Showing posts with label Stewart. Show all posts
Showing posts with label Stewart. Show all posts

+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.


Composer: Link Starbureiy



Stewart's logo 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:




























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: MathildaStewartUUelcome

+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.

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 an annual talent show the following month. Robot is 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 comics 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)

+lnq's bubblegum

🧑🏿lnq's bubblegum is a colloquy applied to the default ballet on UUe's rotisserie. As our entrée [part of the standard opening for encryption], it is a self-contained piece which is assumed to be infeasible (but manageable).
UUe /// The letters 'L' and 'S' are the initials of '🧑🏿Link Starbureiy'. The leaf, 'L', has weight 12, and the leaf, 'S', has weight 19, for a total of 31 (12 + 19 = 31). The pencil count/number 35 represents March 5 (third month, fifth day), Link's birthday. So, 35 - 2 = 33 remaining pencils at weight = 1 each, and with two (2) of those pencils totaling 31 in weight, the grand weight of the opus/font equals 31 + 33 = 64.

That opus number is:
with respective tablature/handicap readings: (6¢/$154.88)
** Read/spoken🗣: "LS dot thirty-five, brackets sixty-four"


We refer to 'anywhere* you can draw with a flageolet pencil' as the Stewniverse.** ie. jukespace. Colloquially, whomever makes 🧑🏿lnq's audience (ie. the crowd/orchestra) bears witness to it; it is taken to be a virtual world. (see k-mode, 🧑🏿lnq's Galaxy, Link Starbury Network)

"In the Stewniverse, I play." - 🧑🏿lnq

/// +When mentioning the "Stewniverse", we are generally including everything that has to do with 🧑🏿Link Starbureiy, Egglepple, UUe, UUelcome (+licensure) [uue/:], stew choreography, juking, and the like.
+In a way, the Stewniverse is a conditional metaphor for my autism, as I persistently live in this world.

Function map: jukespaceEgglepple ... > Sport Meadow > Mathtana > Mathfrica > ... > Stewniverse


Toonage (truncation of 'cartoonage'*) is the diction given to the chronology of (cf. attempts at) iterations to 🧩puzzle solutions (toons).** Wordplay, but should be taken here like 'fine-tuning' (cf., musical tuning). Implies stereotyping on paper.

We tune^ the jukebox (UUe) by threading kernel libraries (+patchwork) for fugue damping.^^ Training comes from redundant server-side proofs🔒 of random walks, courtesy of games/gameplay, which lead to better Q♯🎶 compatibility.

Toons themselves are individually/inductively ordered (n + 1), but because it is feasible for two (2) or more to be confluent, offered is a finitary

Naming convention
Toonage is marked using the following standard alphanumeric:

Toonxx.nn[]# - where "xx" identifies the port, nn is the pencil count, the brackets [] carry the weight, and the addendum, #, is the episode (as an integer).
/// Toons (n+1 induction) exist because the time complexity of each proof requires a relatively large compute per. In other words, there is extreme likelihood that a game/opus will not be completely solved on the first attempt.
(see EGP, meshroom🍄, opus, cassette, cybernetic governance, #recital, Funshine/Toonlight)
/// Principally validating file hierarchy.


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 Planck data 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 ballet, Funshine/Toonlight)

+major scale

The major scale hosts* the secondary structure (EGP encryption on primary structure) of Egglepple. Complexity: E ** In addition to residually defining the tertiary and quarternary structures. (see fibor, fibor bundle, meshroom, groove, melody)

Function map: minor scalemajor scale → ... groovefiborfibor bundle

+minor scale

The minor scale hosts the primary structure [0-brane+yesegalo] of Egglepple. This is the raw state of EGP decryption*; where pencils are subject(ed) to coloring, but loopstring is yet to be value-assigned and/or taxed. Complexity: P** More like 'un-encrypted'. We only say "decrypted" because, technically, an encryption can in fact be decrypted/reversed. (see fibor, fibor bundle, SMALL brane)

Function map: minor scalemajor scale → ... groovefiborfibor bundle


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 treble, smb)
UUe /// Sport is essentially random walk programming. So, the triad is plainly math, music, and money (MMM).

+ballet 🩰

As our "dance* of the ball", ballet is an improvisational program [opus] that synthesizes walk categories from random coil.~** In the Egglepple scenario, the 'dance' is stew choreography, and the band of dancers is yots. ~~ What I refer to as 'walking the string'.

Each ballet is a frame arrangement [lyrically, the bundling of two (2) or more fibors (either by encryption or decryption) into gameplay]. (see Starbureiy ballet, groove (scheme), opera, #opéra-ballet, #libretto)
/// We may consider ballet to be the transition from opening to endgame. I prefer to think of a ballet as an opera's lemma.
Function map: balletopera


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 toonage, mixtape)
TOS /// 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.


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 (ornamenting 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 encryption - 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 🧑🏿lnq's bubblegum, fibor bundle, 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 spread)

Function map: bubblegumimproviseMONEY