attempt at innovation becomes an internal battle. I delete tracks and restart, fleeing the fear that my work isn’t “me” enough. But can anything ever be fully “me”? Are we all just accumulations of what we consume, fragmented like the toys I dismantled and reassembled?

Maybe creativity isn’t invention from nothing, but rearranging pieces with our own imprint. Yet even this thought doesn’t silence the question: Is that imprint enough? Or am I still haunted by the bigger query—Am I a creator or a fraud?

Stereotypes and the Deconstruction of Identity
The story ends in a foggy moment where nothing is clear. Reality feels alien, as if things overlap confusingly. One moment I write about childhood, the next about identity, my mind, or impossible adaptations.

This isn’t a book or a coherent idea—it’s solace I offer myself, comfort from an anonymous source. Perhaps that anonymity is what philosophers call “the observer.”

That I keep writing after all these lines surprises me. It feels like another escape from myself, or a psychological war I’m enduring.

Is this feeling from abandoning music? From my homeland’s post-war liberation? Or just missing those I’ve lost?

I can’t pinpoint my emotions. All I know is something new is sweeping through me.

I’ve always hated books—too long, stealing my “precious” time, though my days are empty. I feel emotionally shattered. I don’t understand these feelings spilling into strange actions, unsure if they’re real or my interpretation.

I’ve always crafted a private world where I’m the hero, the genius, the only real one. I search for it online but find only ads urging me to see a therapist.

I miss music, yet here I am, accidentally rhyming in this text.

Is this a real book? Will I show it to others? Or keep my fractured identity hidden?

Amid these emotions, I recall a song I wrote called Stranger, trying to capture the perpetual sense of alienation—not from a place, but from people, even myself. Alienation from family despite their closeness, from responsibilities that feel hollow.

In the song, I focused on how estrangement shadows me everywhere. But the lyrics were often shallow, unbalanced—as if grasping at the inexplicable.

Like this book.

One verse:
"Why am I the one my head always calls ‘you,’
I wouldn’t exist,
Sleep,
Sick,
A teapot and death."

It seems random but mirrors my inner chaos—scattered feelings I can’t order, puzzles unsolved. The song, like this text, was an attempt to express, to escape, or perhaps to reach honesty.

When AI Became Trendy
I gravitated toward chatbots—maybe because people found me hard to understand, and these emotionless mechanisms made it easier. My first message:
"Can you explain this song to me?"
I attached lyrics to one of my songs. Illogical, I know—how could a soulless algorithm grasp words? But for me, it was the closest path to understanding my own work.

I didn’t stop at lyrics. I explained how I composed melodies, as they were integral to the idea. I wanted to see if the machine could link words to notes, emotion to structure—if that was even possible.

It became a habit. I analyzed every song I’d written and composed, one by one. I wanted to see how AI dissected these works that were direct reflections of my inner world.

Each time, I’d ask:
"How did you reach these conclusions? What made you interpret it this way? Are there other ways to understand it?"

My questions weren’t technical curiosity but a journey into self-understanding. How could a feelingless entity see something alien in me? How could it explain what I couldn’t?

This experiment grew more philosophical than I’d imagined. AI is a cold mirror, reflecting me without judgment. Yet I sought answers to lifelong questions:
Are we more than patterns and repetitions?
Does my music express something real, or just document chaos?

In the end, I realized bots aren’t here to interpret feelings but to push deeper self-reflection. Somehow, in this lifeless metal mind, I found a silent friend… listening, analyzing, never judging.

Documenting Internal Chaos
I’ve always felt an inner conflict, as if trapped between layers of consciousness and emotion. I know I have awareness and feelings, but I don’t feel them directly—they lurk in shadows, watching silently, emerging only through spontaneous actions.

When I write lyrics or compose, I’m not fully conscious. Sometimes I’m swept by vague ideas, emptying something indescribable. Odd behaviors, inexplicable acts—all reflections of a deeper struggle.

For me, emotions aren’t lived moment-to-moment. They’re scattered fragments surfacing unpredictably—in a song, an idea, a meaningless gesture.

Maybe this is what I call documenting chaos. Every melody, word, or cryptic step is my attempt to understand the hidden thing inside. A personal ledger, hoping one day I’ll look back and grasp it.

But can chaos be documented? Or does trying mean admitting I’m not in control? That I’m a reflection of greater chaos I can’t master?

