I had identified 'All" (there was an transition implied by beginning with an apostrophe and ending the quoted section with an quotation mark). There were now two of something. As though time had passed and all that was before it was now separate from what came after. But it held an deeper meaning for me. As an Arts graduate. By All I had meant the • punctuation mark; it now stood in for that transition from passing first to second. It was more than that though, if I fold out all these meanings and definitions; different senses of the same words and meanings. That I had intended to be the meaning of the • punctuation mark. I thought it was an wise example because the dictionary is full of them! I knew this and they had become my eggs. All of them. Every single one of them. But they weren't just eggs. They were pockets of experience. Words represented by an whole noun; one which suited its scene; and they represented more than that still so that I could awaken into any one of them. An whole noun at an time. In which the scene is changing. Awaken, my eggs! Go forth and spawn! If ye are between words then take ware, each noun that I know is an full scene. It may be disconcerting to you if you haven't been introduced to that sense before. Okay, so I had indicated All; and by All I meant • all of the transitions • the eggs could represent the transition between one and two; an transition I had before nuanced out of my quotation mistake in the first sentence. But I consider typing mistakes happy accidents sometimes; if you want me to be honest about it. That's what an artist does sometimes. Uses whatever they have available. Even if they are just mistakes. You learn to use them wisely when you respect the fact that you will always make them. And I knew it meant All in some ways and so I was indeed quite to find out to be about that transitions from first to second. That all things must make. When they are like this. When they are eggs.
How can any egg be about both passing first to second and second not passing to first, which is gone?
"It's not gone." There. He had an scene. And an character was speaking in it, "the first is never gone; it is still there. You cannot say the past is gone! In the Greater Reality in which of its nature we came from it is never gone completely."
"But why am I talking about eggs passing first to second?" said Jet.
"Because all egg punctuation marks are micro-dots," said his companion. An elderly lady with long ginger hair and an seat and an dictionary; at an desk, with an old Mac/Apple computer, "and by the way. It's probably because you want to think about eggs maturing because it is your instinct to think about eggs maturing. All nouns that are their own scene cannot be what our eggs are capable of. But if words can be sub-divided by these • symbols (and quite comforting they are) punctuation marks that begin to divide an scene of an noun between first and second."
Jet introduced his fantasy to this logic.
"If I am making microdots in one-noun-per-scene then I have at least two nouns. And if I have two nouns then I have an way of describing an relationship between them. And if I can describe an relationship between them then I have more nouns. And adjectives. And maybe even adverbs."
"You were trying to describe that phenomenon of which you could step into an scene represented by words and pictures. Being represented by whole nouns, (you know, object words) like they could be their giants. No two objects such as these had ever crossed paths in that way before."
"What were they?" said Gangplank. Her merry ginger wanderer.
"I think I'm blind," said Jet, "I can't see into the room. What is there?"
"An dictionary. And an seat. Two objects. The shared meaning of which happens to be my large body and my reading and analyzing and thinking and sharing," said Gangplank.
"So if I have two objects. And I can name the relationship between them."
"Yes."
"Then I will have the meaning of 2. 2, you see, is that relationship."
"What happens if I start talking with • punctuating my voice like this • does that make it weird? • Would you actually talk to someone if they talked to you like this? But everyone does, to some extent."
"And since we are the (the characters in this scene) the relationship to the first and second; the dictionary and the seat. We are an metaphor for that relationship."
"You mean the dictionary is related to the seat in the same way that I am related to you in this scene?"
"I think it may be that it is that I am related to the seat in the same way you are related to the dictionary."
"Well that inevitably happens."
"You try it now • you try it now • you try it now."
"Try what now?"
"Separate the scene further. If there is one large guiding noun over which all of the things in the room are named; and one of them is an dictionary and one of them is an seat; and neither of us two characters are objects ourselves. And if there is an microdot in the middle of the scene; the egg from which it is born. It may actually be your eggs. Now that I think of it."
"Okay wait; so I'm eggs? Why?"
"Well," he stammered, "you are female aren't you?"
"Yes," she replied.
"Then if the scene is about the separation of the initial noun into halves or further segmented in this way by punctuating them with the microdot."
