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▞░░░░▞░░░░▞░░░░▞░░░░▞░░░░▞░░░░▞░░░░▞░░░░▞░░░░▞░░░░▞░░░░▞░░░░▞░░░░░░░░░░░░░░░░░░░
░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚░░░░▚

zaterdag/Saturday 8 mei/May
🯁🯂🯃 🯱🯲:🯰🯰-1🯸:🯰🯰 

zondag/Sunday 9 mei/May
🯁🯂🯃 🯱🯲:🯰🯰-1🯸:🯰🯰 

@ https://vvvvvvaria.org/plaintext-partyline/
@ in de vensterbanken van/in the windows of Varia (Gouwstraat 3, Rotterdam)



\o/
🯆 🯉 🯅 🯉 🯇 🯉 🯆 🯉 🯅 🯉 🯇 🯉 🯆 🯉 🯅 🯉 🯇 🯉 🯆 🯉 🯅 🯉 🯇 🯉 🯆 🯉 🯅 🯉 🯇 🯉 🯆 🯉 
UNSCII TESTING GROUND:
    Thanks to Viznut: http://hiyviznut.fi/unscii/
          ╎┆┊  ╱🭽▔🭾╲    🮲🮳       🮸🮀🮵🮶🮀🮁🮁🮀🮼🯁🯂🯃      ▵        ↑        ◬
 ╶─╴╺━╸ ═ ╎┆┊ ⎹ ⎸▣⎹ ⎸  ▝▛▀▜▘ 🯲🯷🯶                   △    ▴   ╽       ◭⬘◮
╷┌┬┐┍┯┑╒╤╕╏┇┋ 🮷 🭼▁🭿 ⎸  ▚▌█▐▞ 🯹🯵🯱 🯰     ▁▂▃▄▅▆▇█ ◃◅◁╳▷▻▹ ▲ ←╼╋╾→     ◩⬒⬔
│├┼┤┝┿┥╞╪╡╏┇┋ ⎹╱ ╳ ╲⎸  ▗▙▄▟▖ 🯴🯳🯸      █🮆🮅🮄▀🮃🮂▔⎹    ▽ ◂◄◀🮽▶►▸╿  ⮝   ⬖◧◫◨⬗
╵└┴┘┕┷┙╘╧╛┞╀┦  ▔▔▔▔▔   🬑🬜🬰🬪🬟      🮞🮟 ▕▉ ◞◡◯◡ ◎🭵    ▿    ▼   ↓ ⮜◈⮞   ⬕⬓◪  
╻┎┰┒┏┳┓  ┭╆╈╅┮╍╍╌╌  🬥🬦🬍🬲🬵🬹🬱🬷🬌🬓🬙   🮝🮜 🮇▊◝◠◯◉◯◡◟🭴         ▾      ⮟   ◕ ⬙ ◔
┃┠╂┨┣╋┫ ╺┽╊◙╉┾┅┅┄┄  🬔🬡🬖🬻🬞🬭🬏🬺🬢🬒🬧      🮈▋◍ ◠◯◠◜ 🭳  ◿◺                     
╹┖┸┚┗┻┛ ━┵╄╇╃┶┉┉┈┈  🬃🬤🬫🬴🬠🬋🬐🬸🬛🬗🬇   🭇🬼 ▐▌ ◌🮣🮢 🮦 🭲  ◹◸ 🭯 🮀⚞⚟🮀  🯊     ◙◛◶─◵
 ╓╥╖   ╔╦╗┢╁┪ ┟┱┲┧  🬣🬯🬈🬬🬁🬂🬀🬝🬅🬮🬘   🭢🭗 🮉▍ 🮤🮪🮫🮥🮧 🭱  🭯 🭮◙🭬╭──╮⎫🮻⎧    ◘◙│◲┼◱╭◒╮
║╟╫╢🮐🮒🮐╠╬╣ ╹┃ ┡┹┺┩  🬳🬉🬩🬕🬊🬎🬆🬨🬚🬄🬶   🭊🬿 🮊▎ 🮩🮬🮭🮨  🭰 ◢🭫◣ 🮚 │ ▢ ⎮🏎⎪    ◙◚◷┼◴│◑╋◐
 ╙╨╜🮔 🮓╚╩╝   🯆 🯅  🯇     🮣🮢   🯉  🯈 🭥🭚 🮋▏🮮 🮡🮠   ⎸🭮🭪◆🭨🮛🮿🭬╰─🮯─╯⎬⎯⎨       ◳─◰╰◓╯    
  ░░🮐🮑🮐▓▓██🮗🮗▤▤▥▥▦▦▩▩▧▧🮘🮘🮙🮙▨▨🮕🮕🮖🮖 🭋🭀 █▁🭻🭺🭹🭸🭷🭶▔  ◥🭩◤ 🭭      ⎮⯊⎪ ▱▰    ▭▬
  ░░▒🮎▒▓▓██🮗🮗▤▤▥▥▦▦▩▩▧▧🮘🮘🮙🮙▨▨🮕🮕🮖🮖 🭦🭛         🮰 🭇🬼🭭 🭊🬿 🭋🭀   ⎭⯋⎩ ▯▮  ▫◻□■◼▪⬝·
    🮌█🮍                 ╲╱  🭇🬼🭈🬽🭉🬾◢◣🭇🭃🭎🬼🭈🭆🭂🭍🭑🬽🭉🭁🭌🬾🭈🭄🭏🬽🭅🭐 ◦○◯⬤◖◗ ⬫⬦⬨♢◊◇◆♦⬧⬥⬩⬪
    ▒🮏▒                     🭢🭗🭣🭘🭤🭙◥◤🭢🭔🭟🭗🭣🭧🭓🭞🭜🭘🭤🭒🭝🭙🭣🭕🭠🭘🭖🭡  ∘⭘●          
                                               🭢🭗  🭥🭚 🭦🭛    •


Returning to the asciiWriter :---)
https://git.vvvvvvaria.org/mb/asciiWriter

                    P                                                      
                    L                                                      
                    A                                                      
                    I                                                      
                    N                                                      
                    T                                                      
                    E                                                      
                    X                                                      
                    T                                                      
                                                                           
                    P                                                      
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                    R                                                      
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                    Y                                                      
                    L                                                      
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                    N                                                      
                    E                                                      
line.py

