a version of this existed for a few months last year but it was static. it was HTML with writing and pictures and videos and sounds. i had this feeling that the code should be as important as the content, that structurally each piece in relation to each other piece shouldn't change, that the mazelike quality should emerge from me intricately arranging paths through it. like classic hypertext

Sun, 02 Nov 2025 22:11:24

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what do you mean

Wed, 11 Nov 2025 21:12:41

FOUNDING DOCUMENT

so at the end

Rain, starting

but really the thing should be autonomous

i am quite confused, not quite getting the idea of it

we want to live the knowledge too live the content

Lift Analysis

"No, it'll get cold!"
"Put a tut ahh put a-"

in a post. I want to be remembered

but i respect your search

The studio designs some piece of media to perpetuate the marketable concept of Real London, while the real London is hollowed out by hollow bankers or whatever. Not pulling on that thread. But the yuppies don't mind because they're free to iterate on Real London without any competition from real London because it's too concerned with its slow eradication. And there's nice flats to live in now or whatever. The yuppies can begin to inhabit their Real London.

to work in time to get to the timeless, perfection thru chaos

but it is in my head and am i compelled to realise it, so it is my silmarillion, my tempelos

There is a pretty persistent ambient hate in England, a lot of people say vile shit about Muslims or immigrants or whatever, but in my experience most people aren't actual white supremacists. They have a black friend who they get a beer with. One of the good ones. Etc.

A roll of 50s is one of the items he dumps onto my table during the search. Of course it is. He asks if I'm a delivery boy or a setter or this or that diamond related job. I keep saying no, I'm enjoying hearing all of these new words. Eventually I tell him that I work in film, which is kind of true. He asks where I'm filming. I'm not filming. He tells me that I can't be that good at it then. He then tells me that he made a film once, in the 80s. It was called Pimlico Rats.

Her English is poor but she manages a brief introduction before getting to the point. She asks if she can touch his face. She's already reaching out and gesturing at it. Koreans are way too polite, he's just laughing awkwardly. I put my hand kind of between them and wave it to try and indicate no to her. I'm still in fucking mime mode. I say no, but it's not really to her, or to him, just no, in general. This is all too weird. Dejected, she departs with a comment about having never seen someone like him before.

As we're stood there I notice a middle-aged woman staring at us across the room. I'm trying to catch her gaze, but its kind of vacant. I guess she sees me looking and considers it to be an invitation. She floats over to us in this strange dazed way, and on the approach I realise she's staring at (through?) my Korean colleague / fresh meat. She's saying wow, wow, wow. She seems genuinely so delighted, so shocked, so elated.

Like the tide, it comes in and it washes over the beach. It's beautiful. But like the tide it goes out, sometimes it goes out further than it ever has, it recedes back across the beach and further out beyond the horizon. The bare seabed opens up in front of you and all you can do is look at it.

it holds me to something (you, now). I love editing!