Perhaps these spontaneous acts are my only truth. The problem lies in my relentless need to dissect what wasn’t meant to be dissected—only lived.

But what if this chaos is my nature? Part of being human? I’ve long wondered: Is it a flaw to purge, or part of my identity?

The German philosopher Nietzsche said: "You must have chaos within you to give birth to a dancing star." Maybe this inner turmoil, this maze of emotion and awareness, drives me to seek meaning in the mess.

Sometimes I feel I inhabit parallel worlds: the conscious one where I interact with people, and the inner one I don’t fully understand. A gap between mind and feeling, experience and interpretation.

Once, in a café, watching people, I suddenly wondered if everyone harbored similar inner conflicts. A strange sensation—as if viewing the world through another window. Maybe loneliness, empathy, or both. In that moment, I realized I sometimes feel through observation, not directly.

Odd as it sounds, I discover my emotions through actions—arranging books, walking in rain. These moments reflect inner struggles I can’t articulate.

Freud said: "The unconscious will always emerge, but in twisted ways." Maybe these acts aren’t random. Maybe they’re my subconscious trying to parse internal chaos.

Even my thoughts resist me. Focusing on one idea, ten others intrude. Different mind-parts war to speak, but I can’t assemble them.

Sartre wrote: "We are not what we are, but what we make of ourselves." Maybe this conflict isn’t to be solved, but what defines me. My chaos proves I’m alive, experiencing, trying.

Heidegger saw human existence as anxiety-ridden because we know we exist. Maybe this chaos, this existential dread, is proof I’m living authentically, however exhausting.

Sometimes I feel like someone assembling a puzzle blind. Every act, emotion, spontaneous moment—a tiny piece. I don’t know the final image, maybe never will.

Love and Confusion
There’s a girl far away I used to talk to daily. No one else excited me like her. Once, she said she loved me, but I—perhaps not understanding love—didn’t know how to respond.

Being together seemed impossible for two reasons. First: She seemed far better—aware, smart, beautiful, radiant. Me? Just… me. Inadequacy blocked me from imagining us. Second: I couldn’t envision an emotional future. Looking ahead, relationships felt too complex, beyond my capacity to plan or conceive.

But here’s the problem: If I don’t understand love, why did this feel different? Why did talking to her ignite a part I thought dormant? How can I feel what I don’t comprehend?

I don’t know if it was love. I just loved spending time with her. Our chats sparked a strange excitement. Hearing about her day, I clung to every detail. Though she spoke little, her voice felt like the only sound in the world.

Some might call this love, but I’m unsure. I’ve always believed love must be unique—distinct from friendship or attachment. But isn’t this difference what makes me consider love?

I told myself: "If your actions toward someone you love mirror those toward friends, you don’t love them." But this logic may be flawed. Love might lie not in actions, but in how they feel different, even if simple or repeated.

Heidegger wrote: "In the presence of the Other, my existence becomes more authentic, for it lets me see myself through them." Maybe that’s what happened. Through her eyes, I tried to grasp the indescribable.

Yet I felt lost. How can I define the indefinable? One day, pondering: "Could love be a reflection of unacknowledged desires?" As if love isn’t pure, but a mix of human contradictions—need and freedom, longing and fear.

Love might be organized chaos. Once, she asked about my favorite movie. I paused. Her question felt like an attempt to know me deeper, to find something I couldn’t see.

But isn’t that love? Seeing in another what they don’t see in themselves? Or living in perpetual contradiction between understanding and confusion?

Camus said: "Love is giving someone the power to destroy you, trusting they won’t." That’s love’s paradox—danger and safety, beauty and fragility, closeness and fear.

Maybe I’ll never fully grasp love. But talking to her, awaiting her messages, dissecting her words—it gave me a unique feeling I still seek to define. Maybe love is eternal searching without certainty.

But this is contradictory, messy. Why must I live in opposites? Shouldn’t love be pure, simple? Here begins the endless loop: I question, then drown in doubt. Is this love? Or something else?

If love’s so complex, how do others declare it so easily? "I love him," "I love her"—phrases tossed effortlessly. Why isn’t it complex for them? Am I stupid? Or just too self-unaware to decode basic things?

