that is unstable and lets me operate in that discovery mode that i can create within and also produce works from.

and the fake qualifier

It's

dusk

in a snowy forest and I'm playing with a fox.
It bites my wrist but there is only a dull ache.
I feel that it wants to say sorry but can't. I die.

brb i will read and reply sincerely

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

I'm trying to picture the scene inside, like I was trying to picture the scene in the tree.

The bird dives back into the tree. It shakes, some leaves fall.

Windrush Art Kid Oligarch

theres a kind of a cowardice to generative art that i want to avoid though. i want the kind of relationship to this thing that a game designer has to a game engine

13, H, grate

She says something that isn't really right but isn't really wrong. I'm not taking in their words any more, just their voices, trying to get a feel for whatever is going on between them. I'm imagining what it's like for them in this delicate situation, what I would say if it were me. She has that perfect upper-class accent, and she's using whatever upper-class tact that comes with it to navigate this. Style. They can't be together, but their voices are betraying them.

i got bored though because i knew all of the different arrangements of it. i probably needed to stick at it longer to get it dense enough to feel navigable in a way that was engaging to me

i know a little bit of lacan which probably influences me in a way i cant articulate


we want to live the knowledge too live the content

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

it is hopeful

i haven't read 100 book s so i'm probably not getting the depth of all of what you're saying

i hadn't considered this pedagogically or as a kind of personal knowledge management system (puke) at all but i suppose it is both of those things