           __ 
          / /\ 
         / /  \ 
        / /    \__________ 
       / /      \        /\ 
      /_/        \      / / 
   ___\ \      ___\____/_/_ 
  /____\ \    /___________/\ 
  \     \ \   \           \ \ 
   \     \ \   \____       \ \ 
    \     \ \  /   /\       \ \ 
     \   / \_\/   / /        \ \ 
      \ /        / /__________\/ 
       /        / /     / 
      /        / /     / 
     /________/ /\    / 
     \________\/\ \  / 
                 \_\/jiri
                  
        3d X-Y matrix 





a. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 
. . . . . . . . acab . . . . . )) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . . . acab + acab . . . . )) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . acab . . . acab + . . . . . )) . . . . . . . . . . . . . . . . . . . . . . . *
. . acab . . . . . acab + . . . . . )) . . . . . . . . . . . . . . . . . . *
. acab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. acab . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . acab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . acab . . . acab  +. . . . . )) . . . . . . . . . . . . . . . . . . . *
. . . . acaba + cab + . . . . )) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
 . . . . . . . acab  . . . . . . )) . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . acab . . . . . . . . . )) . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . acab . . .  acab . . . . . . )) . . . . . . . . . . . . *
. . . . . acab . . . . . . . acab . . . . . . )) . . . . . . . . *
. . . . acab . . . . . . . . . acab . . . . . . )). . . . . *
. . . acab . . . . . . . . . .  acab . . . . . . )). . . . . *
. . . acab . . . . . . . . . . acab . . . . . . . )) . . . . . . . . . . *
. . . acab . . . . . . . . . . acab . . . . . . . )) . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . *
. . . . acab . . . . . . . . acab . . . . . . . )) . . . . . . *
. . . . . acab . . . . . . acab . . . . . . . )) . . . . . . *
. . . . . . . acab . . . acab . . . . . . )) . . . . . . . *
. . . . . . . . . . . acab . . . . . . . . )) . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . acab  . . . . . . . . . . . . )) . . . . . . . . . *
. . . . . . . . . . . . . . . acab  . . . . . . . . . . . . )) . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . acab  . . . . . . . . . . . . )) . . . . . . . . . . . *
. . . . . . . . . . . . . . . acab  . . . . . . . . . . . . )) . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . acab  . . . . . . . . . . . . )) . . . . . . . . . . *
. . . . . . . . . . . . . . . acab  . . . . . . . . . . . . )) . . . . . . . *
. . . . . . . . . . . . . . . acab  . . . . . . . . . . . . )) . . . . . . . . . . *
. . . . . . . . . . . . . . . acab + acab +acab  . . . . . )) . . . . . . . . . . .  . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . acab + acab +acab  . . . . . )) . . . . . . . . . . .  . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . acab + acab +acab  . . . . . )) . . . . . . . . . . .  . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . acab . . . . . . . . . )) . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . acab . . .  acab . . . . . . )) . . . . . . . . . . . . *
. . . . . . . . . . . . . . acab . . . . . . . acab . . . . . . )) . . . . . . . . *
. . . . . . . . . . . . . acab . . . . . . . . . acab . . . . . . )) . . . . . . . . *
. . . . . . . . . . . . acab . . . . . . . . . .  acab . . . . . . )). . . . . *
. . . . . . . . . . . . acab . . . . . . . . . . acab . . . . . . )) . . . . . . . . . . *
. . . . . . . . . . . . acab . . . . . . . . . . acab . . . . . . )) . . . . . . . . *
. . . . . . . . . . . . . acab . . . . . . . . acab . . . . . . )) . . . . . . *
. . . . . . . . . . . . . . acab . . . . . . acab . . . . . . )) . . . . . . *
. . . . . . . . . . . . . . . . acab . . . acab . . . . . )) . . . . . . . *
. . . . . . . . . . . . . . . . . . . . acab . . . . . . )) . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . acab  . . . . )) . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . acab +   . . . . . acab . . . . . . )) . . . *
. . . . . . . . . . . . . . . . . . . . . . . acab + acab + . acab . . . . . )). . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . acab . . acab . . . acab . . . . . .)) . . . . *
. . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . . . acab . . . . . )) . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . . . acab . . . . . )) . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . . . acab . . . . . )) . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . . . acab . . . . . )) . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . . . acab . . . . . )) . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . . . acab . . . . . )) . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab + acab . . . . . . . )) . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . acab . . . . . . )) . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . acab . . . . . . )) . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . acab . . . . . . )) . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . acab . . . . . . )) . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab  . acab . . . . . . )) . . . . . . . . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . acab . . . . . . )) . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . acab . . . . . . )) . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . acab . . . . . . )) . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . acab . . . . . . )) . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab + acab . . . .  . . )) . . . . . . . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . )) . . . . . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . .)) . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab. acab . . . . )) . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . acab . . . . . .)) . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . acab . . . . . . )) . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . acab . . . . . )) . . . . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab + acab + acab. . . . . . )) . . . . . . . . .  *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . acab . . . . . )). *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . acab . . . . . )). . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . acab . . . . . )). . *
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . acab . . . . . . . . acab . . . . . )) . . . . . . . .*
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

=====================================================================================================================
           ╔╔╗╔╗╗╔═║╗
           ╚╚═╝╚═╝║║╔╗╗╔╗═╔╗╗
                  ║║║╔╚║╚═╚══╝║║
                  ║║║║ ╚╚╝╚║║═║══╗╗╗
                  ║║║║     ╚║║║║╚╝║║
                  ║║╔╗╔╗    ╚╚╝╗║║║║
                  ║║║║║║║╗     ║║║║║
                  ║║║╚╝╚╚╗╔╗╔╗╔╗╚═╝═
                  ║║║║ ╚║║║╚╔╔╚═╚╝╝╝
                  ║║║║  ║╚║╝╚╝╚╝╝
                  ║║║║
                  ║╔║║
                  ║╔║║
                  ║║║║                                                          
            ╔╔╗╔╗╔╚║═════╗╗
            ╚╚╚╝╚╝╚╝╚╝╚╝╚╝╝

                  ╔╗╚╗
                  ║║║║
                  ║║║║
                  ║║║║
                  ║║║║
                  ║║║║
                  ║║║║
                  ║║║║
                  ║║║║
                  ║║║║
                  ║║║║
                  ║║║║
                  ║║║║
                  ║║║║
                  ║║║╔
                  ╚╚═╚


