+Opus Cell, aria.1

+name-changing Stewart's Opera

'Stewart's Opera' is now just called 'Stewart'. The change was made to draw attention to the Opera being a product of stew choreography - as is, and so there is no need for the redundancy. Likewise, 'stew choreography' is just that [and no longer the extended form of 'stewart' ("the art of stew choreography")]. Note, however, that the paperclip (hashtag) remains as #StewartsOpera.

+Stewart

Composer: Link Starbureiy

opéra-ballet

[development]

Stewart℗ is the ring of all six-hundred seventy-six (676) developii^# in their entirety*. An puzzle dispenser, its subject^{^} is rooted in BOT, thus allowing game logic to sort (via endpoint control) the portfolio (at stews) for the fitness of lnq and his walk.Each opus is a ballet. Decrypted and encrypted. Egglepple (see also lnq's Starting Five, developus, fugue, Stewniverse, Mathilda, RONALD, UUallet, creatures)

Notes (+): +This is only an 'opera' in the sense of it being a collection of opuses. We compensate for slack with the developus. +Here, the word 'Stewart' signifies "the art of stew choreography". On an historical note, the opera was originally called Stewart's Opera. Technically, it should be classified as an opéra-ballet because each opus is its own ballet. +We define 'fitness' as the ability to transfer currency across twistor space. Here, it implies a quotient load-normalization, particularly on the handicap.

This is how it will play out in rotisserie mode:
Gameplay is a continuous event; each game is it own finite runtime (opus) of the opera.

An opus is dyadic (u,u), and labeled corresponding to the start and stop leaves (verso/recto) of its string (yesegalo). In order to distinguish an opus, it is given a numerical value of its stew count, and additionally, the total weight of those cells.

So, for instance, in our example, #EX.100 [888], E (start) and X (stop) are the leaves, 100 is the stew count, and [888] is the font weight.

These alphanumeric values can be adjusted on the operatic dialpad, which, when called (select: opera button), overlays the rotisserie.

Sample key combinatorics here:

Keypad

#	A	B	C	D	E	F	G	H
I	J	K	L	M	N	O	P	Q
R	S	T	U	V	W	X	Y	Z

As the prime directive of the jukebox, Mathilda™ is UUe's platform for making tempo adjustments. Its libretto is UUhistlegrass. (see also lnq's Starting Five, Stewart, RONALD, UUallet, tip)

This is a suite for all of the ballets in performance of The Origamic Symphony. The suite speaks to/covers the quaternary structure of Egglepple.

Mathilda™ hosts various extension* paradigms. This is an umbrella for all jukebox-related ballets in performance of stew choreography. Existentially, these activities encourage an ecodiversity of random coil for polynomial efficacy.Namely bubblegum, ludeiy, and spots.
Here's how the ballet will flow in rotisserie mode:
UUe's ludology revolves around folding string. More precisely, how to obtain a completely closed circuit (0b) from an open string

To do this, we progress through three (3) parts: the opening, middlegame, and endgame.

The opening is what concerns us here. Optionally, we may enter a string orientation (which confines its twistor space), called random coil. I personally call it 'scribble', because, since it can assume any shape, that's what it looks like drawn out. The important thing to remember, however, is that coil cannot cross/intersect in two dimensions (2d) (we use stew choreography instead). Note, though, that there actually is strategy involved in random coil design (hence, it's not truly random).

To input a random coil, we simply draw it in the space to the left of the 'juke' button on the rotisserie. Conversely, this space will also output (show) a result (fibor).

You can actually 'dance', so to speak, right now in Euclidean space (3D). The Stewdio's API is functional (but only for Web), you would just have to supply the hardware.
Function map: Mathilda ↔ Stewart → UUelcome

+Robot (play)

Robot is a short one act performance and composition by 🧑🏿Link Starbureiy debuting March 19, 1997. The play is a solo piece about a fictional cyborg (lnq) on Earth's🌍 moon🌚🌙 sometime in the distant future.

Significance
The ideation and drafting for Robot began in February 1997. This was his final creative arts assignment as a schoolboy, and was scheduled to be performed in an annual talent show the following month. Robot is often credited as the beginning(s) of the proprietorship, Link Egglepple Starbureiy.

I immediately labeled the show a debacle👎👎, and attribute my poor outtake to lack of preparation (the script was still being edited only minutes leading to showtime) and a mishandling of the itinerary by stage crew (and some other lame excuses; in truth, I just sucked😵). In all, I later saw the show as a blessing that I would use as fuel to create more one-man acts (later attributed to my foray into deeper performance art that Summer) which evolved my opéra-ballet, Stewart. It should be noted that I came up in the era of Nintendo. A major platform game of the time was The Legend of Zelda[z]. It's a great franchise. No, my name is not Link after the protagonist character in the game; its my real name. Anyway, there was no 'Zelda' to speak of in my adventures, so I just adopted 'Link, The Legend' to fancy my ego. And now you know.🤭 (do not confuse with 🧑🏿Link Starbureiy%roster, cyborg, or Starbureiy automaton)

+developus

A development opus, or developus (or dev), is a composition [opera] that is geared towards cell imitation so as for it to be totally compatible with TOS🎶 by furthering extensibility of jukebox dependencies (responsive to orchestration). These are typically introduced to advance or re-purpose some macrocontract. (see also oeuvre, #opera)
/// The term 'developus' was coined by 🧑🏿Link Starbureiy.🤓 Plural: developii
Function map: opus (ballet) ⊆ opera ⊆ ... recital

+goal

In gameplay, the goal is a closed🔒 string as a 🧩puzzle's proof. It is scored as an opus excluding ¢ent count. (see also assist, smb, zero-bubble carrot🥕)
/// Put simpler, a goal is a satisfied (met) objective within some game.