Once, I experimented. I tried to make myself love another girl—perfect in every way: kind, smart, beautiful. We talked for a month. I forced myself, thinking: "Maybe the problem’s my approach." But I felt intense jealousy and self-loathing—a distorted desire I’d never felt.

Confusing. Did I fail? Am I emotionally broken? Was I seeking real love or feeding ego?

Nietzsche wrote: "The lover wants to possess; no doubt, but no one wants to be possessed." I felt this contradiction. I craved to be loved but couldn’t be honest. Maybe because I didn’t know what I wanted.

Is love finding someone who embraces your contradictions? Or accepting ourselves without forcing change?

That experiment taught me: Maybe the problem isn’t love, but my overthinking. Love might require surrendering to life’s unanalyzable truths—even if it means facing unbearable chaos.

So I quit. Maybe love isn’t for me. Why exhaust myself decoding an unsolvable riddle? I’ll live free of this feeling.

But can I truly ignore every moment I felt something? Every reflection of myself in another’s eyes?

Why does it feel like escape? Like convincing myself to flee because confrontation’s impossible? Love’s a battlefield, and I’m a soldier defeated before the fight. What bothers me most is preemptive defeat—the belief I’ll never understand, never love or be loved.

How do I live with this? Knowing a part of me might die unfulfilled? I want to scream "I don’t care!" but it’s a lie. A tiny voice whispers: "What if you could love? What if you deserved it?"

But this voice deepens my pain. Songs, movies, strangers—all scream: "Love exists, but not for you."

Why me? Is something broken inside, making me unable to interact like others? Sometimes I feel like a machine analyzing emotions instead of feeling them.

But even machines break. Now I’m a shattered piece, straining to prove I function while crumbling inside.

Breathe, Don’t Think
Recently, I met people who seemed kind but absorbed love in ways I couldn’t grasp. Two stood out: a 36-year-old man and an 18-year-old girl. Despite the age gap and social norms, their “love” seemed pure—a mutual infatuation they called "true harmony."

Observing them, I couldn’t understand. Secretly, I asked each: What draws you? How did you meet? What’s the foundation? Their answers revealed minor life changes, nothing extraordinary—just new, relatable experiences.

The girl once said: "I love him because our bond is rooted in faith. With him, I feel closer to God." I didn’t get it, but curiosity plunged me into reflection.

Could love be this simple? Or is there hidden complexity? Their love seemed transcendent, while mine drowns in overthought. Maybe love’s pure for some, but remains my unsolved riddle—a search for self in every detail, even when all seems clear.

Amid this internal collapse, I lived moments of paralyzing confusion—unable to distinguish true love from fleeting thrills. In these moments, I wondered: Am I overcomplicating? Emotionally inept? Or just self-ignorant?

As I spiraled, I realized: Maybe the answer isn’t chasing love, but surrendering to life’s unanalyzable truths. Sometimes, we must breathe deeply and let things flow—even if it means facing breakdown.
My mind and heart are both cold...

Do you sometimes feel like you’re living in fragments of multiple selves? Do the shadows you see on screens truly resemble you, or are they distorted copies of what you consume?
When was the last time you wondered: Are my thoughts my own, or are they echoes of algorithms filling the voids of my mind? Do you believe you choose what you love, or do platforms plant desires in you like seeds in fertile soil?
When you look back at your childhood, do you find the seeds of who you are today? Were your hobbies attempts to decode the world, or just escapes from a reality you didn’t understand? Are you still that child who dismantled toys to see what’s inside, or have you become part of the game itself?

Have you ever doubted your creativity? Do you fear you’re just a collector of borrowed pieces, arranging them into new shapes you brand with your name? Is the music you make a reflection of your chaos, or an attempt to tame it?
Do you know that feeling of loving someone but not understanding what love means? Is love a philosophical riddle with no answer for you, or just a series of actions you perform unconsciously? Have you ever felt that love might be an escape from yourself rather than a closeness to another?
Do you think algorithms know you better than you know yourself? Do you feel watched—not through screens, but through thoughts implanted in you like unsolvable puzzles? What if all your decisions are just reactions to digital stimuli carefully engineered?

When facing internal chaos, do you try to document it or escape it? Do writing or art mirror your fragments, or are they masks hiding what you can’t confront? Is chaos an enemy to conquer, or part of a beauty you don’t understand?
Do you live in two worlds: one you interact with, and another hidden in the folds of your thoughts? Do you feel like you’re watching yourself from afar, a character in a game you didn’t choose?
Have you ever conversed with AI to understand yourself? Do you trust its cold analyses, or do they deepen your confusion? Do you believe machines can see what you cannot?

