Showing posts with label Parkinsons disease. Show all posts
Showing posts with label Parkinsons disease. Show all posts

Easter, an opera by Link Starbureiy

Easter

objective

radiotracing with ml


EXPLORE


use your phone to gather clues

then, enter VR and solve the mystery

subject

Parkinson's underlies the tragegy of our eponym's neurological disorders.

cinematic quotient

Jump to: narrative | libretto

'Joe vs. John'*

In its five-chord arc~, the mental illness of our sleuth, Pascha, pits him against his most formidable foe - himself.Easter arc: DDChordNChordOChordAChordH Tagline

eggs, storyline

Notes (+): +The idea here is that the detective's infliction with Parkinson's disease is a research clef.

+The dramaturgy of Easter has Pascha (Joseph/John) policing a synthetic storyline set in a hyper-modern world.


In bringing this gaiden to requiem (ie. concluding entire arc), I propose a few things, two (2) of which are: the exploration of a backstory for the sake of character study, and the introduction of substantive dramatic elementsLogic dictates that, if either of those things is missing from a closure🔒 piece like this, an opportunity to tie up loose ends in the narrative would have been forfeited.

His first name is simply 'Joseph' or 'John'. They are the same person but different people. The names come from traditional figures in the first and last books of the Holy Bible, Genesis (Joseph) and Revelation (John). The insertion of the word 'Pascha' was my doing, thus giving him a middle name (which can also be substituted for a generic surname, as would be the case here) that may have been absent in my invented canon. If at any point a family name is needed, let it be 'Noah'.* Linguistically, 'Pascha' is the Greek equivalent of/to 'Easter'. I also gave him a birthdate of April 10, 1955 (an Easter Sunday), under the sign of Aries (hence his characteristic impulsiveness[b1][b2][b3]). Now we have a point of reference as to why the opera is so titled.Specifically, the name 'Joseph Pascha' can be transliterated as 'John Noah'.

We offer some clues about Joseph's military career and delved into his personal relationships.

-- In Easter, Pascha was never a cop (ie. an officer on the force within a police department); he joined the U.S. Coast Guard immediately after high school graduation, and then was a self-employed private eye after his tenure. --

The drama delicately navigates around the detective's issues he has with both his wife (Palm who was an infidel and went on to leave him) and later daughter (Lily with whom he had a strained relationship).

When we first bud the romance via flashback, Palm is a thirty year-old single (unmarried with one child) lady being courted by an even (7 years) younger Pascha. As a couple, they are on the cusp of wedding, but Pascha needs more convincing, as he is very early into his career in a new city (Big Apple). She desires the commitment a traditional band💍 represents so that any of her future offspring won't be out-of-wedlock bastards, as to maintain her Ecclesia Catholica covenant. I think that the difference in age between the two forces her to pressure Pascha into doing something he is not wholeheartedly interested in at the moment, and this is a source of resentment on his part.


In the opera we have an overarching plot with a lot of smaller substories. And in those substories are front-facing characters with tie-ins to real-world happenings. Basically, what this amounts to is me trying to say that I couldn't tell the story of Easter without a ritornello.

ritornello

What may be confusing to some people is that the prelude, Die, Detective!™, is in itself a backstory, so to speak (sort of like a roman à clef), that sets up the remaining four (4) chords (you'll see). But, as it stands, this actual first chord features a number of times where the protagonist/antagonist must revisit his past in order (for the audience) to piece together present-day clues. Take, for instance, August 1978, where in Philadelphia we find a young Montana-grown Joseph, full of hope+aspirations, caught between his military friend's personal strife, and his own ambitions of perhaps someday becoming a renown comedian.

Note (+): The comedian angle for Pascha is reminiscent of me. Part of my own biography is that I was a touring stand-up comic during my teenage years. I retired from the craft February 14, 2009 (at the Missoula Public Library of all places), but I *think* I still have some funnies left. In the first chord, pretty much all of the jokes spoken are mine. I consider it a natural extension of the wisecracks made throughout the series. Also, Philadelphians (particularly folks from West Philly) have a special kind of humor that I'm excited to showcase here.🤪

black and white photo of the Uptown Theater


That Summer (Labor Day weekend), Philadelphia's famed Uptown Theater is closing its doors due to increasing blight in the north part of town*; the neighborhood is no longer as safe and vibrant as it was just a decade prior. The African-American community is still feeling the effects of the Civil Rights Movement, compounded with first Chief of Police and then-Mayor Frank Rizzo's antics and policies frozen in place during that decade. Turning inward, the Community becomes increasingly activist, self-destructive, and simulataneously self-expressive [in my opinion, some of the most beautiful music from that era came directly out of Philly]. In the middle of all this we have some blue-eyed soul, a young Pascha who is also struggling to find his place in the world as he chases his dreams, follows his heart, and succumbs to destiny. This part of the story (fictitiously what transpires in the aftermath of the Amateur Night held on Saturday August 5, 1978) is the most pivotal in telling because the events define who and what our eponym is (to become).The venue's closure🔒 part is factual, but the date(s) may not be accurate.

The significance of the Uptown Theater cannot be understated here (it was added to the National Registry of Historic Places in 1982). Factually, Georgie Woods ceased to produce shows in/by 1972, not 1978. I, of course, am using artistic license with many facets of this history - dates, names, etc.. I'll artifact some interesting tidbits of information about that period of time in Philadelphia's history in this footnote.

The venue is located at 2240 N. Broad Street, near the campus of Temple University. It was erected between 1927 - 1929. For many years afterward, as North Philadelphia became a bright spot and entertainment destination for fresh immigrants to the city, the middle and upperclass residents frequented the area (section of town) for its nightlife, which complemented the blue collar vibe of the neighborhood. In its heyday, Uptown Theater was a rival to the Apollo Theater in Harlem, NYC in terms of acts brought in, community tradition, and popularity.

In its later years, namely those from the 1960s and early 1970s, it was a hub for civil rights activism in the forms of spoken word and music, as the Black demographic was somewhat under siege from law and order. The area was riddled with high crime, causing the neighborhood to, well .. change. A lot of prominent and high-profile African-Americans from that era, such as Malcolm X and those from the NAACP, would visit (the area, radio stations, and the venue itself), thereby re-energizing the Community. Additionally, Woods would hold what he called 'freedom shows' to further make this point.

In Die, Detective!, we go as far back as June-July 1978, and explore the ongoings of MOVE (particularly the buildup to August 8, 1978). This is crucial as presented inside (metaphorically-speaking) the Uptown Theater.


Rock Hefner posesAgain, in bringing this flashback to life, there was a lot of second-hand study done during my research, but I had a few allies here. There are people still around who can vividly recall the days when acts such as The Supremes were booked to perform at the venue on the cheap (relatively speaking, $400 for a 10-day residency!!!🤯). Uptown Theater was also a staple on the so-called Chitlin' Circuit. Many of the acts (colored or otherwise) over a period of time were brought in courtesy of Georgie Woods, himself a voice (literally, he worked in radio🎙️📻) instrumental in getting other voices in the Community heard at a time when the work to do so was still greater than the payoff. As they say, old habits die hard. In Die, Detective!, Woods is portrayed (an indirect representation) by native Philadelphia personality, Rock Hefner, who - as Bobbe Penn (the name was his pick) - brings his own individuality to the role.

Note (+): At first, I had Bobbe Penn as part of a duo that was supposedly modeled after the music production team, Gamble & Huff, from that era. They were called 'GO' from 'Todd G' and 'Warren O'. There was a scheduling error with the would-be partner of one of the actors, so I went ahead with just making the producer solo. I then decided that music production (having to create 1970s-style R&B tunes) just for a solo act would be too costly, and wouldn't really add anything outside of a soundtrack.

Penn's story was always going to be attached to the Uptown Theater. After further review, the solo act became synonymous with the tellings of those years through the lens of Georgie Woods. Now with that character being a disc jockey, I have a perfect excuse to introduce one of my all-time favorite songs, 'Blame It On the Boogie', which was something I was going to do, anyway.😅

In real life, Rock Hefner has a fantastic sense of humor. Considering that this chord is ultra-serious in its content, having him onboard to convey this backstory is quite the treat in an otherwise pseudo-depressing piece.


I don't envision just collating subplot points retroactively. The events of Die, Detective! would hypothetically take place before and leading up to ChordH (it's weird, I know, but you'll love how I make it fit) -- this threnody (which spans Lent through the Octave of Easter) opens on Ash Wednesday and is set seven (7) weeks (approximately fifty days) prior to the Pentecost (or, in our case, chords N-H). From there, I have interwoven those minor elements into the major tapestry that is this opera.

The hardnose behavior and sardonic temperament of our maverick detective is risque, to say the least, and has been valued as an asset among fans.  He has been used to represent the everyman who perhaps could not say and do things that were otherwise unfashionable.  His exploits and adventures have touched on sensitive topics, such as homophobia, racism, xenophobia, and large-scale domestic terrorism.  The audience knows what they are getting with Pascha; it revels in vicariously helping him sort through the predicaments he faces with the expected outcome of disaster being averted because he just surmounted the odds.

... and that is where we find Pascha today, an elderly man with one (1) more trick up his sleeve on the brink of receiving his due pension, but genuinely unsure of whether the odds are still in his favor.  Losing his religion, his insecurities stem from years, .. decades of having rubbed people the wrong way in order to answer the calls of duty that may never add up to anything more than a thankless job. A miserable alcoholic, he drinks* away personal demons which are the result of posttraumatic stress disorder, thus becoming his own worst enemy in geriatric anger, and now, in an effort to salvage his sanity, is pitted against the most formidable foe - himself.His personal favorite is a brand of DIY rum called Brown Hue😉. (Drink responsibly.🥃)

"I'm back in Philly and on my worst behavior!" - Pascha


To put it bluntly, in addition to being a heavy chain smoker🚬, he is a bonafide flush (a true 'drunken sailor') and it shows. -- Don't get him wrong, his public demeanor is relatable when it has to be. -- Lack of self-discipline in regards to drinking and its damaging effects has ruined his relationship over the years with his children. Factor-in that his pride, has, in the past, refused to let him get the professional help he could so use, Pascha is not making long-term plans because he secretly and instinctively knows that the poison will consume and ultimately get the best of him in his already downward spiral. He is borderline suicidal at this point in time; some days he finds his lonesome actually trying to drink himself to death, perhaps as a coping mechanism for dealing with the onset of Parkinson's disease.

With extreme reticence, he's returned to Philadelphia (where he enrolled in the U.S. Coast Guard [@Penn's Landing] through 1978 before accepting an offer to become a private detective in the fictional place of Elsewhere*) from his extended sabbatical in the Rocky Mountains so that he can "rebuild some semblance of a social life". In truth, he's looking for redemption. We are to believe that the only thing keeping him 'going' is the practice of pseudo-parenting he gets by hosting his grandchildren while hoping for reconciliation with his estranged family, although he is enjoying his new toy jukebox😇.A stand-in for small town life.
Since becoming a sexagenarian, he's done plenty of self-examination, and has grown sick of the life that he has lived as an adult. After filing his resignation, he immediately moved back to his hometown of Butte, Montana for a refresher. This included setting up business continuity+safety protocols (ie. threat detection, penetration blocking, etc.) on a part-time basis for his old employer, Lindros (he was a laborer at the company as a teenager), on her phosphate mining camp in the area. While there (for roughly three years), his alcoholism grew stronger (he would blow his 'easy money' on the bottle), and he discovered that he no longer has any desire to protect anybody outside of his own interests; he wants little more than to free himself from the burden of representing the law. But, away or not, he calls Montana home🏠.

Back in Philadelphia -- other than the decent pay (saved up from the CGIS job, he hopes to use his earned pension ($$) to purchase a large huckleberry farm in Western Montana and plant a family business, but this may be a pipe dream, health diversion, or both), he despises everything that the security industry stands for, and is starting to side with those who have been historically oppressed in this country, especially at the hands of what his chosen profession represents. Self-inflicted incredulity has him feeling almost ashamed to have ever been involved in the capacity that he was. At this stage, he is an über-seasoned veteran at the end of his journey anxious to tip the fedora.

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The bit about him losing his religion is the crux of the first chord. Humans have extreme capacities for deluding themselves into believing or following some thing, or whatever thing brings them comfort. For many, organized religion can lead to many unanswered questions that lend themselves to faith by default. Pascha over the years has been tested in many different ways. Part of the reason he's still standing is because he just can't bring himself to die without first paying off his debts. Only he knows what those tallies are, but we find him here by rote thinking that because the likelihood of him ever being ordained a saint is extremely low - Simon Peter may never call his name, the least he can do to help himself and others is to spread the truth.

He was once anonymously forwarded some literature with a cover page that read quite simply: →→"JESUS IS SATAN"←←. In it was doctrine containing some hacked together biblical scholarship about how Jesus Christ explicitly called himself the 'Morning Star' in the last book (Revelation 22:16: 📯"I am the root and the Offspring of David, and the bright Morning Star."), a title usually attributed to the planet Venus and reserved for Lucifer himself. It then went on to make the argument that because God intentionally withheld knowledge from mankind, that He was unworthy of worship, and that Satan has always been known as the 'Great Deceiver'. Hence, the Bible is the Devil's work of deception starring himself as the savior (false prophet) who claims to be able to save others but could not muster up the power to do so for himself.

This was a quick read, but it's impact made an indelible impression on him. So much so that his substance abuse, which used to only affect his physicality, was beginning to noticeably interfere with his mental health. Now, all he can think about when it comes to his Catholicism is how much of a sham it is/was, and concludes that tribal instincts are what make people come+stay together, not imposed (upon) literary falsehoods. After reading this, he felt a strong sense of betrayal; as if his entire life had been a series of one big lie after another. He proceeded to start asking himself questions that had been bothering him for decades: Did Palm ever really love him? Who are his kids? Why does he feel so uncomfortable in his own skin?

Some might conjecture that he suffers from White guilt, but that isn't my aim with Pascha. It would be easy to deduce this because of the relationships he has formed throughout. Pointedly, his crime scene partner of old was a Black fellow. There was a pronounced buddy-cop vibe between his character and Alven (now his seasonal fishing buddy on the Clark Fork since the turn of the century) in his first big adventure. We also can't discount the driver, Smiley, who befriended during this time period. So, we can assume that the detective has at least a soft spot for working alongside Black people.

It would not be hard to fathom that a child born in the 1950s who grew up in the 1960s rural Northwest America, might have some inclination of curiosity towards colored people. Color television was just coming of age, and Black people were finding their way onto mainstream programming during the 1970s (eg. The Jacksons[i], The Jeffersons[ii], Flip Wilson[iii], Bill Cosby, etc.). It's not far-fetched to assume that a young impressionable mind might have been fascinated in some manner by the comedy stores of the people to whom he made an audience.

... one of the first people I befriended when I settled in Montana was a White gentleman whose name was actually John. He was a really cool guy, and probably the funniest person I've ever met (his humor was in that he was so unassuming). He and his folks were from Louisiana, and at that point in my life, I was coming off the tail-end of my scholarship into the histories of Black-White relations, so we bonded over trying to figure out each other's cultures. I distinctly remember him saying his sister "just wasn't a racist person". I think that statement resonated with me because even though it's rare, there are, in fact, some people in this world who simply do not care about or are unwilling to be bothered over other people's genetics. John's family being from the Deep South, and its reputation, made it amazing for me to hear that declaration. It's possible that, subconsciously, maybe I have taken some cues from John when writing Pascha.

narrative

Easter:Die, Detective! takes place in Philadelphia
In today's current social climate, pockets of once-latent animus are manifesting+spreading across the globe - be it from shifting politics, stances on immigration, bigotry, or what have you - engendering bunches of armchair heroes and keyboard⌨️ warriors; cowards in need of a figurehead they can galvanize behind until their version of order is restored or parturitated.

"All things being equal, I'd rather be in Philadelphia."* - John


The quote is adapted from W.C. Fields' epitaph, "I would rather be living in Philadelphia.". Unless things are under control, then things are out of control. What we have here is a major city (Philadelphia) on the brink of chaos. There has been yet another sensationalized incidence of fatal violence committed toward an unarmed and presumed innocent minority at the hands of law enforcement, this time, they belong to Pascha's own partner, Bunny. This miscarriage has put the whole town - already fragile from previous similar occurrences across the country - on-edge. Unfortunately for said law enforcement, the difference between other jurisdictions and the City of Brotherly Love is that she lives up to her reputation as being the most blue-collar, no-nonsense town in America, totally intolerant of brutality towards its citizens by those who have taken an oath to protect them. They have social media and a backlog of public case studies replete with examples of no justice being brought to officers in the courts of law. Now, where there was hope and maybe even expectation of a drawn out trial that could potentially result in an acquittal, certain neighborhoods - exhausted from fighting for very limited resources, have other plans for dealing with the perpetrators and the interrelated corrupt justice system.

Bunny is an ambitious petty officer (second class) who is fresh off of a murder case she just helped solve.
Harkening backwards somewhat to create a referential plot point, Bunny has just deciphered clue codes that allow the cold case of Felix to begin to thaw in the Auxiliary unit's ongoing three (3)-month investigation of his brutal murder (victim's head crushed, mutilated genitalia, beating, etc.). It turns out that the victim was dating the grandson of the DA. There are suspicions that Bunny had been involved in the crime from the start, and was protected by the District Attorney herself as a favor. Hence, we can see why she is rising in the ranks rather quickly.

I envision her in the mold of Mark Fuhrman, the notorious detective from the infamous O.J. Simpson murder case. -- a sleaze with a personal vendetta who was willing to plant and tamper with evidence that could have damaged an investigation -- she was also drawn from the Tulsa-based officer, Betty Shelby, who was arrested, tried, and ultimately not convicted of manslaughter after a federal review by the DoJ in her case for murdering Terence Crutcher🙏 (watch her run from the courthouse after the verdict). Tulsa has a history of profound acts of violence against Black civilians, dating at least back to the Black Wall Street massacre (1921). What struck my chord was the fact that Shelby and her partners (ground assist and helicopter pilot husband) had the cameras turned off leading up to the execution, and then the coroner compounded that by testifying that the victim (Crutcher) had narcotics in his system.

As an aside - a word about character development -- for a short while when I was a teenager, I had gotten to know a classmate of mine who was super-prejudice. I was more ignorant to and fascinated by that stuff back then to the extent that I am now, and she let me essentially document her (I had so many questions). It turned out that before she became a vitrioled person, she was romantically involved with a Black fellow (not me or anyone I knew) and their relationship went sour. She had a "redneck" (her words) boyfriend that "would spit on interracial couples" (he also "drove a big truck") and was really proud of that. My documentary of her stuck with me, and this is how I imagine someone like her could turn out to be. -- Except that this gal (Bunny) is on the clock (she has political bosses), and that makes her extremely dangerous.

Her characteristics also loosely implicate the psychology that a person secretly hates the people that they help / secretly loves the people that they oppress (both angles are valid). In the opera, Theo fits the complementary profile (Theo was a police academy graduate and actually recruited, but never accepted an offer); he and Bunny at some point were lovers.

"It's never enough to be one step ahead; you have to stay in-stride. Do the math. I'm the theta in the equation; they weren't expecting me." - Theo


There is a new assignment for the talented young officer who is being quickly promoted through the ranks of the Coast Guard Investigative Service (CGIS): a dragnet is on for Theo Darby, the mid-Atlantic's most dangerous gangster. Bringing him to justice could lead to great rewards and coveted recognition that comes along with it. With the assistance of her connections to the city government and dubious ties to the criminal underworld, this shouldn't be a problem, and wouldn't be if she can just do things her way. Having been recently partnered with retired lieutenant Pascha (who is supervising as part of his community service exit interview requirements so that he can expunge his prior dishonorable discharge and thereby receive his full pension and health benefits that include copay treatment💊 for his Parkinson's) for port security, Bunny surmises that the most opportune time to test the limits of her authority without askance will and has come while under the tutelage of one of the most controversial officers in this country's history. On a routine traffic stop, and doubtedly 'fearing for her life', she opens fire on a seatbelted father and his young daughter, killing them both⚱️. With no witnesses other than an unwitting Pascha, the precincts and city are left with the difficult task of explaining and defending this tragedy to the public. Questions arise: is there innocence in this case, and where to place the blame? -- and are answered quickly: blame is placed squarely on Pascha, framing him. Furthermore, because of what appears to be a curtailing of a kingpin's business dealings, a hit is put out on the detective's life, endangering him.

Leading up to Day 0, there was minor/low-activity from the kingpin. Beginning with Die, Detective!, Theo "Park" Darby is a major headache. His actual full name is 'Theophane Darby'. His chosen nickname, "Park" - which doubles as his street name (ie. those to whom he commands), comes from the fact that 'Darby' (or 'derby') means "deer park". 'Darby' is the name of towns in Pennsylvania and Montana (the opera bounces back-and-forth between the two states). He wields his authority with a 'roscoe', which is informal slang for a pistol gun.[d] In short, he uses "Theo" for his superiors, and "Park" for his inferiors.

For the past thirty-six months, Theo has been launching biological warfare against the regional police force, having already successfully annihilated upwards of ninety-seven percent (97%) - sans SWAT teams - of the personnel via weaponized airborne microbial cultures. His crew, "Golden Fleece", is armed with a large stash of phosphate binders that it has cleverly used to sicken said staffs with by disrupting the urinary tract with an over-abundance of calcium (stones), resulting in widespread kidney failure. Obviously, the depletion has left the Philadelphia Police Department in a state of crisis (crime has skyrocketed) and low morale. The frightened citizenry, having taken steps to arm itself, screams "endtimes". It is also a big reason that the City Council has pointed to the incompetence of the current mayor and is calling for his immediate removal+replacement (hence the special political election).

At the same time, Theo is also out to destroy all of his competitors and would-be competition. The gang has introduced a new kind of narcotic to the market. They are offering an extremely potent liquid drug that can be consumed orally (ie. swallowed). It is almost like a clear fruit or energy drink (very popular in the Allegheny-Delaware-Lehigh Valleys) that resembles water and may taste like fruit punch. Many of its ingredients have already been FDA-approved. For that reason alone, it is extraordinarily difficult for customs to detect, physicians to medicate, and for the law to criminalize. Theo and his band have been making money hand-over-fist selling the chemical for dirt cheap, but at the cost of population stability and inanition. One of the major side effects of the toxin is progressive neurological disorder and contamination, namely a defection of chromosome 4 (:a cause of Huntington's disease).

Fortunately for everybody else, him leaving forensic clues amateurishly around town magnetizes the masterful pastiche of our exceptional detective.


Pascha had little idea that his assigned mentee was a slimy, fledgling bigot, nor did he understand how deep corruption ran throughout the city's major players from top-to-bottom. Nonetheless, this episode has triggered an intense flashback to the MOVE standoff and shootout event that shaped him during his stint in 1978 as an ensign residing in Paschall, Philadelphia, and an unresolved issue involving him during that time period (he was a dishonorably discharged helicopter pilot in the U.S. Coast Guard before becoming a private eye). Now, with a special political election underway, the town's entrenched power elite are out to protect themselves from this rising menace (potential civil enmity) at considerable cost. Their tentacles run deep. Pascha's entire flotilla [spearheaded by Admiral Lent Goode] turns against him (forcing him into absolute fugitivity), leaving him embroiled in a search for the truth about his colleagues, the city, and own future.

"Ultimately, strength prevails. -- There is no balance of power. Equality is just a stranger's myth." - Ember

An old rivalry is rekindled as the mysterious Mr. Alphabet and his conglomerate, Nile LLC, steadily move into town from Portland, Oregon in search of a second headquarters. The local magnate, Maundy, feels that her business dealings may be threatened by the arrival of the new enterprise, and looks to act quickly. In opposition to her, the city's emerita district attorney, Ember Libitina, seeks to oblige the requests of Mr. Alphabet, which entails cleaning up the streets of crime, poverty, and foul activity. Maundy, who has puppeteered thugs and drug lords to do her bidding in the past, once again encounters her legal nemesis, except that this time - in the midst of an important political election - the stakes are much higher. Meanwhile, Theo is on the hunt for city personnel who could thwart him. The DA's office responds to the very serious potential challenges posed by the kingpin by placing Ember in the care of Pascha for the time being.

If there is such a person who would be the main character - in the sense of them driving the narrative - in the opera, it's Maundy Lindros. She comes from privilege, and that's not something that she sheds lightly. She is the head of a shipping (freight+cargo) company that operates out of the Eastern seaboard, and this is the largest source of her wealth.

"I'm a competitor. Winning adds value to Life. Losing is a choice, and a poor one. You deserve what you let happen to you." - Maundy

What was demanded was an instant declaration of character. When we meet Maundy in Die, Detective!, we immediately know who sets the tone. A Norfolk-born+raised aristocrat instilled with a sense of noblesse oblige (although you wouldn't at first guess this from her affection for cowgirl boots👢), she runs things without titles. Blind (born with optic nerve hypoplasia) - yet visionary - and mute, she's deignly mastered the secret to being in two (2) places at once - by having your DNA all over the place (and holograms). We're not afraid of her, we just would rather not deal with her if we don't have to.

Possessing a genius IQ, she has applied it masterfully to naval architecture. Her enterprise (to which she was a legatee), Lindros FlyerCast & Irons, Ltd., was instrumental in building and bringing the first fleet of slave ships to Rhode Island's wharves*, and today controls the regional (Philadelphia-Newport News) seaport for all maritime cargo. By proxy, her company is also the de facto operator of the Philadelphia Water Authority, holder of the Philadelphia Gas Company, and mutual owner of SPEC (Southeastern Pennsylvania Electric Company). She doesn't know it yet, but her heavy investment in Securitas AB is about to look more prudent (and dangerous at the same time), thanks to the hiring of Pinkerton consultant Gunyo Gruber. Like with any control freak, she's grounded in materialism, because to them, possessions are tangible realism. That's what's scary about her; she's bureaucratic, not political.I made that up, there's no real historical significance. Wink😉 to the Swedish surname.

Notes (+): +For reference, Maundy's full name is Maundy Lindros. The name comes from 'Maundy Thursday', retaining Easter nomenclature. -- Trivia: "Maun-" is derived from Old Norse; akin to Olde English "gemynd", meaning 'think' or 'intellect'. -- She has no siblings, never married, and is childless. We can conjecture that because her traditional parents may have been somewhat disappointed by having a physically disabled/handicapped kid, they decided to not bring any more children into this cruel world, and instead, dedicated all of their resources to her development, which may explain her heightened senses, genius, and work ethic. Her astrological sign is Pisces♓.

+The first ban on slavery anywhere in the American (New England) colonies was passed on May 18, 1652 in the territory of what is now Rhode Island. Since this is fiction, anyway, we may assume, for good measure, that the Lindros family - perhaps upon Quaker conversion after its Virginia settlement - may have had something to do with the passing of that code.


She really is untouchable. Throughout most of the opera, we rarely get to see her in the flesh; she uses holograms exclusively. A diabolical recluse who seldom docks for anyone, Maundy (in the vicinity of her bodyguard/captain, Lef'fut) resides on a cruising oceanliner🛥, the Isambard, that often floats somewhere nearby in the Atlantic Ocean, probably in a bay off the coast of New Jersey. -- Heck, I wrote her and I can't even pinpoint her location.🤷‍♂️ -- This is to give a sense of how little she thinks of both the limelight and people on land, along with the baggage each brings. Allergic to stress (her philosophy for living a long life), she takes great precautions to ensure her well-being.

On the business side, she runs Lindros using encrypted holograms with keyboard input. The corporate office occupies the top floor (penthouse) of Two Liberty Place, and is managed by her assistant, Lambsimon. It also operates mineral mining camps in Silver Bow County, Montana.

Lindros is the largest importer of phosphate from Morocco in the Americas. A subplot is that Philadelphia's Islamic demographic (spearheaded by its North African Muslim community) wants her company to pay retribution for unfair trade practices between the two countries, and a sizable number of Moroccan mobsters have sprouted inside the City and around the Delaware Valley for this very purpose. To protect her wharf from local mob threats, she employs the Camden-based kingpin, Theo.

"The only thing a person can genuinely make is a decision." - Maundy

Basically, the whole story centers around her, as told from interactions with our eponym. To some degree - and on a very high-level, the entire piece purveys the rivalry between Maundy and her adversary, Ember. For the better part of forty years, these two power brokers have formulated an ongoing mutual disdain for each other; engaging in a soft war of money versus clout. It has taken an outsider and an incredible event to align their singular objectives. The tricky part about this character is that she brings no intentional antagony to the narrative; (other than her younger self's direct involvement with Pascha's reformation, ie. Joseph becoming John) she is not the sworn enemy of our protagonist/antagonist. Yet, the ebb+flow of her executive decisions pretty much entangles everyone in her web.
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Mr. Alphabet (aka Canaan Dusk) is a younger, hungrier, wealthier (as the world's richest person), but more progressive tycoon, and he demands that the utility companies that Maundy owns be returned to the democratic jurisdiction in advance of his cheque-writing. This places major strain on Ms. Lindros, to the point that she is forced to improvise, which is akin to the awakening of a sleeping giant.