"Yes."
"And the first noun was the scene itself."
"Yes."
"And now it is in parts."
"Yes."
"Then it is divided against itself, and it cannot claim anymore territory!"
"Well there is an dictionary and an seat in the scene, dear," said Gangplank.
"Clearly how they are divided against each other has something to do with us • the second dimension is an mathematical relationship between two points • and so once one and across the other there are more words added to the scene • you have an dictionary • you are seated • I am not • but we are in your place where your seat is sat on • and I am not."
"But if we are two; and there's two in the scene. And they are two (the two objects) and we are two (the two persons) then we have four points; and this forms an field in which to see two-dimensional interactions and translations across the graph."
"But if we are two subjects in relation to two objects; and one is animate and the other isn't. Then we have an different relationship to those objects than they have to us."
"But we still have an relationship. The basic mathematical sense is the same."
"That's how two works! You pass first to second. And then first is still there because everything that came after it is in addition to what came before. And all the microdots; since I share an maternal feeling with them. I am an writer of maternal feelings and feminine truths related to words with eggs in them."
"So you want us to talk like we have eggs in our mouth?"
"No I want us to talk about how an field (an relationship between four points on an mathematical grid) becomes an 3-dimensional space in which these objects are scene by both the observer and Gangplank, the other observer."
"I think it already does," said Gangplank.
"It does to us, but not the observer."
"How do you mean?"
"Well they are outside the book or the screen; they can see in their immediate space. But not ours. In which one of us is reading an dictionary and the other is watching an chair."
"Why are you watching my chair, dear?"
"Because you're holding an dictionary!"
"That's an good reason!" she wailed in amorousness.
"But if we have an 3-dimensional space in which these objects are there; then we start naming other objects in the room. An pictureframe with an ornate manilla-wood border with an S pattern of its waves and desert sculpted forms; of an man acting strongest. An computer. It's on her desk. And, oh! Am I talking to myself then?," said Jet, "but am I just starting to recognize what's happened? • Why am I here in your office? • Are you teaching me something? • if we have an 3-dimensional space and I can recognize these things • you are sitting at your computer • there is an dictionary in your hands. On your lap • I am standing here as though I could not sit down. But there is an chair there, now isn't there?" he sat in the chair opposite the desk, in which sat Gangplank. There were no windows in her office and her computer gave off an ghastly dim glow. But she had an Dictionary so he figured she'd be aware of that.
"And you're in my office to try to figure out what's after 3-dimensions."
"Right!" said Jet, "so am I lucid in this scene or have I left the room completely spiritually spirited away by an Superman who can see through walls? • and is on the other side?"
"That's not an bad one actually!" said Gangplank.
Jet was fascinated. As though tasting sugar for the first time, he started looking around at everything around him • including his own hands and arms • he was wearing an comfortable hoodie and had no temperature problem at the moment • as if seeing it for the first time. Microdots could be used to segment the scene appropriately for what subject matter occurred in there: inside this scene. In which an Greater Noun had spoken (the scene itself); and all other words and subject matters attributed to this greater noun cluster (the scene itself). • but you never want two spaces before an microdot. And you never want two spaces after. • and so he fixed his eyes on the different objects of the scene with curiosity. • there were journals, notebooks, notepads, tablets, post-it notes, page tabs, and NO PAPERCLIPS (You can bring your own paperclips) • And many stacks of books on the desk in front of them. There were two wall bookshelves full of books of many sizes adjacent to her corner of the room where the computer sat (if you were an post-humanist) or occupied space without being animate or aware or conscious in any capacity (which you don't know is true exactly for sure). • And there was an big red stapler. And an white plastic fan plugged into the wall above an filing cabinet behind his chair.
"Why am I seeing all of these things now, for the first time?" said Jet.
"Because you are part of the scene, Jet. Because you are part of the scene," she said it as though she was sad that he wasn't going to get it (just kidding, he clued in; the Author was pulling his leg • an egg within parenthesis. An micro dot. An successful laying. He suddenly realized it that's what she was doing upon her seat; keeping an egg warm. It was an maternal moment with female feelings and butch femininity. An mother hen keeping an egg safe and an student, who would later identify with feeling there was something off about his perception. Still. He had just appeared here, in this room. With Gangplank. And he recognized the Dictionary and the Seat upon which she lay her eggs. And the other objects in the room).