         ╔═╔═╔═╝╚╝╚╝╚╝║╔╗
         ╔╔╔══╝        ║║║╗
         ╔╔╔╝           ╚╝╚╗╗
         ╔╔╗║               ╚═╗╗
         ║║╚║          ╔╔╗═╗  ╚╗
         ═╝╝║      ╔╔╗╔╗║╚═╗║╗ ║
                ╔╔╔╗╔╔╔╔═╗╝╚╗╔╗║
               ╔╗║╚═╚╚║║╝╚═╝╚║║║    ║
              ╔══╝          ║║║╝   ╔║
            ╔║║            ║║║║  ╔╔╗
            ═╗║            ║╚║║╔═╝║╝
           ║║║╗╔╗╗╗╔╔╗╗╗╗═╝╝╚╗║╔╝╝
           ╚╚║╚╝╚╝╚════╗╝╝  ╚╚╝╝
                  ╚╚╝╚╚╝╝╝

          ╔╔╗║╗
          ╚╚╚╚║
          ╚╚║╝
          ╔╔╗╗
       ╔═╗║║║║
      ╔║╝║║║║║
     ╔╔╝ ║║║║║
     ╚╝  ║║║║║
         ║║║║║
         ║║║║║
         ║║║║║
         ║║║║║
         ║║║║║ ╔╝╚
         ║╔║║╔═╝═╝
         ╔║╚═╝═╝
         ╚╚╝

     ╔╔╗╔╗╔╗╔╗╗    ╔╔╗╔╗╔╗║╗
     ╔╚╚╝╚╔╔║║║   ╔╔╔╗╔╔╗╗║║
          ║║║║║  ╔╔╝╚═ ══╗╔╗╔╗╔╗
          ║║╚═╗╔╗╔╝╝       ╗═╗║╗╔╗
          ║╚╝║╔║╚╝╝         ╚╔║═╗╗═╗
          ║║║║╔╝╝            ╚╚═╗╝║║
          ║╚╝╔║                ║║║║║
          ║║╔║║                ║║═╗║
          ║╚╝║║                ║║║║║
          ║║╚╗╗                ║║╔╝║
          ║║═╚╝                ║║║║║
          ║╚═╝║                ║╔╝║║
          ║╚═╝║                ║║╔╗║
          ║║╚╝║                ║╚╝║║
      ╔╔╗╔╚╚╝╝╝══╗╗        ╔╔╗╔╗╔╔║╔══╗╗╗
      ╚╝╚╝╚╝╚╝╚╝╚╝╝        ╚╚╚╝╚╝║╚╝╚╝╚╝╝













                                     ╔╔╗╔╗║╗
                               ╔╔╔╗╔╗╔╗╔╗╚║║
                        ╔╔╗╔╗╔╗╚╔╗════╝═╗══╗
                   ╔╔╗║╔╗║║╔════╝║═╝╝  ╔║╔╔╝
      ║╔╔╔══╗╔╔╗╔╗╔╗║║╔═╔╗╗╝╝          ╚╚╝║╝
      ║║╔╝║║║║║╔╝╔╚═╝╚║╔╔╗║
      ║╔╚╝║╚╚╝║╚╝║╝   ║╚╝╗║
      ║║║╚╝╝          ║║║║║
      ╚╚═╝╝           ║║╚╝║
                      ║║╝║║
                      ║║╗║║
                      ║╚═╝║
                      ║╚╝║║
                      ║╚╝║║
                 ╚╔╗╔╗╚╚╝╚╝╔╗╔╗╔╝
                 ╚╚╚╝╚╝╚╚╝╚╝╚╝╚╝╝


                       ╔║╔╗╔╗╗
                      ╔╗║╝╚╝║╔╗╗
                  ╔╗╔╗║╚╝╚╝╚╚╝║╗╗
             ╔╔║═╗║╚╝╚╝╝     ║╚╝║
            ╔╔╔║╚╝║║╝        ║║║╔╗╗
            ║╔╗║║╚╝╝         ║║╚╝╝║
            ║║║║║║          ╔╔╚╝╔╝╝     ╔╗
            ║║╚╝║║         ╔╔╚╚╚╝╝     ╔║║
            ╚╚╗╗║║╗     ╔╔╗║║╚╝╝       ║║║
            ╚╚╝║║║   ╔╔╔╚═╚╝╝       ╔╔╗╔╝
             ║║║║╔╗╔╗╔╔╝╚╝╝        ╔╗║╚╝
             ║║╔═╚═╝╚╝║           ╔║╚╝╝
             ╚╚╝╝╚╝║╗          ╔╔╗╔╝╝
              ╚╚╝╔╗╗╔  ╔╗╗╗╔╗║╚╝╝
              ╚║║║║╚══╝╝║╗╝╚╝╝
                 ╚═╝╝╝╚╝╚╝╝╝╝


        ╔╔╗╔╗╔╗║               ╔═╗╔╔╗╔╗╗
        ║╚╚╝╚╝║║╗             ╔╝╔╚════╝╝
        ╚╝    ╚╚╗╗          ╔═╝╔╝
               ║╚╗╗═╗      ╔╝╔═╝
               ╚═╚╗═╗╗    ╔╝╔╝
                 ╚╚══╗╗  ╔╔═╝
                 ╚╗╚╚╗╗═╔║╝
                  ╚╚╚║╔═╝║╗
                  ║╔═╚╝╗║║║╗
                  ╔╚╝║║╝╚╝╚║║╗╔╗
                  ╔═║═╝╝╝    ╚║╚╝║
                ╔╗║╔╝           ╚╚╗
                ║╚╔╝╝            ╚╚╗╔╗
                ╔╔╝╝╚╝              ╚╚╝╚═╗╗
             ╔╔╚╚╝╝                  ╚╚═╝║╔╗╗═╝
             ╚╝╚╝╝                      ╚╚╝╚╝═╝

                      ═╗╔╗╗
                      ║║║║║
                      ║║║║║
                ╔╔╗╔╗╔╗╔╗╗║╔║╗╗╔╗╔╗╔╗
                ║║╔╚╚╝╔║╚═╗═╝╝╝╗╗╝╚╝╝
                ╚║╚╝╚╝╚║╝╚║╝╚║╝╚╝╚╚╝╝
                      ║╚╗║║
                      ║║║║║
                      ║║║║║
                      ║║║║║
                      ║║║║║
                      ║║║║║
                      ║║║║║
                      ║║║║║
                      ║║║║║
                      ╚╚╝╚╝



