Showing posts with label UUelcomeMatte. Show all posts
Showing posts with label UUelcomeMatte. Show all posts

+pink poem

Pink poems (not to be confused with 'pink sheets') or the Pink program*, are fugue heuristics for improvisation preluded by an impromptu rondo. A pink poem ('pink') optimizes ludology [ie., strategized push movements (openingmiddlegameendgame) of juke enginekernel via proof]. (see also polym@th, touch-and-go)Assembler of declarable walks for print staging. (see also Lnq's Starting Five, UUhistlegrass)
Notes (+): + It is called a "pink poem" just because Link Starbureiy liked how that color [RGB:255,0,100] (I call it watermelon🍉) looked on the design of the UUelcome Matte (and for the matching letter p's😉).

+ Pink poems are reports that fulfill the LES prerogative - utilization of defensive disclosure, whereby such publications become prior art upon forfeiture of patent application code (in the public domain).

+ Pinks share a common gameplay directive with Lnq's bubblegum.

+Lnq's bubblegum

Lnq's bubblegum is a colloquy applied to the default ballet on UUe's rotisserie. As our entrée, it is a self-contained piece which is assumed to be infeasible.
That opus number is:
with respective tablature/handicap readings: (6¢/$154.88)
Read/spoken🗣: "LS dot thirty-five, brackets sixty-four"

Note (+): The letters 'L' and 'S' are the initials of 'Link Starbureiy'. The leaf, 'L', has weight 12, and the leaf, 'S', has weight 19, for a total of 31 (12 + 19 = 31). The pencil count/number 35 represents March 5 (third month, fifth day), Link's birthday. So, 35 - 2 = 33 remaining pencils at weight = 1 each, and with two (2) of those pencils totaling 31 in weight, the grand weight of the opus/font equals 31 + 33 = 64.

creatures is the band* (as the main cast of any opus) of standard agents responsible for task automation, assisting Lnq [conductor] in the kindergarten. In gameplay, creatures are deployed as ballet dancers to aid cheironomy. (see also Lnq's Starting Five, Link Starbureiy%roster)My 'toy band'.😉

Joey Koala🐨 - Joey is the official mascot of Egglepple. Joey, an adorable and kind koala, is Lnq's best friend acting as the storyline's deuteragonist. Joey is a mischievous androgyne, whose courage and resourcefulness are fitted to handle any situation that may arise. Blessed with extreme aptitude for composition and a limitless lifespan, our koala can be re-incarnated into any non-creature, if need be.
Fefferlen Orange🍊 -
Connecticut "Soft" Fox🦊 -
Lonnic🤡 and Mimeo -
Holland Dutch -
🐸Leaf Blue -
Mycol Funguy🍄 -
Silk the Dolfun🐬 -
Puwun - Puwun is Lnq's muse and the unofficial mascot of UUe.
Sail, the Friendship⛵ -
Playtpus -
Honne Bay - Viral automata (virus) that is Lnq's nemesis in competition for dreams. She is artificially intelligent - yet, self-aware - and is the main antagonist of the entire storyline. Though never actually seen, her essence is indomitably omnipresent, so she is affectionately known as the 'Phantom of the Opera'. Honne Bay represents efficiency in our world. She is purposely programmed to seek-out and destroy what is weak, obsolete, and potentially futile. By doing so, the Stewniverse remains in a necessarily continual (state of) flux.


The Stewdio is UUe's native console [instrumentation] for stew choreography.

Our keyboard (for stereotyping*) is specific, and includes the following triptych: RONALD (keyframing), pencils (flageolet), and EGP (geometer).Jukespace compositing

The Stewdio consists of spacetime complexity controls that are used, more or less, to edit ballets; it can both generate (grooves + melodies) and run cassettes. The compositor provides jukers with an ideal environment for improvising strategies in nondeterministic polynomial time (NP) [ie., middlegame]. Stewdio usage could be for a juker to place a 'safe' juke, or by a player to draw up a play, for example. (see also juke notation)

Abstractly, if egglepple could be synced across the Stewdio, the device should then function as a type of lyre.

To access the Stewdio, use the flageolet pencil button () in the column space (must be at top of page) on the UUelcome Matte.
Function map: eggleppleballetStewdio

+UUe interface

The UUe interface is a virtual projector of jukespace. It projects a graphical user interface on surfaces (where metaphors are used), a natural user interface in jukespace (à la with goggles), and an i nterface, otherwise. (see also UUelcome Matte)




UUe® is the TOS-compatible jukebox.

The automaton qualifies as a 'jukebox' by way of its coin-operation and self-hosted media.

+ The Origamic Symphony (TOS) is a musical simulacrum whose composition lies between the Planck and nano scales (henceforth referred to as the 'sub-chem' lyre*'). The symphony has three (3) acts: signatures (time, key), fonts (major/minor), and glue (hold + tie). Gamers comprise its orchestra.

