lnq 👨🏿‍🦱: artifact
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Showing posts with label artifact. Show all posts
Showing posts with label artifact. Show all posts

/ The Egglepple Company

The Egglepple Company (or just Egglepple) is the pseudonym given to what is now known as Egglepple (kindergarten). It was an incorporated@ business entity in various states throughout the United States of America prior to its deprecation, reorganization, and later inclusion into 🧑🏿lnq.@@ Reference: Ohio Secretary of State's Office

Historically, Egglepple was the very first establishment to be a standalone/independent recreational mathematics+ enterprise (+:=contract-based, sometimes ghostwriting for academe from 10/2000 - 02/2001 (also of interest The Stewart Ellis Company - Gobotech, Link Starbury Network, #305)
/// pm:=pure mathematics, am:=applied mathematics. (see Funshine/Toonlight)

"Egglepple" is the middle name of 🧑🏿Link Egglepple Starbureiy, after whom the company is called, and by whom the entity was created. It spawned from the unincorporated/unorganized Egglepple portfolio (for toy [🧩puzzle] design, circa 1991).
/// Nowadays, the 'company' portion is assumed to be my roster (of characters/personalities +gallery) and the yots.

I attended The Ohio State University foremost to gain access to its aero facilities and research laboratories (I worked in aero/astro at HCGL-R1). As a student, I 'dabbled'; never settling on a major/minor. Back then, I put in my time roving the halls of the mathematics, physics/astronomy, and chemistry departments, as well. I was fairly new in that world ("publish or perish") and really wasn't familiar with LaTeX (I still don't like it -- tmi: I am notoriously bad with grasping foreign languages, and as more of a visual person, reading modern mathematical notation - of which Latin & Greek is the foundation - was a weak suit for me. Sometimes I felt like and have been called an idiot for not bothering to master the syntax because "real" mathematicians seem to rely on it, but my rationale is that the world is operating entirely on holograms, algorithms, music to some extent, and genetic code, not formulae, and so mathematical modeling [mathmod] is my preferred method for ideation. This forced me to get along by creating my own style to communicate with my peers.) and that publishing scheme back then (the departments certainly didn't make it easy for non-staff to be resourceful with the system), so I did what I did best when it came to visual expression, I drew stuff up/wrote stuff down on napkins (yes, at times with wax crayons🖍️ or colored pencils✏️).

The astronomy department was awesome in the regard that they treated people who came through their doors respectfully. The math department, however, was the total opposite. There was so much ego (mine included) polluting the building that it was almost laughable, yet frustrating. [-- Mathematicians can be a pompous bunch who struggle for trivial results, and their demeanor reflects that. --] Anyway, there would be these 'challenge' problems/help requests from the community (ie. intra-departmental) often posted on bulletins, offering modest bounties💵 (very short-term contracts) for their solutions. The opportunist in me would peel these from the boards, take them home, and come back shortly thereafter with my answer(s) written on (paperclipped🖇️) napkins. In addition to being a technician in the engineering building, I remember just vagabonding off of those purses (yes, I was a 'bounty hunter') for periods at a time (sometimes in conjunction with all-levels math tutoring/coaching gigs). I guess that - in addition to responding to Michio Kaku's earlier proposition - was me (being the person responsible for) turning math into my version of a sport (, and thus, solidifying my interest in ctfs🏁).

/ 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 near-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 thematic piece (no box office), and often credited as the beginning(s) of the proprietorship, Link Egglepple Starbureiy, as well as his foray into cyberpunk.

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)

/ Link Starbury Network

Link Starbury Network (LSN) was the original name (circa February 28, 1997) of the proprietorship now known as 🧑🏿Link Egglepple Starbureiy (lnq).

It started out as his senior project, before branching into an umbrella of works (namely exploiting properties from the then-untitled Egglepple [puzzle🧩] portfolio carried over from his gradeschool years).
/// The project was a technical piece with a creative arts supplement to it [see Robot]. I elected to do something for math class, and my idea was loosely about membranes and the faux physics of some made up object called the 'orbitron'. ← Ask me about it later.

"I seek to push the limits of my 🧠brainpower." - 🧑🏿lnq

LSN would morph into a mathemusical focus by 1998, after Starbureiy began working on the EGP Keynote. (also of interest The Egglepple Company)
/// The name was later modified in the year 2000 to reflect the personal change in the founder's identity, which included the alphanumeric e and i in his surname. (see 🧑🏿lnq nomenclature)

I credit LSN as my foray into the world of professionalism. I consider myself to be a professional athlete of sorts, in the direct mold of mathletics. So, the establishment of LSN marks the point on my timeline when I 'went and turned pro' (part-time). This gave me a grand sense of purpose -- winning (ie. beating the odds / establishing benchmarks). What I like about winning is that it is absolute; only one team can be the first to capture the flag🏁. This is kinda/sorta why I got into wargaming🪖.