                                                                     
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                                       ++++++++++++                        
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                                     +++++++++++++++++++++++++             
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                                        +++++++++++++++++++++++++          
                              +++++      ++++++++++++++++++++++++          
                             +++++++       +++++++++++++++++++++++         
                           +++++++++         +++++++++++++++++++++         
                          +++++++++++         +++++++++++++++++++          
                         ++++++++++++          ++++++++++++++++++          
                        ++++++++++++            +++++++++++++++            
                       ++++++++++++              ++++++++++                
                      +++++++++++++                                        
                      ++++++++++++                                         
                     +++++++++++++                                         
                    +++++++++++++                                          
                    +++++++++++++               +++                        
                    +++++++++++++            ++++++++++                    
                   +++++++++++++            +++++++++++++                  
                   +++++++++++++           ++++++++++++++++                
                  +++++++++++++            +++++++++++++++++               
                  +++++++++++++           ++++++++++++++++++++             
                  +++++++++++++           +++++++++++++++++++++            
                  +++++++++++++           ++++++++++++++++++++++           
                  +++++++++++++           +++++++++++++++++++++++          
                 ++++++++++++++           ++++++++++++++++++++++++         
                 ++++++++++++++           ++++++++++++++++++++++++         
                 ++++++++++++++           +++++++++++++++++++++++++        
                 ++++++++++++++           +++++++++++++++++++++++++        
                 ++++++++++++++            +++++++++++++++++++++++++       
                 ++++++++++++++            +++++++++++++++++++++++++       
                 +++++++++++++++            ++++++++++++++++++++++++       
                 +++++++++++++++             ++++++++++++++++++++++++      
                 ++++++++++++++++             +++++++++++++++++++++++      
                  +++++++++++++++              ++++++++++++++++++++++      
                  ++++++++++++++++             ++++++++++++++++++++++      
                  +++++++++++++++++             +++++++++++++++++++++      
                  ++++++++++++++++++             ++++++++++++++++++++      
                   +++++++++++++++++             +++++++++++++++++++       
                   ++++++++++++++++++             ++++++++++++++++++       
                    +++++++++++++++++              +++++++++++++++++       
                     ++++++++++++++++              +++++++++++++++++       
                       ++++++++++++++               +++++++++++++++        
                        ++++++++++++                +++++++++++++++        
                          +++++++++                  +++++++++++++         
                                                     ++++++++++++          
                                                      ++++++++++           
                                                       +++++++             
                                                        ++++               
                                                                           
                                                                           
                                                                           
image.py

numbers(#) of partyline.fif;
   _  $@
  / \ $@
 |   |$@
 |   |$@
 |   |$@
 |   |$@
 |   |$@
  \_/ $@
      $@
      $@@
      $@
   /  $@
  /|  $@
 / |  $@
   |  $@
   |  $@
   |  $@
 __|__$@
      $@
      $@@
  __  $@
 /  \ $@
 |  | $@
    | $@
    / $@
  _/  $@
 /    $@
|____|$@
     |$@
      $@@
 ____ $@
     /$@
    / $@
   /  $@
  |   $@
   \  $@
    | $@
    | $@
 \__/ $@
      $@@
      $@
    / $@
   /| $@
  / | $@
 /  | $@
 |__|_$@
    | $@
    | $@
   _|_$@
      $@@
  ____$@
 |    $@
 |    $@
 | __ $@
 \/  |$@
     |$@
    / $@
 \_/  $@
      $@
      $@@
   __ $@
  / | $@
  |   $@
 /    $@
 | /\ $@
 |/  |$@
 \   /$@
  \_/ $@
      $@
      $@@
 ____ $@
     |$@
     |$@
    / $@
    | $@
   /  $@
  /   $@
 /    $@
|     $@
      $@@
  __  $@
 /  \ $@
 |  | $@
 |  | $@
 \__/ $@
 /  \ $@
|    |$@
|    |$@
 \__/ $@
      $@@
  __  $@
 |  \ $@
 |   \$@
 \  _/$@
  \/ |$@
     |$@
    / $@
|  /  $@
 \/   $@
      $@@
░█▀█░█▀█░█▀▄░▀█▀░█░█░█░░░▀█▀░█▀█░█▀▀
░█▀▀░█▀█░█▀▄░░█░░░█░░█░░░░█░░█░█░█▀▀
░▀░░░▀░▀░▀░▀░░▀░░░▀░░▀▀▀░▀▀▀░▀░▀░▀▀▀
                                                                                                  o                
                                                                                                _<|>_              
                                                                                                                   
  o      o    o      o    o      o    o      o    o      o    o      o     o__ __o/  \o__ __o     o       o__ __o/ 
 <|>    <|>  <|>    <|>  <|>    <|>  <|>    <|>  <|>    <|>  <|>    <|>   /v     |    |     |>   <|>     /v     |  
 < >    < >  < >    < >  < >    < >  < >    < >  < >    < >  < >    < >  />     / \  / \   < >   / \    />     / \ 
  \o    o/    \o    o/    \o    o/    \o    o/    \o    o/    \o    o/   \      \o/  \o/         \o/    \      \o/ 
   v\  /v      v\  /v      v\  /v      v\  /v      v\  /v      v\  /v     o      |    |           |      o      |  
    <\/>        <\/>        <\/>        <\/>        <\/>        <\/>      <\__  / \  / \         / \     <\__  / \ 
                                                                                                                   
                                                                                                                   