"... Their cheering's all artifice. The truth is, for my downfall, they've been waiting." - Maundy

In the political arena, Ember - now District Attorney Emerita - who has been pursuing legal avenues to incriminate Maundy for four decades (since Frank Rizzo's tenure), feels obligated to comply with Mr. Alphabet because everything that he promises aligns with her politics, and, as mayor (once oathed), she would have the means (she's always had the authority but not the opportunity) to finally prosecute+usurp her nemesis.

Now in her eighth decade of life, she sees this special election in which she is running as the culmination of all of her works and possibly her last chance at holding office. It's a credible longshot, but being the Mayor of Philadelphia would cap the efforts of a distinguished legal career and satisfy her public ambition. Ember seeks to re-assert the 'natural order of things' throughout and around the town. Her campaign is based on adjectives such as reform, gentrification, safety, and progress. She is definitely "in it to win it".

Make no mistake, neither of these women are angels. Each has an air of desperation to get the other 'out of the way'. Whereas, Lindros has the money to buy her power, Ember controls the rulebook (but not the impulse to abuse it). This may very well prove to be a situation where the pen and sword are fair in might.

"I've lived a long, normal life. Like you, I used to be overwhelmed with sadness when people died. Stay in law enforcement long enough, and we all come to the same satisfying conclusion: criminals make it easy to see that not everyone wants or deserves to live." - Ember Libitina


I actually couldn't tell this story without Ember. One, the incumbent mayor, Curran, needs a worthy challenger in the runoff election that's taking place, and two, in order to keep things from spiraling out-of-control, Maundy's overbearing authority has to be challenged by an adversary from the political sphere. It just does. This situation (the distribution of Mr. Alphabet's intra-city investment) lends itself perfectly to a winner-takes-all 'Battle for Philadelphia' that nobody can actually win. The ever-so-sharp Libitina shows us that people's migrant behavior is recycled from patterns of economic health [ie. roughly every two (2) decades or every other generation, the wealthier class relocates back into the city for jobs+employment before saving their money and moving to the suburbs]. This is an important note and plot point, as we see that residential stagnation is a detriment and impossibility where there exists youth.


Precautious, Maundy initiates the 'Ark Project' [NOAH]. Since 1978 when she strong-willed the then-city council to turn over the utilities into her private hands, she's made a vast fortune, acquired extraordinary influence, and become a menace to the jurisdiction, especially the District Attorney's office. Now things are coming full circle for her, but, she is composed, insightful, and equally as resourceful. We'll see how this plays out.

The five-fold arc of the opera begins with its first chord, Die, Detective!. The other four (4) chords, in order, are N, O, A, and H. Her being in shipbuilding and cargo freight invites you to assume that the remainder of the work has something to do with that element of religiosity. By ChordN (the start of Pentecost), her mettle is tested, and we'll see just what she is all about. She doesn't shy from her sentiment that Pascha went and started some shit and now she's got to finish it.


"Welcome back, John. They may not know who you are, but I do. Dates expire; you could only run for so long. ..I never forget a favor, especially one that's owed. It's time to collect." - Maundy


As a countermeasure to the volatile political atmosphere, Maundy employs a Levantine mercenary-turned-lawyer named Gunyo "Little Gun" Gruber to tend to her 'troubles'. Pascha's government operative son, Egg (Joey), seems overwhelmed by his new assignment, while his daughter, Lily (Stefania Lucia), is bothered by professional choices that compound her own personal struggles. Somewhere in West Philly, a neighborhood preacher feels vindicated by the city's self-inflicted wound.

There is an impending multi-year, very large monetary foreign investment🤑 that is due to the City of Philadelphia over the span of the next five years with the first installment due at the end of the upcoming first quarter (March 31, nearly coincidental with Easter holiday), and the investor(s) (an alias known as "Mr. Alphabet") is adamant about moving their people and business assets into a "cleaned-up" (faux key phrase: green thumb) town [Philadelphia is desirable because it geographically sits at a port between the world's political capital, Washington, D.C., and also its financial capital, New York City, which goes along with theirs and Maundy's trans-Atlantic freight plans (it's also where I was born😜)]. The sooner this can be done, the better. To them - in opposition to the incumbent administration - this means ridding (or at least substantially thinning) Philadelphia of its Black demographic, to which they attribute disproportionate crime statistics, over-reliance on government assistance, non-shrinking poverty, and hastened artificial decay ...just a drain on society. While this may or may not be correct, these transactions have been under the watchful eye of a few influential persons who support the 'live and let live' philosophy; especially a 'citizens-first over foreigners' mentality. Ironically, all of this is being sold to the public in the name of 'diversity'[i]. That in itself causes a rift amongst the city council [board members], and ethnic crime bosses - themselves promised favors - pounce to capitalize on the discord.


None of this sits well with Pascha, who, in tandem with a slough of other personal dealings, is finding it surprisingly difficult to cope with being the witness to this murder. Blackmailed, he is given a tough choice by the higher-ups: cooperate with authorities and help them push-through these very lucrative contracts in return for the assurance of a peaceful and rewarding retirement (which is active), or die under not-so-mysterious circumstances. Not that he would mind, to be honest - considering his current bill of health, but there's no honor in that.

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Attribution: in the sense of it encompassing a 1970s procedural, this brand of 'go looking for trouble and you will find it' corruption is a slight nod to the Philly-styled dramatic narratives presented in the Badge of Honor novels by W.E.B. Griffin. --- At the time of all these wicked police shootings between 2012-2016, my cousin wanted to join the PPD. He's got a good heart but poor eyesight (an automatic disqualifier). I personally thought he would make an outstanding officer (depending on where he was placed), so he and I would do separate case studies analyzing each nationally sensationalized homicide, wondering what would be different if any had occurred in the Delaware Valley (the Freddie Gray [Baltimore] and the Eric Garner [Staten Island] cases were close, but no cigar). Parts of our hypotheses came from watching the television show, Cold Case (which is set in Philadelphia), as well as familiarizing ourselves with Griffin's books.


Note (+): The Shootout of 1978 at Powelton Village house at 311 N 33rd Street in Philadelphia was factual. Putting Pascha in that time period is due to Fer (my character actor = me wanting to put myself in an opera, especially one that has Philadelphia ties) being conceived in June 1978 and thus would have been born in March 1979 (just like me🤪). I'm awesome!

Joe is depicted as being a military pilot, in this case, a helicopter Revenue Marine pilot. I characterized him being part of the United States Coast Guard (itself an intra-military maritime law enforcement agency) due to the fact that a patrolman of his caliber may have had 'search+rescue' instincts before working full-time as a sleuth.



Enter Fer.

In the wake of this, we have a disgruntled engineer, a civilian named Fergus, who, having been disillusioned with authority after his own recent encounter with the legal system moved him beyond reproach, devises a plan to carry-out what he sees is the only logical solution to stop and prevent any further foul play against his community - the extermination of all police officers, and the dismemberment of local officials (eg. those elected, ombuds, prosecutors, etc.) for whom they serve. To make matters worse, he is even willing and competent enough to take his cause further - orchestrate an all-out war against anybody who is in disagreement with his self-reliance/self-preservation, protectionist philosophy. Inevitably, random persons are made at fault and no one is a safe target, but by billing himself as the "crown of light", this 'manifestation of abuse' can rationalize being his own judge+jury (however sadistic) by using the survival of the fittest evolutionary tactic so that he can 'bring a new dawn'.

"The path to Heaven goes through Hell." - Fer

Before being sentenced to the penitentiary for a non-violent crime for which he was convicted, Fer was a civil engineer employed at the Philaldelphia Water Authority, which is a subsidiary of Lindros FlyerCast & Irons, Ltd.. He was working specifically under a federal grant (a weeks-long hackathon sponsored by the U.S. State Department) to build+research urban watersheds for a statewide 'green' ("healthy") initiative. His findings were that somebody was 'poisoning the well', so to speak; for decades there has been foreign particulates (neurological agents) deliberately placed into the drinking water of targeted African-American neighborhoods in Philadelphia and Bucks County. His investigation led him to discover that this had been done perhaps intentionally by an intra-organizational coalition.

When he went to report his findings to his superiors, his project was quickly shutdown and its spec dismantled. He was later timely laid-off, and then framed for three (3) counts of computer fraud and tampering with federal equipment. Each count held up to one year in jail. Because of the seriousness of his trespasses, he would have been sentenced to the facilities at State Correctional Institution - Phoenix, but since the cell blocks were already booked to capacity and the housing unit for non-violent offenders still under construction, the authorities decided to ship him interstate to Deer Lodge, Montana for his sentence.

Whatever happens, happens, and for a reason. That mode of thinking catapulted him into the depths of anguish and back again, taking him to the brink of death, where he began irreversible experiments of self-mutilation. These actions ended up costing him his arm in the process, which was later replaced with a bionic prosthetic.

While on the inside, with his freedoms gone, he did plenty of introspection. He may have tried to find religion to some degree, or at least what it means to be 'religious' in the midst of hell, by sampling the unit's library. But then decided that he's actually not a coward; that it's actually against his best interests to seek false protection from others who were legitimate criminals (you typically see hardcore thugs find a religion while in prison as a way to form a safety net).

With all of his learning and understanding, he found some things about the Holy Bible to be astonishingly peculiar to him. After reading the good book from cover-to-cover, he began to believe that he was blessed, not cursed. His psychosis became more potent over the course of his sentence, and had gotten to a point in schizophrenia where he totally converted to his own belief system.

And like all people on the journey seeking mental resolve, he found a distant source, and then nit-picked that source to get closer to it, selecting what sounded most interesting to him and in-line with his feelings. What he found came directly from three books in the Bible: Genesis, Deuteronomy, and Revelation (ie. the first, the fifth, and the last):
from Genesis 15:13, he learned that the People (Hebrews) were cursed by God: 📯"And he said unto Abram, Know of a surety that thy seed shall be sojourners in a land that is not theirs, and shall serve them; and they shall afflict them four hundred years;"
from Deuteronomy 28:15-68, but especially verse 68, he noted that They came over to the New World cast in irons on slave ships, are generally considered to be "of confused mind" (ie. lacking high intelligence), called bywords (eg. 'nigger'), etc.: 📯"And the Lord will bring you back in ships to Egypt, a journey that I promised that you should never make again; and there you shall offer yourselves for sale to your enemies as male and female slaves, but there will be no buyer."

From those two books alone, he accepted that the Bible speaks in code, and deduced that Black Americans are the true Hebrews.* He used Revelation to further make his case:
Revelation 3:7-13: 📯"To the angel of the church in Philadelphia write:
These are the words of him who is holy and true, who holds the key of David. What he opens no one can shut, and what he shuts no one can open. 8 I know your deeds. See, I have placed before you an open door that no one can shut. I know that you have little strength, yet you have kept my word and have not denied my name. 9 I will make those who are of the synagogue of Satan, who claim to be Jews though they are not, but are liars—I will make them come and fall down at your feet and acknowledge that I have loved you. 10 Since you have kept my command to endure patiently, I will also keep you from the hour of trial that is going to come on the whole world to test the inhabitants of the earth.
11 I am coming soon. Hold on to what you have, so that no one will take your crown. 12 The one who is victorious I will make a pillar in the temple of my God. Never again will they leave it. I will write on them the name of my God and the name of the city of my God, the new Jerusalem, which is coming down out of heaven from my God; and I will also write on them my new name. 13 Whoever has ears, let them hear what the Spirit says to the churches."
This would be a distinct group, separate from the Black Hebrew Israelites or Beta Israel.
Those Revelation chapter+verses convinced him of the City of Philadelphia (his hometown) (as) being the last remaining of the Seven Churches, and that the true Hebrews would come from her when called. Figuring that the first slaves were brought to American (Virginia) shores[a] in August 1619, that time is now (2019,2020), he thinks.

So, when we get introduced to Fer in the church scene alongside Dominique, we know that he's at the tail-end of his spiritual journey. From his personal failings, he has arrived at the inevitable delusion: that because the Negro (Hebrew) cannot thrive under oppression, it should not co-exist with its oppressor(s).* This is the thesis of H. Rap Brown's autobiography.
Back in Philly, he returns home to find his wife making drastic lifestyle changes, his young children having lost respect for him, and he himself an extremely bitter person. With little to lose, no time to waste, and realizing that he must act quickly if he is to self-fulfill a prophesy (of Armageddon and thus ending the curse), his plot for revenge begins. He goes on the hunt for Theo (it was the kingpin himself who helped frame him; giving the police the planted evidence that sent him away), Maundy (his former employer whom he holds responsible for oppressing his 'Hebrew' people), and every active law enforcer. Accomplishing this is no small feat, as he sees enemies in Black street thugs (à la Theo's comrades) as well as the corporations (viewing America itself as a corporation) -- all shareholders in corruption, and which are equally as guilty in oppressing Hebrews over time. Certain targets are harder to hit for reasons that are out of his area of expertise, but that's not going to stop him from trying.


"It's simple economics: you pay for everything you do and don't do. ... If they were already dealt with, then this wouldn't keep happening. -- No regressions. Life is Death's clock. I died a long time ago; today, I'm a soul collector." - Fer


I wrote Fer to be perhaps the nastiest, most vicious antihero ever. Even though the character is definitely bad news, I refuse to label him outright villainous because he is reactionary; had the others not done what they did, there would be no cause for him to take action. He views himself in prophetic taste like Moses; wanting to manumit his followers from the stronghold of socio-economic oppression and is completely sold on the movement.

"... and where has being nice gotten us? Marching won't help. ..Perhaps I'm right. Maybe you secretly like being slaves. What is a slave without its master? I offer no mercy. The only way to fix this is to face your fears." - Fer


I decided to make him a Black male because, since he bears sole responsibility for instigating the war on 'Good Friday' (ironically, it's actually not the Good Friday, but an acute Friday during Lent), black matches the preferred color of the ecumenical liturgy. In creating him, I referenced source material from Hubert Brown's autobiography, experimenting with what the fervor from a die hard (pun intended) political activist could have been like in 1960s America. Also examined were some third-party peripheral studies of John Africa's MOVE ideologies ("The Guidelines"). In a different ilk, I borrowed some traits from characters in movies and television shows dealing with inner-city gangsters and the drug game (I especially was influenced here by Jamie Hector's characterization of Marlo Stanfield in The Wire and Curtis "50 Cent" Jackson's psychotic 'out-for-revenge' portrayal of Kanan Starks in seasons one and two of Power), Dumas' The Count of Monte Cristo (hence the oft-repeated "I have a Black friend, his name is George." line), elements of spaghetti westerns (particularly the 'lonesome dove' act of Clint Eastwood as Man with No Name in the "Dollars Trilogy"), along with the swagger of Roy Rogers, certain characteristics of Sam McCloud, Magneto's pragmatism, also the slaughterhaus of Nat Turner, and the rage of Jason Voorhees.
👁️


"Pallas: I thought you eliminated all of the cops?
Fer: I did ... well, accept for one.
Pallas: Who's left?
Fer: John."


Every so often a wildcard🃏 (in this case, Fer) is drawn that comes along and turns the game on its heels; completely changing the status quo, more often than not for the better/best. This is why it's so difficult to pin labels on these characters when you can clearly see from where they are coming, and to some degree, going. However, the mastermind behind all of the drama won't be revealed until the epilogue (per usual).

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To reiterate, it's impossible to point to a person and say "they are without blame" in this piece, for both sides have selfish interests. I'll toss my hubris into the hat here and say that the opera explores the facets of personality so well that it's futile to identify the concepts of 'good' or 'evil'; everybody is a spectrum of behaviors conducive to circumstance.

As we dig more into the detective's biography, we learn that perhaps because he's been working in a private capacity for most of his career that he's become used to having an air of privilege and faux immunity. Even though he may think that he is just in 'lending a helping hand', his inclination for careless destructive behavior (massive property damage, etc.) and homicidal tendencies show that he is really no better than the other side of the coin, figuratively speaking.

What we do get to see, though, are the real detective skills of Pascha. Dramatically, his character is fully developed here. There is clear and present danger that, for the most part, only he can address, and if he does his job, he ultimately resolves his issues. If he fails, then we are left to ask what constitutes a 'good guy' anyway(?), and moreso, are task forces really necessary in today's world where cognitive technologies are so prominent?

How to present our detective doing detective-like🕵️‍♂️ things was tricky to accomplish. On one hand, so-called crime dramas were the choice du jour at the tail-end of the film noir age, and that style is something I wanted to mimic in this picture (for purposes of temporal continuity). On the other hand, that style looked 'classic' precisely because it didn't emphasize technology, which is taboo here. So, the decision was made to just let Pascha be as comfortable as he wanted with his toys. Otherwise, you risk having him rely on Columbo-type detective work (where clues come out of nowhere), leaving the audience to do too much thinking on their own. The telepresence route is better because the audience gets to see exactly what he sees. Of course, it wouldn't matter if he didn't actually have a case to solve in the first place.😎


The real hero is actually the jukebox, UUe. As an appliance, it presents workable solutions to poverty problems that are so rampant and counterproductive. It also gives a roundabout answer to the awful political system that has hijacked the city government (which has been under a hostile takeover ever since foreign investors successfully bribed leadership).


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In Die, Detective!, Pascha faces easily his greatest test yet as he seems to be getting it from a myriad of angles; he is under siege from a number of threats: Fer, Theo+Bunny, Maundy+Ember (who embody the municipality's perfidy), his own family, past haunts, Gruber, the uphill battle against substance abuse, and, sadly, the debilitating effects of aging (specifically his deterioration from Parkinson's). I (and this may be just me) liken it to a Batman storyline where the so-called 'Caped Crusader' must square-off against foes from his rogues gallery in the same paneling. Something like Batman (also a vigilante detective) versus a concerted Joker, Penguin, Riddler, Catwoman, Bruce Wayne, and even Robin + Alfred all at once. This is serious.

On the flipside, Pascha gets extraordinary support that he so desperately needs from his old pal, Alven, and the assistance of his new favorite toy.

"This guy, Fer, is scary, John. You're going to need my help, even if you don't want it." - Alven


There is a slight chance that some people may make it through the opera and not know what's going on. For them, I want to state that the story (its arc) centers around re-birth or renaissance after dealing with the repercussions of careless vice. We must stay mindful that Pascha is both - at the same time - the protagonist and the antagonist (a duality). From the first chord, the detective is in a fight with himself ("Joseph" versus "John"). His challenge is to remove the mental and emotional shackles (ie. the evils of alcohol) that have been holding him back from being a healthy person since he was a young man. To accomplish this, he has to accept that his choices made him who he is - for better or worse - and then he can get off the road to perdition. As a hint, Fer and Pascha have a definite connection🔗. They both want the same thing for themselves, to remove the weak link that is keeping each of them from reaching their full potential.

This concept of 'J vs. J' (an internal struggle) is partly due to listening to Usher's song, Monstar, off of his Raymond vs. Raymond album (the dopest track on there, in my opinion👍🏿). Although his circumstances and reasons for creating that music are completely different from what I'm doing here, the germ is identical: each person is their own worst enemy; there's a monster in all of us that needs to be addressed and destroyed, if possible. Additionally, I've been rocking Lalah Hathaway's 'Separate Ways' since 1995 (I had visions of making something like this from back then), and that song and its lyrics (Keith Crouch produced a gem👌) kind of underline my thinking process.

🎼Lyrics of interest:
[Usher - Monstar] 🎵"She said she wanna bring out the beast / but she can't tame it ... I'm going to be your nightmare and worst dream all in one night / I'm back / celebrate life"

[Lalah Hathaway - Separate Ways] 🎵"Since the tables have turned and there's nothing more to say / should we go our separate ways and pretend it was not meant to be? / Should we seek our own endeavors / though it won't replace you and me?"

🎧/👁️



This is the "Battle for Philadelphia" (that's what I'm labeling it). Here we have a civil war in effect. Even though operatically it (urban guerrilla warfare) takes place over the span of a single Good Friday, the causes of it have been brewing for at least some years. All of these sensitivities are brought to the surface in this piece where over a million people (~2/3 of the current population of Philadelphia) perish, and the audience will have to choose a side.

Our detective's formative teenage years would have taken place during the 1960s, a time when the country was in a tumultuous period fraught with political assassinations, coping with extreme racial tension, at war overseas, and a number of other evils beyond the scope of this footnote. Die, Detective! is a loose continuation of that era (albeit brought into circa 2018-2020). It is with reservation that I offer admission of this story devolving into a civil war [I do not advocate hate or hate speech]. I had to write it so that such a conflict would be inevitable.

People have been harboring these sentiments for however long. Even if you think you're better than what meets the eye in Easter, this trigger will take you there, so to speak. I made sure that there was a lesson (to be) learned here, though, which is that poverty breeds crime, and crime unleashes ill-will, and that none of it is good. My ultimate hope is that we come to understand that these are problems that need technological and economic solutions; you can't exactly legislate your way out of stubborn social destructs. Mental health and physical wellness matters.⚕️


libretto

Content made publicly available as a prospectus to ad buyers.


walkthrough

My outline (eight-act structure*) for the first chord is as follows:
A prologue+epilogue, and a dyadic three-act structure preceded by the so-called Day 0 overture.
- Day 0

Easter's overture is told in a series of stories called mixtapes, which are form a non-linear chronology of separate non-principal (motion) pictures that comprise Day 0 of the opera's first act, and may or may not have anything to do with the definition in the popular sense of the word. Whereas the opera itself is recorded with a virtual camera system (vcs), the mixtapes have no such photographic requirement. With each mixtape, we are following a certain character in singular form, offering up small tidbits of information related to the overall story arc.


The following verse is the entirety of Ric Flair's scene (video) in Easter. It is spliced+stretched for the effect of extension. Since this exists in hyperreality, we can see that although he is 'acting', his character's storyline is, in fact, plausible.

Setting: we are in modern day. If you are familiar with the lore, John and Palm are divorced with two (2) adult children. From the outset, Pascha's wife was an infidel, and her behavior strained and eventually broke their marriage. We learn that his children are not fond of him. This scene offers hints as to why those subplots were able to evolve they way the they did.

In Die, Detective! (prelude), Palm is in her early seventies (70s), deathly sick, and bed-ridden in a hospital in Northern Virginia. She's long over her ex-husband, with a new companion by her side during these last days. This is her time where she decides to confess about whatever had been holding her back (from doing so) for the last forty years. My idea is to have the audience believe that one or both of the children were possibly not Pascha's offspring, and hence, they never were able to fully bond with him. It could be argued that the other party (mother) just stopped liking him at some point and turned the kids against him. Both options will be explored.

What we know here is that Palm is seven (7) years older than John, and that they met in 1978/1979 when she was thirty (30) and was twenty-three (23). The circumstances as to how and why they met is beyond the scope of this scene, but suffice it to say that she was an unwed Roman Catholic at that time, and there was probably a stigma attached to that. In this opera, she had just quit being the head nurse (1966 - 1977) in a Wilmington, North Carolina hospital before moving to the Big Apple in hopes of 'trying something new'.

It was in North Carolina during this period (1975 - 1976) where she helped a young Ric Flair recover from his airplane crash with lots of specialized physical therapy, and so forth. The amount of time they spent together over the course of those long months forged an intimacy that ultimately transformed into a non-sexual relationship. We can assume that Ric flirted with her a lot, but she kept her covenant. However, resisting the physicality of a budding superstar and all that it came with was a test she would later fail. They had an emotional affair. Keep in mind that this is before she met Pascha. After moving to NYC, she took a new job, met and married Pascha in 1980, and had her first child within the following two (2) years. Ric and Palm had stayed in-touch since 1976. The Noah's marriage was strained from the beginning, as John, a considerably younger man just beginning his career, didn't want to take on fatherhood, whereas Palm, in her thirties with a ticking biological clock, was forcing parenthood on him. By 1983, both Palm and Ric Flair had marriages that were in trouble, and consoled one another in their failings. Ric flew her out to the Starrcade (1983) in Greensboro, NC that year (under the guise of 'visiting family'), and they finally consummated the physical/sexual part of their relationship. [This is all made-up, by the way.] According to lore, she had her second child, a son named Egg in 1984. <-- This is where things get tricky. I wrote the opera with the understanding that as Egg questions his dad's paternity, it would be enough of a dynamic for him to challenge John's authority and come to despise his mother.

- Scene 1 -

Setup --
Fer(gus) has come to town for a quick sit down with Ric Flair. Fer is the piece's antihero, and this scene hypothetically takes place in mid-afternoon on a day of Easter Week. He is about to deliberately start a war between law enforcement and a specific populace in Philadelphia on Good Friday. One of his primary targets is Ensign John who is an unwilling pawn in his play. He wants information regarding John's past that he can use against him a case where he might need to prey on the pathos of the general public. Ric Flair has that bit of information. Fer is extremely computer savvy, fearless, and short on time. Not seeking an ally, it is fair for Ric Flair to assume that Fer is single-minded. Fer has accepted Ric's invitation to have him at the house for a drink and discussion. The two are sitting alone in lawn chairs on a porch/terrace separated only by a small coffee table as part of Ric's hospitality. They are relaxed, no frills.

Ric Flair: Hey, I see you. Come on over. Have a seat.
Fer: Thank you. (takes a seat opposite Ric) It's good to see you back on your feet. I won't keep you long. I just need what we talked about.
Ric Flair: (hands Fer a small memory device before grabbing a bottle) Can I pour you some?
Fer: Nah. I don't drink. (they do away with the niceties and get straight to the point. Fer gestures with his bionic hand and a large computer interface appears with camera footage of Holly in a hospital bed. Ric observes, sighs.) Ric Flair: How is she?
Fer: I have no idea, only data. This is dated footage. But, usually if they're in a hospital, it means that a person's not okay.
(Ric pauses, looks off) Ric Flair: She was so pretty when we met. .. this little feisty nurse, you should have seen her. I never did tell her this, but I stayed in rehab that extra month just because I wanted an excuse to have her soft hands on me. Italian women know how to do things, I swear.
Fer: I'll take your word for it. Did you love her?
Ric Flair: I've loved lots of women.
Fer: Well, love aside, Ric, I have a problem which means that you may have a problem.
Ric Flair: I don't have problems, buddy. At this stage, I just have the rest of my life to live. Other people have problems. What? .. did John find out?
Fer: I suppose he always suspected.
Ric Flair: Well, that's his problem! Just between me and you…, the second-best thing a man can do for himself is to be honest with himself. She told me all I needed to hear about him. I'm on her side.
(Fer scrolls through screens on the interface) Fer: Lily has a brother (named), Egg.
Ric Flair: (shuffling in discomfort) Yeah, well. .. these women. Once you hit a certain plateau, you sometimes do the wrong things for the right reasons, and the right things for the wrong ones. Starrcade was it's own thing. North Carolina's a blessing and a curse. I didn’t really know what was going on back then, man. 1983, ..I was juggling so much stuff. Traveling all the time.
Fer: Well, today, Pascha is a problem. He's the last one left. I'm going to kill him, but there's a right way to do things.
Ric Flair: So, you've met him?
Fer: Oh, yeah. He and I have what you call .. a 'connection'.
Ric Flair: Hrm. (liking what he's hearing, makes a final offer to Fer for a spirit) Sip?
Fer: (shakes head) No.
Ric Flair: I don't want to keep you. Let me read you what she wrote. (opens letter)

"Separate Ways"
August 15, 2017

Ric,
I got the horrible news that you were hospitalized after suffering a heart attack. Please know that you and your family have my deepest condolences.

It's been years since we’ve last spoken, and I hope you get this letter in time. If another pair of eyes reach these words before yours, then that's just something that will have to pass. We've lost touch, but not the feeling.

In the event that something happens to me, I just want you to know how much you mean to me. Whatever we had was God-given, I believe that now. The kids will never understand, and I don’t expect them to. As parents, we do our best to guide them in a direction away from our mistakes, but it's nothing but foul for a person to steer another away from love. My only hope is that the Lord can forgive us when we do stray and give into temptation.

If you didn't know, the doctors have given me twenty months to live, tops. I have cervical cancer and complications from Huntington's disease. I can't help but think that with us both being sick at the same time, it must be another sign of our bond. Maybe that's just wishful thinking on my part. I'm in a lot of pain right now, and writing this helps get a lot of baggage off my shoulders. Surely, you have some weight you've been carrying around, too? I don't know if you'll ever get this or not, but if you do, just know that it will have made me feel a little bit better. Here's a poem that pretty much sums up everything I've wanted to say:
Through love and fall / we had it all / something new everyday /
To kiss to tell / to wish each other well / was the name of our game /
But since the tables have turned, and there's nothing more to say /
Should we go our separate ways / and pretend it was not meant to be? /
Should we seek our own endeavors / though it won’t replace you and me? /
Easy come but never easy go, you're still on my mind /
Be it good or bad / you’re all I've ever had / Was it better with time?
Because loving you was the best thing to ever come my way /
Isn't love the key to everything?
This is so we must not know just what it means to really love.

I love you.
Palm


(closes letter)
Fer: You really are one kiss-stealin' dude, huh?
Ric Flair: I'm just lucky to be alive.
Fer: Thank you. I got all I needed to retrieve. (they shake hands and Fer begins to depart)
Ric Flair: Well, that's it?
Fer: Yes. Ric Flair: I'm guessing you won't have any more of this 'problem'?
Fer: No, we won't. (Flair remains seated, reflecting on what just occurred)

-- end scene --

Notes (+): +The poem is comprised of actual song lyrics from 'Seperate Ways' performed by Lalah Hathaway.