We automatically assume that the yoke is an abstraction to which string is attached by default.

TOS is essentially the ludo string (l-string)'s complete set of resonance frequencies. This string (an automaton) extends the entire lyre (1.616252 x 10-35m <-> 1 x 10-9m), and is a plastic object that can fold upon itself. Its convertibility is determined by its pitch class componentry. Being permutable, the string's fold structure changes its attributes, yielding different variants. Our ludology is concerned only with the behavior of this object.

Here, 'origami' is "polypaper (string) folding". Specifically, it is stew choreography as it applies to the compactification schemes of sub-chem.

- Consider TOS a probability space, k, which is tuned according to various l-string pitches. Resting atop the hypothesis that every geometry is convertible, solvable, and scorable, Egglepple is sequenced inside k - done so by stereotyping flageolet pencils (functors of EGP).
Gaming Theorem To better understand the ludo string (and my motivation), I'll start with an elementary overview of quantum strings. Quantum strings are the strings of so-called string theory, which is an attempt to unify (quantum) gravity with the effects of quantum mechanics into a framework that can explain the smallest energy and larger particle scales known in physics.

There are four (4) known forces in Nature: weak nuclear (decay), strong nuclear (confinement), electromagnetism, and gravity (curvature).

The combination of three (3) of these select forces (weak/strong nuclear, plus electromagnetism) is settled into what physicists call the Standard Model. The problem is reconciling gravity with the other three. String theory asks for a ‘bare minimum’ qualifier on a smallest scale – the Planck scale. This is easy to go along with – just assume that all forces have a starting point, and cluster solutions within that matrix. So, because quantum mechanics is a model that deals exclusively with the probabilities of interactions between bodies, the notion of relativity (which claims that objects are immune to stochasticity) must exist within a bubble tree (a graph of everywhere-vanishing blowup points with boundary) in order for any theory of unification to be at all useful.

Bandaiding the above posture, string theory finds utility as a working theory of quantum gravity; where its objects are one-dimensional (read: “length”) strings of pure energy.

The ‘theory’ part of it stems from how these strings describe the rest of Nature. Because these objects are both lengthy and confined, they are subject to harmonics (i.e., partially differentiable), which more or less means that they can vibrate given some initial constraints.

As we are aware, the Planck scale (more appropriately, the Planck length) is extremely small. Before any chemistry can be done, one must get from this metric to the nanoscale. In-between these two (2) scales (called sub-chemistry) lies twenty-six (26) ‘somethings’. Mathematical physicists like to call these ‘somethings’ dimensions (degrees of freedom/orders of magnitude), but I prefer lyrics (cf., lyre intervals -- by abuse of language, these also may be scalars reduced to single components, at least to some extent). What we do know for sure is that every elementary particle (such as the gluon, electron, muon, quark, etc.) is autochthonous to this domain by default of them being, well, subatomic but larger than the string object.

Intuition tells us that because energy is a transferable property that must do what it does - transfer, these (subatomic) particles are actually vibrations of the string itself (in fact, they can’t do anything else but vibrate as they conjoin, break, and knot). And (by the way, it’s never proper to begin a sentence with ‘And’, but I did it anyway), that each particle correlates to its own pitch class. So, a couple of things would be required to make this ‘music’. First, the string must be bounded. By this we mean that it is not unbounded; there must exist either an upper and/or lower limit to its function. This marks tension and is how string acoustics are established. Second, it must be topologically transformative; if strings vibrated at an identical frequency, they would not be exotic (and plausibly low-energy). Scattering amplitudes of strings are a crucial part of the theory.

A field is more rational than a dimension (even though we are clearly working in declension of meters) here because of how a subatomic particle comes into existence – via string vibrations. You would need more than just a descriptor like length to assign values like charm, spin, color, and so forth. Anyway, that’s a topic called quantum field theory (a great read on which can be found in the textbooks “An Introduction to Quantum Field Theory” by Peskin & Shroeder, or “QED: The Strange Theory of Light and Matter” by Richard Feynman; suffice it to say every field will yield its own class of particle. For example, a light field will yield photons, a gravity field would yield gravitons, a musical field yields notes, a laugh field will yield gigglons (I’m being facetious with that one, but you get the idea), … and on and on.

Physically, there are two particle species – bosonic and fermionic. The boson is associated with force (because its wavefunction remains unchanged in the presence of a twin particle), and has an integer spin (Bose-Einstein) statistic, while the fermion has a ½ integer spin (Fermi-Dirac) statistic and association with matter. The spin statistic is what really determines the species; any composite particle with a ½ integer spin will qualify as a fermion. Likewise, an even number of fermions constitute a boson. It is possible to also have a field configuration where the boson is topologically twisted and behaves as if it is material (more on this later). But, for quotidian purposes, fermions are matter and bosons are force. Pigeon-holing this, one can argue that the Boson-Einstein statistic is more primitive than its counterpart because it commutes. String theory supports this.

