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.
She closes the window. I wasn't paying attention anyway, I'm getting cold, and the birds are nowhere to be seen. I go inside.
way too random but already engaging. i want to explore it
but i respect your search
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yes
it exists in my head in some way that i'm trying to get out i lied on my story a little bit because i'm mostly feeling it and thinking about it. feeling something deeply doesn't necessitate any kind of deep relevance or whatever but the thinking is useful
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
Sun, 23 Nov 2025 10:37:17
"Anyway, you're you. I mean, look at you!" she says. "You could get with anyone, anyone in the street. Really."
I'm trying to picture the scene inside, like I was trying to picture the scene in the tree.
I wonder if she knew I was down there listening? I wonder if she would've said something more true, more personal, more raw, more heartfelt, more harsh, more seductive, more freeing, more exposing, more risky, more romantic, more rude, more honest, more anything, if there hadn't been an audience.
He went in there with a camera to film it before he moved out of the building. He didn't think anyone would believe the story if he didn't have proof.
nope. i only remember the leaves bristling behind the window during chemistry class
the only things i have read are just excerpts and 1 dialogue by plato fully and mcluhan's medium is the massage but it cannot be considered a book