+Ric Flair is hired to relay/narrate the opera's overture. He will dish out eight (8) one-minute 'Easter eggs' that help explain (to those paying attention) why Pascha went off the deep end and became the officer he is/was. The answer is he became an alcoholic because of the poor life choices he made compounded with him supporting the stress of what came from loving a woman who probably never loved him back. Basically, we're just filming a short chat (scripted) over a brew that sets up an event within the story, while Mr. Flair reads a letter that's relevant to/in-tune with the canon. The eight-minute conversation gets split into eight one-minute long segments which are posted on-schedule through 2020.


----------

This following verse is one of a number of preliminary scenes for the character 'Socks'.

In the case of 'Socks', he is ultimately responsible for the murder of Felix Yota, a public accountant working for the City. That angle is critical as to why the District Attorney in the opera decides to campaign for public office in the manner that she does. The following mixtapes provide a first-look lede into said activity.

'Socks' is the streetname given to an understudy gangster serving in the illegitimate business of 'Theo/Park' throughout Philadelphia, Pennsylvania. He is a Black male in his mid-twenties in age. His chosen nickname comes from the irony that he (proudly) does not wear socks with his everyday attire.

These days, he has just gotten news from his girlfriend that they are to be expecting their second child, another daughter, in the coming months. Although he is usually a reliable companyman, he always resorts to / relies on his instinct and selfish ways in his business dealings, which makes him an untrustworthy person to a large degree.

He has been under the employ of Park for approximately two (2) years, and has risen to the rank of lieutenant within the kingpin's organization. Keeping in mind that he only got into the drug game to make money and not friends, he prioritizes his life in such a way that his lifestyle comes first, then family, and maybe other extracurriculars down the line. In that order. Now with an expanding family, Socks wants out of the game completely; his plan is to do a few more jobs, collect his money, gather his family and then vanish.

A careless individual, he makes his living being 'that guy' who gets the dirty stuff done. He is not a nice person, having probably murdered 12-15 people in cold blood since being employed by the organization. We're learning now that he is also a thief. If he is to be successful in executing his escape plan, he’ll have to control his impulses, and also watch is back.

- 🔓Scene 1 {Eden's Cobby} -

[characters: Socks, Foot Soldier, d0x]
-- Socks is alone, seated in a quiet place outside somewhere in the innercity. It is around mid-morning and he appears to be waiting for someone. It looks as if he is smoking a narcotic, but this could just as likely be tobacco cigarette. Someone approaches him from a short distance and they begin to converse. --

Foot Soldier: Uh.. Socks?
Socks: (looking up but not making direct eye contact) …Yeah.
Foot Soldier: I'm supposed to meet you -- (cut off)
Socks: -- What's your password?
Foot Soldier: 'zakee'.
Socks: Alright.
Foot Soldier: (reaches into his pocket and pulls out a bulky packaged envelope) Well, here it is. (he then starts to toss it before stepping closer to Socks and handing it to him instead) It's all there.
Socks: (nods)
Foot Soldier: I thought there were two (2) of you here?
Socks: That's right.
Foot Soldier: Where's the other -- (cut off)
Socks: The way this works is you deliver your bulk, and then pick up mine. (still puffing, he then points to a car at a distance) .. the black car over there.
Foot Soldier: Sario wants triple the manpower next time we have to make another move like this.
Socks: (making direct eye contact) I don't give a fuck about what Sario wants!
Foot Soldier: Tell that shit to Park.
Socks: (chuckles)
Foot Soldier: Sario's concerned about Park's call to axe that family last week without notice.
Socks: It wasn't Park's call. He knew a little too much, .. our names, faces. (litters by flicking the butt of what he was puffing on)
Foot Soldier: Execution-style? Man, if that was you, somebody's got to let us know because Sario's the connect for that side of Olney.
Socks: Somebody did just let you know.
Foot Soldier: You work alone?
Socks: (pulls gun from under jacket and places it on bench next to him) Nope. Like I said, there are two of us.
Foot Soldier: Okay. (short pause) Looks like we're finished here. (begins to walk from where he came) Behind the back tire, right?
Socks: Yeah.

The Foot Soldier makes it to the car parked about seventy (70) yards away. Just as he searches for the suspected package in question, he is shot from behind. Minutes later, Socks makes a call to d0x, the organization’s technician and business intelligence, presumably to inform him of the ongoings. The actual meeting took place at 9:00am local time, but Socks told his superiors that it was scheduled for 9:30am.

Socks: (leaning on the side of his car after putting the wounded body of the Foot Soldier in the trunk) Hey, they never showed.
d0x: What?!
Socks: I've been here for like five (5) minutes. This was only supposed to be a one-minute deal. These people are making me nervous, man. I don't even know if we can trust this Mario motherfucker!
d0x: Hm. This is twice this month.
Socks: Did you give him the right place?
d0x: Yes! Coordinates back in Cobbs Creek, like we said.
Socks: Well, the motherfucker ain't here! This could be some sort of an ambush or something. I'm moving out.
d0x: Meet at the barbershop on 38th & Lansdowne.
Socks: Bet. I'm going to grab something to eat. I'll be there in twenty (20).
d0x: Make it ten (10).

Socks closes the call, opens his driver-side door, gets in the car, and drives off. We are to believe that he killed the Foot Soldier, placed his dead body in the trunk, and has stolen the loot.

- End Scene 1 {Eden's Cobby} -


- Act 1: The Four Horseman [prologue]
- Act 2: ballad for a thug
- Act 3: hallucinating from hallucinogens leads to hallucination [crescendo]
- Act 4: calvary of Hades or whatever you call it
- Act 5: Good Friday is very bad~ [denouement]This is where the opera derives its title. Alcohol is arguably the main character in this part, and it's the detective's abuse of it (his "elixir" as he calls it) that has to die in order for him to finally be able to accept his reality (one must and will kill the other). Easter🐰🐣 (a synonym of "Pascha", his middle name) represents the theme of a rebirth/renaissance (which is prevalent throughout the entire opera), so to speak. There is an incidental religious (Christianity) undertone here, considering that his name is Joseph/John, and these events happen near Easter (actually on Good Friday) in Philadelphia, but that's unintentional and certainly not stressed.
- Act 6: dirty shirt
- Act 7: the phoenix rises from its own ashes
- Act 8: Pillowsoft [epilogue]
--------
I also wrote a precap release in the form of a

📄Gazette

concise information (crumbs) for the press

freemium · opensource

/Factsheet
Title: Easter
Composer+Librettist+Conductor: lnq
© ISMN: 979-0-800136-00-9
Genre: Mystery
Studio: LES
Draft: August 3, 2017&
Release: April 1, 2018 - May 31, 2020
Platform: mixed reality (MR)
Hashtag: #Easteropera [log], #TeamEaster


/Overview
- Easter is an opera by Link Starbureiy. The exploitation of PD is its subject. It is composed in an arc of five chords, and aims to conjoin both ends [prelude-postlude].

/Blurb
Illness forces a sleuth to confront his past.

/Tagline
Joe versus John


/About
This is a community-based sci/tech product with cinematic properties. We are juking certain classes of macromolecules (proteins+RNA) for better models+investigation of their related pathologies. This requires large calculations of tensors. Our compute is distributed over a mobile network, allowing for user engagement in MR. +More

/Snippets
- Pascha (Joseph/John) returns home in this saga-concluding tragedy
- the tale resumes with Pascha (+all accustomed problems in tow) having moved from Elsewhere to Philadelphia, Pennsylvania [now volunteering (his mandate for a healthy pension and medical benefits) with the U.S. Coast Guard Auxiliary]
- Pascha is of advanced age, diseased (alcoholism, Parkinson's), and retired
- Pascha serves as a mentor to a trainee petty officer
- female coloratura (Maundy)
- the prelude, Die, Detective!, is approximately 720 minutes⏲️ long, setting up the pacing for the postlude (ie. → ChordsN-H)
- this is classified as a mystery (not as an 'action flick') that features a large-scale ethnic conflict stemming from modern-day issues (eg. oppressive police brutality, rise of ideological pluralities, etc.)
- after getting arrested, Pascha situationally finds himself as the last responder amidst chaos where he must use his considerable detective skills and military background to piece together clues in a game of survival
- Pascha re-teams with Alven (reprised deuteragonist) for stretches
- the overall story jumps back-and-forth between Philadelphia and Silver Bow County, Montana, giving the opera a somewhat country-western vibe to it
- 1 million [106] casualties⚰️ as a result of the civil war, including major franchise characters
- some guy named Gruber
- we get an in-depth look at the protagonist'/antagonist' backstory (especially military and early career+marriage tidbits) from stitching together flashbacks. >> In doing so, we learn how "Joe" became "John", and, thus, are left with a proffered ritornello
- a dark, layered, mature, incredibly deep, grounded, kinetic, and considerably realistic prose in the vein of hood culture told with urban spatial logic
- because of inherent scaling, the cinematic style is staged telepresently (first-person holography)


/Keywords
proteinopathy, opera, crowd computing, Easter, jukebox, mental health, hallucination, disease, substance abuse, versus, identity theft, déjà vu, death, disaster, war, Philadelphia, Montana, renaissance, mixed reality/hologram, MMO, maritime, mystery/whodunit, plot twist, split narrative

/Quotes
RESEARCH STATEMENT
[view Abstract]
"Parkinson's and by extension, Huntington's diseases, are major unresolved biochemistry problems. Wisdom points us in the direction of alpha synuclein+LRRK2+parkin+HTT, macromolecules that are abundant in the brain, and (to a lesser extent) other organs like the heart and muscle tissues. Posturing that the Pascha character would have sustained some serious physical injuries over the course of his storytelling, it is reasonable to hypothesize that the trauma he endured could manifest itself as one or both of those diseases, and this lends itself perfectly to research. More interestingly, α-synuclein and dopamines (which find their way into the .DD storyline via huckleberries) are at the crossroads of understanding this neuropathology. One of the foundation-driven studies by the MJFF seeks to model (and eventually solve) the protein and its pharmacology. From my point-of-view, this is a juking problem.😋" - Link Starbureiy

CONDUCTOR'S STATEMENT (a)
"I wanted to compose something that spoke or speaks to the social turmoil in the world of today, and at the same time provides a potential solution. Piggybacking on some of the most popular Americana provides just the experience for me to do that. The Joe/John character has its roots in major franchises, and has subsequently been portrayed by some of the most iconic film actors of all-time. That said, they're more well-known than he is. The only way to know who he really is is to explore him. -- His journey deserves a proper destination. -- The challenge was to modernize a timeless relic. So, beginning with Die, Detective!, we've done just that." - Link Starbureiy
CONDUCTOR'S STATEMENT (b)
"We had to accept that moving on from Pascha's saga was an eventuality. His substance abuse, state of mind, and instability ultimately and inevitably forced the drama to naturally - organically even - transition around a different character, his son, Egg. There's smart continuity in the storytelling here, with so many invocations of real-world happenings, that it makes sense that a younger person - especially one who is a government liaison - would be energetic enough to tackle them head-on." - Link Starbureiy
CONDUCTOR'S STATEMENT (c)
"Operatically, the decision to stereoscope telepresently came about from the narrative's point-of-view (first-person camera) , where the majority of the events take place in Pascha's mind. The idea is to have the performer parallel someone whose psychosis exhibits hallucinatory symptoms of Parkinson's. Giving the audience a 'place' of their own within the set/scene design was something that I wanted to achieve since its conception. There are too many characters, subplots, and angles to simply focus on one perspective; the viewer should feel as if they're connected to different actors in realtime. This wasn't an innovation that could be accomplished with rhetoric alone, it had to be done with the camera+effects, which is the reason it was photographed on mobile." - Link Starbureiy
PRODUCER'S STATEMENT
"Easter was always going to be crowdfunded. Because we're ultimately making a public utility*, this project should be publicly produced (financed) and remain independent, wherever possible. It doesn't seem right to double-charge people; if they support the cause with a purchase or donation upfront, they should not get ticketed🎟️ for admission later. Plus, the technology trend these days is 'free and opensource' (as opposed to commercial), so there's a challenge to make high-quality stuff at low-cost. I realize that this magic could only be pulled-off with advertising revenue, and the trick is how to do it without sticky banners and other obtrusive gimmicks, which is why embedded ad rolls (ears) were invented.Prize rules established by the MJFF specifically state that the solution to a tracer, if found, be made broadly available to academic and industry researchers." - Link Starbureiy

/Announcements

curated articles written by me

- Glenn Close as 'Maundy' in Easter
- Reginald VelJohnson will reprise role of 'Al Powell' in Easter
- Ric Flair to be featured in Easter.Die, Detective!
- Dianne Wiest as 'Ember' in Easter
- Laura Stetman cast as 'Ethel Porst' in Easter
- Rauol Gore cast as 'Socks' in Easter.Die, Detective!
- Rock Hefner to portray 'Bobbe Penn' in Easter.Die, Detective!
- Brock Vickers as 'Gunyo Gruber' in Easter


/Third-party reporting

selected press releases from around the Internet

- Bruce Willis Says He's 'Very Happy About Story for Next 'Die Hard' Movie! [Entertainment Tonight]

👁️


- Carl Weathers - Stars Turning 70 in 2018 [Wonderwall.com]
- Ric Flair: Movie Star [Cageside Seats]
- WWE News: Ric Flair Lands Another Movie Role, The Rock Celebrates International Women’s Day[r] [411 Mania]
- Ric Flair Lands Another Movie Role, Why WWE Events In Canada Were Cancelled [eWrestling News]
- Ric Flair Booked to Star in Multiple Films [Pop Culture]
- Lesnar Attacks a Referee, News on Austin Aries at ROH, Ric Flair [AllWrestling]
- WWE Symphony Of Destruction Bonus Footage, Another Ric Flair Film, Killian Dain On The WWE NXT Title [Wrestling Inc]
- Latest Titles With Glenn Close [IMDb]
- WHERE IN THE WORLD IS DAVE BAUTISTA, FLAIR MOVIE ROLE, PATRON VS. SWAGGER IN CHICAGO AND MORE NEWS [PWInsider]
- Glenn Close opens up about her disturbing childhood and how it shaped her as a mom [AmoMama (August 16, 2018)]


/Trivia
- frequent nightmares may be induced by REM sleep behavior disorder (RBD), a condition that causes patients to physically act out their violent dreams. More than eighty percent (80%) of sufferers eventually (usually within a decade) develop some neurological pathology (eg. Parkinson's, dementia/Alzheimer's)
- Samuel L. Jackson, who played Zeus Carver, was an acquaintance of civil rights activist H. Rap Brown
- Glenn Close and Bruce Willis share a March 19th birthday, were neighbors in Bedford Hills, New York, have both owned separate properties in Montana, and each have a daughter (Annie Starke and Rumer Willis, respectively) the same age
- Joseph was given the middle name 'Pascha' by Starbureiy as part of the character's profile
- SPOILER: Sgt. Alven drops the bomb on Fer's bunker from a helicopter. In the actual 1985 event, Lt. Frank Powell of the Philadelphia Police Department was the one who dropped two (2) one pound bombs on the MOVE compound[i][ii]
- Carl Weathers (Dominique) and Bruce Willis (Pascha) both starred in action movies (Action Jackson, Die Hard) where they played a police lieutenant that same year (1988)
- Weathers and Close each guest-starred on the television drama, The Shield
- this project is, in part, underwritten with crowdfunding, in addition to being peer produced
- some of Fer's lines are rapped in argot as a tribute to the cognomen of 'H. Rap Brown'
- SPOILER: The song 'Blame It On The Boogie' (played in the Magh Slécht bar scene) was originally released on August 23, 1978, the same month as the MOVE incident
- Frank Sinatra and Bruce Willis can be seen briefly together in the film, The First Deadly Sin[u] (1980), which was Sinatra's last role, and Willis' first, a 'passing of the torch', if you will
- SPOILER: some of the action sequences take place in the Comcast Technology Center skyscraper, which, at the time of recording, was still under construction during its parent corporation's bidding war[i] with Disney for 21st Century Fox's assets. These scenes pay homage to the original 'Die Hard' movie, which was set around the fictional Nakatomi Plaza (the actual headquarters of Fox film studio lot)
- according to internal Google Analytics, the team from the production, McClane, steadily tracked progress of Die, Detective! since 2017, which resulted in, at some point, their hiring of new writers[i] and multiple drafts of their script[ii][iii]
- in actuality, huckleberries are an alpine nightshade despite being presented in the opera as a low-hanging/sea-level fruit
- real gangsters (past or present) were used for certain scenes
- Philadelphia is the birthplace of the United States Marine Corps
- hallucination is a symptom of Parkinson's disease
- Kathleen Quinlan (Palm) and Bruce Willis (Joe/John) co-starred in the 1988 mystery movie, Sunset[a], playing an on-screen couple
- at the time of this writing, Butte, Montana has the largest concentrated population of Irish-Americans per capita of any city in the United States
- the Stetson (cowboy hat Western Americana) was manufactured in Philadelphia
- the surname 'Lindros' (and the related business) pays tribute to hockey player Eric Lindros who captained the Philadelphia Flyers
- males are twice as likely than females to be affected by Parkinson's
- as of 2019, Philadelphia was the poorest big city in the United States[i]
- Dianne Wiest (Ember) was born on Easter Sunday, 1948
- the books from which Die, Detective! is drawn, The Detective (1966) and Die Nigger Die! (1969), were both on the roster of the Dial Press imprint
- the given name 'Fergus' (or 'Feargus'), derived from *wiros ("man") and *gustus ("vigor", "force"), means 'virility' in the Scottish Gaelic language
- Brown Hue rum is a fictional brand that I named after, you guessed it, Hubert Brown
- two-thirds of the People perishing is a nod to Zechariah 13:8-9 in the Holy Bible
- at roughly sixty (~60) hours in duration, Easter set the record for the longest opera
- SPOILER: Pallas mentions that he wants to design "something epic, like the work of Helmet Jahn". Helmut Jahn was the architect of the towers at Liberty Place (One+Two - where Lindros is headquartered)
- the first Africans brought as slaves to the United States [ie. English North America] came from Angola aboard the Dutch man-of-war ship, White Lion, landing on Old Point Comfort (Fort Monroe/Hampton Roads Harbor), Virginia August 1619[p]
- in the Deutsch language, "die detectiv" translates as "the detective" in English


Recognition
- International Opera Awards[i] 2018, 2019 nominee (Conductor, Company), Pulitzer Prize entrée (Drama), Peabody Award entrée (Interactive: digital/immersive)


/Friends
Insofar as there exists research cooperation+understanding between us, The Michael J. Fox Foundation for Parkinson's Research deserves mention here.


.DD hopes to bring widespread awareness on behalf of persons with mental health issues, whether they be suffering or coping. In helping us advocate this initiative (note that there is no formal affiliation/association), we would like to direct real-world inquiries to the npo of choice, Bring Change to Mind.


If you or someone you know can use professional treatment and rehabilitation services in their fight against substance abuse, don't hesitate to contact the Substance Abuse and Mental Health Services Administration (SAMSHA) within the United States Department of Health and Human Services (available to American citizens).


Electricity is provided by NorthWestern Energy. ← You could have guessed as much. But you should also know that the Company (in addition to the State of Montana as part of its renewable energy implementation, E+) is allowing for tax credits and rebates that leverage this project's power consumption.


/Selected imagery
{Right-click → Save}

(poster, 184 kb)


----------
/Flash
Officer Pascha may be terminally ill
A hero to many, Ensign Pascha is sadly now sick with Parkinson's disease.

For the past forty (40) or so years, Officer Pascha has put himself out there in the line of duty and saved many lives. Now he needs your help. We're not sure how much time he has left, but this doesn't look good.

On a positive note, an artificial intelligence is being developed to find a cure or therapies for Parkinson's and similar pathologies.

We'll keep all those who are afflicted in our prayers. #BlueLivesMatter #CheersToVeterans

We are happy to take you on a conclusive journey in bidding adieu to our favorite detective.  Here, you get a first-hand account of my thinking into the development of this masterpiece.  Performance-wise, I want Easter to be(come) one of the most highly acclaimed operas ever, that's what I'm going for. Enjoy.🤠
----------

/Legal stuff
Copyright = United States Library of Congress under ISMN: 979-0-800136-00-9
Tax ID = Link Egglepple Starbureiy [State of Pennsylvania, City of Philadelphia Department of Revenue]
Permits = on file with the Greater Film Office of Philadelphia (08/18 - )

On March 4, 2019 lnq says: Probably our main competition in the synucleinopathies space is a company in Europe called AC Immune. They've been working on their PET tracer for α-synuclein for years, and it's been twelve months since their announcement of a supposed human trial/study in the second-half of 2018 (any news there?). They use their proprietary 'platform', Morphomer™, to interact with misfolded proteins (technically, the PET tracer would bind to synuclein, which enables medical imaging devices to detect the radioactive labels -- or, as we say in this part of the world, "does what it's supposed to do"). MJFF is supporting the project, but the Foundation's prize is still live, so go figure.

Let me put it to you this way: anybody not applying machine learning to an unstable protein that claims to be able to biomark its radioisotopes in real-time either has nothing, is lying, or just doesn't understand the problem. Consider that a lemma, and here's the

Proof

outline

Michael J. Fox issued a challenge: image* α-synuclein.

The Foundation is sponsoring a prize for the development of a selective α-syn PET tracer.
My solution: (1) preimage the protein, (2a) construct a distributed supercomputer to (2b) juke the polymer, and (3) solve the structure with machine learning.

abstract

The aggregation mechanism of alpha-synuclein (aka SNCA gene encoding) is undetermined, as to be expected since the protein is intrinsically disordered (ie. chemically unstable). It has been suggested that this unstructured tetramer is a combination of alpha helix and beta sheet conformers in equilibrium. There exists lab-produced evidence that the protein interacts with both phospholipids and tubulin[j] within presynaptic terminals to form (characteristic) Lewy bodies, thus, it is a pathological component in multiple system atrophy (an umbrella term used here for would-be neurodegenerative diseases).

We wish to have a walkable model of synuclein. Current popular molecular dynamics programs on the market[a][b][c][d] are strictly brute-forcing chemical force fields, and not accounting for twistor spaces, thus missing a more potent subset of mathematics. Because medical resonance techniques (especially those in radiolabeling) require datasets of preimages, it only makes sense that a PET tracer (as requested) should be constructed from a camera utilizing pixel-level signal compression. For this (the signal sampling scheme), we'll use the Stewdio to hash EGP. Right now, the API is public and the math works, but it needs substantial computing power for realtime implementation.

The secret to curing any disease is with cell division. Think of it this way, if you wanted to teach a car how to drive itself, the instinct may be to program its 'eyes' (camera+radar) to adhere to maps. A smarter way is to just let the car follow patterns it has learned from other drivers. In other words, the best way to train the system to drive is to simply show it what driving actually looks like. That's how computers are trained; give them big data sets of what is correct and incorrect, and then write a classifier. Which is precisely what we are going to do here; take live strategies (an array of preimages, ie. divided quanta) derived from juker activity and apply them to known protein structures (in this case, SNCA, parkin, HTT, and LRRK2). Over time, we'll get tighter bounds on errors that will eventually only produce optimized images.

This is done using UUe.i, an artificially intelligent preimage-image compositor native to distributed computing (ie. distributed memory). The ai will do two (2) things here: (1) be a background embed that pulls+loads idle compute resources for processing, and (2) provide visual ventriloquy [+training] for image classification+mapping onto an actor [ie. string] in the capture pipeline. It is designed as a distributed framework that uses the processors from mobile devices (eg. phones, tablets, VR goggles, watches, etc.) to power the compute. Today's machines tend to be more game-centric, so the GPU is a premium, which is good since the ai will be performing specialized 3D renderings. It can augment opensource libraries (eg. OpenMM, +GROMACS, BOINC, TensorFlow) in addition to the Stewdio. In theory, this will be the largest and most powerful supercomputer ever constructed. Once ready, it will be freely available for uses similar to this one en perpetuity.

molecular dynamics insight

#ELLIS

Animation in twistor space is entirely based on walks and their statistical variance. Jukers are best-served with an exposition on probability theory since it is conducive to a strong opening (yesegalo construction).

Walks get interpolated into major scale construction.

game overview napkin ELLIS (from 'Erasure Loop Linear Instruction Set') is the cassette feed for Earl, performing loop-erasure (aka 'loop-erased random walks' or 'erasure loops'). ELLIS guides stew choreography. This is the Pink program's cantata.

In simplest terms, loop-erasure is a methodology for not repeating/replicating common walks; a most important checkpoint for obtaining a 0b. The sole purpose for loop-erasure is to supply comparative models which are to be deprecated, ensuring that stew choreography is as fast as possible. Needless to say, this frees-up compute cycles on the systole.


In any financial scenario, there needs to be in place an insurance mechanism to reduce risk. We achieve this with cassettes in/from the ELLIS cartridge. My vision for ELLIS revolves around the concept of loop-erased (random) walks. A walk is a playable formation (sequence of discrete steps at fixed length). This is a simplified chart illustrating stochastic activity at specified inflection points (representing measures). In all probability, walks are a distribution of their random variables transforming twistor space. Loop-erasure is the preferred method for culling pitch spikes. game overview napkin + Walks and their calculus are important stuff; they form the whole methodology behind gameplay. So, let's take a quick walkthrough (I'm being punny) for juker edification.

Statistically, most walks are random, so we'll start with those. Random walks are usually assumed to be Markov chains or Markov processes, but other, more complicated walks are also of interest. Some random walks are on graphs, others on the line, in the plane, in higher dimensions, or even curved surfaces, while some random walks are on groups. Random walks also vary with regard to the time parameter. Often, the walk is in discrete time, and indexed by the natural numbers. However, some walks take their steps at random times, and in that case, the position X_{t} is defined for the continuum of times. Specific cases or limits of random walks include the Lévy flight.

A popular random walk model is that of a random walk on a regular lattice, where at each step the location jumps to another site according to some probability distribution. In a simple random walk, the location can only jump to neighboring sites of the lattice, forming a lattice path. In simple symmetric random walk on a locally finite lattice, the probabilities of the location jumping to each one of its immediate neighbours are the same. The best studied example is of random walk on the d-dimensional integer lattice (sometimes called the hypercubic lattice).

A self-avoiding walk is a sequence of moves on a lattice (a lattice path) that does not visit the same point more than once. This is a special case of the graph theoretical notion of a path. A self-avoiding polygon is a closed self-avoiding walk on a lattice.
Markov, et cetera
+ Markov, etc.
Probability distribution
+ Probability distribution
A probability distribution assigns a probability to each measurable subset of the possible outcomes of a random experiment, survey, or procedure of statistical inference. Examples are found in experiments whose sample space is non-numerical, where the distribution would be a categorical distribution; experiments whose sample space is encoded by discrete random variables, where the distribution can be specified by a probability mass function; and experiments with sample spaces encoded by continuous random variables, where the distribution can be specified by a probability density function. More complex experiments, such as those involving stochastic processes defined in continuous time, may demand the use of more general probability measures.

A probability distribution can either be univariate or multivariate. A univariate distribution gives the probabilities of a single random variable taking on various alternative values; a multivariate distribution (a joint probability distribution) gives the probabilities of a random vector—a set of two or more random variables—taking on various combinations of values. Important and commonly encountered univariate probability distributions include the binomial distribution, the hypergeometric distribution, and the normal distribution. The multivariate normal distribution is a commonly encountered multivariate distribution.

To define probability distributions for the simplest cases, one needs to distinguish between discrete and continuous random variables. In the discrete case, one can easily assign a probability to each possible value: for example, when throwing a fair die, each of the six values 1 to 6 has the probability 1/6. In contrast, when a random variable takes values from a continuum then, typically, probabilities can be nonzero only if they refer to intervals: in quality control one might demand that the probability of a "500 g" package containing between 490 g and 510 g should be no less than 98%. The probability density function (pdf) of the normal distribution, also called Gaussian or "bell curve", the most important continuous random distribution. As notated on the figure, the probabilities of intervals of values correspond to the area under the curve.

If the random variable is real-valued (or more generally, if a total order is defined for its possible values), the cumulative distribution function (CDF) gives the probability that the random variable is no larger than a given value; in the real-valued case, the CDF is the integral of the probability density function (pdf) provided that this function exists.

(Cumulative distribution function)
Because a probability distribution Pr on the real line is determined by the probability of a scalar random variable X being in a half-open interval (-∞, x], the probability distribution is completely characterized by its cumulative distribution function:
F(x) = \Pr \left[ X \le x \right] \qquad \text{ for all } x \in \mathbb{R}.

(Discrete probability distribution)
A discrete probability distribution is a probability distribution characterized by a probability mass function. Thus, the distribution of a random variable X is discrete, and X is called a discrete random variable, if
\sum_u \Pr(X=u) = 1
as u runs through the set of all possible values of X. Hence, a random variable can assume only a finite or countably infinite number of values—the random variable is a discrete variable. For the number of potential values to be countably infinite, even though their probabilities sum to 1, the probabilities have to decline to zero fast enough. for example, if \Pr(X=n) = \tfrac{1}{2^n} for n = 1, 2, ..., we have the sum of probabilities 1/2 + 1/4 + 1/8 + ... = 1.

