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

I know that if I try to make this entry any more than it is I will ruin it.

feel you

i understand

i love it here

somewhere between instagram and chatgpt

i don't really want to be associated with that one for some reason

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i want to do that too

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

whats your name?

One of the birds shoots out of the tree.

yeah

i see a website though something that reconfigures or is mazelike

its good

fw

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

13, H, grate

god "possessing" artists "possessing" people

Rain, starting

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.

I imagine that some lab-grown 29-year-old from Woking with a mind honed to identify individuals who fit the profile of Real Londoner (as conceived of by 50 opinion-polled racist builders and their wives in the Midlands) picks a stubborn local who can still somehow afford to live here and passes him along to some creative studio.

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.

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.