╔═════╗ ╔═════╗ ╔═════╗     ╔═════╗ ╔═════╗ ╔═════╗    ╔═════╗ ╔═════╗ ╔═════╗
║     ║ ║     ║ ║     ║     ║     ║ ║     ║ ║     ║    ║     ║ ║     ║ ║     ║
║   ╔═║═══╗ ╔═║═══╗   ║     ║   ╔═║═══╗ ╔═║═══╗   ║    ║   ╔═║═══╗ ╔═║═══╗   ║
╚═══║═╝ ╚═══║═╝ ╚═════╝     ╚═══║═╝ ╚═══║═╝ ╚═════╝    ╚═══║═╝ ╚═══║═╝ ╚═════╝
╔═════╗ ╔═║═══╗ ╔═║═══╗     ╔═════╗ ╔═║═══╗ ╔═║═══╗    ╔═════╗ ╔═║═══╗ ╔═║═══╗
║   ╚═║═══╝ ╚═║═══╝ ╔═║═══════╗ ╚═║═══╝ ╚═║═══╝ ╔═║══════╗ ╚═║═══╝ ╚═║═══╝   ║
║   ╔═══║═╗ ╔═══║═╗ ╚═══════║═╝ ╔═══║═╗ ╔═══║═╗ ╚══════║═╝ ╔═══║═╗ ╔═══║═╗   ║
╚═════╝ ╚═║═══╝ ╚═║═══╝     ╚═════╝ ╚═║═══╝ ╚═║═══╝    ╚═════╝ ╚═║═══╝ ╚═║═══╝
╔═══║═╗ ╔═══║═╗   ║             ║   ╔═══║═╗   ║            ║   ╔═══║═╗ ╔═════╗
║   ╚═║═══╝ ╚═║═══╝             ╚═════╝ ╚═║═══╝            ╚═════╝ ╚═║═══╝   ║
║   ╔═══║═╗   ║                     ║     ║                    ║   ╔═══║═╗   ║
╚═════╝ ╚═║═══╝                     ╚═════╝                    ╚═══║═╝ ╚═════╝
╔═══║═╗   ║                                                        ║   ╔═║═══╗
║   ╚═║═══╝                                                        ╚═══║═╝   ║
║     ║                                                                ║     ║
║     ║         Once upon a time... on a server many, many hops        ║     ║
║     ║         away, a file was cat. In the dark depths of a          ║     ║
║     ║         long forgotten folder, it had been waiting for         ║     ║
║     ║         the day an unsupsecting visitor would stumble          ║     ║
║     ║         upon it.                                               ║     ║
║     ║                                                                ║     ║
║     ║                                                                ║     ║
║     ╚════════════════════════════════════════════════════════════════╝     ║
║                                                                            ║
╚════════════════════════════════════════════════════════════════════════════╝

p------------------------------------------------p
--l--------------------------------------------l--
----a----------------------------------------a----
------i------------------------------------i------
--------n--------------------------------n--------
----------t----------------------------t----------
------------e------------------------e------------
--------------x--------------------x--------------
----------------t----------------t----------------
------------------ ------------ ------------------
--------------------p--------p--------------------
----------------------a----a----------------------
------------------------rr------------------------
-----------------------t--t-----------------------
---------------------y------y---------------------
-------------------l----------l-------------------
-----------------i--------------i-----------------
---------------n------------------n---------------
-------------e----------------------e-------------
-----------!--------------------------!-----------
--------- ------------------------------p---------
-------p----------------------------------l-------
-----l--------------------------------------a-----
---a------------------------------------------i---
-i----------------------------------------------n-

cross.py
			

			

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          ▓▓▓▓▓▓        ▓▓▓▓▓▓    ▓▓▓▓▓▓      ▓▓▓▓      ▓▓▓▓▓▓▓▓▓▓  

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*Plain Text tells a story of a major morphological shift affecting cultural production, 
 particularly as it relates to the mechanics of reading and writing.                 
                                                                                      
                                                                     Were I to interrupt 
 a digital typist to ask, “Where do these words reside?” I would likely receive several 
 conflicting answers in response. In some sense, the words are on-screen, where they 
 can be viewed. In another sense, they are somewhere within the machine, on remote and 
 hermeneutically sealed surfaces: silicon chips, hard drives, flash memory cards. In yet 
 another sense, visible signs are still further removed from the contexts of their 
 production.                                                                            
                                                                                         
             The word is in the wires. It spreads across servers, routers, and data 
 centers. What was once apparent takes on a more complex structure, stretched across 
 planes and temporalities.                                                              
                                                                                         
                           The book—this book, any book—gains a new shape.                   
                                                                                           
                                                                           Digital texts 
 form a live lattice, a multidimensional grid, that connects a letter’s tactile response 
 at one’s fingertips to its optic and electromagnetic traces.*

🕮 -- Dennis Tenen, Plain Text - The Poetics of Computation 
      https://monoskop.org/media/text/tenen_2017_plain_text/