Well-known discrete probability distributions used in statistical modeling include the Poisson distribution, the Bernoulli distribution, the binomial distribution, the geometric distribution, and the negative binomial distribution. Additionally, the discrete uniform distribution is commonly used in computer programs that make equal-probability random selections between a number of choices.

(Continuous probability distribution)
A continuous probability distribution is a probability distribution that has a cumulative distribution function that is continuous. Most often they are generated by having a probability density function. Mathematicians call distributions with probability density functions absolutely continuous, since their cumulative distribution function is absolutely continuous with respect to the Lebesgue measure λ. If the distribution of X is continuous, then X is called a continuous random variable. There are many examples of continuous probability distributions: normal, uniform, chi-squared, and others.

Intuitively, a continuous random variable is the one which can take a continuous range of values—as opposed to a discrete distribution, where the set of possible values for the random variable is at most countable. While for a discrete distribution an event with probability zero is impossible (e.g., rolling 3 1 / 2 on a standard die is impossible, and has probability zero), this is not so in the case of a continuous random variable. For example, if one measures the width of an oak leaf, the result of 3½ cm is possible; however, it has probability zero because uncountably many other potential values exist even between 3 cm and 4 cm. Each of these individual outcomes has probability zero, yet the probability that the outcome will fall into the interval (3 cm, 4 cm) is nonzero. This apparent paradox is resolved by the fact that the probability that X attains some value within an infinite set, such as an interval, cannot be found by naively adding the probabilities for individual values. Formally, each value has an infinitesimally small probability, which statistically is equivalent to zero.

Formally, if X is a continuous random variable, then it has a probability density function ƒ(x), and therefore its probability of falling into a given interval, say [a, b] is given by the integral
\Pr[a\le X\le b] = \int_a^b f(x) \, dx
In particular, the probability for X to take any single value a (that is a ≤ X ≤ a) is zero, because an integral with coinciding upper and lower limits is always equal to zero.

The definition states that a continuous probability distribution must possess a density, or equivalently, its cumulative distribution function be absolutely continuous. This requirement is stronger than simple continuity of the cumulative distribution function, and there is a special class of distributions, singular distributions, which are neither continuous nor discrete nor a mixture of those. An example is given by the Cantor distribution. Such singular distributions however are never encountered in practice.

Note on terminology: some authors use the term "continuous distribution" to denote the distribution with continuous cumulative distribution function. Thus, their definition includes both the (absolutely) continuous and singular distributions.

By one convention, a probability distribution \,\mu is called continuous if its cumulative distribution function F(x)=\mu(-\infty,x] is continuous and, therefore, the probability measure of singletons \mu\{x\}\,=\,0 for all \,x.

Another convention reserves the term continuous probability distribution for absolutely continuous distributions. These distributions can be characterized by a probability density function: a non-negative Lebesgue integrable function \,f defined on the real numbers such that
F(x) = \mu(-\infty,x] = \int_{-\infty}^x f(t)\,dt.
Discrete distributions and some continuous distributions (like the Cantor distribution) do not admit such a density.

Law of the iterated logarithm
+ Law of the iterated logarithm
The law of the iterated logarithm describes the magnitude of the fluctuations of a random walk.

Let {Yn} be independent, identically distributed random variables with means zero and unit variances. Let Sn = Y1 + … + Yn. Then \limsup_{n \to \infty} \frac{S_n}{\sqrt{n \log\log n}} = \sqrt 2, \qquad \text{a.s.}, where “log” is the natural logarithm, “lim sup” denotes the limit superior, and “a.s.” stands for “almost surely".

The law of iterated logarithms operates “in between” the law of large numbers and the central limit theorem. Interestingly, it holds for polynomial time (P) pseudorandom sequences. There are two versions of the law of large numbers — the weak and the strong — and they both state that the sums Sn, scaled by n−1, converge to zero, respectively in probability and almost surely:
\frac{S_n}{n} \ \xrightarrow{p}\ 0, \qquad \frac{S_n}{n} \ \xrightarrow{a.s.} 0, \qquad \text{as}\ \ n\to\infty.

On the other hand, the central limit theorem states that the sums Sn scaled by the factor n−½ converge in distribution to a standard normal distribution. By Kolmogorov's zero-one law, for any fixed M, the probability that the event \limsup_n \frac{S_n}{\sqrt{n}} > M occurs is 0 or 1. Then
P\left( \limsup_n \frac{S_n}{\sqrt{n}} > M \right) \geq \limsup_n P\left( \frac{S_n}{\sqrt{n}} > M \right) = P\bigl( \mathcal{N}(0, 1) > M \bigr) > 0
so \limsup_n \frac{S_n}{\sqrt{n}}=\infty with probability 1. An identical argument shows that \liminf_n \frac{S_n}{\sqrt{n}}=-\infty with probability 1 as well. This implies that these quantities cannot converge almost surely. In fact, they cannot even converge in probability, which follows from the equality \frac{S_{2n}}{\sqrt{2n}}-\frac{S_n}{\sqrt{n}} = \frac1{\sqrt2}\frac{S_{2n}-S_n}{\sqrt{n}} - (1-\frac1\sqrt2)\frac{S_n}{\sqrt{n}} and the fact that the random variables \frac{S_n}{\sqrt{n}} and \frac{S_{2n}-S_n}{\sqrt{n}} are independent and both converge in distribution to \mathcal{N}(0, 1).

The law of the iterated logarithm provides the scaling factor where the two limits become different:
\frac{S_n}{\sqrt{n\log\log n}} \ \xrightarrow{p}\ 0, \qquad \frac{S_n}{\sqrt{n\log\log n}} \ \stackrel{a.s.}{\nrightarrow}\ 0, \qquad \text{as}\ \ n\to\infty.

Thus, although the quantity S_n/\sqrt{n\log\log n} is less than any predefined ε > 0 with probability approaching one, that quantity will nevertheless be dropping out of that interval infinitely often, and in fact will be visiting the neighborhoods of any point in the interval (-√2,√2) almost surely.

Loop-erasure
+ Loop-erasure
Assume G is some graph and \gamma is some path of length n on G. In other words, \gamma(1),\dots,\gamma(n) are vertices of G such that \gamma(i) and \gamma(i+1) are connected by an edge. Then the loop erasure of \gamma is a new simple path created by erasing all the loops of \gamma in chronological order. Formally, we define indices i_j inductively using
i_1 = 1\,
i_{j+1}=\max\{i:\gamma(i)=\gamma(i_j)\}+1\,
where "max" here means up to the length of the path \gamma. The induction stops when for some i_j we have \gamma(i_j)=\gamma(n). Assume this happens at J i.e. i_J is the last i_j. Then the loop erasure of \gamma, denoted by \mathrm{LE}(\gamma) is a simple path of length J defined by
\mathrm{LE}(\gamma)(j)=\gamma(i_j).\,

Now let G be some graph, let v be a vertex of G, and let R be a random walk on G starting from v. Let T be some stopping time for R. Then the loop-erased random walk until time T is LE(R([1,T])). In other words, take R from its beginning until T — that's a (random) path — erase all the loops in chronological order as above — you get a random simple path.

The stopping time T may be fixed, i.e. one may perform n steps and then loop-erase. However, it is usually more natural to take T to be the hitting time in some set. For example, let G be the graph Z2 and let R be a random walk starting from the point (0,0). Let T be the time when R first hits the circle of radius 100 (we mean here of course a discretized circle). LE(R) is called the loop-erased random walk starting at (0,0) and stopped at the circle.

A spanning tree chosen randomly from among all possible spanning trees with equal probability is called a uniform spanning tree. To create such a tree Wilson’s algorithm uses loop-erased random walks. The algorithm proceeds by initializing the tree maze with an random starting cell. New cells are then subsequently added to the maze, initiating a random walk. The random walk progresses uninterrupted until it eventually links with the prevailing maze. However, if the random walk traverses through itself, the resulting loop is erased before the random walk proceeds. The initial random walks are unexpected to link with the small existing maze. As the maze develops, the random walks tend to have a higher probability to collide with the maze and may cause the algorithm to accelerate dramatically.

For instance, Let G again be a graph. A spanning tree of G is a subgraph of G containing all vertices and some of the edges, which is a tree, i.e. connected and with no cycles. The uniform spanning tree (UST for short) is a random spanning tree chosen among all the possible spanning trees of G with equal probability.

Let now v and w be two vertices in G. Any spanning tree contains precisely one simple path between v and w. Taking this path in the uniform spanning tree gives a random simple path. It turns out that the distribution of this path is identical to the distribution of the loop-erased random walk starting at v and stopped at w.

An immediate corollary is that loop-erased random walk is symmetric in its start and end points. More precisely, the distribution of the loop-erased random walk starting at v and stopped at w is identical to the distribution of the reversal of loop-erased random walk starting at w and stopped at v. This is not a trivial fact at all! Loop-erasing a path and the reverse path do not give the same result. It is only the distributions that are identical.

A-priori sampling a UST seems difficult. Even a relatively modest graph (say a 100x100 grid) has far too many spanning trees to prepare a complete list. Therefore a different approach is needed. There are a number of algorithms for sampling a UST, but we will concentrate on Wilson's algorithm.

Take any two vertices and perform loop-erased random walk from one to the other. Now take a third vertex (not on the constructed path) and perform loop-erased random walk until hitting the already constructed path. This gives a tree with either two or three leaves. Choose a fourth vertex and do loop-erased random walk until hitting this tree. Continue until the tree spans all the vertices. It turns out that no matter which method you use to choose the starting vertices you always end up with the same distribution on the spanning trees, namely the uniform one.

Another representation of loop-erased random walk stems from solutions of the discrete Laplace equation. Let G again be a graph and let v and w be two vertices in G. Construct a random path from v to w inductively using the following procedure. Assume we have already defined \gamma(1),...,\gamma(n). Let f be a function from G to R satisfying
f(\gamma(i))=0 for all i\leq n and f(w)=1
f is discretely harmonic everywhere else
Where a function f on a graph is discretely harmonic at a point x if f(x) equals the average of f on the neighbors of x.

With f defined choose \gamma(n+1) using f at the neighbors of \gamma(n) as weights. In other words, if x_1,...,x_d are these neighbors, choose x_i with probability
\frac{f(x_i)}{\sum_{j=1}^d f(x_j)}.

Continuing this process, recalculating f at each step, with result in a random simple path from v to w; the distribution of this path is identical to that of a loop-erased random walk from v to w.

An alternative view is that the distribution of a loop-erased random walk conditioned to start in some path β is identical to the loop-erasure of a random walk conditioned not to hit β. This property is often referred to as the Markov property of loop-erased random walk (though the relation to the usual Markov property is somewhat vague).

It is important to notice that while the proof of the equivalence is quite easy, models which involve dynamically changing harmonic functions or measures are typically extremely difficult to analyze. Practically nothing is known about the p-Laplacian walk or diffusion-limited aggregation. Another somewhat related model is the harmonic explorer.

Finally there is another link that should be mentioned: Kirchhoff's theorem relates the number of spanning trees of a graph G to the eigenvalues of the discrete Laplacian. See spanning tree for details.

Let d be the dimension, which we will assume to be at least 2. Examine Zd i.e. all the points (a_1,...,a_d) with integer a_i. This is an infinite graph with degree 2d when you connect each point to its nearest neighbors. From now on we will consider loop-erased random walk on this graph or its subgraphs.

(High dimensions)
The easiest case to analyze is dimension 5 and above. In this case it turns out that there the intersections are only local. A calculation shows that if one takes a random walk of length n, its loop-erasure has length of the same order of magnitude, i.e. n. Scaling accordingly, it turns out that loop-erased random walk converges (in an appropriate sense) to Brownian motion as n goes to infinity. Dimension 4 is more complicated, but the general picture is still true. It turns out that the loop-erasure of a random walk of length n has approximately n/\log^{1/3}n vertices, but again, after scaling (that takes into account the logarithmic factor) the loop-erased walk converges to Brownian motion.

(Two dimensions)
In two dimensions, arguments from conformal field theory and simulation results led to a number of exciting conjectures. Assume D is some simply connected domain in the plane and x is a point in D. Take the graph G to be
G:=D\cap \varepsilon \mathbb{Z}^2,
that is, a grid of side length ε restricted to D. Let v be the vertex of G closest to x. Examine now a loop-erased random walk starting from v and stopped when hitting the "boundary" of G, i.e. the vertices of G which correspond to the boundary of D. Then the conjectures are
As ε goes to zero the distribution of the path converges to some distribution on simple paths from x to the boundary of D (different from Brownian motion, of course — in 2 dimensions paths of Brownian motion are not simple). This distribution (denote it by S_{D,x}) is called the scaling limit of loop-erased random walk.

These distributions are conformally invariant. Namely, if φ is a Riemann map between D and a second domain E then
\phi(S_{D,x})=S_{E,\phi(x)}.\,
The Hausdorff dimension of these paths is 5/4 almost surely.

The first attack at these conjectures came from the direction of domino tilings. Taking a spanning tree of G and adding to it its planar dual one gets a domino tiling of a special derived graph (call it H). Each vertex of H corresponds to a vertex, edge or face of G, and the edges of H show which vertex lies on which edge and which edge on which face. It turns out that taking a uniform spanning tree of G leads to a uniformly distributed random domino tiling of H. The number of domino tilings of a graph can be calculated using the determinant of special matrices, which allow to connect it to the discrete Green function which is approximately conformally invariant. These arguments allowed to show that certain measurables of loop-erased random walk are (in the limit) conformally invariant, and that the expected number of vertices in a loop-erased random walk stopped at a circle of radius r is of the order of r^{5/4}.

In 2002 these conjectures were resolved (positively) using Stochastic Löwner Evolution. Very roughly, it is a stochastic conformally invariant ordinary differential equation which allows to catch the Markov property of loop-erased random walk (and many other probabilistic processes).
Self-avoidance
+ A self-avoiding walk is a path from one point to another which never intersects itself. Such paths are usually considered to occur on lattices, so that steps are only allowed in a discrete number of directions and of certain lengths.

Consider a self-avoiding walk on a two-dimensional n×n square grid (i.e., a lattice path which never visits the same lattice point twice) which starts at the origin, takes first step in the positive horizontal direction, and is restricted to nonnegative grid points only. The number of such paths of n=1, 2, ... steps are 1, 2, 5, 12, 30, 73, 183, 456, 1151, ...

Similarly, consider a self-avoiding walk which starts at the origin, takes first step in the positive horizontal direction, is not restricted to nonnegative grid points only, but which is restricted to take an up step before taking the first down step. The number of such paths of n=1, 2, ... steps are 1, 2, 5, 13, 36, 98, 272, 740, 2034, ...

Self-avoiding rook (yes, as like in chess) walks are walks on an m×n grid which start from (0,0), end at (m,n), and are composed of only horizontal and vertical steps. The following table gives the first few numbers R(m,n) of such walks for small m and n. The values for m=n=1, 2, ... are 2, 12, 184, 8512, 1262816, ...

intuition

In order to create a persistent compute layer for normalization, I need a build👷🏿 of a distributed computing client that ingests donor processors for juking. [-okay, perhaps 'need' is a little too strong, let's go with 'want'.]
--------

loopstring: loopy quanta + superstrings

The Origamic Symphony (TOS) is a musical simulacrum whose composition is the spectrum between the Planck and nano scales (henceforth referred to as the yoke*). Jukers comprise its orchestra.

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



+ TOS is responsive to EGP resonances. This is feasible because egglepple [a class of automata called loopstring (l-string)] extends the entire yoke (1.616252 × 10-35m ↔ 1 × 10-9m) and is a plastic object that can fold upon itself. Its convertibility is determined analytically. Being permutable, juking the string changes its attributes, giving different variants which introduce an economic system. Our business is strictly with the ludology of this object (we care only for how the string works, in general, so that we can twist it).

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



The terms 'loopy quanta' and 'superstring' are both misnomers. The 'super' part of the theorem will be clarified. We should also note that 'polymer' is an ultra-generic term here.


game overview napkin - Consider a twistor 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 by scaling k - ie., stereotyping flageolet pencils (functors of EGP) from walks. Juke Lemma To better understand the loopstring (and my motivation behind the Juke Lemma), I'll start with an elementary synopsis of quantum strings and then segue into how that portends polypeptide/protein structure (but not necessarily functionality).

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 foam (a normed vector space where string is lissome) in order for any theory of unification (GUT) to be at all useful. game overview napkin 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 (ie., 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 (reactivity) can be done, one must get from this metric to the nanoscale. In-between these two (2) scales (called subchemistry) lies twenty-six (26) ‘somethings’. Mathematicians like to call these 'somethings' measures (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.

We derive the '26 measures' from simple math; division of the base exponents is equivalent to their difference (10a / 10b = 10a-b): 10-35 / 10-9 = 10-26 ≡ |26|.





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 (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. game overview napkin 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 (QFT); suffice it to say every field will yield its own class of particle (mainly quanta). For example, a luminous 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.

A great read on QFT 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




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. But, for quotidian purposes, fermions are matter and bosons are radiative. 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.

The tachyonic field technically is one having negative mass, squared [(-m)2].

In order for a string theory to be consistent, the worldsheet theory must be conformally invariant. The obstruction to conformal symmetry is known as the Weyl anomaly and is proportional to the central charge of the worldsheet theory. In order to preserve conformal symmetry the Weyl anomaly, and thus the central charge, must vanish. For the bosonic string this can be accomplished by a worldsheet theory consisting of twenty-six (26) free bosons. Since each boson is interpreted as a flat spacetime dimension, the critical dimension of the bosonic string is 26.

A worldsheet is a two-dimensional manifold describing the embedding of a string in spacetime. Encoded in a conformal field theory are the following definitions: string type, spacetime geometry, and background fields (such as gauge/string fields).





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). game overview napkin The mathematics of supersymmetry is rather intuitive. 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 × 1 = 4) and a maximum of (4 × 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. I’m up for the task, but first let’s see what the data from colliders say 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 - is absent of empirical 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!).

So, you’re asking, “Link, does that mean that strings aren’t ‘super’?” The answer is more mundane than that. It’s more like there’s no distinction between Clark Kent and Kal-El. What’s more rational is that Kal-El’s just a journalist on Krypton.





Regardless, any GUT must contain in its gamut a path that explains the formation of the first two (2) - and most abundant - elements in the observable Universe, hydrogen (H, atomic number 1) and helium (He, atomic number 2).

-- All roads lead to hydrogen --

Meshrooming: monomer morphology

+ Here's the kicker: we shouldn't actually look at strings as being physical objects, per se. Instead, consider them portable sequences of permutable segments. As long as we can compute superalgebras, our toolset is workable for strings; we have moderate coverage of string behavior to know how they work rudimentarily. Now, we can explore some strings that are actually in use in power settings.

MONEY💰: a cryptocommodity

Stereotyping is done in a three (3)-act continuum: discrete logarithm + elliptic curvature + arithmetic (namely integer factorization).

The continuum is weighted around the relationship between hyper- and hypo- currencies. This is called the formula of cryptocurrency* [formalized as the Cryptoquotient (CQ), and also called the Cryptocurrency Problem], which asks if there exists a crypto exercise (natural, artificial, or heterotic) that, hypostantially, may anchor a hypercurrency alongside which it is fit? The rationale comes from string ludology, which posits that juking is resultant of certain path integral manipulation. The ultimate proof is quotient normalization (parimutuelcybernetic).
A cryptocurrency is a cryptographic exercise whose resultant is transactionable in some real economy.

Double U (u-u) economics is the formal attempt at leveraging the Juke Lemma by sequencing fibors from the portfolio: [verso (EEE) = (micro) through recto (PPP) = (macro)], which yield some quotient of cryptocurrency.


game overview napkin MONEY (Mathematically-Optimized Numismatics' Encrypted Yield) is the cryptocurrency* derived from y-proofing.

MONEY () is earned by juking. After obtaining a 0b, the yield is the attribution of cents drawn from an l-string arrangement. The cryptocurrency requires that the total be no greater than the handicap to qualify as MONEY. Otherwise, it is bubblegum.*
However, a fibor bundle can still theoretically make MONEY.
"Cents are made from stew choreography."

Stewdio

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

Egglepplestewart

Gameplay: opening + closing

+ Random walks is the (programming) language of juking (I wonder if that's grammatically correct?). From the standpoint of string-adherence, gameplay (ludological operation) is the foundational dynamic of how l-string functionality is proofed. By playing, we are generating walks for use in fibor determination and closure.

Basically, all games transition through three (3) phases: 1) the opening, 2) its middlegame, and 3) an endgame. game overview napkin Stewart's composition is bifurcated into the voices: Earl (aria) and ELLIS (recitative). Each voice deals with its own set of workoads. Earl is for batch processing, while ELLIS is for variable loop reduction. game overview napkin Being an opera ludo, the above objective is introduced as a fitness program for advancing game logic.

'Fitness' here is the ability of currency to move across twistor space.

#Earl

Synthesizing fonts can be tricky. So, fundamental to a strong endgame is intelligent use of knot theory. The scope of this exposition will explore the theory of knots and their components.

In topology, knot theory is the study of mathematical knots. While inspired by knots which appear in daily life in shoelaces and rope, a mathematician's knot differs in that the ends are joined together so that it cannot be undone. In mathematical language, a knot is an embedding of a circle in 3-dimensional Euclidean space, R3 (in topology, a circle isn't bound to the classical geometric concept, but to all of its homeomorphisms). Two mathematical knots are equivalent if one can be transformed into the other via a deformation of R3 upon itself (known as an ambient isotopy); these transformations correspond to manipulations of a knotted string that do not involve cutting the string or passing the string through itself.

Knots can be described in various ways. Given a method of description, however, there may be more than one description that represents the same knot. For example, a common method of describing a knot is a planar diagram called a knot diagram. Any given knot can be drawn in many different ways using a knot diagram. Therefore, a fundamental problem in knot theory is determining when two descriptions represent the same knot.

A complete algorithmic solution to this problem exists, which has unknown complexity. In practice, knots are often distinguished by using a knot invariant, a "quantity" which is the same when computed from different descriptions of a knot. Important invariants include knot polynomials, knot groups, and hyperbolic invariants. Knots can be considered in other three-dimensional spaces and objects other than circles can be used. Higher-dimensional knots are n-dimensional spheres in m-dimensional Euclidean space.

Knot equivalence
+ A knot is created by beginning with a one-dimensional line segment, wrapping it around itself arbitrarily, and then fusing its two free ends together to form a closed loop (Adams 2004) (Sossinsky 2002). Simply, we can say a knot K is an injective and continuous function K:[0,1]\to \mathbb{R}^3 with K(0)=K(1). Topologists consider knots and other entanglements such as links and braids to be equivalent if the knot can be pushed about smoothly, without intersecting itself, to coincide with another knot. The idea of knot equivalence is to give a precise definition of when two knots should be considered the same even when positioned quite differently in space. A formal mathematical definition is that two knots K_1,K_2 are equivalent if there is an orientation-preserving homeomorphism h\colon\R^3\to\R^3 with h(K_1)=K_2, and this is known as an ambient isotopy.

Knot diagrams
+ A useful way to visualise and manipulate knots is to project the knot onto a plane—think of the knot casting a shadow on the wall. A small change in the direction of projection will ensure that it is one-to-one except at the double points, called crossings, where the "shadow" of the knot crosses itself once transversely (Rolfsen 1976). At each crossing, to be able to recreate the original knot, the over-strand must be distinguished from the under-strand. This is often done by creating a break in the strand going underneath. The resulting diagram is an immersed plane curve with the additional data of which strand is over and which is under at each crossing. (These diagrams are called knot diagrams when they represent a knot and link diagrams when they represent a link.) Analogously, knotted surfaces in 4-space can be related to immersed surfaces in 3-space.

A reduced diagram is a knot diagram in which there are no reducible crossings (also nugatory or removable crossings), or in which all of the reducible crossings have been removed.

Knot invariance
+ A knot invariant is a quantity (in a broad sense) defined for each knot which is the same for equivalent knots. The equivalence is often given by ambient isotopy but can be given by homeomorphism. Some invariants are indeed numbers, but invariants can range from the simple, such as a yes/no answer, to those as complex as a homology theory . Research on invariants is not only motivated by the basic problem of distinguishing one knot from another but also to understand fundamental properties of knots and their relations to other branches of mathematics.

From the modern perspective, it is natural to define a knot invariant from a knot diagram. Of course, it must be unchanged (that is to say, invariant) under the Reidemeister moves. Tricolorability is a particularly simple example. Other examples are knot polynomials, such as the Jones polynomial, which are currently among the most useful invariants for distinguishing knots from one another, though currently it is not known whether there exists a knot polynomial which distinguishes all knots from each other, or even which distinguishes just the unknot from all other knots.

Other invariants can be defined by considering some integer-valued function of knot diagrams and taking its minimum value over all possible diagrams of a given knot. This category includes the crossing number, which is the minimum number of crossings for any diagram of the knot, and the bridge number, which is the minimum number of bridges for any diagram of the knot.

Historically, many of the early knot invariants are not defined by first selecting a diagram but defined intrinsically, which can make computing some of these invariants a challenge. For example, knot genus is particularly tricky to compute, but can be effective (for instance, in distinguishing mutants).

The complement of a knot itself (as a topological space) is known to be a "complete invariant" of the knot by the Gordon–Luecke theorem in the sense that it distinguishes the given knot from all other knots up to ambient isotopy and mirror image. Some invariants associated with the knot complement include the knot group which is just the fundamental group of the complement. The knot quandle is also a complete invariant in this sense but it is difficult to determine if two quandles are isomorphic.

By Mostow–Prasad rigidity, the hyperbolic structure on the complement of a hyperbolic link is unique, which means the hyperbolic volume is an invariant for these knots and links. Volume, and other hyperbolic invariants, have proven very effective, utilized in some of the extensive efforts at knot tabulation.

In recent years, there has been much interest in homological invariants of knots which categorify well-known invariants. Heegaard Floer homology is a homology theory whose Euler characteristic is the Alexander polynomial of the knot. It has been proven effective in deducing new results about the classical invariants. Along a different line of study, there is a combinatorially defined cohomology theory of knots called Khovanov homology whose Euler characteristic is the Jones polynomial. This has recently been shown to be useful in obtaining bounds on slice genus whose earlier proofs required gauge theory. Khovanov and Rozansky have since defined several other related cohomology theories whose Euler characteristics recover other classical invariants. Stroppel gave a representation theoretic interpretation of Khovanov homology by categorifying quantum group invariants.

There is also growing interest from both knot theorists and scientists in understanding "physical" or geometric properties of knots and relating it to topological invariants and knot type. An old result in this direction is the Fary–Milnor theorem states that if the total curvature of a knot K in \mathbb{R}^3 satisfies
\oint_K \kappa \,ds \leq 4\pi,
where \kappa(p) is the curvature at p, then K is an unknot. Therefore, for knotted curves,
\oint_K \kappa\,ds > 4\pi.\,
An example of a "physical" invariant is ropelength, which is the amount of 1-inch diameter rope needed to realize a particular knot type.

Knotting/Unknotting
+ A knot in three dimensions can be untied when placed in four-dimensional space. This is done by changing crossings. Suppose one strand is behind another as seen from a chosen point. Lift it into the fourth dimension, so there is no obstacle (the front strand having no component there); then slide it forward, and drop it back, now in front. Analogies for the plane would be lifting a string up off the surface, or removing a dot from inside a circle.

Since a knot can be considered topologically a 1-dimensional sphere, the next generalization is to consider a two-dimensional sphere embedded in a four-dimensional ball. Such an embedding is unknotted if there is a homeomorphism of the 4-sphere onto itself taking the 2-sphere to a standard "round" 2-sphere. Suspended knots and spun knots are two typical families of such 2-sphere knots.

The mathematical technique called "general position" implies that for a given n-sphere in the m-sphere, if m is large enough (depending on n), the sphere should be unknotted. In general, piecewise-linear n-spheres form knots only in (n + 2)-space, although this is no longer a requirement for smoothly knotted spheres. In fact, there are smoothly knotted (4k − 1)-spheres in 6k-space, e.g. there is a smoothly knotted 3-sphere in the 6-sphere. Thus the codimension of a smooth knot can be arbitrarily large when not fixing the dimension of the knotted sphere; however, any smooth k-sphere in an n-sphere with 2n − 3k − 3 > 0 is unknotted. The notion of a knot has further generalisations in mathematics, see: knot (mathematics), isotopy classification of embeddings.

Every knot in Sn is the link of a real-algebraic set with isolated singularity in Rn+1

An n-knot is a single Sn embedded in Sm. An n-link is k-copies of Sn embedded in Sm, where k is a natural number.

Sum topology
+ Two knots can be added by cutting both knots and joining the pairs of ends. The operation is called the knot sum, or sometimes the connected sum or composition of two knots. This can be formally defined as follows: consider a planar projection of each knot and suppose these projections are disjoint. Find a rectangle in the plane where one pair of opposite sides are arcs along each knot while the rest of the rectangle is disjoint from the knots. Form a new knot by deleting the first pair of opposite sides and adjoining the other pair of opposite sides. The resulting knot is a sum of the original knots. Depending on how this is done, two different knots (but no more) may result. This ambiguity in the sum can be eliminated regarding the knots as oriented, i.e. having a preferred direction of travel along the knot, and requiring the arcs of the knots in the sum are oriented consistently with the oriented boundary of the rectangle.