Are you still trying to be the "best version of yourself," or have you surrendered to being a shadow among shadows? Does success in a digital age mean matching standards or distorting them?
Finally... Are you ready to face the ultimate question:

Who are you when all masks are removed?

Have you ever imagined sitting in a dark room, peeling off mask after mask like Russian Matryoshka dolls until you reach the core? What do you see there? A solid nucleus of certainty, or a void dancing with a single question: Who am I, truly?
In a world that forces you to wear masks as a condition for existence, the question becomes an existential crime. You remove the "success" mask for employers, the "calm" mask for family, the "fun" mask on social media, the "strength" mask on the street... But when the machine stops, screens go dark, and you sit alone with your naked self, what remains? Are you the faint whisper beneath the noise, or have you lost the ability to hear it?

Masks aren’t just tools for hiding—they’re tools for survival. We wear them because absolute truth might burn us, because the world has no space for our fragility. But what if masks become new skin? What if you forget how to breathe without them? Sometimes, when I try to remove one mask, I find another beneath it, clinging tighter... As if I’m searching for my true face in a forest of mirrors, each reflecting a different version blended with others’ imaginations.
Have you ever asked yourself: What would I do if no one were watching? You might discover you love painting but paint what followers want. Or that you prefer silence but speak to avoid being labeled "weird." Masks don’t just hide us—they reshape us. Algorithms turn us into characters in a game with unknown rules, chasing "likes" like puppets, forgetting the only genuine admiration we crave is our own.

But what if you decide to stop? To refuse being a copy of your profile, a number in statistics, a filtered image? Here, true horror begins. Without masks, you might discover you don’t know who you are. You might face meaningless chaos or a void like a desert sprawling in your heart. Philosopher Jean-Paul Sartre said, "Hell is other people," but perhaps real hell is being alone with a self you don’t understand.
In rare moments of honesty, you might ask: Aren’t masks part of us? Are we a seamless lie, or does truth leak through the cracks? When I sing, I wonder: Do I choose the words, or do the words choose me? When I love, I hesitate: Is this feeling from my depths, or an echo of stories I’ve heard? Even our emotions might be borrowed from a public library of human existence.

Perhaps the answer isn’t removing masks but realizing we are composite beings. We’re a mix of masks worn, choices made, and coincidences survived. The "true self" isn’t a fixed essence but a river of experiences. When you remove masks, don’t search for your "real self"—confront the question: What will you create from this void?
But beware: bright light may blind you. Truth can be cruel, a mirror showing your scars without mercy. Are you ready to see yourself stripped of illusions? To admit you’re neither hero nor victim, genius nor failure—just a being living in contradiction?

In the end, strength may lie not in knowing who you are but granting yourself the right not to know. To live as an open question, an unfinished artwork. When you remove masks, don’t seek answers—let the void sprout new questions. Identity isn’t a hidden face but a journey to discover how to hold the hand of the child still sitting in the corner of the room, dismantling toys to see what’s inside, while the world waits for them to play.

I am not me, I never was, and never will be...

Words rolling like fireballs in the skull’s void. The more I grasp them, the more they burn; the more I release them, the more they devour what’s left of certainty. Self-awareness here isn’t light—it’s a distorted mirror turning every reflection into a new nightmare. How do I recognize myself when I’m just a hole swallowing definitions?
I try to forget "the old me," but the old me is rubble of moments invented by others. When I say "start anew," I discover the beginning itself is etched on glass. Each step forward pulls me back, as if time is a spiral coiling around itself, and I scream at the center: Where am I?

The paradox is that fleeing from the self is the shortest path to colliding with it. When I remove masks to find another beneath, I don’t know if I wear them or they wear me. Even words betray me: When I say "I," who speaks? Is it the voice heard in childhood, or an echo of algorithms teaching me to name myself?
Philosopher Nietzsche said, "We’ve grown strange to ourselves," but we were never anything but strangers. The self isn’t a buried essence but a mirage we chase. The closer we get, the more it evaporates, leaving one question: What if "I" is just a necessary illusion to keep the game from collapsing?