|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
 ~~~                                                         
     ~~~                                                 
         ~~~                                        
     ~~~                                               
 \~~                                                         
         *Plain text: a file format and a frame of mind.*       |
|                                                               |
|  🕮 https://monoskop.org/media/text/tenen_2017_plain_text/ 🕮  |
|                                                               |
|||||||||||||||||||D|e|n|n|i|s| |T|e|n|e|n|||||||||||||||||||||||
                                                                 
 *I appeal to the idea of plain text in the title of this book   
  to signal an affinity with a particular mode of computational  
  meaning making.*                                               
                                                               
 *Plain text stands in opposition to “fancy text,” that is,      
  “text representation consisting of plain text plus added       
  information.” In the tradition of American textual criticism, 
  plain text alludes to an editorial method of text transcription 
  that is both “faithful to the text of its source” and is 
  “easier to read than the original document.” Combining these 
  two traditions, I mean to build a case for a kind of a 
  systematic minimalism when it comes to our use of computers, 
  a minimalism that privileges access to source materials, 
  ensuring legibility and comprehension. I do so in contrast to 
  other available modes of human–computer interaction, which 
  instead maximize system-centric ideals such as efficiency, 
  speed, performance, or security.*                 
                                                           
		
- - - 
 a systematic minimalism(?)
 a matrix based X-Y minimalism(?)
 a rigid minimalism(?)
 an intimate minimalism(?)
- - - 

||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

*If there is such a thing as media theory, there should also be format theory. 
 (...) Format denotes a whole range of decisions that affect the look, feel, 
 experience, and workings of a medium. It also names a set of rules according 
to which a technology can operate.*

🕮 -- Jonathan Sterne, MP3 - The Meaning of a Format 
      https://www.dukeupress.edu/Assets/PubMaterials/978-0-8223-5287-7_601.pdf














|||||||||||||||||||||||||||||||||||

www
http://xahlee.info/comp/unicode_index.html
http://patorjk.com/software/taag/
https://textart.sh/topic/paper
https://www.asciiart.eu/

-----------------------------------


Matrix - matriz in Spanish, matris in Tagalog, the womb
The intimate nature of an organization is visible in the way
it holds information on its spreadsheets. To hold informationmmm
womblike, allowing nutritive forces to find their way to 
what is being gestated. X, Y, axes to determine gender 
chromosomally. When an X-Y matrix is populated with information
linearly, the possibility of curvature arises, of reading
on multiple hair-pin turns down a column, through a row.
It is the turning of attention on multiple tangent points
that allows an anti-linear (?) reading. More than anti-linear,
I would say it's hyperlinear. The greater the multiplicity
of data points to turn on, the higher the possibility of
representing fluid life forms. Am thinking about an drawing
exercise I saw today on a meme account. It was a drawing exercise
from 1910. The instructions were to draw a cat using only angular 
lines.

https://nemfrog.tumblr.com/post/634983699332694016/draw-a-cat-using-only-straight-lines-design-in

          |\___/|
          ]     [             .              '
         =\     /=
           ]===[       *
          /     \
          |     |
         /       \
         \       /
  _/\_/\_/\__  _/_/\_/\_/\_/\_/\_/\_/\_/\_/\_
  |  |  |  |\ \  |  |  |  |  |  |  |  |  |  |
  |  |  |  | / / |  |  |  |  |  |  |  |  |  |
  |  |  |  |\_\  |  |  |  |  |  |  |  |  |  |
  |  |  |  |  |  |  |  |  |  |  |  |  |  |  |
  |  |  |  |  |  |  |  |  |  |  |  |  |  |

https://emojiforu.com/text-art/cat-text-art/
http://www.springfrog.com/converter/ascii-text-art/gallery/cats.htm

matrix (n.)
late 14c., matris, matrice, "uterus, womb," from Old French matrice 
"womb, uterus" and directly from Latin mātrix (genitive mātricis) 
"pregnant animal," in Late Latin "womb," also "source, origin," 
from māter (genitive mātris) "mother" (see mother (n.1)).
The many figurative and technical senses are from the notion of 
"that which encloses or gives origin to" something. The general sense 
of "place or medium where something is developed" is recorded by 1550s; 
meaning "mould in which something is cast or shaped" is by 1620s; sense 
of "embedding or enclosing mass" is by 1640s.
The mathematical sense of "a rectangular array of quantities (usually 
square)" is because it is considered as a set of components into which 
quantities can be set. The logical sense of "array of possible 
combinations of truth-values" is attested by 1914. As a verb, in 
television broadcasting, from 1951.

administrate (v.)"manage or direct affairs," 1630s, from Latin 
administratus, past participle of administrare "manage, control, 
superintend"

prefix , which means "to, toward." For example, the word adventure 
is made of the prefix ad- and the stem venture. In some words, the [d] 
changes to a different sound and the letter  is replaced with a 
different letter.10 Feb 2016

ministration (n.)
mid-14c., ministracioun, "the action of ministering or serving, the 
rendering of personal service or aid," from Old French ministration or 
directly from Latin ministrationem (nominative ministratio), noun of 
action from past-participle stem of ministrare "to serve, attend, wait 
upon," from minister "inferior, servant, priest's assistant" (see 
minister (n.)).

==============================================
| https://www.etymonline.com/search?q=matrix |
==============================================

To ministrate. To ad-ministrate. Towards (ad) a rendering of service 
(ministration), towards a waiting upon.
The temporality of service is extended, thus it requires waiting. 
How the act of being alert (waiting) has turned
into a profession, an act in itself (to wait upon, to be a waiter). 

Add ministrations.

Admin as a form of caring economics. Spreadsheet, plain text 
grid as a form of surgical care.

Qudricularity of an array as a sign of deep, abiding affection 

			1))))  FOR THE
			       items/objects
			       states/subjects
			       displayed

			2)))) FOR THE
			beholder of the 
			object    =============  \\\\\\\\\\\    NOT NECESSARILY
			subject   =============  ///////////    ONE'S SELF

			3)))) THAT DOES NOT
				enter into narcissism or self-soothing ;;;;;;; 
				when the rectangular array                     
				++++ displays chaotic other readings           
				++++ invites curvatures of chaos               
				++++ is able to manifest curvilinearity        
		
		
		
Obsessive Compulsive behavior is more about preservation of the self
than it is about facilitating care for others.... however, the 
data-bound "deformation" that neurodivergent compulsory behavior
engenders is in itself a talent for channeling care/attention/precision
into administrative axes on a spreadsheet
														
									C
									 O
									U            M
									 N        U