The knot sum of oriented knots is commutative and associative. A knot is prime if it is non-trivial and cannot be written as the knot sum of two non-trivial knots. A knot that can be written as such a sum is composite. There is a prime decomposition for knots, analogous to prime and composite numbers. For oriented knots, this decomposition is also unique. Higher-dimensional knots can also be added but there are some differences. While you cannot form the unknot in three dimensions by adding two non-trivial knots, you can in higher dimensions, at least when one considers smooth knots in codimension at least 3.

Pink program

Works are scored for egglepple (brane + kindergarten), necessitating fugal spacetime complexity controls*. Cassette (patch batch) compilation depends on jukespace being coordinated dyadically. Thus, Pink programming [ie., functional twistor algorithms declared from supermathematics (eg., superalgebras, supergeometries, superprobabilities, ultrametric analysis/supersymmetries, etc. of superstring theory)] is libretto-hashable.
Control here means isolating limits on acoustic bounds.
Cassettes are developed by 'touch-and-go':= patches (plus subiteratives) might be contracted (pu$h/pull → deploy) on open puzzles. Trunks + branches + twigs + roots require Link Starbureiy's signature before being migrated/published.

target proteins

One litmus test for string theory validation is the polypeptide. One can easily see that peptide (and for that matter, protein) structure and behavior clearly follows the stretch and folding patterns predicted in the theory.

Proteins are really neat. They’re these extended macromolecules (relatively large molecules) which are responsible for the maintenance and upkeep within all living cells (they can also exist outside of the cell, but we are concerned here with intracellular biochemistry). In case one doesn't know much about these machines to begin with, we’ll spend some time now on edification.

The first thing we need to know about proteins is that they are, in fact, machines. Like any other machine, they use and convert energy. Their mechanical properties allow what interacts with them to get work done. Proteins consist of amino acid chains. Because they are molecular (hence, at the nanoscale), proteins are perhaps the most important biochemicals (amongst other reasons beyond the scope of this explanation). Proteins differ from one another primarily in their sequence of amino acids, which is dictated by the nucleotide sequence of their genes. This sequence results in a protein folding into some unique three-dimensional (3D) structure that determines its functionality.

Frets

- In essence, we are mimicking the behavior of protein folding. Proteins are an essential component to many biological functions and participate in virtually all processes within biological cells. They often act as enzymes, performing biochemical reactions including cell signaling, molecular transportation, and cellular regulation.

As structural elements, some proteins act as a type of skeleton for cells, and as antibodies, while other proteins participate in the immune system. Before a protein can take on these roles, it must fold into a functional three-dimensional structure, a process that often occurs spontaneously and is dependent on interactions within its amino acid sequence and interactions of the amino acids with their surroundings.

Protein folding is driven by the search to find the most energetically favorable conformation of the protein, i.e. its native state. Thus, understanding protein folding is critical to understanding what a protein does and how it works, and is considered a "holy grail" of computational biology. Despite folding occurring within a crowded cellular environment, it typically proceeds smoothly. However, due to a protein's chemical properties or other factors, proteins may misfold — that is, fold down the wrong pathway and end up misshapen. Unless cellular mechanisms are capable of destroying or refolding such misfolded proteins, they can subsequently aggregate and cause a variety of debilitating diseases.

Laboratory experiments studying these processes can be limited in scope and atomic detail, leading scientists to use physics-based computational models that, when complementing experiments, seek to provide a more complete picture of protein folding, misfolding, and aggregation.

Due to the complexity of proteins' conformation space — the set of possible shapes a protein can take — and limitations in computational power, all-atom molecular dynamics simulations have been severely limited in the timescales which they can study. While most proteins typically fold in the order of milliseconds, before recently, simulations could only reach nanosecond to microsecond timescales. General-purpose supercomputers have been used to simulate protein folding, but such systems are intrinsically expensive and typically shared among many research groups. Additionally, because the computations in kinetic models are serial in nature, strong scaling of traditional molecular simulations to these architectures is exceptionally difficult. Moreover, as protein folding is a stochastic process and can statistically vary over time, it is computationally challenging to use long simulations for comprehensive views of the folding process.

Protein folding does not occur in a single step. Instead, proteins spend the majority of their folding time — nearly 96% in some cases — "waiting" in various intermediate conformational states, each a local thermodynamic free energy minimum in the protein's energy landscape.

Through a process known as adaptive sampling, these conformations are used as starting points for a set of simulation trajectories. As the simulations discover more conformations, the trajectories are restarted from them, and a Markov state model (MSM) is gradually created from this cyclic process. MSMs are discrete-time master equation models which describe a biomolecule's conformational and energy landscape as a set of distinct structures and the short transitions between them. The adaptive sampling Markov state model approach significantly increases the efficiency of simulation as it avoids computation inside the local energy minimum itself, and is amenable to distributed computing as it allows for the statistical aggregation of short, independent simulation trajectories.

The amount of time it takes to construct a Markov state model is inversely proportional to the number of parallel simulations run, i.e. the number of processors available. In other words, it achieves linear parallelization, leading to an approximately four orders of magnitude reduction in overall serial calculation time. A completed MSM may contain tens of thousands of sample states from the protein's phase space (all the conformations a protein can take on) and the transitions between them.
game overview napkin A linear chain of amino acid residues is called a polypeptide. A protein contains at least one long polypeptide. Short polypeptides, containing less than about 20-30 residues, are rarely considered to be proteins and are commonly called peptides, or sometimes oligopeptides. The individual amino acid residues are bonded together by peptide bonds and adjacent amino acid residues. The sequence of amino acid residues in a protein is defined by the sequence of a gene, which is encoded in the genetic code. In general, the genetic code specifies 20 standard amino acids; however, in certain organisms the genetic code can include selenocysteine and—in certain archaea—pyrrolysine. Shortly after or even during synthesis, the residues in a protein are often chemically modified by posttranslational modification, which alters the physical and chemical properties, folding, stability, activity, and ultimately, the function of the proteins. Sometimes proteins have non-peptide groups attached, which can be called prosthetic groups or cofactors. Proteins can also work together to achieve a particular function, and they often associate to form stable protein complexes.

Upon formation, proteins only exist for a finite period of time and are then degraded and recycled by the cell's machinery via protein turnover. The lifespan of a protein is measured in periods of its half-life. Depending on the host environment, they can exist for minutes or years (the average lifespan is 24-48 hours in mammalian cells). Misfolded proteins are degraded more rapidly due either to their instability or them being signaled for destruction as a means for cellular upkeep and efficiency.

Most proteins consist of linear polymers built from series of up to 20 different L-α-amino acids. All proteinogenic amino acids possess common structural features, including an α-carbon to which an amino group, a carboxyl group, and a variable side chain are bonded. Only proline differs from this basic structure as it contains an unusual ring to the N-end amine group, which forces the CO–NH amide moiety into a fixed conformation. The side chains of the standard amino acids, detailed in the list of standard amino acids, have a great variety of chemical structures and properties; it is the combined effect of all of the amino acid side chains in a protein that ultimately determines its three-dimensional structure and its chemical reactivity. The amino acids in a polypeptide chain are linked by peptide bonds. Once linked in the protein chain, an individual amino acid is called a residue, and the linked series of carbon, nitrogen, and oxygen atoms are known as the main chain or protein backbone.

The peptide bond has two resonance forms that contribute some double-bond character and inhibit rotation around its axis, so that the alpha carbons are roughly coplanar. The other two dihedral angles in the peptide bond determine the local shape assumed by the protein backbone. The end of the protein with a free carboxyl group is known as the C-terminus or carboxy terminus, whereas the end with a free amino group is known as the N-terminus or amino terminus. The words protein, polypeptide, and peptide are a little ambiguous and can overlap in meaning. Protein is generally used to refer to the complete biological molecule in a stable conformation, whereas peptide is generally reserved for a short amino acid oligomers often lacking a stable three-dimensional structure. However, the boundary between the two is not well defined and usually lies near 20–30 residues. Polypeptide can refer to any single linear chain of amino acids, usually regardless of length, but often implies an absence of a defined conformation.

Proteins are assembled from amino acids using information encoded in genes. Each protein has its own unique amino acid sequence that is specified by the nucleotide sequence of the gene encoding this protein. The genetic code is a set of three-nucleotide sets called codons and each three-nucleotide combination designates an amino acid, for example AUG (adenine-uracil-guanine) is the code for methionine. Because DNA contains four nucleotides, the total number of possible codons is 64; hence, there is some redundancy in the genetic code, with some amino acids specified by more than one codon. Genes encoded in DNA are first transcribed into pre-messenger RNA (mRNA) by proteins such as RNA polymerase. Most organisms then process the pre-mRNA (also known as a primary transcript) using various forms of Post-transcriptional modification to form the mature mRNA, which is then used as a template for protein synthesis by the ribosome. In prokaryotes the mRNA may either be used as soon as it is produced, or be bound by a ribosome after having moved away from the nucleoid. In contrast, eukaryotes make mRNA in the cell nucleus and then translocate it across the nuclear membrane into the cytoplasm, where protein synthesis then takes place. The rate of protein synthesis is higher in prokaryotes than eukaryotes and can reach up to 20 amino acids per second.

The process of synthesizing a protein from an mRNA template is known as translation. The mRNA is loaded onto the ribosome and is read three nucleotides at a time by matching each codon to its base pairing anticodon located on a transfer RNA molecule, which carries the amino acid corresponding to the codon it recognizes. The enzyme aminoacyl tRNA synthetase "charges" the tRNA molecules with the correct amino acids. The growing polypeptide is often termed the nascent chain. Proteins are always biosynthesized from N-terminus to C-terminus.

Protein folding is the process by which a protein structure assumes its functional shape or conformation. It is the physical process by which a polypeptide folds into its characteristic and functional three-dimensional structure from random coil. Each protein exists as an unfolded polypeptide or random coil when translated from a sequence of mRNA to a linear chain of amino acids. This polypeptide lacks any stable (long-lasting) three-dimensional structure (the left hand side of the first figure). Amino acids interact with each other to produce a well-defined three-dimensional structure, the folded protein (the right hand side of the figure), known as the native state. The resulting three-dimensional structure is determined by the amino acid sequence (Anfinsen's dogma). Experiments have indicated that the codon for an amino acid can also influence protein structure.

Most (but not all) proteins fold into unique 3-dimensional structures. Proteins that do not adhere to or lack this behavior are called intrinsically disordered. Still, such proteins can adopt a fixed structure by binding to other macromolecules. The shape into which a protein naturally folds is known as its native conformation. Failure to fold into native structure generally produces inactive proteins, but in some instances misfolded proteins have modified or toxic functionality. Although many proteins can fold unassisted, simply through the chemical properties of their amino acids, others require the aid of molecular chaperones to fold into their native states. Biochemists often refer to four distinct aspects of a protein's structure:
- Primary structure: the amino acid sequence. A protein is a polyamide.
- Secondary structure: regularly repeating local structures stabilized by hydrogen bonds. The most common examples are the alpha helix, beta sheet and turns. Because secondary structures are local, many regions of different secondary structure can be present in the same protein molecule.
- Tertiary structure: the overall shape of a single protein molecule; the spatial relationship of the secondary structures to one another. Tertiary structure is generally stabilized by nonlocal interactions, most commonly the formation of a hydrophobic core, but also through salt bridges, hydrogen bonds, disulfide bonds, and even posttranslational modifications. The term "tertiary structure" is often used as synonymous with the term fold. The tertiary structure is what controls the basic function of the protein.
- Quaternary structure: the structure formed by several protein molecules (polypeptide chains), usually called protein subunits in this context, which function as a single protein complex.

Proteins are not entirely rigid molecules. In addition to these levels of structure, proteins may shift between several related structures while they perform their functions. In the context of these functional rearrangements, these tertiary or quaternary structures are usually referred to as "conformations", and transitions between them are called conformational changes. Such changes are often induced by the binding of a substrate molecule to an enzyme's active site, or the physical region of the protein that participates in chemical catalysis. In solution proteins also undergo variation in structure through thermal vibration and the collision with other molecules.

Molecular surface of several proteins showing their comparative sizes. From left to right are: immunoglobulin G (IgG, an antibody), hemoglobin, insulin (a hormone), adenylate kinase (an enzyme), and glutamine synthetase (an enzyme). Proteins can be informally divided into three main classes, which correlate with typical tertiary structures: globular proteins, fibrous proteins, and membrane proteins. Almost all globular proteins are soluble and many are enzymes. Fibrous proteins are often structural, such as collagen, the major component of connective tissue, or keratin, the protein component of hair and nails. Membrane proteins often serve as receptors or provide channels for polar or charged molecules to pass through the cell membrane.

Proteins are chains of amino acids joined together by peptide bonds. Many conformations of this chain are possible due to the rotation of the chain about each Cα atom. It is these conformational changes that are responsible for differences in the three dimensional structure of proteins. Each amino acid in the chain is polar, i.e. it has separated positive and negative charged regions with a free C=O group, which can act as hydrogen bond acceptor and an NH group, which can act as hydrogen bond donor. These groups can therefore interact in the protein structure. The 20 amino acids can be classified according to the chemistry of the side chain which also plays an important structural role. Glycine takes on a special position, as it has the smallest side chain, only one Hydrogen atom, and therefore can increase the local flexibility in the protein structure. Cysteine on the other hand can react with another cysteine residue and thereby form a cross link stabilizing the whole structure.

The protein structure can be considered as a sequence of secondary structure elements, such as α helices and β sheets, which together constitute the overall three-dimensional configuration of the protein chain. In these secondary structures regular patterns of H bonds are formed between neighboring amino acids, and the amino acids have similar Φ and Ψ angles.

Protein prediction, design, and engineering can be an expensive (in terms of both time and money) process. Compared to what we are trying to do (earn and decipher), it can be a rather tedious endeavor since the payoff only comes well down the road after jumping through many hoops. Let me suggest a more labor-ready heuristic...

In testing my above intuition, we'll use the following four (4) main macromolecules for our commit are: alpha-synuclein, parkin, huntingtin, and LRRK2. These are intentionally chosen because of their chemical pertinence to Parkinson's. Provided is a brief science review of each.

alpha-synuclein (SNCA)

image of alpha-synuclein structure


parkin

image of parkin structure


huntingtin (HTT)

image of huntingtin structure


LRRK2

image of LRRK2 structure


Stewdio

jukebox stuff

juking 101🍏

Stew choreography

Stew choreography is the process of folding twistor fields using fruut to keyframe (coordinate) stews*. This is our "proof-of-work" concept (ie. meshing exercise for UUe's cryptocommodity), and should solve twistor spaces/span>. Ludologically, this is a string's middlegame (ie. where improvisation happens).
The term 'stew' here is not a brothy meal, but we still 'cook' them up, if you will.
First, some foreground. We always start with a randomly coiled object called the loopstring (henceforth l-string). Since it is orientation-agnostic and length-arbitrary (drawing parallels to a denatured protein), our string can assume any shape/structure in two-dimensions (2d). Therefore, any sort of squiggly line will suffice for intonation.
Here are some examples:

Note: It is ultra important to understand that even though the string is random, the conformation itself is its own (random) walk. This is what makes each string's folding process unique, and directly contributes to its difficulty.

game overview napkin

EGP

+EGP is UUe's keynote, and the calculus of egglepple.

#
Our tonic is such that handshakes are integral to l-string pathways. Essentially, this means that crypto fabrication remains asynchronous as long as preimage-image contracts are kept.

The Keynote is what establishes string melodics and conditions for folding. This is what is calculated overall.



The three (3) shapes - rectangle, circle, and triangle are commonly known as fruut. Color-matching, we say that the yellow square is 'banana'🍌, the azure circle is 'blueberry', and the green triangle is 'lime'. This is easier to remember (at least for me), and supersedes their EGP signatorial modes (time or key).

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

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

In key signatorial mode, this represents the letter 'P'. In time signatorial mode, this represents a delta valley.
game overview napkin delta valley/turn game overview napkin Egglepple® is the portfolio (collection) of leaf definitions. In fact, this is the formal name of the loopstring, itself. The word portfolio (a finite succession of convertible assets) is non-trivial here, because it is used in the sense of porting yesegalo from one side (recto) to the other (verso).
#

#stews


EEE

EEG

EEP

EGE

EGG

EGP

EPE

EPG

EPP

GEE

GEG

GEP

GGE

GGG

GGP

GPE

GPG

GPP

PEE

PEG

PEP

PGE

PGG

PGP

PPE

PPG

PPP

Create a roster by selecting leaves from the portfolio.

game overview napkin

Our objective is to compile twistors, a process done via patchwork* on egglepple. Orchestration is juker-guided, with oversight (signatures) from the impresario.

In other words, proof all lyrics.

Flageolet

+Flageolet pencil or 'krayon'.

All games are initiated with pencil declaration. At this stage, you are prompted to enter the number of pencils/krayons you are wanting to use. This number can change, but must never be below three (3). Otherwise, string input is rendered void() because it takes a minimum of three pencils to form a required chord.

Flageolet pencil
game overview napkin A flageolet pencil (or just pencil or krayon) is a one-dimensional curvilinear divisor (line) that is subject to rhetorical arrangement. Thus, a pencil is stringy by proxy. In some instances, it may be thought of as an edge, link, or residue of yesegalo (cf. 1-brane). 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 or symmetry-breaking).

Rhetoric

+RONALD

R (Exordium)
game overview napkin key signature (primary structure)

O (Inventio)
game overview napkin time signature (secondary structure)

N (Dispositio)
game overview napkin These lyrics comprise the major chord. They represent the sixteen (16) composite numbers in the lyrical set: {4,6,8,9,10,12,14,15,16,18,20,21,22,24,25,26}.

A (Elocutio)
game overview napkin These lyrics comprise the minor chord. They represent the ten (10) prime numbers in the lyrical set: {1,2,3,5,7,11,13,17,19,23}.

L (Memoria)
game overview napkin Normally, ties connect two (2) notes of the same pitch class and name. This gives indication that they are to be played as a single note with a duration equal to the sum of the individual notes' values. In our case, a 'tie' is overly generalized, as it connects similar as well as dissimilar pitch classes (i.e., ties are equivalent to slurs), even in succession. Hence, our ties can connect/unite both major (composite) and minor (prime) lyrics.

Minimum three (3) pencils required to form a chord.

D (Pronuntiatio)
game overview napkin The fermata signals that a note should be prolonged beyond its normal duration or value would indicate. Depending on its placement on the notation/score, the fermata may also indicate the end of a section (punctuation). Exact duration of the hold, as well as its placement within a piece is at the discretion of the juker.

Objectively, this would be to say that such-and-such section is to remain un-closed while other chords on the string are examined for a possible better fit. It could also signal 'un-tie' (as in reverse some pronuntiatio). The maneuver is most appealing in multiplayer mode, where different players may be tackling different sections of the same string simultaneously, but getting dissimilar results.

Obtaining the yield

The yield, called MONEY (for Mathematically-Optimized Numismatics' Encrypted Yield), is based on a formula of logarithms that is borrowed from the musical concept of cents. That formula is:

Music is measured on a scale of intervals; in this case, a cent is a ratio of two (close) frequencies. For the ratio (a:b) to remain constant over the frequency spectrum, the frequency range encompassed by a cent must be proportional to those frequencies. Scaled, an equally tempered semitone spans 100 cents (a dollar) by definition. According to The Origamic Symphony, an octave — the unit of frequency level when the base logarithm = [pencil count × font weight] - spans twenty-six (26) semitones (intervals/measures), and therefore, 2600 cents. Because raising a frequency by one (1) cent is equivalent to multiplying this constant cent value, and 2600 cents doubles a frequency, the ratio of frequencies one cent apart is calculated as the 2600th root of 2 (~ 1.00026663*).
We can integer-round to just 1 for all practical purposes.
We've only identified what a cent is musically. Before we can do so economically, we need to first do so mathematically. The math part is as easy as 1-2-3. When folding string, we are coordinating, meaning that (usually) two (2) fonts are conjoining. The manner in which they conjoin matters; a going to b may yield a different cent amount than the converse, b going to a. Keep this in mind.

Making stew: putting it all together

So, now let's provide a power demonstration of how all of this might work in the real world. First of all, let it be known that the term 'juking' implicates stew choreography either 'by hand' (this way) or 'by machine' (see protocol). Meaning that, this is the activity of our automation; one method is just a lot faster (in theory) than the other.
Here's my heuristic:
Begin by drawing a random coil.

Notice the orange balls placed at the ends of the string. They serve to highlight the fact that we have an open string that we are attempting to close.

Pick a pencil count.

Select time signature (cf. primary structure) to create a sequence.

Move to key signature (cf. secondary structure) to transform/twist object.
Call on fonts (font keys) to remove numerical obfuscations.
Use glue (glue keys) to match fonts.
Upon submission (in stew notation), the impresario (me) will automatically do the calculation to reveal the mesh's yield, but you can also do this yourself just to make sure. Once your mesh or walk gets my signature, collect your coupon.
Stew choreography is NP-complete, yet, chances are that unless your calculatory prowess is greater than that of the entire network, you might as well
Technically, a jukebox is a transactionary automaton hosting a rotisserie. It is a vending machine whose self-contained media (assets) is music.🎼 Upon token (coin) insertion, a jukebox will play a patron's selection from that media.

UUe is the jukebox devised to resolve the Juke Lemma, which conjectures that all phenomena are rooted in juking. Its media is autochthonous fibor. The 'music' of the jukebox is a simulacrum known as The Origamic Symphony (TOS).

In Nature, we deduce that string is her most important structure. Chemically, it manifests as polymers (like RNA) and peptides (such as protein). Physically (subchem), vibrations of the string correspond to fundamental forces. Via string ludology, it is feasible to use one domain (interaction = physics) to model the other (reaction = chemistry), and vice versa. This is known as (transaction = stereotyping*). To do this, we need a portfolio (a finite succession of convertible assets) whose symmetry we'll constantly break with folding.
ie. encrypting EGP
🐨








Only correct topologies are gainful, however. For example, a misfolded protein can trigger unwanted effects (stuff like malforms and diseases. = Yuck!).👻

There is an astronomical number of possible fold paths per polymer. Because this number is so big (requiring a great many calculations) - as would be the case of folding a polypeptide (or, more accurately, folding an amino acid sequence) - this should take eons, yet, it happens on the order of microseconds. How? With the aid of chaperones called twistors, which essentially are responsible for warping the space in-between quanta having S-complexity.

... bringing me to the reason UUe was created in the first place. Collectively, our chief concern is not mesh functionality, per se, but with the exploitation of so-called twistor spaces. The notion of polymer knotting/entanglement is perhaps the most challenging of STEM-type problems. Let's see how

You can make a difference

It is widely believed that although the total number of twisted sequences (eg., fibor) is exponentially high, the actual number of templates or motifs from which those knots are drawn is only about 2,000 or so. I call these templates fonts (a term borrowed from stereotypography). According to the opera ludo, Stewart, there are precisely 2,028 fonts. Our assignment is to proof, sort, and synthesize these objects. By juking, we are steadily accomplishing this.
#
The consequences are grand and beneficial. On one hand (physics), all material (particles) can be described. On the other hand (chemistry), biomolecular structures would be exactly solvable; malforms and disease (ie., Alzheimer's, baldness, HIV/AIDS, cancer, ozone scrubbing, etc.) become curable. An immediate ancillary is that juking gives you a chance to put funds in your pocket.😁

As jukers, our job lies at the corridor of economics. To juke is to take a portion of some l-string and twist it so that it is optimal. The reward for this is MONEY.

For each opus, the game starts with an opening. Vend your coupon with a juke, and improvise.

We'll use an example opus here (which will later be rehashed in the fugue overview). I disclaim that these numbers are probably bogus, as they were handpicked for illustrative purposes.


- A rotisserie, or roto, symmetrically relates ("swaps") self-contained assets-to-functions ||(u,u)|| as defined within some twistor space. It exists only to throughput (measure and frame) tokens.

The jukebox hosts a rotisserie in order to instantiate MONEY algorithm activity (read: 'juking'). Rotisseries typically use statistical cycling of the canvas (buttons: juke + Stewdio + fugue) so as to benefit jukers. In our case, the rotisserie is synonymous with "coupon router" (ie., a hash auction), thereby establishing gameplay.


- The layout for UUe's rotisserie is pretty straightforward. It has four (4) sections: three (3) identifiers plus one (1) activator.

The identifiers are:
opus number,
tablature, and
handicap

The activator is a solo juke button.

Starting from the top (opus number), I'll explain what each section does.


- In this (possibly bogus) opus, EX (Part A) represents the two (there are always only two) leaves (or reading frames to make an analogy) that mark the ends of the string. The first letter (E) is the start leaf, and the second letter (X) is the stop leaf, in that order.

The next part (Part B) tells us how many flageolet pencils (or polymers, to make another analogy) there are that make up the string (cf., font size). Since this is a chain, we can assume that the pencils are conjoined. The number is always an integer. For this opus, there are one-hundred (100) pencils, meaning that its string is 100 units long.

The third part (Part C) gives us the (font) weight (as a function) of the string. This number (an integer) is the sum of all the stews ('weighted pencils') along the string. We arrive at this number by converting (more accurately, translating) the letters (in the English alphabet) of the stew to their numerical equivalent. For example, the letter 'E', the fifth letter of the alphabet, is number 5 (E = 5). The letter 'X', the twenty-fourth letter of the alphabet, is number 24 (X = 24). The letters of Part A are always included in the tabulation, so the weight is summing an additional ninety-eight (98) alphanumerics [ie, ∑ pencils].

There are a lot of different combinations one could use to get 888 from 100 pencils. For instance, we know at least the value of two pencils here, E (5) and X (24) = 5 + 24 = 29, leaving us with 888 - 29 = 859 mod 98 combos from which to choose. The remaining 98 letters can be any from the alphabet (A - Z), but any combination:
(1) cannot exceed 859, and
(2) must count all the strung pencils.


- Tablature is the range of frets (font sizes, 1¢ +) available to a given opus. It is indicative of the multiplier at which a dividend can be obtained (ie., 'buy-in').

We derive the valuation as the logarithm with a base product of font size by font weight, and an (egg,epp) quotient (or, even simpler: handicap/2600). This is known as the cent formula. Perhaps it looks a little better handwritten:


The formula is (somewhat obtrusively) borrowed from music theory. Here, c stands for cent(s), the basic unit of MONEY. The number 2600 is the deviation of twenty-six semitones measured in 100 cents each. n is the product of (font size × font weight), and the (b/a) ratio satisfies integration between two (2) intervals.

In our example here (which is still probably bogus), we hypothetically would get the 5¢ fret from the formula like so:

A fret (ie., activation fee/price-per-token) is a conjectured ideal phenomenon in finance. Theoretically, it is the "lowest-level juke (as one-twenty-sixth of a sporadic group)" at one cent (penny), where the value is derived from the cent formula [particularly, fret = logn(b/a) | {b,a = (u,u), n = font size × font weight}]. Frets share an equivalence relation with twistors.

The significance of the fret (and the idealism of it) is its extreme affordability; one cent is considered to be Nature's disposable income. Mirroring chemistry, the fret would be the lowest available energy level.

In everyday vernacular, most, if not all, jukes hedging opus handicaps are assumed to be so-called "(penny) frets". That is, their fret is typically worth "pennies on the dollar" or "cents on the dollar". The fret itself may be an accurate description of a general juke because standard coupon deviation is represented by the tablature.

Note (+): In theory, attaining a per-cent fret is challenging because of tablature efficiency conditions; where the greater the number of pencils (and hence cents), the heavier the string, resulting in a juke with a wild count. Tip: The smaller the fret, the bigger the potential payout. (see below)

In practice, a pure 'penny' fret (an identity) is infeasible in two-dimensional (2d) vector space, as handicaps and yields normally have no congruence, and for this reason, we juke. If and when it turns out that a fret is bijective, then we have a font.




- An opus' handicap, or just cap, is its projected yield, as measured in cents (compounded to dollars). It is computed from the product of the actual fret multiplied by the maximum number of TOS semitones* (cap = fret × 2,600), thereby completing the cent formula.
One-hundred (100) cents each.
This figure constitutes the fitness extrema of the opus it represents (akin to how much twistor space it occupies). The cap is essentially placing a quote (estimate) on the calculation derived from the above equation. Anything under the cap (minima) qualifies for a coupon's dividend (ie., 'pay-out'), and anything over the cap (maxima) constitutes a loss for the juker/gain for the house.


Suffice the techno-babble written below to say that all the juke button does is call the charge API. You're basically placing an order by entering a play (optional) and some monetary value as you build your coupon.

- A juke is an iterated perturbation* (sesquilinear transform) to egglepple. To juke is to solve some twistor space with (an) EGP encryption. Within the context of stew choreography, a juke is a play that is symmetry-breaking but not an endgame move, which means that it does not include: (1) the coupling of adjacent leaves, or (2) the leaves EEE and PPP [(namely (EEE,PPP) / (PPP,EEE)] in coordination. Failing to adhere to this rule would result in dissonance.
ie., ultrametric calculus.

