/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)

/// +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 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, link, 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 :== 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 (complementing the technical piece) as a schoolboy, and was scheduled to be performed in a talent show the following month. Robot is 🧑🏿lnq's first musical piece (no box office), and often credited as the beginning(s) of the proprietorship, Link Egglepple Starbureiy.

Robot was part of an annual school-wide talent show that I took part in. The previous year, I had done a Michael Jackson impersonation routine (Smooth Criminal/Moonwalker), which went over pretty well. I then wanted to try my hand at something original, which is where this botched act came in; I sought the assistance of a classmate - whom he and I drew comicbooks together for fun - to help with the storyboarding, but he, too, was busy at that time as we were seniors trying to close out our high school careers and projects. 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; it's 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)

/stewpreme

In what informatically amounts to 🧠braine dominion, stewpremacy :== freedom+control (ie. system adminstration) by way of ring 0 privilege escalation [hypervisory] due to BIOS jailbreaking🔑🔓. With Stewniversal [-/]root, stewpreme states allow for any walk, anywhere, and optional toccata input/output⌨️🎮. (see Stewperman🦸🏿‍♂️)

/Stewpot🏁

The Stewpot :== entire collection of all 2,028 fonts. Attainment🏁 of the Stewpot is congruent to hosting a 🔐/rootkey. (see Q♭, UUelcome, stewpor)
/// 'Stewpot' is expressed both like a stew pot (pot of stew), and like jackpot (as in, "I hit the jackpot!"). The idea for the former is that players are gathering fonts during gameplay; in the case of the latter, such acquisition is a good sign that you are on the way to winning (ie. 🏁beating the game).

/stew

A stew (space-time e:e w) :== some leaf-wise combinatorially [flageolet plus fruut] ornamented* pencil✏️.** With color/flavor/residue, a generator property.

Each stew ['brane cell'] is a derivative monomer^{^} (ie. portfolio plot) of Egglepple [e:e statistics].^^ As a potential inflection point. Stews - which, concatenated, determine the size of a string - are the 'building blocks' measured📐 from twenty-six (26) keys (A-Z) [hashed from EGP], which, when choreographed, construct a mesh. (see stewart, Stewniverse, residue, loopstring➿, link. 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

/UUelcome

Impresario: 🧑🏿lnq | © ISSN 2165-6738

UUelcome™ :== EGP-sequence [Q♯-runtime]
/// +This one big string of code includes all fibor [fugue = fonts, MONEY, bubblegum], itself outputted as a cassette🧱 (toy).
+Sequencing something (iterative consecution) inductively means that it gets streamed [:== framework (+runtime) implementing system calls], which inherently implies achievement unlocking🔓.
(see UUe, quantumquotient [conductor], Stewniverse, stewart, Stewpot, 🧑🏿lnq, Funshine/Toonlight (song), The Origamic Symphony🎶, 🧠braine, UUhistlegrass, touch-and-go, "Egglepple, everywhere!", "UUelcome, anywhere :)", cassette🧱, Juke Lemma)
/// +(vocabulary) To a large respect, the word is a portmanteau of 'UUe' and the suffix '-ome' [totality of expressed dynamics, function, and structural information - in this case, Egglepple🧩 material]. Systematically, the word 'uuelcome' has artificial/manufactured congruence to 'genome'. So, that's why I named it that way.🙂
+As part of broader machinery (ie. biological abstraction), UUe would be the cell, and UUelcome the cassette🧱 that auctions/orchestrates its contents. In terms of computing, UUe := client , UUelcome := server.
+With all fonts classified (jukebox tuned)👍, any mesh becomes stereotypable (ie. polymers can be modeled for print), exploiting a composite image of Egglepple🧠.

