Showing posts with label stewchoreography. Show all posts
Showing posts with label stewchoreography. Show all posts


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


Per some ludology, a play is a legal move(ment) within a game.

As a fold progression (eg. a scribble variant when juking Egglepple), each play [a finite step towards some goal] is an expression of some strategy (mathemusically, the duration of a coverage). (see game, gameplay, pink poem)

The number of unique plays (p) can be computed from the superalgebraic resultant: p:≡Sg, where S is some integer value between 1 - 676, and g equals the amount of supersymmetric generators circuiting* twistorspace (ie. degrees of freedom [base] to the power [exponent] of residue bond angles).** Asymptotic tempo values completing the loop.
/// +The formula is in direct correlation to spin-statistics. So, for example, when b is odd, say b=11, then c(=32) is an integer-spin (egg). When b is even, say b=20, then c(=724.0+) is a half-integer-spin (epp). The rational portion (floating point) of half-integer statistics contributes to seigniorage. Obviously, any negative value for b will yield an epp. (see juke tax)
+Yes, there are twenty-six (26) integer values here; we denote "0" as (0-,0+) → having both negative(-) and positive(+) polarity in twistorspace. For instance, -12 ... (0-,0+) ... +12 = [26]. p is an upperbound for points on a curve, and so its number line must include 0 (hence 0 through 25). The minima (cover-0) is 0.0001220703125 and the maxima (cover-25) is 4,096.

Plays (fugue protocols) are implemented as jukes (written in juke notation). They are executed [run] by the call action, and will typically end once the strategy is exhausted. There are three (3) possible outcomes of a play: loss (of advantage), futility (no advancement), or gain (advantage). (see player, playoff)


In a folding scenario, the twistor (u,u) is a complex transform* of EGP solved from stew choreography.** Defined by a tight (≤ handicap) walk.

Twistors are derivatives of unique plays embedded in twistorspace that are hedged from tablature. Statistically, twistors act as complexity catalysts and can have negative (vacuum) or non-negative (bubble) potential.

Let (u,u) be any two (2) leaves sequenced for juking. A twistor is an operator that associates a jukeable dyad (egg,epp) in a finite field with curvature which is coded to eventually become a zero-bubble. Twistors are measured with ¢ent values that are typically small (ie. frets).
/// All twistors are assumed to be fit. We juke (hedge) in order to identify those folds which are ideal/most fit.
Function map: stew choreographytwistor

+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, ludeiy, 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


Ludologically, (the sport of) juking is the demonstration, control, and/or improvising of a particular juke [ie. the hash exercise of securing🔒 twistorspace by probing its acoustic bounds (with error detection/correction)].

The appliance for doing such is a jukebox. Someone who does so is called a juker. Pertaining to UUe, juking - a form of cryptography - is of bugger (ctf🏁-style) 'cryptosport'* logic.** see mathletics Complexity-wise, token duration is between P and E, with proofing orchestrated in curvilinear space (T).
UUe /// I like to say that juking is brute force mathematics as 'an exercise in optimization from auction theory'.

To juke is to summon a redeemable option (the coupon) on a continuous event that is predetermined [to at least one (1) party]. In this case, jukes are proxies for the statistical variance of the tablature complexity, and serve to hedge some handicap. Jukes themselves generate cachecredit (provided from seigniorage on coupons); being synonymous with coin insertion [deposit] for traditional jukebox activation and dispensing.
Juking was invented by 🧑🏿Link Starbureiy.🤓👌🏿

According to string ludology, juking is reflexive to u-u economics; making that the foundation of our pursuit. The overall intent behind juking is to image Egglepple (ie. juking is the preferred method for sequencing EGP).
/// +Because juking is injective, the juker absolutely keeps what is earned (minus any fees).
+Fibor classification requires twistorspace manipulation, which is the basis of stew choreography.