Note (+): It may be the case that the leaves EEE and PPP can/should be replaced by EEG and PPG, respectively. This is because EEE and PPP actually are loop markers (marking initiation and termination) in a sequence. Adjacent leaves cannot be coupled due to the fact that a chord (three leaves or more) is required for folding.





Out of the total twenty-six (26) stews, only twenty-four (24) of them allow legal jukes. This stems from the fact that a composition cannot lack harmony, which is to say that a loop (connected endpoints), nor adjacencies (any side-by-side coordinates) are permissible.

Note (+): The sequence of leaves in a juke is immune to start/stop identification. Meaning that it is not illegal to have an opus be of identical lettering (eg., "Opus LL").



networking

significance

We are in the business of disease-related research (and making lots of money🤑). The proliferation of genome sequencing projects (eg. Human Genome Project) simplifies cellular polymer/protein primary structure (amino acid sequence) inference. However, that information doesn't reveal much about protein function, which is necessary for our ultimate goal of rational drug design (albeit via computational biochemistry). That comes from knowing macromolecular three-dimensional tertiary structure.

Most people know that computers can help save time+money, and that is especially true when it comes to bioinformatics. Still today, x-ray crystallography and/or nuclear magnetic resonance spectroscopy are the main ways labs determine tertiary structures. For all intents+purposes, these methods (x, NMR) work, but come at a high cost (on average, the price of a single protein isoform is roughly $100k per), and with experimental constraints (hence the desire for refined data via computational simulation). Not only that, but the process is slow (time-to-data for crystallization: usually months). To make matters worse, even after confirmation, there is a backlog of solved structures (for databasing) at major repositories, so much so that the amount of available information (103s classified vs. 106+ deposited) lounges in a problematic timehang.

UUe.i can dramatically reduce discovery-to-classification time (and thereby remove the evaluation bottleneck) precisely because it is (in theory) the heaviest duty program on the market geared towards molecular dynamics and numerical analysis.
SUMMARY
Opportunity
Solutions to protein folding problems are largely computational. Engineering+maintaining a supercomputer is expensive, but the payoff is near-immediate and widely useful for everyone. This is probably going to be a long-term endeavor, which is why the project has been opened up to the community at-large. Implementation needs boil down to underwriting. 🧀Fund this to enable development (improved core features, bug fixes) continuity.

My ambition here is twofold: (1) use this popular storyline to bring widescale awareness to neurodegenerative diseases and their disorderly effects, and (2) simultaneously have those derivative revenues pipelined for therapeutic development.

fundraising vehicle
ways you can contribute

Easter is crowdfunded + opensource = crowdsourced
Thank you.
--------------------
SECURE🔒

🐷tip

{*Gift $1,000+ = underwriter credit}


💸debt

seeking: $2,500 @20%

offer valid thru March 31
ask $2.5k
interest 20%

due 60 days

🧀fund


{There are no dealings with banks; all financing comes directly from the crowd.}

ACTIVATION

use of proceeds

+ 🔌Power grid
Funds from this raise help subsidize the utility's first monthly electric bill. The way this works is that data gets served from phones back to the jukebox (essentially a network of servers). The more jukers are on the network (ie. phones distributed across the platform), the heavier the workload (hashing/threading). Processors are what tax the server (and hence the network), leading to an increase in power consumption. As more people join the MMO, the electricity usage grows exponentially. You get the point.

An advantage that we have on our side is that the jukebox is based in the state of Montana, where average rates for industrial consumers are in the bottom tier [rank: 48/50] (a net positive). To illustrate this, we reference information from electritylocal.com:

usage 5.1¢/kWh
monthly bill $2,439


Note (+): We expect our user base to grow - thus diversifying the thread intake, but not be so large that it exceeds power generation.

TRACTION

evidence of revenue stream

📊📈Network observation

+ Ad traffic (Google AdSense analytics for uuelco.me)
Page RPM [floor - ceiling, with daily fluctuation]: $0.00 - 37.49 (rule-of-thumb: average is ~1 cent/impression)
Post count: ~11,500
Average page views/day: 23.5k
Unique site visitors/month: ~850k+

Note (+): This graphic only shows the refreshed start of a new cycle, that's why the 'Clicks', 'Page views', and 'Impressions' values are low.


glossary lite

+ Understanding ad lingo (Ads 101🍎)
Most creatives markets (ad buying+selling) can be sufficiently reduced to the following six metrics:
- page views: a page view is just that, how many times a page of interest (with a displayed ad) is viewed. Regardless of how many ad units are on the page itself, what gets reported is the actual page count as a multiple of 1.
- impressions: an impression is counted for each ad requested that gets served to some page. So, hypothetically, a page can serve multiple ads, say three (3). Thus, that page counts three served impressions.
- page RPM: Page RPM is the revenue generated per 1000 impressions. For example, if you earned $0.30 from sixty (60) page views, then your page RPM would equal ($0.30/60) * 1000, or $5.00.
- clicks: Clicks are counted as the number of times a user selects ('clicks') an ad unit.
- CPC: CPC is cost-per-click, the amount earned each time a user clicks on an ad. This value is always negotiable; the price is determined by how much an advertiser is willing to spend to buy that ad.
- page/ad CTR: CTR is a click-through-rate, as measured by the number of ad clicks divided by the number of page views (clicks/views). For example, if you received 6 clicks for 300 page views, your page CTR would be 6/300 = 0.2%.

path to profitability

It all comes down to placing a number of ad units on a page which can increase the probability that those impressions will monetize that page due to sufficient audience traffic and volume of inventory. Here, we can expect a robust ecosystem of contextual ads based on the range of threads stemming from the proof itself and 🎨concept art, in particular.

All posts on uuelco.me are monetized. Some posts are more popular than others (either be it because they carry-on a conversation in the talk section of the page, contain multimedia versus those that don't, or are just flat-out more interesting). This makes a difference in how the automated ad network to which we subscribe serves ads to specific pages; the system queries session metadata to guess which ads are relevant to a viewer/seacher, resulting in ads that may be about cars, dating, medications, tv shows/movies .. all the way to home alarm gadgets, holiday shopping, and the whole gamut of retail. The algorithm depends on what content is on the page, keywords, page rank, and user impressionability. So, it's hard to quantify how much revenue is or can be generated on any given month, but, it is easy to see that the more posts/threads that are published, the more upwards the revenue stream.

🧀fund

assurance

+ The skinny
The ad network to which I belong issues payouts once per month, so there is a need for a monthly carryover, hence the ask. You and I are jointly entering into a binding contract. Your borrowed money is repaid* to you in a timely manner (no later than sixty days from day of debit), with interest. The going interest rate is twenty percent (20%). This means that for every one dollar ($1.00) you debit, you are due $1.20 in return [$1.00 (b) x 0.2 (i) = $0.20 (p), b + p = ROI]. For example if you debit $1,300 (b), then ROI = $1,560 [credit] with a $260 profit (p). On $2,500, investors are owed a total of $500. Obviously, the more you debit, then the more you can credit. ← Hey, that rhymes!Returns via direct deposit (either Cash App or Checkbook.io). Please connect with the finance department on LinkedIn.

Note (+): You would be taking a risk by participating in this or any investment round. This means that you could potentially lose money. There are no refunds. Nothing here is backed or insured by the FDIC. Only debit because you have an expectation of returns based solely on future (ad) revenues. Now, having said that, the reason I'm asking for so relatively little (a single month's worth) is because I have high confidence that I can make that up with ad revenues over a short period of time (double the window), because, well, I'm just that good.😛 In other words, you're safe; I just have to put that stuff in print to protect everybody.

If you have any questions, scan the Q&A section for an overview. You can take a look at some of our thread mechanisms below.

🥕carrots



++ Easter is a hash opera aimed at tackling Parkinson's disease. We are moving the polyRAB forward with sourcecode, art, documentation, and user support. Join us. ++

section for community+developer activity

bounty: $6million

All development is organic: can you do the job, and will you do it here? Since this is a community-driven bounty (w/ prize-sharing), you can 🥕contribute in bits*. 🥕Rabbiting may be viewed as an audition for prospective employers. Essentially, the difference between a 🥕non-contractor (colloq. rabbit🐇) and a contractor is the compensation = pay💰 + worker's (spot-paid general exams, dental+vision, prescriptions, gym).I coined the term 'rabbit' from RAB+bit, as in 'do your bit').🤓

short-term opportunities to earn

🥕
**Non-union gigs available to contractors* [1099]. EOE. Apply using Linkedin.
Contractors must independently draft their own negotiable contracts.**


- Android/iOS SDK programmer
- automation engineer
- network architect
- mathematician
- 🎨concept artist
- special/visual effects
- **military consultant**
- **actors**
- **crew**
- **construction worker**
- **set artisan**
- **operations intern**
- **music**

"they don't make quality stuff anymore."
--------
tweak the narrative. win the game. do people proud.

help wanted

+Android/iOS SDK programmer [🥕] - going off the jukebox API and assets to develop enhancements to the Google Daydream (Android, Unity, Unreal, web) sdk for Easter. For the most part, our engine consists of intelligent isometries applied to the camera (mixed reality/augmented reality elements super-imposed on locations). -- do you think your team can ship a monetizable app (beta) with continuous predictable updates throughout production? Show me your codebase. [## Python seems to be the way to go, these days. ##]

+automation engineer [🥕] - wanted: a simulator. Will you build it? We need somebody who can prototype interfaces for self-driving vehicles (think of scenarios with lots of traffic). You are a full-stack developer who is comfortable+proficient with machine learning and data science. Tensorflow/PyTorch expertise is a must. MATLAB/GNU Octave is your friend.

+network architect [🥕] - you love big data. Our MMO's database engine must support some multiple of millions of players.😅 Be comfortable with the underlying principles of neural networking since we're loading hugebytes of data across a distributed cloud (GCP, Azure, AWS). Our network has to stay up and remain secure🔐. We'll run a very small intranet that will need monitoring. Industry certification a plus!

+mathematician [🥕] - wizards sought. Overall, this is a computational math problem. Your tensor analysis (ie. geometric sums, partial differentials, number theory, etc.) game is on-point, as your level of conceit won't let you fail (just focus and think!). We train our ai by finding increasingly sophisticated acoustic bounds on twistor spaces, which are some of the most challenging algorithms in the wild. A firm grasp of string theory (with emphasis on 'theory') will take you far. I can see the smile on your face now when you discover that the Millennium Problems are being added to the compute layer. Jam with me.

+concept artist [🥕] - draw, draw, draw, and draw some more! -- proficiency with variety of vector graphics programs (Corel, Adobe/GIMP, MS Paints, etc. w/ brushes: watercolor, camel hair, airbrush, crayon/oil pastel, grease pencil), strong 2D/3D modeling and CAD. Skills in cartooning and character animation (/animatics) with said tools is a plus! Fine artists will spend their time building assets and designing subd mockups. You will work directly alongside me illustrating whatever I dream up (eg. the libretto, etc.), as well as interfacing with the actors and engineers when they need sketchwork. --- can you do stuff like this?

+special/visual effects [🥕] - develop believable digital assets that are seamlessly placed into real-world settings and environments (in this case, outdoors Philadelphia, Pennsylvania, circa 1978 - 1980, and today). I'd rather you use an opensource modeler, like Blender (.blend), rather than the commercial products like the Autodesk family (eg. Maya, 3D Max) wherever possible. Ability to duplicate visuals from still photos is a must. Your animations should be A+. Trust me when I say that this is something that you will be doing ALL DAY and that it will consume you.

+military consultant [negotiable] - help draft* schematics for wargaming in an urban landscape. An ideal candidate will have experience in actual combat (deployed), ROTC, and/or be a solid player in real-time tactics video games such as Call of Duty, Medal of Honor, Sniper Elite, and Battlefield -- in these scenarios, we need to know - given certain time constraints - what is feasible versus infeasible in urban guerrilla warfare. Considering that Philadelpia, PA is a relatively large layout with many rowhouses, sidestreets, a trolley/elevated transit system, and on two rivers ([a]+[b]), how would battalions attack each other with limited munitions in that setting? --- if you're a gamer, demo your vids on YouTube with the hashtag: #wargamingforEasterOperaData trained on UUe.i.

Note (+): Gamers, whose efforts are appreciated😉, are not going to be compensated.🙁 You should, however, be signed-up for AdSense so that you can enjoy the revenue you get from playing games on your channel. If your strategies are used in the final cut, you will receive credit (as your screenname).



+actors [$13/hr] - both dry and wet. A dry actor (rehearsal aid) is someone who helps with fleshing out a scene, particularly assisting the concept artists to better communicate+illustrate their renderings (for the wets). These individuals are not expected to have screen time. On the otherhand, a wet actor will audition for a role to be seen by a wide audience. --- dry actors might be selected from local talent; wet actors should frequent the film office bulletin in Philly (film.org), and elsewhere online (eg. Backstage.com). All hired actors must be non-union [SAG/AFTRA/AEA=no].* ---- actors please demo your reel on YouTube (at your discretion, make selection public, or unlisted if you only want someone like me to be able to view it) with the hashtag: #actingforEasterOperaOr, at least commit to being de-unionized while on set. The reason no SAG/AFTRA/AEA (scam alert!) is preferred is because I don't want a union trying to bully me or getting in the way of what I'm trying to accomplish. I can't have actors or crew or anybody for that matter, slowing down production with a list of demands for working terms; if I have to work a certain style (long hours, etc.), then you have to work that same way. // En lieu of this, offered to hirees is an exceptional benefits package.

Note (+): All acting assignments are paid gigs that will receive credit.





+crew [negotiable, full-time] - if you don't know what 'crew' is, then don't bother. Needed are cinematographers, lighting, grips, drone operators, costume/wardrobe/makeup, and technicians. //REMOTE WORK SHIFTS REQUIRE FLEXIBILITY//
- cartographers are in-demand here. We use Google Maps/Earth and Bing Maps to produce street views of Philadelphia and Butte. But, those maps are outdated (somewhat). Your job is to go around town generating new all-weather maps and provide the team with state-of-the-art information on locales. The cinematography unit relies on your supplied maps in recording.
- drone tech(nician)s can expect to travel a lot in the field. Needed are aerial shots [gis] of Philadelphia's cityscape (from Cityline Avenue up into the Lower and Upper Darbys, in and around Germantown/Mount Airy/West Oak Lane/Olney, and some hangouts in the North side/Montgomery County - pretty much the whole thing), with lots of tight shots in and around downtown (horizontal+vertical) - Philadelphia's tallest point is about 1,121ft (342 meters), so the drone must capture at a minimum 1,250ft altitude. We're using a mobile (cell phone) camera and a Jump rig unless you have a better idea.
- with today's software, I find lights to be better handled in post (editing suite), plus, we're using lots of outdoor shots with natural lighting.
- costume/wardrobe will be given a credit card💳 and told to go shop for fabrics. You will be stitching together clothing items that are as close to the concept artists' illustrations as possible, that concept artist may even be you.
- whoever photograph's this thing has to have extensive experience/expertise with mobile (Pixel, iPhone, Samsung, etc.), including the peripherals for those phones. I am NOT interested in lugging around large, overpriced cameras, nor am I interested in 'film', so spare me the artiste nonsense. You will have a bunch of high-end phones at your disposal, so you have to think in terms of how each shot will look in VR (360 degrees) from various angles.
- the sound unit should be experts. Audio is not something that you can fake. Your job is to make sure that our sonics are audible but not deafening. I don't want a whole lot of boom mics or lapels. It's tricky but also your job to figure it out.

+construction worker [$25/hr, full-time] - build/construct physical sets according to specification, and under the supervision of a foreman. Must be able to work on-site (Philadelphia or Montana) with varying hours. -- laborers should hold industrial trade certification and pass a background check. Bring your own tools🛠. English and Spanish speakers OK.

+set artisan [🥕] - design and dress virtual and/or physical sets to specifications that suit your flair (within the context of the story, of course). Attention to detail and a willingness to stay within a fixed budget are a must. Are you a big fan of HGTV renovation shows (eg. Property Brothers, Fixer Upper, etc.)? Good with Sketchup/Layout, Soya3D? Do you have a background in interior design? Most importantly, can you meet deadlines?

+operations intern* [$20/hr, full-time] - a perfect opportunity to run a small business from the trenches. Your duties include managing the office, people, and payroll (either Gusto or an in-house system). You should know your favorite spreadsheet application like the back of your hand. As the point-of-contact, you will be responsible for public outreach. It is also your job to make sure that our metrics (ie. views, ad buys) are growing(!). -- this is probably suited for an MBA-type or an entrepreneurial JD.You should already have your degree. It's an internship because it has set start+stop dates.

+🎵music [negotiable] - besides myself and a mixer, instrumentalists will be conducted by a classical conductor with experience in film, television, or (the cinematic elements of) video game scoring. You clearly understand that it's the music that makes all he difference. Soft notes from Jerry Goldsmith's incidentals, as well as themes from Michael Kamen's original Die Hardscore may be incorporated into the libretto's score, so the department will need to conduct a full orchestra for additional new music (5+ hours) around that. -- applicants should hold a bachelor's degree in music.

My way (rather, the Black American style to which I'm accustomed) of doing this is to put a bunch of professional musicians (whether they've worked together before or not) in a room and let them have jam sessions. We're bound to have a ton of new music and sounds, some things of which are destined to make the cut.
btw, aren't these great?:

Also wanted are neo soul/contemporary R&B songwriters and beatmakers for a series of so-called "Day 0" mixtapes (themselves Easter eggs), as well as forty-five (45) second advertisements featuring Ric Flair[i] of a fictional (in the sense that it was created for this opera) brand of DIY huckleberry-flavored rum called Brown Hue (from 'Hubert Brown', the birth name of H. Rap Brown/Jamil Abdullah al-Amin). These are marketing gimmicks that tie into the production (look for these around the Web and in the opera), the latter because that's the distilled spirit our alcoholic detective prefers to drink. (Drink responsibly.🥃) The songs themselves don't have to be that short (and probably shouldn't be), but a full song must lend itself to being sampled.

If you need more information to help you with your composition, Ric Flair is a professional wrestler and personality (it's best that you know who he is. Pretend that he loves R&B and that you are making music just for him.) who will narrate the overture in snippets in the company of a 'friend'. Although he is reputably 'loud' (flashy) in real life, your music should not be. We're easy listening for melodies that compliment/complement the ambience of man wanting relaxation and telling a story to whoever's paying attention.

Keeping an eye on the bigger picture, with this opera, we are going for an entirely new generation of sounds (melodies and songs) that may (re)define the Easter holiday season moving forward, very similar to what American and European musicians have done with establishing 'traditional' Christmas music (eg. 🎵Santa Claus is Coming to Town, 🎵Rudolph the Red-nosed Reindeer, 🎵A Charlie Brown Christmas, 🎵The Christmas Song, 🎵Jingle Bells, etc.) the past two (2) centuries. For inspiration, the musicianship of Stevie Wonder and his compositions (eg. sample appetizer: 🎵I Can't Help It, 🎵Why I Feel This Way, 🎵Ribbon In The Sky) are some of my favorites and could set a bar for grooves.
🎧/👁️


--------

debugging

how we work

Highly-collaborative with a premium placed on helping each other succeed. We move fast and are audience-obsessed. -- Review dailies, then, after ideas/concerns are fleshed-out, ship. // Share my vision of a smart+able world. Don't be a luser.

Be mindful that we are in a competitive space. 🥕Carrots are offered as incentives; the more earned, the bigger your share of the bounty prize. In a technocracy, top performers are the most agile. Participants from informatics competitions (eg. TopCoder, HackerRank, DEFCON, Code Jam) and math competitions/courses (eg. Putnam, IMO, MCM/ICM, Math 55h) will settle in well here with our ctf🏁 approach [carrots-for-flags|🏁→🥕]. {I reckon the IQ around here is insane.🤢}

Before building anything, design your spec. Time spent not doing something right equals time spent doing it over. Our work must scale, so proper architecture is critical to function.


TOOLSET

getting the job done

We use Google, Docs and App Script for our workflow.
+

All we're pretty much doing is pushing/pulling plain text (math), images, and code.

Everyone has permission.


For mathematicians needing a TeX macro, Docs and Sheets is a workaround solution (and, yes, this site has MathML installed). I prefer the apps because you can attach picture files to your shareabale+editable document, further illustrating your point.

Programmers should focus on pseudocode before delivery. As long as you declare your variables, the community can follow along and port that code. executions, triggers, etc. are allowed right inside the app, just share.


--------
An opera couldn't be defined without its theatrics and people we get to sculpt. Here's our

Personnel
@Attention: casting🎭 call announcement📣

who's in this?
characters
cast, crew roster

(Legend: CONFIRMED)
/[ensemble]
- Pascha&, protagonist/antagonist -- a notorious retired ensign[description:= α White male, mid-60s years /// character:= a first-rate detective of extraordinary ability with an irascible militant itch, aged+diseased, grossly flawed and deeply insecure, drunk, funny, improvisational, lucky but unfortunate, instinctive, experienced, seasoned, now at the stage where he is remorseful, relocated/switched cities (Elsewhere→Philly) for professional purposes, a severely skeptical Irish🍀 Catholic, our random walker]Conveyed with ventriloquy from both a voice actor and computer graphics, as necessary.
- Glenn Close as Maundy, coloratura[description:= ε White female, 70-ish years, Swedish heritage /// character:= an aloof genius who views few as intellectual peers, a not-so-well-known public figure that works behind-the-scenes (doesn't get hands dirty/meticulously covers tracks), hates repeating herself, territorial, competitive, proud, immediate, urbane with her head full of white hair, regal, minimalist, mute and blind (visually impaired) but with an eye on the big picture, prefers her money do the talking, she's committed to her business (moonlights as a shipping magnate) and lives by the pericope 'You deserve what you let happen to you.'] (see also young Maundy Lindros)
- Link Egglepple Starbureiy's signature motifLink Starbureiy[i] as Fer(gus), monody[description:= Δ Black male, 39-41 years, this guy's resemblance to Link Starbureiy is uncanny😉 /// character:= a civil engineer by trade who is anti-heroic, raw, seething, extreme, schizophrenic, ruthless, bellicose and on his bully, not easily fooled, bold, fearless, crusading for freedom] and lnq, voice+avatar of the jukebox, UUe
- Dianne Wiest as Ember Libitina, District Attorney Emerita and mayoral candidate[description:= ζ White female, 70s years /// character:= a charming but deadly prosecutor (nicknamed the 'Queen of Death' because she frequently seeks the death penalty for the convicted) who - with her juvenile demeanor - convincingly masks a brutal sociopathic personality, running for mayor in this special election which she is campaigning for "redevelopment", clever, obsessed with destiny, a greedy IJ Syndicate holdover from the Frank Rizzo era, deliberately willing to call for wholesale assassinations, modeled (nomen à clef) after Lynne Abraham]
- Rauol Gore as Theophane "Park" Darby, kingpin[description:= θ Black male, 25-30 years /// character:= former police academy graduate+recruit, now a wanted criminal (for murder and narcotics dealing) who is the subject of a joint CGSI+DEA hunt (and has been for three years), the biggest drug dealer in Philly and feared leader of an extremely violent criminal network arisen from Camden slums, tempered with Napoleon complex, seeks absolute control over the game]

/[supporting cast]
- Reginald VelJohnson as Alven, deuteroganist[description:= β Black male, 65-70 years /// character:= retired police sergeant having a decades-long friendship with Pascha, a happy-go-lucky retiree who is always there when you need him🙂, his only real concern these days is for his nephew, Albert, who is following in his footsteps and joining the TPD, enjoys his hobbies and spending time with his grandchildren, resides in Babson Park, FL but is arriving in Philadelphia for Pascha's badge honoring party, bothered by a nagging spider🕷️ bite that is restricting his ambulation, probably the sole person with insight into Fer's playbook]
- Egg (Joseph "Joey", Junior.), freelance intelligence operative (=computer hacker and government associate) and only son of Pascha[description:= λ White male, 30-35 years, fit /// character:= a dues-paid public servant who's worked on important cyber missions over the past decade, author of the 'fabl3' payload, travels frequently in search of more than just tech-installing for his job assignments, fallen out-of-favor with his mother and wary of his dad because of doubts of paternity, yet can't ignore evidence of similar behavioral patterns, a boy scout/G.I. Joe-type]📣
- Bunny, trainee of Pascha[description:= White female, 20s years, thickish build (5'7'', 140lbs.-- must really be able to "squeeze in them jeans"), strong features of her Greek/Mediterranean heritage (dark hair/eyes) /// character := she looks nice but she's not nice, sly, bold, opportunistic, a cold and conniving dyke]📣
- Eógan Curran, mayor of township[description:= Black male, 50-55 years, must be able to nail the Philadelphia accent /// character:= privileged, seasoned, aggressive, and power thirsty, a typical two-faced political bullshitter, a hypochondriac]📣
- Rumer Willis as Lily, only daughter of Pascha and older sister to Egg[description:= λ White female, 40-42 years /// character:= single mother of twin preschoolers, Antoney and Isabell Ndongo, on the cusp of 'finding' herself, 'employed' as a clandestine agent (and that's all we know), stressed, sides with her mother in despising her dad but would be unsure why if she did some self-introspection, clinically diagnosed with anxiety disorder and manic depression]📣offered to Rumer Willis
- Pallas (Red* Horseman), one of Fer's henchmen[description:= Black male, 30-ish years /// character:= an architect apprentice, professional student-type, humble and milquetoast, takes orders well, is afraid that maybe both sides of the fight are equally wrong, brother of Hebe]
- Carl Weathers as Dominique Noah, neighborhood imam[description:= Black male, 70-ish years /// character:= he can preach until the moon turns blue, but is deep-down tired of the choir itself, lately finds himself babysitting Tharbis' kids, he's been waiting for someone like Fer - who he views as a prophet - to come along .. perhaps as a means to hide his own dark past, hardcore, a real G with swagger]
- Eddie George as Iggy Veracruz, Green SEAL special ops commander (20th Special Forces Group, Baltimore)[description:= Latino/Hispanic male, 40-45 years, Central American heritage /// character:= a Texas-bred, tough-as-nails/'hard ass' field general]📣

/[auxillary cast]
- Wendy Roberts, civil servant and in-house Doctor of Psychiatry[description:= White female, 50-55 years, stout /// character:= a lonely hopeless romantic (who is just now starting to accept that men never cared about her credentials) crushing on Pascha, by-the-book and professional to a fault]
- Annie Starke as young Maundy Lindros, heiress to the Lindros FlyerCast & Irons, Ltd. company (1978 flashback)[description:= White female, 30-ish years /// character:= born with both blindness and alalia but with heightened senses otherwise, expresses herself using a keyboard, a classically trained physicist, accomplished (Brown PhD in Physics at age 16 -- research on extraterrestrial viscosity dynamics // thesis: "Quantum Leaps in the Material Science of Alloys" -- she remains the youngest person ever elected to the American Academy of Engineering[w]), high society pedigree, ambitious entrepreneur with a knack for being in the right place at the right time, has carefully crafted her public persona in order to avoid suspicion, perceptive, callous, willing to do whatever it takes so that the rules are bent in her favor]📣
- Rock Hefner as Bobbe Penn, WUUE radio personality and talent manager (1978 flashback)[description:= Black male, late-40s years /// character:= produces shows at the Uptown Theater (modeled after Georgie Woods) looking for Philadelphia-area talent to perform in his final amateur night showcase]
- Jim Meskimen as Lent Goode, Pascha's admiral[description:= White male, 50-55 years, Eastern European heritage, clean-cut /// character:= lenient but vindictive, really harbors ill-will towards criminals, a brown-noser]
- Kofi Siriboe as Colin "Ramp" MacIver, petty officer in the maritime forces (1978 flashback)[description:= Black male, 20-25 years /// character:= fiscally conservative, hardworking and dutiful, a friend and fellow troupe member of young Pascha]
- Amrapali Ambegaokar as Agent Ritcha "Florence" Ramja, City-wide liaison for the Drug Enforcement Administration[description:= Indian female, 40 years /// character:= blunt, low-key mouthpiece who acts as the interface between the intra-flotilla corruption and the general public, representation for the regional branch/office of the DEA (on the case specifically in pursuit of Theo)]📣
- Brock Vickers as Gunyo "Little Gun" Gruber, a member of Lambsimon's pod[description:= White male, early-30s years, tall at 6'3'' /// character:= cunning staff counsel, meticulous, diligent, dutiful, and sacrificial in the sense that he's willing to work long hours, a hired Pinkerton possessing latent military skills, talks in a bizarre off-Australian twang]
- "Lollipop" Sylvia, connect[description:= Latina/Hispanic female, 15-20 years, Puerto Rican heritage /// character:= the unsuspecting distributor for both an offshore drug lord and Theo's minions, a candy-loving, cold-blooded assassin, a young girl who is making good money being exploited]📣
- Hephaestus (Blue* Horseman), one of Fer's henchmen[description:= Mixed male, 15-18 years /// character:= a mulatto boy - hated by his mother - caught up in a race war, a crafty+clever natural mechanic and otherwise city-slick/street-smart punk kid who is infatuated with the manliness and father figurehood that Fer exudes, participated because he admires the leadership and wholeheartedly believed in its cause, now he must make a decision]📣
- Hebe (Purple* Horsewoman), one of Fer's henchmen[description:= Black female, 40-ish years /// character:= sister of Pallas, something was amiss in her personal life that she thinks she's found by following Fer]📣
- Lily Gladstone as Lambsimon, a close business associate of Maundy[description:= White female, 30-ish years /// character:= cutthroat, face-paced MBA-type who is just as invested as her boss in making sure the company is in a secure position]📣
- Earl Ellis, a sleazy business executive[description:= White male, 40-45 years /// character:= nearly completely misreads how he comes across to others, gateway drug user, a late-life bloomer who schmoozes his way into opportunities]📣
- Murray Kamansky, concerned citizen and husband to Peggy[description:= Eastern Bloc male, 25-35 years, large build (6'6''+, 240+) /// character:= an imposing no-nonsense family guy, prejudice at his core yet affable, intelligent]📣
A Horseman is identified by the color of their held Beretta handgun🔫.