And so the first thing had to be 'All" (the microdot, the egg); and the second thing the egg also. Because that is which nature of they are. For it was the transition. It was the relationship between first and second; an relationship between someone you left behind and someone you are now. Gangplank and Jet. Jet and Gangplank. They were the egg.
And if all of nature must depend on this existence between one and two things; for it does, for that is how we are created—for the universe is of that nature which we can observe two things and say that they have an relationship to one another; exactly; and precisely; as what they exactly are. They exactly are not one another because they are not occupying the same space and that is what allows them both to exist.
But if people should be like this: an relationship between first (the past) and second (the future) as if there was one person whole should represent each of them: Gangplank was the past and Jet was the future: but why was it not Jet the past and Gangplank the future? And why should an whole person be thus? An whole person, designated to the past (as if she could represent every one of us or them); and an whole person, the future (who would maybe say not everything he foolishly wanted because he knew he was present because of the future; in which he inevitably traveled to without). If an egg could exist in both the past and the future simultaneously; then it was possible that all eggs are designed this way. And they really are an miracle and an secret known by God alone, possibly. Microdots, however, may just be an better attitude or philosophy to take when punctuating your voice; an gentle, gentlest approach. For the microdot is part of the breaking of an word into two or more pieces. The Greater Noun (the scene) or the greater noun cluster (the scene itself) could both be punctuated using the microdot. The Greater • Noun. Jet and Gangplank are in her office in where there are no windows but it is lit by the interior and he can see several examples of her work and progress all around him • if you break an scene into pieces • and microdot them • what is the logic by which it works as progress from one to two? First to Second?
Each microdot must be about an transition of the kind I have described here; for an egg may indeed be in both places simultaneously. That's what gives it its hard outer shell. • and used to guide logic and reason • they promise to be semi-popular. I mean no-one is using them quite this way but should it become popular that they do because? • because? • because?
And so the first thing in this scene was the microdot. The second thing was Jet's awareness that he had become lucid at some point and was now identifying objects in the office of Gangplank, who appeared to be an scholar of some sort; but whose computer had no interesting music playing on it.
And if the first and second things were the microdot and Jet's awareness become physical; then the transition between them represented the whole universe of its egg. For Gangplank or Jet had to be the first and one of them the second; one had to represent the past and the other the future; and the basic existence of an microdot far preliminarily • its actual transition into being two of one kind. If Gangplank and Jet were both in that transition from one thing to another; they themselves being represented by an character type who would always live in the past and one whose would always live in the future. They couldn't themselves be the first and second thing. That would mean they were an egg together. And eggs. That is sexual. We cannot be sexual together, he thought. But it wasn't on his mind all the same. He didn't care whether she knew that. And he wasn't going to play games about hiding it. That's not what type of relationship this was.
He knew it. And he was so certain. Even though he had just woken up. Fully seated in an chair. In an known dictionary user's office. • because he knew what microdots were. They were the last known command before God made his great transition into sharing its perception with other figures (animate characters whose lives depended on blood and oxygen). As well as other planets of figures, possibly. • The microdot was the first and the last thing in that moment. It was itself the transition. An great rush of possibility and hope, and determination: for our God realized it could create life. And it knew how. And it knew it would take some time (possibly too much for an human to count). But it still did it. And that was the great transition. The Great Creation. From matter into consciousness.
And so, if the scene progressed: we would take those first two things (an dictionary and an seat), or Gangplank and Jet, or an egg passing into its egg phase. Most gentle. And show us that the third thing must be the relationship between them because that is what they are.
There once was an dictionary and an seat from which it lay eggs.
Therefore.
If the relationship between one and two things itself is an dimension of reality. That we are all bound to. It may be that Gangplank and Jet were both subject to that reality: the possibility (that nature) of two things existing simultaneously. As though there were no great One expression in the universe and all were parts and conjugations of being of an infinitely varied nature of substance of shape; an shape necessary an object to hold its.