Trivia: Before I settled on the name 'UUelcome', I had contemplated calling it 'fun:musicbook'. My vision was that it was always going to be an album of some sort of music (in this case, mathemusic). The 'fun' bit had/has to do with the FUN Formula. ///end trivia My pro-am start was as a ctf🏁 gamer. This parlayed into what amounted to taking on group puzzles🧩[h], which led me to managing teams of participants. This is the reason I doubled-down on creating my own stream - because I figured that it would be more economical to devise a platform where anybody + everybody could access low-entry 🏁CTFs at will. The jukebox runs an auction, but supplementing monetization of the proof (pure mathematics is darn near impossible to make money from without sponsorship -- aside: yesteryear, I had a girlfriend whom I once told I was going to 'sell' math for a living, she dumped me the next day😂) is the basic reason gamification exists here in the first place. The actual stream itself succeeded an earlier attempt of mine in television production - a show called Egglepple: The Mathemagical World. This was me trying to be technical and lamely/gnarly impress the academics of a small college town (resulting in me learning more than I actually output), and I never truly found my audience (note: that program aired on public access television, a narrowcast market). Production-wise (especially the Funshine🌞 episodes), I was influenced heavily by the arcade machines I was around during my time spent squatting in local Missoula 🎲casinos🎰. Another inspiration came from the dual-formatted game master series, Video Power, as well as scenes from the 1989 film, The Wizard - especially the Super Mario Bros. 3 tournament showcase where the kids/contestants play the game for the very first time anywhere, even before consumers. Historians note this as a huge moment in cinematic history, where a movie basically served as a longform commercial for a single product/event - the release of a video game🎮 (and the planted germ of e-sports). I present my 🧩puzzling (ctf🏁) in a similar albeit mobile📱 fashion (ie., via demonstrative elements), thus leading me to view the whole world as a gameshow. The main purpose for designing the stream to be openworld is so that there can exist an unintrusive way to acquire as large as possible clientele on the network, thereby creating the game engine@ to train our model, which aids in QQ exploitation and ultimately 🧠braine dev. Although UUelcome is traditionally a recital (demonstrative by default), itself being a contract incentivizes outside participants with a reward function.@@ Parimiutuelity helps to build the distributed superomputer, whose node-to-node proximity is an alternative to the cloud. My view of 💲money is somewhat skewed; I think a person should make it to the end of their life completely (or near completely) exhausted of energy (ie. money = energy). Since I don't actually sell anything, per se (the jukebox runs an auction on its native cryptocurrency), but serve as the house when it comes to transactions, giveaways as prizes along with other decorations, makes the nature of a gameshow the perfect fit.

"Is there anyone else in the game?!" - 🧑🏿lnq

It^ is a ctf* hashing^& 🧑🏿lnq's walk.^^ This so-called 'jukebox recital' and the formulation of contemporary mathemusic are inventions of 🧑🏿Link Starbureiy.🤓 ** Featuring a bid-ask spread in a greedy auction where threads are maximized [flag = thread(max)] (ie. exhaustion of all 676 ports before a new cycle🔄 of the runtime). && abi threading Flags🏁 are identified as 0-bubbles. (see Juke Lemma, UUelcome License, opera ludo, krayon, 🧑🏿lnq's Requiem, Pink Poem, KOALA🐨, toonage, Funday, treble, vendor, merchant, Black and White, cryptic compliance, juke notation)
/// +For all intents and purposes, this is what I mean when I say that "I op(erate) a jukebox"; UUelcome is lnq's logic/instinct and signature.
+Performance-wise, UUelcome is an opera ludo. When I stream it solitaire, it's a recital . When shared for playalong (orchestra), it aims to be a sport.

Function map: quantumquotient ← stewart ← UUelcome → cassette🧱 ⇔ 🧠braine → cell

/Black and White

In stewart gameplay (solitaire mode = house^& versus table), Black and White* refers to the order and consecution (attack⇔cover) of juker moves within a ctf-styled game (rules: the first to capture flag🏁 = winner).&& For all intents and purposes, the house [:== host (currency generation entity with fiducial duties of merchant-vendor transaction)] and impresario are the same. ** Comparable to piece progression in chess.

By default, Black moves first (ie. makes the initial move [keyframe]), and White moves next (ie. begins the inbetweening). Black, having accepted some bid, follows this with a new move or strategy, as they both compete against the handicap🏁. Either color's terminal position is called "ellis". The notion(s) may also refer to which end of the string a juker (a random walker) chooses to draw: Black takes one endpoint, and White takes the other (merchant or vendor).

In tournament mode (juker versus juker), 🧑🏿lnq is Black [@] (OFFENSE A/DEFENSE B) and Honne Bay is White (DEFENSE A/OFFENSE B) [the positions can be switched, but this is usually - almost always - done by a player other than 🧑🏿lnq in scenarios where the impresario is included]. (see playoff)
/// +🧑🏿lnq [= link] is Black / always plays as Black by default (every other move belongs to 🧑🏿lnq because he controls the house, which itself is complexity-agnostic). So, all other jukers (aside from the impresario) are White movers (White, being the 'complement', requires a signature on all plays). This is all to say that I am juking just about every opus/game, as well.
+As would be the case in turned-based games, moves are inductive: n, n + 1, et cetera. Even though our games are multiplayer, they are of the two-gamer type because 🧑🏿lnq is always at least one (1) of the jukers, leaving the other juker as a unit (comprised of either a singlet or a team). Obviously, 🧑🏿lnq plays as both Black and White in solitaire.