/[bits]
- Kathleen Quinlan as Palm, ex-spouse of Pascha[description:= White female, 65-70 years /// character:= sick/ill (dying from Huntington's disease), re-married, settled in Fairfax County, Virginia to be closer to her kids (daughter+grandchildren in Chester, PA and son in Falls Church[f]) 'just in case', frequently at odds with Pascha because of her past dalliances; what's left of their relationship these days is estranged and apoplectic, but both still honor "the deal"]
- Efret, distressed child, only sibling of Gershom, and daughter of Tharbis[description:= Black girl, 8-10 years, dark-skinned]📣
- Gershom, distressed child, younger brother of Efret, and son of Tharbis[description:= Black boy, 6-7 years, lighter-skinned]📣
- Bisserat Tseggai as Tharbis, distressed mother of Efret and Gershom[description:= Black female of Abyssinian descent, 30-35 years, thin build (body type reflects her struggles with drug addiction) /// character:= a thot]📣
- young Palm Lucia (1979-1980 flashback)[description:= White female of North Italian descent, 28-32 years, small frame (~5'6'', 115lbs) /// character:= an abundantly hopeful person with an air of class (read: 'old vibe') to her]📣
- Dorsel, concerned citizen[description:= White male, 20-30 years /// character:= red-blooded American dude competent with a variety of firearms, pissed-off at the uprising, sees this as the perfect time to go and kill himself some 'niggers']📣
- Norma Stefany "Norma" MacIver, wife of/widow to Ramp and sister to Dominique, (1978 flashback)[description:= Black female, 20-25 years /// character:= an eager militant youth who is obsessed with the political and social climate of her time, a talented singer otherwise]📣
- Albert, freelance private investigator[description:= Black male, 21 years /// character:= nephew of Alven who wants to 'fight the good fight', aspires to be like his "legendary" uncle]📣
- George Coon, concerned citizen[description:= Black male, 20-25 years /// character:= token conservative Black guy, well-read, unctuous, wears his opinions on his sleeve, thinks that everybody should get along with everybody as long as it benefits him, the fine product of some people's 'ancestors']📣
- Patel, concerned citizen[description:= Indian male, 20-25 years /// character:= a passer-by whose bad luck put him in the path of danger]📣
- Lisa Gore as Stuart "Art" Noah, aunt to Norma and Dominique, and auntie in-law to Ramp (1978 flashback)[description:= Black female, mid-30ish years /// character:= a tiresome maintenance worker for the Philadelphia Zoo, tomboyish, tough and stern in her strive to be a stable motherly figure, distrust of Mayor Ralph Russo's administration stresses her about the safety of her family]📣
- Ling-Lang, concerned citizen[description:= East Asian male, 25-30 years /// character:= restaurant employee out to defend his turf, not the nicest person, but decent and minds his own business]📣
- d0x, Roscoe's BI[description:= Black male of Somali descent, 30-35 years /// character:= tech and business savvy, helps with the logistics of the kingpin's operation(s)]📣
- Lef'fut, Maundy's personal bodyguard and sea captain[description:= White male, 35-45 years /// character:= burly guy who doesn't say much, speaks when spoken to, does what is asked of him, the boss' right-hand man/caretaker and muscle]📣
- Jennifer Lim as Mang, battalion leader for Zone 4/Asian community[description:= Asian (Chinese/Vietnamese) female, 30-40 years, small frame (shorter than 5'5'', 110lbs. or less) /// character:= a feisty survivalist whose risky poor life choices happens to get her caught up in a war, a mother with secrets]📣
- Ralph Russo, Mayor of Philadelphia (1978 flashback)[description:= White male, 55-60 years, burly frame /// character:= boisterous and brutish, his relationship with the African-American community is afoul, modeled (nomen à clef) after Frank Rizzo]📣
- Socks, Theo's understudy[description:= Black male, 20-22 years /// character:= a reliable but untrustworthy second-in-command to a kingpin, desperately wants out of the game]📣
- Galina, concerned citizen[description:= Russian female, late 30s years /// character:= single mom, immigrant (homeland accent included), fed up with the 'others' not appreciating their opportunities, fighting for her Caucasian race]📣
- Ben Schoenstein, City Council Chairman of township[description:= White male, 55-60 years /// character:= second in-command, always en garde, of IJ Syndicate heritage]
- Laura Stetman as Ethel, Egg's girlfriend[description:= White female, 25-30 years /// character:= her relationship is tricky, as she is romantically involved with an always on-call operative, but it's relatively new and she is patient, an actuary by trade]
- Bird, Navy SEAL under Iggy[description:= White male, early 30-ish years, medium frame (~6'0, 175-180lbs.) /// character:= a ginger, never bothered, contemplative/mysterious, gets the job done]📣
- Michael T. Weiss as Mr. Alphabet (Canaan Dusk), mysterious leader of the conglomerate, Nile LLC[description:= White male, 50-ish years /// character:= incredibly smart technologist who heads the world's most valuable company, of Ivy League (Princeton+Wharton) pedigree, modeled after Jeff Bezos[i] and Elon Musk[ii]]
- De'voreaux White as Smiley, a long-time friend of Pascha[description:= Black male, early 50s years /// character:= silly and loyal, he and Pascha met under inauspicious circumstances but have remained friends, a traveling DJ these days]
- Ric Flair, world champion wrestling legend with a strange connection to Pascha[description:= White male, late 60s years /// character:= athletic, brash, family man]
- Joan, Bunny's girlfriend[description:= White female, 20-25 years /// character:= lazy and in love]📣
- Billy Gibbs, a troupemate of young Pascha and Ramp (1978 flashback)[description:= Black male, 20-25 years /// character:= an outstanding dramateur with a great smile]📣
- Peggy Kamansky, wife of Murray Kamansky[description:= White female, 20-25 years /// character:= traditional and loyal to her husband]📣
- Felix Yota, public accountant working in the Office of Mayor Curran[description:= White male, 35 years /// character:= meticulous, suspicious, an ultra-liberal closet homosexual whose wrong insurance bet changes the course of his brokerings]📣
- Bruce Wagner, spouse of Palm[description:= White male, 80-ish years /// character:= a soft-spoken and dutiful husband to his ailing wife]📣

Note (+): Any and all confirmations strictly means that talent has opted to work on piece in some capacity relative to what has been proposed, and thus would qualify to be on the payroll. Names associated with roles are negotiating procurement. This more-or-less means that, as often is the case with independent projects such as this one, talent will attach themselves as to allow for securing🔒 early-stage fundraising and future compensation.


Note (+): Because of the speed at which I plan to move (on schedule), the antihero in the story has been written so that the actor would really need to have a close relationship with the writer himself (me), so I've penciled myself (Link Starbureiy) in the role of Fer.  And since I know exactly what I want, I doubt that will change.






/[crew]
- conduction+editing+writing = Link Starbureiy (composer [opera+libretto], characters, conductor, editor)
- producing = Link Starbureiy (impresario), Ric Flair (segment)
- visual/special effects = Digital Dimension[i], Pixel Magic[ii], Luma Pictures[iii][iv], Eight VFX[v], Gloria FX[vi]offered
- costume+wardrobe = Link Starbureiy (ideation)
- makeup = Han Ly?📣
- sound+music = Jerry Goldsmith[i] (incidentals), Michael Kamen[ii] (theme), Verdell "Dell-P" Smith (direction), Jimmy Jam + Terry Lewis (coordination)
- electrical = ?
- set decoration = Link Starbureiy (staging)
- stunt coordination = ?📣
- art direction = ?📣
- production assistant = Rock Hefner [Philadelphia], Deborah Stewart
- line production/business operation = ?📣
- grip = Hai Nguyen
- casting = Link Starbureiy
- cinematography [camera, lighting, photog direction] = Link Starbureiy (ideation)
- transportation department = ?
- military science = ROTC at The University of Montana
- miscellaneous companies = The Philadelphia Police Department (template), UUe (jukebox) Temple University (archive), City of Philadelphia (appreciation), City of Butte (thanks), Greater Film Office of Philadelphia (extras casting), Gusto (human resources services), Dial Press (acknowledgment), The Apprentice School (consultation), Philly Shipyard (consultation), Penn's Landing (appreciation), United States Coast Guard Station Philadelphia (thanks), Pennsylvania Biotechnology Center (community)
- underwriting = [your name here]

Acknowledgments:
This project is an enormous undertaking for me, and I would like to make sure that those involved even indirectly get their due recognition. For starters, a special thanks goes to The Michael J. Fox Foundation for suggesting such a great puzzle (the imaging of α-synuclein) for me to solve.

Also, I appreciate all of the back-and-forth Michio Kaku and I had in the 1990s regarding string field theory, it's what activated me in the first place. Staying on a physics bent, thanks goes to Edward Witten on further clarification of Khovanov homology and 5-branes, namely the paper, "Fivebranes and Knots".

Ms. Glenn Close' non-profit, Bring Change to Mind, was an important ingredient in deciding which direction I wanted to take some of the major characters, storywise -- people suffering from mental illness should know that they are not alone.

Although I take the opera as an original work - especially when considering its overall arc - uncertain motifs found in the first chord, Die, Detective!, are both undeniably+deliberately influenced by the writings of H. Rap Brown's[ii] autobiography, as well as Roderick Thorp's[iii] The Detective series (most heavily the base novel), from which it draws characters and some dramatic elements.

And but not least, a 'thank you' goes to Carl+Debbie Stewart who were a big help with consultation on what events, street life + night life were like in 1970s Philadelphia, and, as such, were a tremendous resource.

--------
Well, that's my presentation. Let's now have a

Discussion

The following is an open question (Q) / comment (C) and answer (A) format organized by topic, many of which may be anticipatory. Avoid redundancy by reading the entire statement before submitting your input (talk💬 | 🐛bugs).

//general (28+2) //production (19) //financial (19) //technology (25)

public queries submitted and (possibly) responded to

Q: Is this a take on the biblical story of the resurrection of Jesus Christ?
A: No. While there is a certain level of religiosity teasing the storyline+nomenclature, this work has little if anything to do with that holiday.
Q: Who is the leader in-charge of this project?
A: Me, lnq. [impresario = manager of push-pull requests]
C: Establish permissions.
A:The U.S. Copyright Act of 1976[i], in tandem with [a], [b], [c] qualify preparation of a derivative work from a musical angle. Even if the permit were to be rescinded (it won't), this is - according to fair use doctrine [Section 107] - pursuant of an original work (intermezzi: chords 2-5) that falls under the categories of scholarship and research*. Standard stuff.Per interest in Parkinson's and Huntingtin's diseases.

Because this is a transformative phonorecord, the same copyright law in this context supersedes and supplements Dial Press, the publishing imprint for H. Rap Brown's autobiography[r] [ISBN 978-1-55652-452-3] (on which themes are loosely based), allowing me to use certain facsimiles as I see to it, however faithful. More concretely, I am granted definite statutory custodianship from the estate of Jamil Abdullah Al-Amin to reuse said material. (see also legal stuff, copyleft)
Q: Is this the official webpage for said project?
A: Yes. This is the official central page for the opera, Easter, by Link Starbureiy. Other sites may ping back here as a point of reference [wiki]. #TeamEaster
Q: Will there be sequels?
A: To the opera itself, no. The first chord, DD, is intended to conclude the 'John' saga. It is immediately followed by chords N, O, A, and H. By the end of the fifth chord, H, the Pascha Family drama is completed as was insinuated. Chronology-wise, I split the opera into two parts (Opus Lent, Opus Pentecost), where the prelude, Die, Detective!, happens during Lent - highlighting Parkinson's, and the remaining four chords (postlude) happen during Pentecost - highlighting Huntington's.
Q: Is this a motion picture?
A: It's technically an opera, albeit one that is recorded using a virtual camera system.
Q: How is this an opera?
A: If for no other reason, it is an opera because it is comprised of more than one opus (Opus Lent [chordDD] and Opus Pentecost [chordsN-H]).🙃 We define (an) 'opera' to be: a program that maps* some preimagery to its image. Similar to its musical counterpart, this means that a bunch of smaller pieces were conducted on set and outputted a cinematic from its libretto.A form of frame arrangement.

Note (+): To assuage any concerns, no one breaks out into song in this. Still, Easter doesn't deviate far from the classical artform.



This format is new media and exists because the challenge of using an artificial intelligence (ai) to bear on the molecular dynamics of protein folding requires that we first break the molecule down into lots of smaller pieces (preimages) before or so that we can compute its structure in relation to other chemicals. Being that doing so is an enormous computational undertaking, gathering the necessary processor power and network bandwidth from a distributed framework (ie. 'crowd') is crucial to performing said tasks. With today's mixed reality devices (typically, binocular rendering on phone+eyeset) available, it's easy to get people to pay attention to one thing (entertainment) while simultaneously allowing another (data processing) in the background. To accomplish this, we would need to have the user lend us their computing resources for a substantial amount of time. Voila!, (hashing) the opera rewards quantity (length).

When we stereoscope (3D in 360 degrees) something, we are essentially viewing it in truespace. The difference between a movie and an opera is how each is projected. While both contain theatrics, a movie is literally a projection to a (2D-3D) screen, whereas an opera may be totally immersive (ie. camera space defined relative to volume). -- It sitting in murky definition waters is also how we can get away with not being unionized.😉
[just a web-snatched generic image for demonstration, not actual footage]
The way my aunt bottom lines it is that this would be the poor man's equivalent of a soap opera. 'Soaps' were first presented over the radio before the invention of the television medium, and got their name from the soap companies being the primary advertisers that sponsored them, and thus, floated the show.[h] They are long-term stories, and have to be treated as such (ask your grandmother which of today's soaps was her mother's favorite show?). Well, the 'soap companies' in this regard are sets of datapoints generated from advertisements (example: {blue,bottle,liquid}, {square,box,powder}, {solid,beige,lamp}, etc.) intelligently blended into a roving scene. The main difference being that the hash opera has intrinsic start and stop markers. Hence, we need virtuality to augment voxels. -- I bet that the opera was the past, and will again be the future of entertainment showcasing, where once retired cine works will get the so-called 'opera' treatment in this fertile emerging market. (compare soap opera, see also hash opera)
Q: Um, is this a video game?
A: Not really. Kinda. Sorta. Well, I did manage to gamify the production procedures for developers (ie. do this ⇒ win this🥕), but the opera itself is not a proper game (at least that is not what it set out to be). While it does have interactive elements [ie. decision tree, dialog box, map interface] in its medium to advance the story, those are not centered around video gameplay. A requisite for this opera is the holographic computing form factor of 'mixed reality [MR]' (= augmented reality [AR]+virtual reality [VR]); directive: in order to help train the ai (with machine learning over a neural network), the user will find clues [preimages] as holograms super-imposed onto real-world physical spaces in the AR component that have extensibility in the VR continuum.

Keeping in mind that our camera is itself a character in a persistent open world, we consider its style of interactivity to be an innovation in tensor analysis. .. If you must know, pertaining to specific aspects like design language, I was, to some extent, influenced by Westwood Studios' Blade Runner (1997) (one of the greatest pieces of digital art ever created, in my opinion).
C: COMPETITORS/COMPARABLES

complementary parallel programs

Folding@home: A major disease research project developed out of Stanford University in 2000 that simulates molecular dynamics and protein folding (among other computational chemistry objectives) using distributed computing. Its development scheme is proprietary, desktop operating environment-specific, and, as a result, has a limited user base (< 200,000).
foldit: An experimental research project from the labs (David Baker, Seth Cooper) of University of Washington that plays as a video game in a browser, where players get the chance to optimize an already studied protein. The rationale is that scientists can then use strategies provided by gamers to better fold proteins with current technologies. Some participants have gotten the opportunity to have their 'work' published in reputable journals.

other franchises with similar themes

The Detective: The first screen adaptation of Roderick Thorp's novel with the same name. Some things were changed in the flick, like his age (he's considerably older .. as opposed to the sequels, in which he was arguably more in-line with the original literature, where "Leland is thirty-six, five feet ten, and weighed one-hundred and forty pounds. His hair was dark brown, thick and cut short.".), occupation (he's a cop), and location (Port Smith became New York City). It was released May 28, 1968 to critical acclaim and box office success. [watch movie🎬]
Pokémon Go: From Nintendo Co., Ltd. and The Pokémon Company in the late 1990s, the Pokémon franchise has been a cultural phenomenon in the media of film, television, video games, and playing cards since then. Its universe centers around 'pocket monsters' and their trainers as they battle their counterparts for sport. The Year 2016 marked a new era for the franchise by introducing then-nascent augmented reality technology to the masses, allowing players to find and train 'pocket monsters' in the real world. This game set five Guinness World Records in the categories of 'fastest selling' and 'highest grossing' on its way to becoming a social juggernaut. [watch advertisement🎬]
Platoon: The classic American film based on a screenplay by director Oliver Stone about his time in the infantry while serving during the Vietnam War. This picture follows a small platoon of soldiers on a ground assignment as they fight their enemies and each other. The film went on to win Academy Awards (1986) for Best Picture, Best Director, Best Sound Mixing, and Best Film Editing. [watch trailer footage🎬]
John Wick (franchise): About a retired hitman forced to deal with adversaries who have stolen his property and disrupted his pursuit of a calm lifestyle. As the chapters progress, he is brought back into the world of underground contract killing. The films are very high-octane, and play like a first-person shooter video game as viewed by the audience in second-person. [watch trailer footage🎬]
Power: Set in present-day New York City, the drama follows James Saint Patrick as he simultaneously masquerades as a drug lord and night club owner. As both the protagonist and antagonist of the show, he must balance volatile elements of his personal life that include a longtime friendship, a stable wife and family in addition to his mistress, and a menacing past that threatens to topple all of it. To date, the show's second season has been lauded as its most successful, garnering a 'fresh' 100% rating on Rotten Tomatoes (.com). [watch trailer footage🎬]
The Wire: A crime drama series (five seasons, sixty episodes) set in Baltimore, Maryland that explores the relationships intertwining law enforcement, illicit+illegal drug activity, city government and its bureaucracy, as well as print news media. Since its syndication, it has been hailed by fans and critics as one of the greatest television shows of all-time. [watch trailer footage🎬]
--#TeamEaster--
Q: This comes across like a multitude of projects. Please clarify.
A: Easter is an ambitious large-scale hash opera that is told in five expansive parts (each part and their hashings - effectively dominoes - get expanded upon inductively) called chords. The first chord (prelude) of this opera is, 'Die, Detective!'. Since we are doing one thing at a time, Die, Detective! is what is currently underway for recording. The plan is to have the other four (4) chords (N, O, A, H) successively released in similar fashion.

In terms of the amount of activity in this opera, there are a few intra-opera technology targets🎯 that we aim to hit, but these are supportive (supplemental) and not extracurricular. First and foremost, this is a technology project; we are constructing a distributed supercomputer for calculating twistor spaces and relative molecular dynamics. In computer-talk, the jukebox, UUe, itself is the server and processor units from users mobile devices are the clients. On the server-end, the bill for energy (electricity) consumption is rather high. In order to help cover the costs, a cinematic is being made that acts, in part, as a research clef (the purpose of this is to draw attention to the medical science by showcasing a subject suffering from the symptoms, ... we're also putting the jukebox - and the concept of juking - on display). This is expected to do big business upon and after its release [lifecycle]. To reiterate, those funds will then be used to pay for server upkeep.
Q: What does the opera's logo mean?
A: It is an illustration of a cracked Easter eggshell, which supposedly represents the oncoming of a new beginning or an awakening. The egg itself is symbolic of birth/death, and can be looked at as the opera's whole arc (circle=all chords).
Q: Why jump into a crime-molded universe?
A: The challenge to image alpha-synuclein came from the MJFF. It's cumbersome nowadays to try and raise lots money from grants and donations; I'd rather stick to my roots and pursue bug bounties. To me, this is a grand ctf🏁. In order to successfully pull off the feat of protein folding prediction, one is going to need substantial computing resources. Gathering that kind of money from a blockbuster to pay for it just made sense to me.

My thinking behind the drama stemmed from answering the question of what a beat-up police officer with a tough spirit would look like in today's America. Pascha's personal plotline in Easter closely follows some of what I have lived through in the past decade-plus being in Montana (the huckleberry hint, angling on the river, solitude / isolation / small town life, bouts of probable insanity), and it comes across in the writing. I think the audience can relate to somebody who is genuine, hurting, but really trying. The sedimentary layer of modern civics[f] on top of that foundation just fits the bill here.
Q: So, basically, what you've done is answer the call of Michael J. Fox to solve the folding structure of a class of proteins, and, because this takes ridiculous amounts of computing power, you're constructing an opensource supercomputer from a network of mobile phones to leverage this... and in the meantime, to cover operational expenses, you've written a terrific topically congruent very entertaining opera (/cinematic) to be viewed at no charge that you hope will pleasantly distract people as the software your team built quietly calculates all of the techno-babble, bio-fizzy stuff in the background... and because you have high confidence that this will work as prescribed, you anticipate it being effective on similar classes of diseases, such as Alzheimer's (NACP), diabetes (in a way, the former is essentially diabetes [Type 3] of the brain[a]), and Huntington's, as well as for computational drug design?
A: Correct✔️.
Q: What is the ISMN with the Library of Congress?
A: ISMN: 979-0-800136-00-9
Q: Explain this operatic phylum.
A: Easter is an opera predicated on hashes [hash opera].
Q: 🗓️When does the opera debut?
A: April 1, 2018🐣🐰 [libretto📘] (online @this parlor as a stream of frames in its non-cinematic entirety = chords 1-5). The preliminary technology portion is due April 21, 2019 -- Easter Sunday [domestic🇺🇸]. The cinematic premiere of chord 1 (at the least) is scheduled through 2020.
Q: Discuss premiere and distribution plans.
A: This will be a metered embed served from this jukebox page -- any further theatrical releasing will be played by ear. -- Starting with the overture, a series of extended 2D trailers (mini-movies) called 'Easter eggs' will be released (to theaters and posted on video sharing sites) that touch on important plot points which can further be explored when experienced in their true form, immersively. The opera itself has a lot of replay value, so it will be available for streaming. Supposedly, this practice keeps advertising costs down; ensuring that distribution fees will only have to be paid once.[ii] -- and even though the notion of record-breaking is an abstract pursuit when it comes to streaming media, I realize that the format rewards quantity, so I'm game.
Q: If you cannot obtain a distribution agreement from a major distributor, is this a hindrance?
A: No. I'm a big fan of self-determination. This is an (social+creative) experiment of mine, a project created by me to be exhibited/delivered to the public (direct-to-consumer, subject to licensing). A lack of a distributing partner would not be an impediment; as exorbitant as such costs[iii] are, it may actually be welcomed (such a deal for a 'deliverable' actually wouldn't make any sense at all here because the format is an instant install on your mobile device, as required. That said, it (the heavy lifting) still gets 'distributed' over your mobile phone's wi-fi-data plan; promoted examples: Xfinity Mobile for iPhone vs. Google Fi[g] for Android, iOS). An organic development mandates that it actually has to be hashed in MR - across mobile devices - because in training the ai we need processors (CPU+GPU) on a network mapping embedded visualizations [ie. geometric computation of tensors derived from framing] while simultaneously streaming (VR vendor: Google Cardboard[w], Google Daydream[k]) longform to satisfy advertisers.

Pushing this to a theater or opera house first is risky in that consumers may not revisit it again, which defeats the whole purpose. Aside from that, I'm not at all interested in the motion picture ratings game; Die, Detective! is hypothetically (ahem, it's actually NOT RATED) an R+ (for intense sequences) piece, and I won't allow a distributor/studio dictating with scissors what they think is appropriate for me to attain. woman in vr
C: … but, but.. not everyone has a VR headset/goggles!
A: Understood. They are pretty easy to get these days, as they are widely available. Cheap, too. If you have a mobile smartphone📱, then you already hold the biggest piece. Since this project has DIY buttress, you can make your own eyeset at the price of materials if you are willing to follow some simple instructions on how to fold paper/cardboard. Upon release of the Easter eggs (and dominoes, even), our audience will be given sufficient notice ahead of time letting them know what equipment they'll need and how to get it. Don't wait, get yours right now! Google Daydream specimens
C: Wait a minute, I thought you were publishing this at no cost to the consumer!
A: We are, and can get away with it because the opera is supported with ads. This is freemium ware, so if you want to remove/hide the advertisements, you'll have to pay for that. If there are add-ons or upgrades that become available, you may have to pay for those, as well. When it comes to making money beforehand, help us out by shopping our Easter Basket.
+1 Q: If you have a buttercup with no butter, what's in the cup?
A: {shrugs shoulders}😉
Q: Why have such a relatively short/limited episodic engagement?
A: Mainly because of the habits people have in consuming media nowadays. I think an opera of this caliber deserves the very best delivery [sound (audio) and visual]. So as to maximize revenue and minimize costs, unless its drop-off won't affect business, the plan is to prepare for releasing the next chord. I certainly will entertain keeping the print promoted until the nut hits the floor if it is breaking records. Plus, the whole opera is very long, so I am splitting the parts up and then release them consecutively (back-to-back).
Q: Where will this be screening roomed*?
A: For something to be 'screening roomed' means that it is presented exclusively to journalists and professional critics so that they can do their job. Die, Detective! will be played separately at a public theater somewhere in Los Angeles, California. This is solely to meet the requirements as stated by the Academy of Motion Picture Arts and Sciences to qualify for Oscar consideration. ← That's just something I have to say. I'm likely going to have dozens of screenings of this all over the place in its limited release, hopefully at least one at the re-opened Uptown Theater in Philadelphia if they can make their schedule.
Q: Under what genre is this classified?
A: It is a neo-noir mystery (with some war and Western overtones). While still styled with constricted action and so forth, the overall setting is moreso placed in an 'underworld' realm. In that sense, it is also a crime drama. {I really want to emphasize this being a 'crime drama', because it will feel at points like a drawn-out episode of your favorite police procedural before its war crescendo. There is so much intrigue here that people who love gangster flicks could go for this.}
Q: What is the duration of this piece?
A: Running time for Die, Detective! (the first chord of a pentachordal arc) is 720 minutes. The whole opera (all five chords, like a "soap opera") is approximately sixty hours. That said, due to the interactive nature of the piece, it holds near-infinite playability.
C: The duration of this is very long. It better be exceptionally good for me to sit through it.
A: It is, but don't take my word for it. And, you don't 'sit' through it, per se; you experience it immersively. Besides, you can always skip/fast-forward through it when you want.

Many people have taken issue with this notion. I thought long and hard about how to truncate the storytelling so it seems more commercial and normalized. The truth is that it just can't adequately be told in the typical 2-3 hours like a regular flick. The backstory alone - which bookends the first chord - demands that the characters and history be explored in full, less you risk skipping essential plot points further down the line. This is an opera that unfolds; it doesn't simply 'pick up' from some prior immediate action. I really believe that in order to see how this ends, it's imperative to know how it all began.

Let me also reiterate that hashing the opera works best because the processor is rewarded via quantity (ie. duration); the longer your device is engaged with the system, the better it is for the compute. Another concept is that the opera's presentation allows for add-ons and interactivity; in vcs the camera's ai determines that not everybody is viewing the exact same thing. The flow is smooth, the action engaging, and I promise you that you will not be bored. You ain't never seen nothing like this before.🤩
C: Share a little info about yourself.
A: Link Starbureiy is the host of UUelcome. He considers Life to be a game of puzzles (namely Egglepple) for him to solve, as evident by his invention of the jukebox, UUe, and pioneering the craft of juking.
UUe
+1 C: Easter is my favorite holiday.
A: You are not alone.👍🏿 It represents triumph+overcoming, which is (a privy revelation...) what UUe.i is intended for - to be a preliminary step for a cure.
Q: Are you and/or this project involved with the academic community at-large?
A: The 'community' exists insofar as what others and I can directly respond to in the talk💬/bugs sections. Food for thought: industry typically works way faster - orders of magnitude more quickly - than academia. So, by design, there is perpendicular contact with universities, think tanks, and so forth regarding occassional conferencing. Aside from internal jam sessions, let's leave conferences to people who like conferences. I'm trying to get stuff done.
Q: With everything wide open (full disclosure), aren't you worried about somebody stealing your ideas?
A: Not really. To be safe, it's copyrighted. Besides, this is such a massive (+expensive) undertaking that I doubt a corporation, even a billion-dollar (that's "billion" with a 'b') corporation would want to shoulder the burden of development (update/expansion packs, anyone?), hosting (energy consumption+infrastructure), and intellectual property management along with insurance policies. Doing so requires major pivoting. Our scale here is on par with a nation-state. Trust me when I say that crowdsourcing this thing is the optimal approach for its long-term trajectory.