									T       L
									 E   T
									R  I     i
									 L           v
									I               r
									 N               u
									E                 c
									 ALITY
							LATER  IT  CURVES
									 I
									T
									 Y
														
When I think plain texts, I think of an adminstrative mindset.
Specifically related to how one prepares information for further ministration.
It is what you do to data to prep it for acrobatics.
It is what you do to refuse before you can begin to recycle it.
You strip it of all layers of ministration.

To speak in "plain" language. 
To make an idea accessible, mobile, nimble, popular. 
What is plain is popular?
Vanilla. 
I like vanilla ice cream.

        .-"`'"-.
       /        \
       |        |
       /'---'--`\
      |          |
      \.--.---.-./
      (_.--._.-._)
        \=-=-=-/
         \=-=-/
          \=-/
    jgs    \/
    

TBC AFTER MY SHOWER:
    Hieroglyphics
    Ideograms vs Phonograms (not sure if phonogram is the linguistic term)
    Dyslexia not as a disorder but as an inherited/memetic/diluted talent
			for ideogrammatic language writing
	The strange connection between writing on linear axes (plainest form of writing?) 
	and the construction imagery with letterforms.


Transcribing
\\\\\\\\\\\\

 c
   o
      n
         v
             e 
    r
s
  a
       t 
             i
                o
                    n     s
    \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ 

    >>>>     crunk
    ....     mb

Viznut* (thanks for these type edits :----)), 
	the maker of the unscii font on the mirror webpage, 
also writes about perma computing
There is this anecdote about a demo party
	where the whole point is to make something as expressive as possible, 
	within fixed limits
	but then the event itself
	was streamed on Twitch
	
	Amiga was a fav computer in that scene
		at some point replaced by the Microsoft microcomputer
		but Amiga was nostalgia and loved
		and triggered a specific sub scene, 
			where the challenge is to make something that fits on a floppy for example
			
	There is a dino in the X-Y log?!?!? 
		Yes there is
	This was a demo scene party
	where the limit was
		that your work fits on a receipt printer :-----D
		so the restriction was 80 width!

Yesterday was fun
ik heb bijna niets interessants gedaan
haha

Can Ben's font be transformed into a figlet font??
It's a lot of work
	but it would be so so nice

* http://viznut.fi/en/
http://bruxy.regnet.cz/web/linux/EN/ansi-art-sh-paint/

                           \ \ \  \\  \ \ \ \ \ \ \  \    \ \ \ \   \\ \ \ \  \ \ \ \ \\ \\ \\  \

Back from my shower and face mask.

H I E R O G L Y P H I C S 
I
E
R
O
G
L
Y
P
H
I
C
S C I H P Y L G O R E I H  <<<---
                                |
                                |
          S H O U L D   B E ----|
          w r i t t e n   w i t h
          l e t t e r s 
          r e v e r s e d 

Hieroglyphics can be written and read in multi-linear styles.

A word may de disposed of from left to right; from right to 

left; and from top to bottom but never from bottom to top.

The way for the reader to determine in which direction reading

should happen is a labor ideo(logo)graphic—relating to drawn symbols in writing 

that function as full words (for example, a woman seated referring to an actual

woman) rather than as symbols that index a sound (for example, a bird symbol

referring to the sah sound)

or phonograms.

Phonograms refer to graphemes (drawn symbols in

 writing) that represent a phoneme (sounds made in relation to language) or 

combination of them. The way for the reader to determine in which

direction reading should occur is to take note of where the 

ideograms are looking at or pointing. If the bird in the biliteral—made up of 

two distinct phonemes—phonogram sah (s3) is looking towards the left, this means

 the word should be read from the left.

Vice versa for reading that begins from the right. As a beginner to reading 

reading hieroglyphics,

it may be necessary to take stock of the entire sentence, considering all the 

different phono/logograms.

Not all of them clearly point in a single direction. 

This means that when writing is disposed of on a surface from right to left, 

individual letters must be flipped 

along the x axis/180º horizontally/mirrored in order to give directional 

instructions to the reader.

This is a form of reading and writing that can no longer be done with fully 

phonogramic writing, which

describe the majority of alphabets in popular use today, the roman alphabet to 

go no further. When a roman

letter is reversed it loses its meaning, to large degree. Even to see one's 

name, perhaps one of the first things 

one learns to write as a child, mirrored along the x, is an experience of the 

limits of our current ability to 

comprehend written language. For the hieroglyphic writer, the ability to 

project 

x-mirroring of words and their corresponding letters without losing a sense of 

their meaning must have been to some extent natural, internalized. Writers were 

also likely

to be adept at illustration as well, more like typographers as well as what we 

might currently imagine as the

graphic technicians who apply vinyl lettering (or do hand lettering) on large-

scale commercial services. 

*******************************************************
AGH IT'S TOO HARD TO WRITE ON THE SPECIAL PAD**********
AM GOING BACK TO THE REGULAR PAD***********************
*******************************************************

+++++++++++++++++++++++++++++++++++++++++++++++++++++++
++++++++++++++++Interlude: Makes coffee++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++

The writing surface for the hieroglyphic message was also influential
for the writer-ideographer. If one were to adorn a false doorframe in a
funerary structure—false doors were a common feature of tombs, as they 
symbolized a passageway to the afterlife—with the epitaph
of an esteemed noble, it would be possible to do so following the doorframe
itself starting on the left, curving over the pediment at the top, snaking down 
again on the right side. The interested eye would travel over 
architecture and text together, form and meaning being constructed
by precisely intertwining form and meaning-making through
writing as a material act. Words becoming concrete, in the 
sense of soil, cement and water,

+++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++Interlude: Bikes to Varia+++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++

nested into the building material
itself. Order to the ornament, ornamental order. Beyond mere
ornamentation, writing, as it was difficult to inscribe (likely) was
reserved for the transmission of information for purposes official,
lapidary. And for random graffiti, also writing that has an essential 
function: to assert the existence of a single human being, to inscribe
pedestrian agency.

D Y S L E X I A
D Y L S E X I A
Y D S L X E I A

If the nature of right-to-left writing involves letterforms mirrored
on the X-axis without loss of sense of the phonogram/logogram,

				the sah bird is instantly recognizable as sah, 
				regardless of whether the 
				zoogram looks left or right... 
				if I see an actual bird looking left
				or right, my brain recognizes it as such, 
				as a fully-formed idea-bird
				exercising its ability to scan a terrain_)

then the experience of dyslexia wherein words/written languages are 