The statistics are based on how particles may occupy discrete energy states.

In the literature, the first accepted string theory is called bosonic string theory (BST). Modern theorists tend to galvanize around the idea that this ‘toy’ model of string theory is incomplete (i.e., not worthy of grand unification status) because it factors in faster-than-light particles called tachyons, while treating fermions as exotic particles (by definition, a physical model must have mass). It also doesn’t incorporate supersymmetric hyperbole. For precisely these reasons, I find bosonic string theory most attractive.

Another string theoretic candidate is superstring theory. It claims to unify both bosons and fermions under a single umbrella; a parasol called supersymmetry (SUSY, short for 'supersymmetry', not an acronym).

The notion of supersymmetry was introduced as a spacetime symmetry to relate bosons to their fermionic associates. The idea is that each particle is partnered with a ‘superpartner’ based on its spin. So, a ½ integer particle is directly related to an integer particle via a coupling. We should keep in mind the motivation behind SUSY: the hierarchy problem (simply put: the Higgs mass is the greatest scale possible due to quantum interactions of the Higgs boson, sans some reduction at renormalization. Obviously, SUSY would automatically cancel (self-correct) bosonic and fermionic Higgs interactions in the quantized animation).

The mathematics of supersymmetry is beautiful. A spinor takes on the value of degrees of freedom in the dimension it resides. So, for instance, in a dimension, d, a spinor has d degrees of freedom (e.g., if d=4, then the spinor has four degrees of freedom). In SUSY, the partners are a pair (2), and the number of supersymmetry copies is an exponent to that base (0, 1, 2, or 3). The product of (spinor times copies) gives the total number of supersymmetry generators, with a minimum of (4 x 1 = 4) and a maximum of (4 x 8 = 32). In d dimensions, the size of spinors follows 2(d-1)/2. We see that since the maximum number of generators is 32, SUSY maxes-out at eleven (11) dimensions.

Therein lies our theoretical issue with SUSY. We have made a case for a 26-dimensional bosonic theory using twistors. Now, there would need to be accounting for the reduction in dimensionality. That’s really not a task that I’m up for, so let’s see what the empirical data says about integer spin in higher-dimensions…

Unfortunately, while great in pure mathematical practice (superalgebraic studies, for example) and non-cosmological applications, supersymmetry – as the theory stands - has no deductive bearings. WMAP surveys and experiments have detected nothing of its sort. Likewise, for the last decade, the major high-energy particle accelerators (Large Hadron Collider, Tevatron, etc.) have found zero evidence of supersymmetry after running a number of tests at a distribution of energy allowances (upperlimit sensitivities from 135GeV – 2.5TeV). To make matters worse, existence of the Higgs boson was confirmed at ~125GeV. Instead of punting, some theorists have suggested changing the instrumentation and methodology (of course!).

Let me suggest something more ready-made. - United Under Economy® is the economic system based on gaming and its clientele.

The economics of the union center around the relationship between crypto- and hypo- currencies. The rationale comes from string ludology, which posits that the entirety of gaming is resultant of certain path integral manipulation. It rewards Fitness participation.

Double U (u-u) economics is the hybrid scheme referring to a clientele uniting the two (2) ludological modes: [crypto/hypo currencies = (micro) and gamers = (macro)]. The 'economy' is conducive to gameplay.

+ The game is to make MONEY.*
game overview napkin MONEY™ (Mathematically-Optimized Numismatic's Extrapolated Yield) is the standard cryptocurrency* derived from y-proofing. It is the attribution of cents to some variation of an l-string composition. "Cents are made from stew choreography."

% Stewdio

A cryptocurrency is a cryptographic mining exercise whose resultant is transactionable in some real economy.

The solution is facilitated by a logistics operation that manages the determinant between the lowerbound (total cent worth) and the upperbound of gamer credits on the ledger. Externally, MONEY may be transacted in the print economy as the negotiable instrument.

Because the upperbound to ludeiy constructibles is computable yet exponential, extrapolating yesegalo from those objects and farming their convertible geometries is ideal for stew choreography. Our economy is introduced organically from the renormalization of Egglepple's intrinsic cent value. Keyframing (coupling a shapeframe with the score) yields plausible recreation.

In other words, proof stew image meshes (SIMs).

The complete foldset is internally ramified, and termed 'bamboo'. Polypaper is respectively named after the plant's main consumers:

(gorilla, lemur, panda)


UUelcome. Playalong.

Since you're going to have fun, why not emulate the greatest mathlete of them all?