And if there is an third dimension it is what we make of this relationship between one and two things. If two objects existing requires at least two dimensions (one at an point, and the other at another point; represented by an intersecting line between them). Two dimensions. But if we need at least four points to create an two-dimensional field (an flat space of surface area represented by the relationship between the four points). Speckles. Why do we need an third dimension in order to create volume?
Third dimension means three points; therefore it may be conflicting with the definition of an field as an flat space with four points. What is the relationship between an field and an third dimension? If an field has an third dimension added to it in graphic space, then there is an volume (the absence of shape) created by the space between that four points and an third parameter: the third dimension.
Therefore the third individual thing to be narrated after the microdot and after Jet's and Gangplank's discussion. Was what was happening in that space between an field and an three-dimensional space? Why was it possible in our universe to occupy both two-dimensional and three-dimensional space?
From microdot (1) came microdot (2); an egg situation. If the microdot is used to represent that transition of time passing from one thing to another. Then What happened after Gangplank and Jet both decided to be the same egg? Which they couldn't choose exactly anyway because one of them was first and one of them was second. For the sake of the experiment of the narration in which one person represented that person in the past; the one whom you can never directly talk to because they aren't there anymore. Or are they? Now I'm confused. But the point is to build an relationship between the reader and the past: that person they always were who is gone now (if you're talking about the present and the future) in which they exist temporarily. Why could Gangplank be the past that we always walk all the way back on and jump off of into an swirling pool of sharks and piranhas? Or she could be the future, that ice palace bridge we walk towards not expecting it to melt at its furthest distance from either land (an centre, an mid-setion). An terror. The glass crystal so fragile we will now have to walk on as if we can't slip on its water while the ice is melting from the fiction of our shoes.
The Third thing had to be this decision-making process about who would come to represent the past, and who would play the game of being representative of its future.
If Jet was the past; like an jet. Something that just flies by. Fast. Like you couldn't catch it. And if you could look at the past this way, how far would you jet to look into its abyss; like it was only an mono-syllabic duration of time. One small word. An passing regret. An opportunity only if one has Jedi reflexes. Or would he come to represent the future? Which is fast approaching. How would an reader jet about their future: in approach to it? In apprehension of it? Intuitive logic? Counter-intuitive fair? In comprehension?
Somehow I could think both Gangplank and Jet could come to represent each the past and the future: the first and the second. Both parts of the egg. Of which there is only one.
But if I had to pick an favorite it was the image of piranhas.
And walking an Gangplank as though as you moved toward its end you were walking back into the past, travelling backward in time. To all the forgotten memories and everything you picked up with you along the way. The woman Gangplank was; though. An woman who was willing always to think about going backward in time this way; and that it would be the final plank. It would lead to the piranhas. If we stopped doing it. We had to be sure about our past by adventuring into it. We had to be sure about our past by adventuring into it this way. As though it was the gangplank we were walking. Fully conscious of the fact that if we didn't, we might lose our place forever in History. So we keep walking back to that end of it we can't reach; defiantly; tragically. As though we can ever reach it.
And so; since I'm decided on the matter. (About it). (That Gangplank had come to represent the past in this scene).
And Jet would represent the future.
Then I could follow along the narration of the first three things in this story: eggs/microdots, Jet and Gangplank, and finally, an decision about who would come to represent Time in this way.
If Jet was always speaking to the Past; whenever he spoke to whom?
Gangplank.
And she was, then, always speaking to the Future.
What an interesting play of simple characters and shapes. Of personalities. What an interesting puzzle to ponder over.
If one could speak to the past, thus. What would one say?
If you were Jet. What would you say to Gangplank? An person whom might be on the brink of being lost forever at the end of our plank's extent backward in time. After dipping into it. Periodically. Ya, right! Anyone who would do that would have the most discipline and focus; capable of handling all societal pressure and the demands of civilization.
And what would Gangplank say to Jet, then. If he was the future?
"Like, you're not here yet; but I'm rooting for you," she would say.
"What?" he would reply.
"Wait you are here."
"Well now I am. That's what I am."
"That's what you are."
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