+stew

A stew is some leaf-wise combinatorially (flageolet plus fruut) ornamented* pencil.With color/flavor/residue, a generator property. Each stew is a derivative monomer^{^} (ie. portfolio plot) of Egglepple.As a potential inflection point. Stews are the 'building blocks' measured from twenty-six (26) keys (A-Z) [hashed from EGP], which, when choreographed, construct a mesh. (see also Stewart, residue, loopstring. Compare amino acid)
/// The stew may be an analogue of a specific polymer, typically a biopolymer (almost always a polypeptide). UUe stereotypes a preimage (some loopstring configuration) to this image.

Trivia
The stew is an invention/specification of 🧑🏿Link Starbureiy to outline how to throughput Egglepple in relation to UUe. This class of UX machinery is the first of it's kind in (the) industry.
Function map: pencil → γ-proof → stew

+3-rex

Three-rex (colloquially spelled "3-rex", as a play on the word for the dinosaur, 't.rex' (Tyrannosaurus rex), is a term loosely grouping the fields of sport, music, and commerce*.Thread monetization The union of which implies an economic engine of sorts for juking. (see also treble, smb)
/// Sport is essentially random walk programming. So, the triad is plainly math, music, and money (MMM).

+bubblegum

Bubblegum is the name given to (a preimage of) fibor that is not optimal* (ie. false vacua).Basically, not MONEY. It is/are (the class of) string combinations (yesegalo + groove/melody) whose fibril incompatibility necessitate optimization (restating of fugal themes). We define bubblegum to be our "dilated vector space having everywhere-vanishing blowup points with boundary", and can easily determine it from being 'that which shares no equivalence relation with some assigned twistorspace (||inf > (u,u)=0|| OR ||sup < (u,u)=0||)'.

Bubblegum is used in ornamenting - as an improvisation method/tool to make MONEY - in hedging a given handicap [when bubblegum * (n) {n is finite number of pieces as ¢ents} = handicap, then MONEY = yes], and thus, changing the tempo. (see also 🧑🏿lnq's bubblegum, swap. Compare protein quaternary structure)
/// +Bubblegum is probabilistically caused from half-integer statistics.
+'Bubblegum' is a metaphorically cohesive polymer, used to 'patch' things up so that MONEY can be made. (see also spread)
Function map: bubblegum → improvise → MONEY

+port

As the determining factor in an opus' naming scheme [hashing], a port [uue/:] is the combinatoric of some twistorspace as defined by its leaves (u,u)* (ie. the starting point to a walk).Technically, as its leaf sorting parametric (ie. "in the key of"...).

+opus

As it pertains to juking, an opus [technically, "opus number", as some quotient (1/676) of Stewart] or developus is a finite stew choreographical instance resulting in a completed typeface mutation. Plainly, an opus is the computation (ie. encrypting EGP on a discretized brane*, subjugating some thread) of some partition of Egglepple (ie. movement).Cellular automata Each new opus (an event [game]) will commence at the request [draw] of its ballet, thereby instantiating a unique node on Big-O Tree. Opus conclusion occurs when its 🧩puzzle is solved, and should validate a fibor, which is to be then readied for kernel registration. Depending on its texture, an opus may be referred to as an opera^@, operetta (diminutive), or opéra-ballet (ob).Which is technically a kernel's logic path or operation (a walk involving non-impresarial decision-making).
/// Actually, an opus may overlap with, but is of a different genus than a developus.
An opus is a method of cataloging a juke (much like with symphonies, operas, regular pieces, etc.). Publication assignment gives opus sets a maximum of six-hundred seventy-six (676) [corresponding to the alphabetical varietals of stew, (A-Z), in binary form]. For example^{^}, a work may be published as "Opus AB, Number 14" (written as Opus AB.14), where "Number 14" - is the fourteenth iteration of the ballet performed on the loopstring, "AB" (its port - the letters of the start and stop leaves, respectively).Default opus is #LS.35[64]. For all intents and purposes, opus titles say, "font size by font weight". Each iteration itself may also be nested (eg. "Opus AB, no.14c"). (see also toonage, mixtape)
/// Iterations are basically variations of pencil quantities, and by necessity, font count. In nesting, we let p stand for 'pencil', and f stand for 'font'. The opus' title and number remain as is; they are established. The iteration only changes either the pencil or font count. So, for example (purely meant to be hypothetical and unofficial), let Opus GU, No. 4 have a (830 x 4,116) tab. An iteration of this would be Opus GU, No. 4f2885, where the pencil count (830) is unchanged and the font count has been reduced to 2,885. Or, we could have Opus GU, No.4p910, where the font count (4,116) remains unchanged and the pencil count has increased to 910. Again, purely hypothetical.

+nut

A nut (or ball) is an endpoint of a loopstring. String only have two (2) endpoints, hence, there are only two nuts. Egglepple-wise, each nut is either a start or stop identifier (leaf).*The two nuts of TOS are the Planck scale and the nanoscale, connected by Egglepple. As an arbitrary ordered pair [egg,epp], they are referred to as abscissa (toonlight) and ordinate (funshine).
/// Balls are pseudo-theoretical (abstract) objects that only exist as placement functions. There is no 'ball', so-to-speak, just a representation of an endpoint (dot). However, in gameplay, a ball can be a toy (eg. ctf flag🏁, see zero-bubble). Likewise, macroeconomically, a ball would be lyric (triangulated data point).
Mathematically, it's called a 'ball' (and sometimes 'dot') because as the string folds upon itself, the endpoints (a metric space) coordinate ("connecting the dots") into a loop, and the overall structure usually assumes a shape that is similar to some ovoid with boundary (cf., compact blob) in stereo. (see also ballet)