Pretty much all development here happens organically in near-real-time, which is hard to replicate when workplace politics are factored. Besides, I more-or-less wrote myself into this opera on numerous levels, so any civil court will see (and would likely have to rule) that this is an unchallenged original work. At best, we welcome others to join our community and participate in its construction. I'm creating a consumer product (public utility) that's for the People; let the market figure out and economize componentry. What it boils down to, ultimately, is getting this out there into the world and moving forwards. 🥧The way I see it, it's about expanding the pie as a whole, not greedily+selfishly growing your own share of the pie. Help out where you can.
Q: Why do you use handwriting in your work?
A: It's a matter of taste. I find it much easier for me to express my ideas when I can scribble.
C: I am having difficulty viewing this page in my browser.
A: It is recommended that you use a non-mobile (desktop) web browser for viewing this page/site with fidelity [web search: 'how to view desktop versions of websites on mobile devices']. It was designed for screens of a certain size that accept keypad input, and may not be optimal for your mobile experience. Also, for the love of everything that's good in personal computing, please don't browse with an iPad, get something classier.

//production

internal communications, externalized
how to join, what to expect once onboard, and so forth

Q: Is this a self-organized, mass-collaborative, commons-based opensource project, also known as a peer production?
A: Yes, it is, and arguably the largest of its kind. You are more than welcome to 🥕contribute. Be mindful that although we believe in common 'openness', you still have to keep some secrets (my vision will not be contaminated); this is to say that there shall remain limited bureaucracy - I am in charge. Functionally, what this means is that while there does exist a democratic plugin architecture where freedom of speech is valued, consensus is under the hierarchy of my autonomy, and participants🐇 work more-or-less for reputation+credit/attribution.

Note (+): We'll use opensource tools (eg. Blender, GNU Octave, GIMP, Audacity, etc.) wherever possible, although I'm still a fan of Windows.😀



Q: Do all of the project developers know each other?
A: Unlikely. This is being worked on by a hired crew and thousands of 🥕🐇contributors worldwide, each with varying levels of ability. To a certain extent, we may be familiar with one another's work by word of mouth, but are mostly meeting for the first time in new territory.
Q: Using this method(ology), are you worried about the quality of output?
A: To be honest, I am somewhat apprehensive, but the only way to really know if something is going to work is to just do it. The way I look at it is that if the technology functions as advertised, then the rationale behind the paradigm is valid. A polymath-styled proof such as this is bound to create+expose flaws along the way, and this is a good thing. An eventuality is that mass collaboration will rise the creme to the top, as only the most devoted (and knowledgeable) persons will forge ahead. In our technocracy (almost by definition), we have in place enough checkpoints (ie. reputable participants, luminaries) to knock any sour threads awry, thus balancing 🥕🐇rabbit efforts with their paid counterparts.
Q: When do I receive my 🥕carrot prize?
A: A carrot🥕 (a quantitative point system quantum) is the award given upon thread closure🔏. If you are a winner (it'll be pretty obvious in accordance with the thread, it's whomever makes the most cents), I'll notarize your achievement at the bottom of the thread for posterity after closing🔒 it (closed🔒 threads are not eligible for re-opening🔓). 🥕Carrot tallies give the prize-granting committee(s) a decent metric as to who did what and how much of a contribution they made, which, is, fair to assume, how those organizations determine the amount of their disbursement. SUPER IMPORTANT: Please note that your reward is for a share of the offered bounty prize only (pre-release), not any of the revenues that come once the utility is operational (post-release). This is not 'revenue sharing'.
Q: I keep winning. What do you expect me to do with all these 🥕carrots?
A: Good for you! (that's actually good for everybody, really) Congratulations, by the way, on this embarrassment of riches. What you have been doing is accumulating weight that has value in our prize structuring. My expectation is for you to keep on keeping on.
Q: How can I audition for a role?🎭
A: There are a number of roles for actors to audition. Not every role is open; some are (already) hand-picked by staff and thus not open for reasons that are out of your control. We try to pick from the local (Philadelphia, Montana) talent pool as much as possible. Before applying, you should know what role(s) you are wanting. Although there isn't too much information available regarding the character, a short description has been provided as a rubric. That said, most importantly, all the staff is looking for is your ability to act and take direction. All casting selections are made off tape.

For those interested in graduating from 🥕🐇rabbit to paid staffer, I suggest that you continue to add weight by contributing with thoughtful and helpful commits. I have top-level say on development, so, if I like what I see, you may be offered benefits*. Communications may be considered responsive, but only insofar as mutuality exists.Could be spotted cash or some other kind of gift.
Q: How long⏳ should my demo reel be?
A: Ideally, a demo reel will not exceed one-hundred seconds (100 seconds [~1.5 minutes]). You may read a prepared piece (such as a monologue) of your choosing.

Note (+): If you are promoting yourself on popular video-sharing sites (eg. YouTube), please use the hashtag: #Easteropera.



Q: Why are you only shortlisting education programs/technique departments? Stop being such a snob.
A: lol. I'm not picking favorites. The top schools are the top programs for a reason. They offer the most thorough (maybe not the 'best') training. We want talent that is ready to 'go' from the jump. When a production of this caliber is even mentioned, the bigger the applicant pool is not always merrier, so imposing a lower limit on a bucket draw tends to work favorably for the casting director. Still, departments across the country aren't differentiated by too much, and so any graduate (even a minor in related studies will suffice) is welcomed to apply. (psst! I also consider alumni of avant-garde groups/experimental companies.)

On the drama-side, our thespians need to have awareness of their set surroundings at all times during performance. Actors must be able to hit their marks, just like they would in a traditional live theater setting. Unlike a typical movie, where the performer can coast off of unlimited takes, in VR (a 360° stage), the camera is the most important set prop, so things like timing and knowing your cues are of a premium. Sought are people with ample experience in this.

Note (+): Kool schools from which talent is aggressively recruited by me for this project: {engineering/science} UWashington, Stanford, CalTech, CMU, Princeton || {drama} The Ohio State University, College of William and Mary, Yale, Juilliard, NYU || {fine arts} CalArts, Ringling, Academy of Art University (San Francisco), California State Universities, CCAD (Columbus), Blender workshops. I'll also admit that there are some very talented high schoolers out there.







Q: What camera is used?
A:
Pixel* [handset] plus (depending on the perspective and what information/data needs are) device enhancements (ie. Moment, Xenvo Pro, and/or Google Jump lens).Camera rated the highest in its class.[x][y][z]

Yeah, we're shooting it with a phone📱! The choice was made early on to go with a handset instead of a camcorder, like (considered) RED MONSTRO 8K VV or Arri Alexa. The latter cameras offer a great range of abilities, but I want this to have a real-time strategic feel and look of emergent telepresence (ie. the camera just happened to be there), which in some regard meant photographing on mobile and leveraging the benefits of the form factor. Even in the flashbacks (told in the first person/interior) - which I wanted to limit - the shifts in point of view are kept to a minimum due to the interactive elements.

++The Pixel family (or rather, its built-in software, especially Google Daydream) is astonishing in that it can compute loads of similar information (eg. image sensor processing) in all types of light settings (outside/natural, indoor/artificial, dark, and graded) on par (in my opinion) with the big rigs. Plus, it plays well with Tensorflow - which is great for applying machine learning to facial recognition in 360° photography.

As an illustrator/editor, I do a lot of the heavy lifting in post [tools: Blender (effects), DaVinci Resolve (correcting/mastering), Catalyst (preparation)], anyway. Toss in the fact that the workflow pipeline utilizes Google Cloud, it makes a lot of sense to stick with a single supplier (preferred technology vendor) whenever possible.


Q:Which text editor do you use?
A: I prefer Notepad. Don't sleep on VS Code.💪 Apps Script (GAppS) is pretty cool, too.
Q: When does recording commence?
A: Once we have the camera software (virtual camera system) ready, which should happen immediately after pre-production [along with rehearsals]. This is estimated to last until we finish (wrap = whenever if all of the chords are recorded back-to-back), and can be extended for reshoots as necessary.

Note (+): It is important to note that filming is commensurate with funding. Non-principal photography (ie. the overture) begins with a series of standalone mixtapes as well as adverts featuring Ric Flair, which are to be disbursed over the course of a year.


Q: Where does recording take place?
A: Principal photography (+second unit photography) will be shot on location in Philadelphia County, Pennsylvania and in-and-around Butte, Montana, depending on the needs. Butte can serve as a backdrop for Philadelphia since it has residential neighborhoods that share similar architecture to those in southeastern Pennsylvania. And also - in addition to some of the tax incentives the State of Montana offers filmmakers - because it has a large Irish community (which itself plays a substantial role in this piece).

These locales aren't coincidences. Montana is home, and it's easier to some degree for me to stay close to it. Not thinking about myself for a second, when putting this together, my mind was on a particular family member who lives in Philadelphia and was going through some stuff. An extended stay in Philly gave me an excellent excuse to be with them.

Q: Is this a unionized production?
A: Absolutely not.
Q: If I am part of (have membership in) a worker's union, am I allowed to participate?
A: Possibly.

... though, for your own safety and peace of mind, you are warned that any so-called union that requires membership dues with no guaranteed path to employment is a pyramid scheme.

SAG-AFTRA is a SCAM!!

Labor unions are democratic relics of the New Deal and exist to regulate some thing. They can be beneficial to the 'little guy' who is just starting out (by guaranteeing a livable wage), but are a pest to larger organizations. You've got to eat, I get it. I can work with the contract that you have drawn up [maybe even honoring/matching sheet rates supplied by SAG or AEA ("Equity")], but don't count on me unionizing my whole production* (a requirement of the union) just to feed you. The legal way around that is to treat you as a temporary employee, and have you NOT REPORT those earnings to your guild, only to the IRS. Both parties (even the AFL-CIO) have to report this information to Uncle Sam, anyway. Basically, you become an independent contractor [1099]. Standard stuff.Which is compliant with provisions of the International Alliance of Theatrical Stage Employees.
The other tidbit is for me, the employer, to have insurance, which most jurisdictions insist on, anyhow, because they're taking a calculated risk hosting an endeavor (ie. a big budget production will likely spend those funds, meaning that the locality or parts therein will need to be underwritten somehow). Think about it like this (hypothetical): I have a planned project. Two performers come to me looking for work. One is a freelancer with no experience, but loaded with natural talent. The other is a talentless unionized hack with a pretty face. She can obviously help sell the project in her own way, but the freelancer can also help, and all he wants is the chance to work on set for some pizza🍕 slices. There's no way I'm unionizing the production just because of her, when I could just hire some other babe who understands the deal. A box of pizza and some cheap insurance policy, or the extra expense of dealing with bloated collective bargaining agreements? You do the math. (see also benefits package, inactivating your status[SAG][AEA])
C: Help! This is a fantastic opportunity, but my union is bullying me into not working.
A: If you are interested in inactivating your status (ie. putting yourself on temporary hiatus) with your theatrical union, namely SAG and/or AEA, follow these otherwise hard-to-find steps (as written in their fine print):
- Screen Actors Guild → https://www.sagaftra.org/maintaining-your-membership
- Actors' Equity Association → https://actorsequity.org/join/TW-SP/
Q: Are children allowed on set?
A: Unless a child is part of the production (eg. as an actor), they, like anyone else not on payroll, should not be on set. Children - especially small children - are considered hazardous/a safety risk and not welcomed on set at any time during production.
Q: Are drugs and/or alcohol allowed on set?
A: No. My set is a substance-free workplace. Employees are prohibited from possessing, using, or being under the influence of controlled substances in the workplace. Violating this policy subjects the employee to termination of employment. Manufacturing and/or distributing illegal drugs (anywhere) can result in that person being reported to authorities. Say "No" to drugs.
Q: Are pets allowed on set? Can I bring my pet to work?
A: No. Please keep your pet(s) at home. If any animal is on set, it is likely that they are being handled by a hired professional handler.
Q: Does the script call for any nudity?
A: Nope. Proudly, no one's physical privacy will be compromised during this production.
Q: What does 'spot-paid' wellness imply?
A: In this context, this option means that I am willing to directly pay (ie. with cash💵) your health provider for their non-rolling services (U.S. Citizens only); have them invoice me, there is no need to draw on your own insurance policy. I will pay out-of-pocket for: gym membership, one annual visit to your optometrist (single pair of eye glasses, checkup), dentist (all benefits covered by your state's Medicaid program by similarity [enrollment not applicable]), radiologist, as well as a single full recipe's worth of medications (+supplements) prescribed by your qualified pharmacist/doctor.

//financial

fiscal-related stuff
if you contribute with your wallet, what is likely to come of it

🐷donate


Q: Must I be sophisticated to participate?
A: This general solicitation is open to everyone. Professional investor credentials (self-reported) are not required.
Q: How is the raise legitimate?
A: This is a debenture-rewards model, and, as such, not actively seeking any qualifications under SEC lending rules (especially since we desire "granny giving" [ie. flexible non-bank/non-mezzanine sourcing] seed money not in excess of $2.5k, which is nowhere near the reportable 12-month min./max. stated in Regulation A). We note that provisions of the JOBS Act (particularly Title III) applied here would not necessarily be asymmetrical, meaning that there is no convertibility to trigger a call for an audit of financial statements. [Assurance: all such underwriting activities adhere to and are compliant with federal rules+regulations of the United States of America, and state-wide statutes of Montana.]

This project is attached to my main work (ie. UUelcome/Easter), which is a recital for puzzle-solving, thus holding me further accountable. An illegitimate endeavor probably wouldn't shoulder such responsibility. As always, do your research before remittance. If you have any related questions, submit them in the talk💬 section.
Q: When do you plan on disclosing tax returns and audited financials?
A: Filed Form 990 - Schedule L (stating revenue accrued for at least one quarter) will be posted approximately December 1, 2019 or as due.
Q: Are you selling equity?
A: No. Doing so would automatically privatize the endeavor, thereby jeopardizing its status as a public utility. Our raise is entirely (limited) debt and eleemosynary.
Q: Is this a non-profit venture?
A: Umm.. it's public benefit. We are definitely in this to make money, but the bulk of those monies (ad revenue) are promised to maintaining the technology that fosters opportunities for biomedical innovation. As far as the IRS is concerned, this project is not chartered as 501(c); there is no organization to speak of in which to exempt tax (however, a voluntary Form 990 will be published to demonstrate earnings). I, personally, will pay my fair share of taxes (from revenues gained via my sole proprietorship [LES]), but again, the intention is to spread some of the wealth to friendly cooperatives that are actively advancing the cause.
Q: From where are the monies for the purported $8million bounty coming?
A: Two sources. The Michael J. Fox Foundation offered $2million for imaging the protein, alpha-synuclein, with a PET tracer. In addition, the Clay Mathematics Institute offers $1million for the solution to each of its Millennium Prize Problems[m], of which six remain. Tallied, that sum would be $2million + $6million = $8million. It is important to note that each prize comes with its own set of rules for winning and claiming. The Millennium Prize Problems, for instance, require published/public results be scrutinized for two years before recipient declaration[r]. That news may be to the ire and chagrin of some, but rules are rules. At the very least, we are aiming to make substantial progress on the above problems, solving and winning lots of smaller marks along the way.
Q: Is the purchase of goods a secure🔐 transaction?
A: Yes. This webpage and parent website are PCI-compliant, so your business is safe. The payment processing is handled on the frontend by Cash App and/or PayPal. Some processing schemes may utilize the Stripe API on their backend.
Q:Monies raised go where exactly?
A: Into financing and supporting the project at all stages, but especially where ramping up operations and continued research+development can flourish. Foremost, we are building a distributed supercomputer mostly from the ground up. All of that information (which grows exponentially) from clients must be fed back to the jukebox which serves it, so there is a need for server upkeep+reliability. Also used are cloud computing vendors for data backup+preservation, their services are an expense.
C: INDUSTRY+MARKET ANALYSIS

industry competition and analysis
historical perspective

The global film industry is projected to reach nearly $50 billion in 2020.[i] In the year 2016, the global box office reached $38.6 billion in ticket sales, up 1% from 2015. The North American (U.S./Canada/Mexico) box office ($11.4 billion) grew 2% while the international box office ($27.2 billion) was flat-year-over year. Over 1.3 billion tickets were sold during this period in the North American market alone, with more than two-thirds (71%) of the U.S./Canada population – or 246 million people – going to see a movie at least once in 2016.[ii] The United States is the leading film market worldwide with over $10.14 billion in gross box office revenue (2016). China is the second largest film market with over $7.46 billion in gross box office revenue (2016). In terms of ticket sales, however, the U.S. is the third largest film market, selling about 1.2 billion tickets in the year 2016, trailing China (1.25 billion) and India (2.3 billion).

Digital home entertainment (ie. streaming services, video on-demand, digital downloads, etc.) has recently surpassed theater revenue. In the year 2015, U.S. electronic home video revenue was approximately $11 billion, whereas U.S. theater revenue was about $10 billion.[iii] This gap is expected to widen in the next few years as U.S. electronic home video market grows to $17.19 billion by the year 2020. China will see the strongest growth, with a 31.3% compound annual growth to reach revenues of $3.11 billion in 2020.[iv] [Discussion: debut and post premiere plans]
Q: If I make more than one (1) purchase, will I receive multiple rewards?
A: Yes. Every perk you pay for, you'll get.
Q: Do you accept bitcoin as payment?
A: No. Even though cryptocurrencies (bitcoin, ethereum, etc.) are tech stocks in and of themselves, the hassle of brokering them on my end isn't worth the effort at this point. Please sell-off your holdings in legal negotiable tender before dealing here.
Q: Is my investment sound?
A: Yes. As required by law, transactions are audited by an independent certified public accountant (probably this guy). Now, scroll back up to the picture of the pretty lady with the great smile and shop.
Q: If you insist on giving the product away (for free), then how do you expect to make money?
A: The short answer is with ads. The longer answer is a little more complicated. -- This will be a freemium product - its core is chargeless (libre), but premium features (eg. add-ons, versatile streaming capabilities) will be priced. Because streaming something in VR lends itself to nearly unlimited replay, there is a ton of incremental monetization value (pay as you go) in that when you consider the viewer may want to experience a scene from different angles. Smart (artificially intelligent) ads will be embedded throughout. ← This methodology justifies our public disclosure of the libretto.
Q: Can I get a refund?
A: No refunds allowed. Funds are gathered and used immediately on production. A subtraction of financing could halt production (ie. equity withdrawal would be detrimental to credit), and so abrogation is not allowed. It is my duty/responsibility to make as much information and terms available to you before you make your choice so that you can do your due diligence in making the best decision (which will never result in rescindment).
Q: If the project were to disband, would my investment be returned or lost?
A: Unfortunately, your investment would not be returned in the case of this project succumbing to an unexpected event. Fortunately, everybody on-board is committed to seeing Easter through to completion; there's a lot at $take.
Q: What is the budget for this project?
A: The budget is tight, that's what it is. Our budget is conducive to fundraising. This number (whatever it comes to) is a ceiling; the actual amount used may well be substantially lower. Keep in mind that budgeting covers pre-production+production+post-production+marketing (from idea-to-viewing). Tax credits will also be applied wherever possible.
Q: For how long does the raise last?
A: In stages (ie. seeds in a continuum of follow-on rounds, as necessary) until enough capital is acquired to cover all costs/expenses throughout the entire production. This means that active fundraising can theoretically run into Q2 2020. At this point, we should have a product that does what it is supposed to do and will be self-sustaining.
Q: I would like to make a no-strings attached donation (ie. pledge without a perk) to this project. How do I do this?
A: Thank you. Your gift is appreciated. Please use the DONATE button here [PayPal] or here [Cash App]. // Personal information is used to process payment. The transaction is SECURE🔒. //

🐷donate



Note (+): This is not a charitable transaction. You are contributing to a commercial venture, albeit for public benefit. Do not expect your contribution to be or become tax deductible.



In addition, you may also transfer your stocks/securities. Your broker should inbox me below via the hashtag: #FinanceEaster with professional contact information (ie. phone number, @business e-mail address), or reach out on LinkedIn. Note that the fair market value of the security gifted is calculated as its worth on the day of entry (ie. date-of-transfer). It is imperative to have your broker submit the following information:
- CUSIP of the stock (Name+Count)
- DTC Number of the institution sending the stock
Q: May I both donate and debit?
A: Yes, that is possible. You have to be careful, though, as each transaction is done using separate payment processors for this very reason. Donations are processed using PayPal, and debits (where you get paid back) use Cash App (for as long as that statement is valid and applicable, otherwise and elsewhere, said account deals in different matters). If you were to make a transaction using one of each, it will be treated as a 'donation' and a 'debit'. You should not expect too be paid back for making a 'donation' (PayPal). Also, we're only looking to borrow a specific amount of money, so the option to debit is finitary. [This note will remain here for purposes of posterity.]

//tech

technical development
discussion of technologies found within

Q: Are you shipping a (tangible) hardware product as a result of this work?
A: No. The embed and all specs will be released as a bundle for DIY/opensource. Ideally, we want something that is neither unavailable for recall or unobtrusive to regulation.
Q: Should I expect an over-the-counter drug upon completion?
A: This project will just create and support a computer program [/algorithm] for modeling and simulating molecular dynamics. It will be freely available for biopharma companies and research labs alike to exploit upon its release. Easter (specifically UUe.i) is not a pharmaceutical. We are not making medicines (ie. clinical diagnostic, gene therapies, etc.), mixing chemicals on any tangible level, or partaking human trials; there is nothing for the FDA to regulate. This exercise is a numerical analysis that hopefully can yield structural formulae ['sf'] to be used to assist in rational drug design [pharmacology] as 'pre-clinical' proof-of-concept, at best.
Q: Since this is opensource, what is its licensure?
A: Licensed under the UUelcome License [copyleft]. Certain movable parts (underlying softwares, etc.) may be subject to GNU and/or MIT, Creative Commons licensure, or just straight public domain.
Q: Has this project been integrated into the Open Source Initiative?
A: No. The opera shall remain independent at my discretion. If and when the OSI approves of the UUelcome License as being OSD/OSI-conformant, then I accept (as should everyone) its authority as organized.
Q: Why get involved in something like this, are you trying to save the world??
A: Saving the world really isn't my thing. I'd like to place emphasis on this not being some sort of altruistic project. At my core, I'm a problem solver; a puzzler by trade. MJFF put forth a reasonable challenge with a bounty💰 at a nice price. Again, though, this is for public benefit, and I'm proud of that.
Q: ... and no one's done anything like this before?
A: Doubtful. If something like this had been on the market already, we would have known about it. I'm sure people have wanted to do something like this, but there's a big difference between ideation and delivery. As was already stated, there are labs at universities that are attempting to do distributed computing at scale on macromolecular computation, but their approach is drastically different from what is being accomplished here. For starters, they/we are calculating different physics (ie. the physics engine used to run those programs is not compensating for twistor spaces and/or animation modifiers), and none of them are using crowdsourced data to train ai on machine learning; only for direct responses.
Q:What's the difference between UUe.i and other major molecular dynamic initiatives?
A: There are some minor differences, but they matter. Again, each piece of software is tackling separate physics. UUe.i is the first-to-market molecular dynamics software that incorporates deep learning algorithms. Also, UUe.i is widely opensource, almost completely so (to the point where it must not stop running). The API is available to be fiddled with at any time. Lastly, the softwares have different licenses. Most 'opensource' stuff out there today is licensed through MIT or GPL. UUe.i, UUe, and Egglepple rely on the UUelcome License.
Q: Where can I learn more about methods and methodologies of urban agriculture?
A: Just use Google/Bing and watch videos about the topic online (eg. YouTube), for starters. I got a taste of 'urban farming' by getting my hands dirty at Garden City Harvest in Missoula, Montana. I recommend a book by Will Allen called, The Good Food Revolution (ISBN-13: 978-1592407606), which helped sharpen my understanding for composing portions of this opera. Basically, my education on the topic came from reading literature, watching videos, and working on sites, and yours can, too.
Q: Where can I buy some Brown Hue rum?
A: It's not for sale. And if it is on sale, it's not being sold by me. The spirit was created just for the first chord of the arc, and is a fictional brand. That said, you can make yourself some by following the instructions. (Drink responsibly.🥃)
Q: Are there plans to shift over to the Microsoft Hololens platform?
A: I haven't even examined the MH API, to be honest. My guess is if someone wanted to incorporate their own solo tinkering regarding that, we'd take a look, but right now our sights are set on mobile smartphones and not all-in-one devices. I see a tremendous amount of potential there, though.
Q: When can I use the ai?
A: It will be done when it's done.
C: I would like to report a bug or make a request.
A: Go here. Thanks.
Q: What is/are deepfakes?
A: DeepFace Lab (see also 📓How I got Bruce Willis to be in my movie, for free)
Q: Why not use multiple service providers for big computing?
A: The short answer is because since they all do the same thing at roughly the same cost, and each offer enough bandwidth to cover all of our compute needs, it's easier to stick with one (1) vendor (in this case, Google). GCP - even though it is behind in marketshare - has undoubtedly the best services at scale. Think about it, Google (which is responsible for 25% of all Internet traffic[i]) serves GMail, AdWords, the search engine, and other apps (eg. YouTube and Apple's iCloud services[z]) to billions of people at trillions of instances every day. No other provider can claim to scale those kinds of numbers at this time. Also, since engineering is of the essence here, the 2Gbps/CPU (superior to the market leader) throughput matters. .. Alright, fine! The Microsoft cloud [Azure, Github] may be used for certain services, as well (it's really robust).
Q: Why is computing necessary to solve this problem?
A: Assuming that the mathematics works, then you would have to model the molecular processes (all stochastic = computationally complex) in computational time. The best, most sensible way to go about completing floating-point arithmetic is with a Turing machine.
Q:Define distributed supercomputing.
A: Supercomputing is more of a notion than anything. It implies that there are hard limits on normal (single processor) computing needs, as would be the case on usual personal computers. To compensate, technicians typically expand the capabilities of the machines to include more processing power, storage management, and so forth. The 'distributed' part implies that the information loads of a single machine can be partitioned and/or conjoined in a network to handle the compute. Putting it all together, a distributed supercomputer is a multinodal system with no theoretical hard compute limits. The keyword behind distributed computing is cost efficiency.
Q:Why build and use a distributed computer versus a scalable datacenter?
A: The evolution of computing follows the choices and behavior of the people that use it. The world is going mobile and small these days, and so, having a large server farm (ie. cloud hub) for instance, is impractical for getting everyone to instinctively commit some data or processing power at some ration at any given time. Storage warehouses - like datacenters, have to be built from the ground up, maintained (climate control, facility security, etc.), and periodically updated. That is a neat exercise in information technology, but really expensive and impractical if you have to monitor the minutiae of moving parts.

We must presume that everyone's situation and computing configuration is different, and respond to that. What would end up happening is that the huge datacenters themselves just become nodes on the grid, anyhow (albeit, very potent ones); contributing - just like you - to the eventuality of UUe.i becoming the largest and most powerful supercomputer in the world.
Q:Why base the servers in Montana?
A: A good reason is because of the state's relatively low cost of electricity; average power consumption bills for residential, commercial, and industrial customers are perennially ranked in the bottom tier. Another good reason is because I reside there.
Q:What is a protein?
A: The long-short is that a protein is a biomechanical machine (yes, a real machine!) whose function is to work within a cell. The molecule is encoded from a set number of chemical elements called amino acids that give it instruction(s) as to how to perform its function. There's a quality in-depth wiki article (math/sci/music = fair) about this.


Q:How accurate is juking?
A: Pretty accurate. We always assume in juking that P = BQP, so there is the stochastic element built-in. We rely on string theory (a theory), and as more and more of its predictions become validated, so will our results. Juking tests for twistor spaces, which is key to making strings fold/animate quickly. The stronger our understanding of the math is, the tighter our error coding will be. Juking is the surest way to go about doing that.
Q:How/Why did you start juking?
A: I started with puzzle design and kids stuff like yarn play back in the early 1990s. In the late 1990s, I read an expository book on string theory, took a stab at solving it, and ended up with the EGP keynote. Organically, the math brought me to create UUe. Now it all fits together.
Q:Location of project's protocol stack?
A: #Easteropera [archive]
Q:Where are your peer-reviewed publications?
A:I self-publish under UUhistlegrass (journal formerly known as UUelcome Editions). ISSN: 2165 - 6738.
Q:What are your ultimate goals with UUe/UUe.i?
A: Double U economics.
Q:I have privacy and/or security concerns.
A: In an effort to assuage your concerns, just know that the embed is NOT keeping tabs on your browsing history or online behaviors beyond what is necessary to run the software (you can review the source code if you wish). The only thing it is designed to do is let jukers play, and report those call functions back to the server (jukebox). Nor is it collecting personal information. As far as it being installed on your system (running in the background at low priority), this is a secure🔐 process that won't expose itself to other hubbed data without your permission.

Measures are being taken so that installs from uuelco.me (or the final domain/mirror) will not be harmful to or jeopardize the integrity of your machine or the network. We expect to solicit independent audits from industry-standard compliance and operation (eg. SSAE, ISO 27001) organizations at some point. --------
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