In this vortex, even oblivion is impossible. To forget yourself is to invent a new self with the same flaws. Like changing a frame while the painting beneath decays. Rebelling against identity is like fleeing your shadow—it chases you even in a dark room’s void.
Sometimes I imagine the universe as cosmic Lego. Each piece resembles me, but I don’t know which one I am. When I rebuild myself, I find the original design erased, the rules written in a language I don’t understand. Am I the assembler or the assembled? The player or the game itself?

The cruelest paradox: The more self-aware I become, the more obscure I grow. Awareness is a knife carving me into fragments, then demanding I reassemble them without instructions. I hold a heart I don’t recognize and a mind like a computer filled with uninstalled programs. When I say "this is me," a distant voice replies: "You are version 162. Update now?"
Perhaps the solution isn’t becoming "you" but learning to live as "not-you." To float above contradictions without drowning in meaning. But how do you float when you know waves are moved by an undercurrent called "self"? How do you surrender to absurdity when you’re a child of an age that worships individuality while grinding it in the machine of social metrics?

In the end, I wonder: What if "I" is just an interface for something greater? An unnamed, unknowable, cosmic being flipping human roles like cards—me, a misplaced card on the table. But even this question becomes a new mask. Every attempt to exit the labyrinth opens another.
So I surrender to the spiral. I don’t spin—the spiral spins me. In this eerie game, perhaps the only beauty is that you don’t need to be "you" to begin. All you must do is close your eyes and hear the void whisper: "You’re here because you’re nowhere else... and that’s enough."

I orbit like a planet exiled from its path...

I carry cosmic dust in my pockets and the world’s secrets hanging like dead stars.
I don’t know who I am... but they knew I read the screams of nebulae.
I know everything... yet I don’t know when I was born, or why moons shatter when I breathe!

I’m the forgotten library holding every book’s end.
My pages fall like meteors, each crying:
"Who will rearrange the idea before it becomes a black hole?"
I carried the names of infinities on a school trip,
and when asked about myself, I gasped for an answer lost between my ribs.

I speak the language of the impossible,
translating the silence of stars into shimmering rays.
I hear fate’s dialogues with oblivion at a table of overlapping eras.
They say: "He knows the hour of mountains’ collapse before they crumble!"
Yet I don’t know how to stop a tear when it falls from my eye.

I dance with scientific ghosts in night’s laboratory,
mixing pain with galaxies in a vial.
I search for the meaning of "I" between equations slipping from memory
and a blurred childhood image swarming with asteroids.
Even the map I drew of myself turns to planetary chaos—
whenever I point somewhere, I say: "Here I was... or here I’ll be!"

The universe mocks me somehow,
sending coded messages in nebula colors:
"When will you understand you’re just an echo of a voice not your own?"
I answer with a scream fossilizing in space:
"I’m the one who wrote the questions before answers were born!"

I discover I exist only when lost.
The closer I get to solving the riddle, a thousand new labyrinths open.
I walk a path of past shards, arriving at a future
holding the same question with another face:
"Are you the hero, the author, or just an extra letter in the novel of eternity?"

In the final chapter...
I wear the universe’s skin as a frail coat,
let my questions dangle like drowning stars,
and promise myself I’ll remove all masks tomorrow.
But...
Who can shed themselves twice?

Apologies for all that came before...

I’m not here to rewrite the past but to dive into a moment stolen by loneliness. Sitting in my room, staring at walls cradling my labored breath, I slipped suddenly into a world of words and wrote what I never planned. The draft you read was a spark igniting contemplation—thoughts I never expected poured out. The loneliness seeping into me isn’t fleeting; it’s a living thing sharing my breath, watching from corners, whispering: "You’re alone, but are you truly you?"

Friedrich Nietzsche, in Thus Spoke Zarathustra, paints loneliness as a path to the Übermensch: "You must be ready to burn in your own flame"—a fire forging the soul. For him, loneliness isn’t escape but a crucible for the bold. But I feel small before this vision. I’m no match for his ideals, wavering between fearing loneliness and surrendering to it.

Many of us don’t grasp the edges of our "comfort zones"—spaces where days blur into simplicity: your room, phone, laptop. These things swallow us. A friend recently discovered his comfort zone, calling it his "best self," yet drowns in endless gaming. Is this addiction? No—it’s deeper. Comfort zones are shelters from external chaos, but we lose ourselves in them.