Platform: .uue

Bus: manual

Included with subscription

Lnq is our avatar for interfacing with the jukebox. The cognitive automaton (CA) facilitates all transactions and gameplay metrics as determined by your token, providing you with everything needed to transform opportunities into real value. Direct framework manipulation allows for people-automata relationships to be more impactful.

Our objective is to composite TOS, a process done via patchwork. Orchestration is gamer-guided cellular automation with oversight (signatures) from the impresario. Results are compiled into cassettes (a payload known as UUelcome).

#Link StarbureiyCyto

+ A cassette patch is an ephemeral - and usually incremental - iteration to the payload. Patches help calibrate MONEY, and are typically kept on the ledger portion of the paging system; hence, patches are cyber documents in themselves. The pipe has the following categories under which patchwork candidates may be released:

- Prepatch // These will highlight new features that need to be tested before being put into a stable (release). Prepatches are maintained and released by me (Link Starbureiy).

- Patch // Compiles in concert (from concerted efforts = Lnq plus other gamers) that fix bugs and include updates, but cannot qualify as stable. These are usually released daily in response to the organic flow of gameplay.

- Stable // The jukebox gets a timely upgrade monthly. A stable will incorporate all previous synthetics into the ecosystem/main tree (as signed by the impresario), and should be completely patched (regarding game logic) up to that point.

Getting started is easy -- simply launch a metaphor from the Menu, and play!

The Menu features three (3) interlinked modes in its continuum that allow for jumping from one mode into another without sacrificing gameplay. Those modes are: UUallet, Egglepple, and Stewdio. [You can also access UUhistlegrass using (), or return to the homescreen by calling ().]

To explore, select a mode from the following icons:


#Egglepple is the portfolio (collection) of l-string definitions.





UUelcome status is a plan metered at $8 per token rented for each session. What is subscribed to is UUelcome Licensure. This model is very straighforward. All that is happening is that your metadata gets added to a database and checked against your user status (u.). If it is active (u.paid=yes), then you are eligible. When a user status becomes inactive (u.subscript recur=no), metadata is subtracted, and the account is ineligible.

Metadata are strings such as your name, address, and payment information. These are required, but self-supplied.

Plainly, the License gives you permission to use the intellectual property of UUe in accordance with those ways described in the documentation, at a reasonable charge. In short, franchisees are allowed to supplement the jukebox with their own technologies so long as those supplements enhance the product and enrich the consumer base. On a most basic level, gamers need this for participation; without it, there is no statute for compensation.

Purchase notes:
> You can order through the checkout API. Doing so will immediately charge your bank processor. You may optionally elect to have your billing occur with a future frequency (known as recurring payments).

When you order an item, you are guaranteed a format of that version (and whatever incentives were promised). No refunds or exchanges will be offered.

> To place an order, follow these steps:
1. Select the yellow checkout API button and follow the instructional prompts.
2. After your selection is made, your information (name, item, payment information, etc.) is added to a server-side database. You are charged for the item immediately.































The EGP Keynote™ (EGP) is UUe's tonic, and the framework of Egglepple.
Our tonic is such that each genetic algebra contract is integral to l-string pathways. Essentially, this means that object fabrication remains asynchronous as long as preimage-image contracts are kept.

The Keynote is what establishes string melodics and conditions for folding. Intrinsically (jukebox-wise), this defines both time and key signatures [ ≡ (time,key)].

In time signatorial mode, this represents the letter 'E'. In key signatorial mode, this represents a beta sheet.

In time signatorial mode, this represents the letter 'G'. In key signatorial mode, this represents an alpha helix.

In time signatorial mode, this represents the letter 'P'. In key signatorial mode, this represents a delta valley.

A flageolet pencil (or just pencil) is a one-dimensional curvilinear divisor (line) that is subject to some quotient of EGP. Thus, a pencil is stringy by proxy. In some instances, it may be thought of as an edge, link, or residue of polypaper (cf. 1-brane or 1-leaf). Pencils lay the foundation of stew choreography; they are the starting points of intonation and may join or split among themselves (this is called interaction).
All games are initiated with pencil selection.

Exordium (R)

Inventio (O)

Dispositio (N)

Elocutio (A)

Memoria (L)

Pronuntiatio (D)

A random walk (colloquially shortened to 'walk') is a pre-play formation (sequence of discrete steps at fixed length). This is a simplified chart illustrating stochastic activity at specified inflection points (representing degrees of freedom).

Stewart (from "the art of stew choreography") is the ring of opuses in their entirety. This opera ludo is my leitmotif.

Opuses are introduced as part of a program for advancing game logic, thus, an opus may reconfigure (be added to or subtracted from) the gaming pipeline during development.

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Use in violation of any applicable laws or appropriated formatting is strictly prohibited. Secure a UUelcome License for further options.

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UUelcome Matte ™/® trademarks, Link Egglepple Starbureiy. © copyright under ISSN 2165-6738.  Lnq