Showing posts with label tablature. Show all posts
Showing posts with label tablature. Show all posts

+foam (rotisserie)

(The) foam is our subgroup where loopstrings are lissome* (a potential precursor for font assortment); it is the range (a normed vector space) of frets that are all worth no more than twenty-five pennies (1¢ - 25¢) on the rotisserie.The majority (bulk) of all juking probably takes place in the foam, even though no fonts are to be found herein.
/// +I call it 'foam' because it's a small investment trapping where you can multiply your coupon.

+As a rule-of-thumb, the more twistorspace a string occupies, the more secure๐Ÿ” it is.

+¢ent formula

+tablature

Tablature is the table of frets (font sizes, 1¢ +) available to a given opus. It is indicative of a 'buy-in'* multiplier. You are buying time (1 token ≈ 1 minute).

We derive the valuation as the logarithm with a base product of pencil count by font weight, and an (egg,epp) quotient (or, even simpler: handicap/2600). Complexity: P

+fret

A fret (ie. activation fee/price-per-token) or coin is a conjectured ideal phenomenon in juking. Theoretically, it is the "lowest-level juke [as one-twenty-sixth (1/26th) of a sporadic group]" at one ¢ent (penny), where the value is derived from the ¢ent formula [fret = logn(b/a) | {b,a = (u,u), n = font size × font weight}]. Its representative tablature indicates the range from which integer-spin statistics are obtained. (see also bid)

The significance of the fret (and the idealism of it) is its extreme affordability; one ¢ent is considered to be Nature's disposable income. Mirroring chemistry, the fret would be the lowest available energy level [resonance].

In everyday vernacular, most, if not all, jukes hedging opus handicaps are assumed to be so-called "(penny) frets". That is, their fret is typically worth "pennies on the dollar" or "cents on the dollar". The fret itself may be an accurate description of a general deposit because standard coupon deviation is registered by table.
/// In theory, attaining a per-¢ent fret is challenging because of tablature efficiency conditions; where the greater the number of pencils (and hence ¢ents), the heavier the string, resulting in a juke with a wild count.

+In practice, a pure 'penny' (1¢) fret is infeasible in two-dimensional (2d) vector space because such a fret is not congruent with any handicap, and for this reason, we improvise (ie. choreograph in twistorspace). Routinely, quotient load-normalization happens when the handicap becomes saturated.

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