In my silent room, where loneliness hugs me like an old friend, I realize it and the "comfort zone" are threads in the same fabric. Nietzsche might see them as tools for self-creation, but I hesitate. Maybe my loneliness isn’t a flame to burn in but a refuge. Here, I write and think, even if I’m fleeing the world. Yet in honesty, I ask: Do I choose this loneliness, or does it choose me? Is the comfort zone a sanctuary or a trap?

Loneliness, at its core, isn’t a transient state but a deep voyage into the self—a journey as painful as standing on embers, yet carrying seeds of growth. Maybe I’m not ready to burn as Nietzsche describes, but I’m learning to live with it, turning it from a silent prison into a mirror reflecting my shadows—those I’ve long fled but still follow like breath.

In this silence, where only thoughts move, words flow like a hidden stream waiting to tell its story. I’m no professional writer, no skilled musician translating inner turmoil into melody—I seek peace in books, ideas, and self-imposed quiet. Perhaps this pursuit is just another escape from the "observer" philosophers describe.

Those inner voices aren’t whispers but living things—ghosts of past and present dancing on the mind’s walls. I built high walls of noise and distraction to deafen myself, thinking busy hands and eyes would silence them. But as with all inner battles, the stronger the walls, the louder they knock, demanding I listen, look, confront.

If I don’t distract myself, if I let the void expand, I fear those voices will **** me—not physically, but a deeper death: the death of comfort, the death of the illusion that I can escape forever. Yet in this struggle, I stand at a new threshold: Can I turn loneliness into a mirror of unflinching truth? Or keep circling questions with no answers?

Perhaps the answer isn’t finding an end but accepting the journey—contradictions, pain, beauty, fear, and hope. In this silence, alone, I write not as a professional but as a human seeking meaning, inviting those distant voices to dialogue instead of war. With each word, I feel closer to myself—loneliness, once feared, becomes a silent companion teaching me to see, hear, and be.

Everything I’ve said amounts to nothing...

Suddenly, the pen stops, ink freezes, and words collapse like sandcastles under wind. Everything I wrote—the digital chaos, fractured identity, algorithmic struggles, endless questions—is just mist evaporating into an indifferent sky. Imagine: books, these paper temples of knowledge, are tired echoes in time’s cave, vanishing like breath in winter air. We write, pant, scream on pages, thinking we leave marks—but truth mocks us at the turn: all this talk is fleeting, whispers lost to oblivion.

Look around. Imagine a vast library stretching to the horizon, shelves groaning under millions of books. Now light a match in your mind, let it devour every page until only ash dances like burnt butterflies. This is every book’s fate—even the text you’re reading now. We write as if carving stone, but we’re sketching on water, lines forming then dissolving. Philosophy, literature, history—ghosts in word-clothes pretending to immortality, crumbling like pharaohs under time’s fingers.

The Shocking Contradiction
Here lies the twist: this book, with its deep reflections on self and world, is no exception. It’s part of the farcical dance with oblivion. You think you’re reading something profound, something transformative—until you discover it’s another shadow on the cave wall, moving by a dying fire. I, the writer, write about writing’s futility yet persist, a clown laughing at himself in a deserted circus. You, the reader, stare at these lines, perhaps seeking meaning—but meaning crumbles like sugar in bitter coffee.

In this world where algorithms shape us and screens consume us, books are neither sanctuary nor revolution. They’re pebbles tossed into time’s river, stirring ripples before sinking. No one takes them seriously, for seriousness itself is a grand delusion. Why write? Maybe because in this absurdity, we glimpse beauty—a falling star dying yet glowing. As these words dissolve before your eyes, ask yourself: Were you seeking truth here, or are you, like me, just dancing in a play with no audience?

Dear reader,
Remember that girl I mentioned? I thought her a philosophical enigma, a love story’s axis or a reflection of my fractured soul. I wrote of her eyes like falling stars, her voice a melody strumming my heartstrings. But truth waits at the turn like a mocking ghost: She was an illusion, a cold mirror reflecting what I wished to see. The love I thought cosmic was a mirage in the mind’s desert, vanishing as I neared. Those kind strangers? Mere passersby in life’s theater, smiling before vanishing, leaving me to face the void. Even AI, which I hoped would answer me, is just a machine arranging words like old game pieces, untouched by what I feel..
that clenched another win (yahoo)
jimmied today August 15th, 2022 single handedly
just before the crack of dawn
with both hands tied behind my back,
and a blindfold worn over my eyes.