The process of stereotyping is done by encrypting/encoding EGP onto a brane (juke = pencilglyph). This is accomplished using stew choreography. Juking is considered to be economically fair (ie. games are randomized and thus no one has an advantage), that is, risk:payoff ≪ payoff:risk. (see Pink program, mathemusic, touch-and-go, j-surface)
/// Sans pure 'penny' frets, the value of a juke is always rounded up to the next integer (unless the juke itself is an integer). Example: a tablature divisor of 0.054... becomes a 6 ¢ent fret. This seigniorage ensures the house always stays afloat.


We refer to 'anywhere* you can draw with a flageolet pencil' as the Stewniverse.** ie. juke field.

Colloquially, whomever makes 🧑🏿lnq's audience (ie. orchestra) bears witness to it; it is taken to be the simulacrum of Egglepple's compute as its own virtual world. (see k-mode, 🧑🏿lnq's Galaxy, Link Starbury Network, 🦸🏿‍♂️Stewperman)

"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: juke fieldEgglepple ... > Sport Meadow > Mathtana > Mathfrica > ... > Stewniverse


Designer: 🧑🏿Link Starbureiy
The Stewdio is UUe's native control console [default driver+interface] for juking.
/// More accurately, for phoning/dialing into Egglepple.

A multi-user domain (MUD), it is specific, and comes standard (fixed) with the following quadriptych: Mathilda [keyframing/phrasing = pencils (generation/metronome) + EGP (sequencer/coloring) + RONALD (phrasing)], along with the home button that reveals a horizontal/vertical side panel of various metaphors.

The Stewdio (as a gameboard🎮🎹) consists of spacetime complexity controls that are used, more or less, to interact [IA] with Egglepple; it can synthesize (grooves+melodies), edit, and run cassettes. The compositor provides jukers with an ideal environment (fingerboard🎹/gamepad🎮) for gameplay (ie. improvising strategies in bounded-error quantum polynomial time). Typical Stewdio usage is for a juker/player to draw up a play in 🧩puzzle-solving [ie. middlegame]. (see juke notation, touch-and-go, krayon, yoyo, joey)
/// Layered over the interface are the fugue buttons and 🧑🏿lnq's bubblegum as the default ballet.

Abstractly, if a brane could be synced across the Stewdio, the device should then function as a type of [non-traditional] lyre/cello ("little fretboarded phone" for stew choreography*) - what I refer to as a "joey".** Stereotyping as Toccata texturing
/// The Stewdio, or lnq's cello, is an invention of 🧑🏿Link Starbureiy.🤓
Function map: EggleppleballetStewdio


Mycol FunguyTo meshroom (v.) is to coordinate The Origamic Symphony🎶 within juke field [Q♯↦j].

It dictates that, because Egglepple is (ludologically) a p-brane* connecting the vector scale extrema, the notion of cell space algebras being conflated epimorphically within a curvilinear framework is important for defining variation (groovemelody).** In this case, 'p' stands for (my) 'portfolio'.😇

Meshrooming advances genetic algorithms [: fold measured (partite) monomers in order to deduce a mesh] for twistors by considering (visualizing) them as embedded datapoints on a neural network [nn] (ie. flavorsequencemesh). (also of interest: loopstring, Pink program, identity)
TOS /// Compositing is hypothesized to be accomplished under a single preimage.
Function map: j → pm [...eventual self-synthesis]


In juking, improvisation is the use of stew choreography to adjust^ a play and contort juke field to force some zero-bubble (eg. tweak bubblegum with fibor bundling so that it fits a given handicap).^^ Recapitulate an aria.

This usually means that the juker will pursue a different walk with the intent of string closure🔒. Multiplier reliance is optional. Improvising requires both skill and strategy, and therefore, is not subject to chance.*** This is what differentiates juking from the likes of gambling. (see patch, γ-proof, RONALD)
/// Most juking activity is likely going to be improvisational because most fibor is subject to bundling. That speaks to the sheer volume of bubblegum in the system.

Jukers, upon opening🔓 a token session (ie. coupon-building), may want to improvise for sake of ensuring maximum value on their deposit, or (more reasonably) to expedite gameplay/string closure🔒 via loop-erasure. The benefit of improvising is a straight flush💵 (tally of ¢ents accrued from proof-of-work within a session).