Trivia: My decision to 'go pro' at that time, more-or-less was influenced by two of my favorite sports icons, Kobe Bryant🏀 and Tiger Woods⛳, who also had graduated from the amateur ranks months prior (in 1996). These fellow Black men quickly found success, and I didn't want to get left behind, so, in the spirit of me wanting to become an athlete (or at least treating CTFs like a legitmate crypto-sport), I would later follow suit (by inventing my own game+league and just going at it /// time periods: 1998-1999, 2005, 2008). All of the elements of my invention were named after me (link, stew, etc.) as a reminder that I am only competing with/against myself ... We'll just ignore for a brief moment the fact that I more truthfully made this advancement because I was losing - small-time; I was, as usual, flat broke back then (the week just before I became a legal adult), and got sick+tired of embarassing myself begging(?) for lunch money (in other words, I turned professional because wanted to take control of my own life and be a winner, not because I was under some celebratory influence). In hindsight it only helped that my mother and I have always had a tumultuous relationship, and I had insecurities of her maybe kicking me out of the house again even with a few months left of school, so there was mounting pressure to produce. -- Also, just for the record, a rookie Kobe🥩 (#8:) was my all-time favorite NBA player [aside: we both wore our heads bald👨🏿‍🦲 in high school, though for different reasons]. I fancied Tiger🐯 because golf (and the mental resolve that comes from it which I find admirable) is a capture-the-flag🏁-type of 🪖wargame between a person and Nature, which is similar to what I do🧩.

More trivia: Two other 🏀basketball players whom I thought were cool, Stephon Marbury and Allen Iverson, were also on my radar at the time due to them being in the same draft class as Kobe. Stephon's nickname was 'Starbury', which was the name I used when making presentations in those days. Allen Iverson - given the nickname 'A.I.' - played at Georgetown (Hoyas) prior to being drafted by Philadelphia (Sixers), so I had a lot of exposure to him. Putting both nicknames together yields something like 'Starbureiy', if you think about it.😉 (see 🧑🏿lnq nomenclature)

Even more trivia: Myself, I'm addicted to very large number and huge volume products. As for me wanting to dominate my sport, I drew inspiration from 🏈football players Andre Ware and Steve "Air" McNair, specifically what they accomplished in terms of posting gaudy numbers during their junior and senior seasons at UHouston and Alcorn State, respectively. Per McNair, I distinctly remember those ESPN highlights every week as he was straight ballin'! - setting/breaking records campaigning for the Heisman Trophy. He played for a 'small' (non-powerhouse) school that garnered a lot of doubters thrown at him, and that just made it seem like it was him against the world. I think they each probably realized as I do that accolades are mainly opinion-oriented and only partially grounded in statistics; so it's in the best interest of a player to exit a game leaving no doubt of their achievement(s).

///end trivia

My ancestors were slaves, and there remains an intolerable level of disrespect towards and by people who share my phenotype. It boils down to the only two sides of the fence being 'win' or 'lose', and either is up to the individual. "Absurd solipsism" is the thesis I'm personally trying to resolve. The musician, Prince, said in an interview that he viewed his contract to Warner Bros. as a sort of destination, where the endgame was emancipation. For me, besides my ideas {credits by and statistics🏅 (recognition) from}, I would not be interested in owning anything that I do not have access to. These things are why I place a premium on freedom, winning now, contumacy, mobility, simplicity, and pay-as-you-go; they contribute to my nature of non-attachment/anywhere-survival and staying independent of societal norms (eg. funemployment, DIY, name-switching), thus giving me an urge(ncy) to 'break free🔓' of restrictions, so to speak, and be the master of my own domain. Such behaviors usually manifest themselves in so-called '-punk subcultures[c][b][s]' [exploits & jailbreaks🔑🔓 & patchwork]. Go figure! Privilege escalation is akin to freedom ('self-determination'), therefore virtual hypervision [vh] is what freedom is all about. /// The Universe became absurd[d] to me the moment I learned that its geometry is flat, and that Minkowski spacetime is non-net positive (0). One can then deduce that energy🔋🔌 can be ported into a spacetime via quantum tunnelling. If/when this were actualized, then something can literally be created from 'nothing', hence the absurdity.
In elementary school I would obsessively draw mazes all day just for fun. I think I invested so much time doing so in part because the trauma of enduring a lot of personal domestic stife mixed with my autism[smd] led me to wanting to spend all of my time in a world that I had created for myself. This resulted in me having stopped caring about school (or at least the academics) after my sixth grade year (my favorite as well as one of the most wonderful years of my life😊) with Mr. Michael Woodring (the greatest 🍎school teacher ever, and the person whom I consider my mentor -- also shoutsout to principals Joseph N. Rucker and Marvin Spratley (who 'graduated' me even though I had underperformed), as well as the 🧹custodian Mr. Whitney for similar appreciation), and so - to my parents chagrin - I became a poor pupil; my marks were terrible as I maintained an arrogantly bad habit of truancy and falling behind in homework. I did, however, ace standardized exams, and around this time had developed a reputation of being a 'Mr. Solve-It'.