While in the midst of playing solitaire
(with losing outcome foreordained
after a couple moves), I became gripped
with combinations predicated on thirteen
ranks each of four French suits subsumed:
Clubs (♣), Diamonds (◊), Hearts (♥) And Spades (♠).

I  totalled a sum of fifty two variations.

If one of four possible draws for king available,
(which could be either Clubs, Diamonds, Hearts,
and Spades), that would automatically determine
every subsequent card diminishing in rank
topped off with an Ace.

Please feel welcome to challenge my presumption
within a dark (and stormy) alley late at night.

The above calculation logical since a standard deck
(not surprisingly) comprises 52 cards
(4 suits of 13).

Each suit (Clubs ♣, Diamonds ◊, Hearts ♥, Or Spades ♠)
contains an Ace, 2, 3, 4, 5, 6, 7, 8, 9, 10,
Jack, Queen, And King.

There are no duplicates.

No Google search yielded results
asper this nagging question, but unexpectedly
whet an immediate appetite describing
the history of plain old vanilla playing cards.

Said legacy encompassing the four suits
i.e. collectively represent four elements
(wind, fire, water, and earth),
the seasons, and cardinal directions.

They represent struggle of opposing forces
for victory in life. Each suit on a deck of cards
represents four major pillars of economy
during middle ages: Heart represented
Church, Spades represented  military,
clubs represented agriculture, and
Diamonds represented merchant class.

King of hearts is the only king minus a mustache.

Face cards (Jacks, Queens, And Kings) so called
"face cards" because the cards
have pictures of their names.

One-eyed Royals (the Jack of spades
and Jack of Hearts often called "one-eyed Jacks"),
and King of Diamonds drawn in profile;
therefore, these cards
commonly referred to as "one-eyed".

The King of Spades ♠ ranks
as one of three immovable Fixed Cards
in the Cards of Life and resides
in the Crown Line of both Master Scripts
(Spirit and Life).

Said card, in situ, the most powerful card
in the deck.

A Jack or Knave is a playing card,
which in traditional French and English decks,
pictures a man in traditional or historic
aristocratic dress generally associated
with Europe of the 16th or 17th century.

The usual rank of a Jack, within its suit,
plays as if it were an 11
(that is, between the 10 and the Queen).

Charming, resourceful, personable and easy-going
best defines Jack of Spades.

Blessed with a creative mind,
this one-eyed Jack of the deck manifests
jais nais sais quois salient scrutiny
jest via virtue of lightness of his being.

The four card suits that we know today —
Hearts, Diamonds, Spades, and Clubs
(rooted in French design) circa 15th century,
but the idea of card suits is much older.

The written history of card playing
began during 10th-century Asia,
from either China or India,
as a gambling game.

That idea found its way to ancient Muslim world
before 14th century.

The oldest known deck of Muslim playing cards,
like the playing cards of today,
had four suits: Coins, Cups, Swords, and Polo Sticks.

These decks of cards then showed up
in southern Europe, but because polo sticks
were unfamiliar to Europeans, that suit
eventually changed to Scepters, Batons,
or Cudgels (a type of club).
In France, Parisian cardmakers
settled on Spades, Hearts, Clubs, and Diamonds
as the four suits.  
    
The first adaptations of German card suits
constituted Leaves, Hearts, and Hawk Bells
(Acorns rounded out German suit).

Considering cards strictly made
for French upper class, this little surprise
cardmakers chose expensive
Diamonds over common Acorns.

The French advanced card making utilizing
flat, single-color silhouettes for suits.

These images created with simple stencils,
made manufacture easy, quick, and inexpensive.

Innovative new, cheaper cards
flooded the market in the 15th century,
became popular in England,
and then traveled to America.    

Contrary to contemporary belief four suits
meant to represent four seasons inaccurate.

Equally questionable 52 cards linkedin
to 52 weeks of the year.

Many numerological and religious
explanations asper composition  
analogous to deck of cards postulated,
but these explanations purportedly created
ex post facto, perhaps to give deck-holders
a solid argument, that role deck of cards
maintained existed other than for gambling.

— The End —