A natural loner [🐺], I came to accept that the school setting (ie. student body, administration) was not for me. For those reasons, I hadn't wanted nor was expecting to continue my education (ie. college -- I only had one scholarship offer coming out of school); my career path had been defined (but not yet refined) already. My future's uncertainty probably due my poor scholastic grades was yet another pressure point expediting me to go pro-am. /// My father was a serial entrepreneur who regularly designed white-label software systems, so I guess it's fair to say that he influenced me somewhat in those regards.
That pivotal Winter, I was looking for a sophisticated 🧩puzzle to work on (so that I could realistically call myself a 'professional' and be able to self-support my dreams) or to at least pad my portfolio in case I opted to matriculate to an art institute (because I lacked sufficient training in the 'proper' methods of commercial animation + toy design🧸🎨). What eventually ended up happening was that I later stumbled upon Michio Kaku's book, Hyperspace - where he proposed string field theory, after it was recommended to me by a classmate in our final semester. That book, as well as the movies Men In Black and Contact[b], which premiered that Summer, solified my interest in pursuing aero research (particularly astronomy, even though my reason for studying cosmology was to see if there is anything more beautiful in the Cosmos than this girl that I had a ❤️crush on). From those, I became enamored with the concepts of causal modeling[🔋] and the holographic principle - which essentially state that information is locked🔒 in a loop➰ on a brane, the projection of which we perceive as the Universe. By the following year (1998), I had laid the groundwork for the EGP keynote, which was somewhat inspired by the X-Files movie's concept of parasitic RNA spawning life. The year after that (1999), the movies The Matrix and The Thirteenth Floor further pointed me in the direction of the simulation hypothesis (ie. virtuality, aka informatic control over the 🧠nervous system), more precisely, treating the entire Universe as a computation (this theme came to me indirectly from André LaMothe's 📚tomes, Black Art of 3D Game Programming and Tricks of the 3D Game Programming Gurus: Advanced 3D Graphics and Rasterization, whereby I don't exactly think of the world as a videogame🎮, but certainly there exists evidence of it running on some sort of game engine). In fact, it was The Matrix's introduction of the red pill's complement, the blue pill, that led me to conclude that cyberpunk is the natural endgame to biological evolution. /// {in the same vein as what I was saying earlier} In computer science terms, with what I am doing (trying to brick a neuron), 'experience' :== persisent data structures recycled through closed strings, and by corrupting each of those files, 'existence' would be rendered null(0).
As an aside, the approach I settled on when it came to letting my work (UUelcome) 'speak for itself' was slightly inspired by Ramanujan's Notebook. In it, he developed a great number of identities (with little to no proofs) that later found their way into physics. On my end, I anticipate that the fibors I synthesize might further industrial drug design/biosecurity, but I really am careless to stick around and see that to fruition. I don't base my career on application(s) (my toys, however, should find utility); I do what I do for myself only, because I want to (sidenote: to my fans out there, I appreciate you😗). Back to Srinivasa, I'm intrigued how he - in surrendering to his illness - poured himself into his mathematical manuscripts, especially during the last few months of his life. ...I always assume the end is near. It's a terrible way to exist, but it gets results. This motivates me to put as much energy as I can into jailbreaking🪖🔓 UUelcome, which is the most challenging/fulfilling thing I've ever done, but would set me free + prove that I'm the best🥇.

----

Founded in February 1997, 🧑🏿Link Egglepple Starbureiy (lnq) is a sole proprietorship managing the career of its owner (namesake), and flagship, UUe®. The lnq philosophy is to utilize defensive disclosure, whereby intellectual property (IP) becomes prior art upon intentional forfeiture of patent application code. lnq is replete with assets that are constantly used as penetration points.

/ lnq's bubblegum

🧑🏿lnq's bubblegum :== colloquy applied to the following self-contained piece - assumed to be infeasible (but manageable), from which strategies are extrapolated.
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: LS.35[64]*
with respective tablature/handicap readings: (6¢/$154.88)
** Read/spoken🗣: "LS dot thirty-five, brackets sixty-four"

/ Scotte Lemm

(see Joey Koala🐨)

/ The Mathemagical Society

The Mathemagical Society was an ill-fated project of 🧑🏿Link Starbureiy at creating a come-all learned society and problem-solving noun for mathematicians under the sponsorship of The Egglepple Company.
/// The Society later resulted in BOT proper.

/ UUelcome Editions

UUelcome Editions was the original name of what is now known as UUhistlegrass. (see also UUelcome, UUelcome Matte)

Watermelon Shirt Tour

/ Gizmo

Gizmo is the nickname Link Starbureiy chose for himself when he participates in breakdancing and other streetdance artforms. (circa 1995)