woven and inextricable, wherein letterforms may dance and flip of 
their own accord, could be a hieroglyphic talent. Contemporary 
writing surfaces/platforms/canvases, had hieroglyphics survived
as a form of popular inscription, would then be formatted along
an x and y axis, a matrix, a womb. Leading, kerning, these are all
present in the concept of "proper" writing of hieroglyphs, as well 
as a Z-axis, a diagonal concept of spacing that allows letterforms
to be disposed of in a pleasing and logical sense. Certain word that
require, for example, three logo-phonograms to be read together,
could be written pleasingly as:
    
    XXXX    YYYY
    XXXX    YYYY
    XXXX    YYYY
    XXXX
    XXXX
    XXXX    ZZZZ
    XXXX    ZZZZ
    XXXX    ZZZZ

More pleasing than

    XXXX               YYYY
    XXXX               YYYY
    XXXX               YYYY
    XXXX
    XXXX           ZZZZ
    XXXX           ZZZZ
    XXXX           ZZZZ

So in ideating a writing support for bi-axial forms
of writing (or even mono-axial on the Y, such as 
Chinese, Japanese, Korean) could benefit from thinking
along the lines of spreadsheet, wherein the kerning could
happen between the cells rather than between letters. 

Plain text canvas as grid, forcing a different form of attention
to each letter, conceiving of the act of writing as an inherently
architectural labor. Erecting pillars and beams of letters.

      LLL    EEEEEEEEE    CCCCCCCCC    XX     XX    EEEEEEEEE
      LLL    EEEEEEEEE    CCCCCCCCC    XXX   XXX    EEEEEEEEE
      LLL                       CCC    XXXX XXXX             
      LLL    EEEEEEEEE          CCC       XXX       EEEEEEEEE
      LLL    EEEEEEEEE          CCC       XXX       EEEEEEEEE
      LLL                       CCC    XXXX XXXX             
LLLLLLLLL    EEEEEEEEE    CCCCCCCCC    XXX   XXX    EEEEEEEEE
LLLLLLLLL    EEEEEEEEE    CCCCCCCCC    XX     XX    EEEEEEEEE


EEEEEEEEE    XX     XX    CCCCCCCCC    EEEEEEEEE           LLL
EEEEEEEEE    XXX   XXX    CCCCCCCCC    EEEEEEEEE           LLL
             XXXX XXXX          CCC                        LLL
EEEEEEEEE       XXX             CCC    EEEEEEEEE           LLL
EEEEEEEEE       XXX             CCC    EEEEEEEEE           LLL
             XXXX XXXX          CCC                        LLL
EEEEEEEEE    XXX   XXX    CCCCCCCCC    EEEEEEEEE    LLLLLLLLLL
EEEEEEEEE    XX     XX    CCCCCCCCC    EEEEEEEEE    LLLLLLLLLL


EEEEEEEEE    XX     XX    CCCCCCCCC    EEEEEEEEE    LLL       
EEEEEEEEE    XXX   XXX    CCCCCCCCC    EEEEEEEEE    LLL       
             XXXX XXXX    CCC                       LLL       
EEEEEEEEE       XXX       CCC          EEEEEEEEE    LLL       
EEEEEEEEE       XXX       CCC          EEEEEEEEE    LLL       
             XXXX XXXX    CCC                       LLL       
EEEEEEEEE    XXX   XXX    CCCCCCCCC    EEEEEEEEE    LLLLLLLLLL
EEEEEEEEE    XX     XX    CCCCCCCCC    EEEEEEEEE    LLLLLLLLLL

[!!!!!!!!!!!!!]

                                   
is
of
the
the
loss
Death
death,
clear
self
the
But
in

in
the
life
form
goes
on-as
bacteria
decay,
fungi
and
of
or

as
or
who
The
child
living.
moribund
becomes
because
self
the
of

of
is
its
but
not
itself
organism
ceases
lost.
exist
Any
to


of
its
the
beyond
because
control:
ambience
becomes
cold,
hot,
too
too

or
too
dry
for
too
long;
predator
vicious
attacks
poison
gas
or

or
in.
The
food
sets
abounds;
causes
algae,
death
and
of
in

too
lack
plants
little
light,
include
scarcity
death
But
of
or
of

Poem based on the text From Kefir to Death by Lynn Margulis


plaintext flyer making
48 width 
------------------------------------------------

%_*_______________x______________________+______
___________*___________________+________________
_vv_____Vv____aaaaaa__%__RRRRR_____ii______AA___
__vv___vv____aA____aa____RR___RR___ii____AA_aa__
___vvvvv___aa______Aa____RRRRRR ___ii___AAaaaaa_
*___vvv______aaaaaa_aa___RR____RR__ii__AA_____aa
_________+_____________%_____+___-______________
___*   _______________%_________  ______-______*
_____/                          \____*__________
____|  https://varia.zone/en/    |______________
_____\  ________________________/___________*___
_______v___________________________+___*________
________________________________________________
__Varia is a small member-based organisation ___
__in Rotterdam (Charlois), focused on___________
__everyday technology.__________________________
________________________________________________
Using the term everyday technology is for us a  
way to break through the vision of old and new  
technology, or smart and not so smart technology
by looking more at the appropriateness of what  
each technology does in a particular situation. 
We're also trying to understand whose everyday  
is meant by the term, to not include one single 
world view, but to acknowledge that everyone    
engages with technology in a different way.     
________________________________________________
+++Subscribe to our newsletter on our website!++
  x        *          +                %        
                  +                       *     
^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!^!

------------------------------------------------
________________________________________________
% *               x                      +      
___________*_________________+__________________
_vv_____Vv___aaaaaa__%__RRRRR_____ii_____AA___+_
__vv___vv___aA____aa____RR__RR____ii____AA_aa___
___vvvvv___aa______Aa___RRRRRR____ii___AAaaaaa__
*___vvv_____aaaaaa_aa___RR____RR__ii__AA_____aa_
         +             %     +   -              
   *  ________________.....__        -      *   
____/                          \ __*____________
___|  https://varia.zone       |              * 
____\__   _____________________/ ________*______
________v____________________________+_____*____
_+______________________________________________
__Varia is a kleine organisatie met 16 leden____
__in Rotterdam (Charlois) dat zich richt op_____
__alledaagse technologie.____________________%__
____________________*___________________________
Het gebruik van de term alledaagse technologie  
is voor ons een manier om vectoren te doorbreken
van oude en nieuwe technologie, of slimme en    
niet zo slimme technologie, door meer te kijken 
naar de geschiktheid van wat welke technologie  
doet in een bepaalde situatie. We vragen ons    
ook af wiens alledaagse wordt bedoeld met de    
term, om zo niet vanuit één enkel wereldbeeld   
te bewegen, maar te erkennen dat iedereen op    
een andere manier met technologie omgaat.       
________________________________________________
__Schrijf je in op de Varia nieuwsbrief_________
__via onze website!__________________x__________
__________%____________________+_________*______
||||||||||||||||||||||||||||||||||||||||||||||||

------------------------------------------------

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╚═══║═╝ ╚═══║═╝ ║ ║    ║║    ║ ║ ╚═║═══╝ ╚═║═══╝
╔═════╗ ╔═║═══╗ ║ ║    ║║    ║ ║ ╔═══║═╗ ╔═════╗
║   ╚═║═══╝ ╚═║═║═╝   ─╜╙─   ╚═══║═╝ ╚═══║═╝   ║
║   ╔═══║═╗   ║ ║    chapter   ║ ║   ╔═║═══╗   ║
╚═════╝ ╚═║═══╝ ╚══════════════╝ ╚═══║═╝ ╚═════╝
╔═══║═╗   ║   ░▀               ▀░    ║   ╔═║═══╗
║   ╚═║═══╝     ░▌   █████   ▐░      ╚═══║═╝   ║
║   ╔═════╗      ░▌▄█▀███▀█▄▐░       ╔═════╗   ║
╚═════╝   ║       ░█ o █ x █         ║   ╚═════╝
╔═══║═╗   ║       ▐██▄███▄██▌        ║   ╔═║═══╗
║   ╚═║═══╝        ████■████         ╚═══║═╝   ║
║     ║           ▐░███████░▌            ║     ║
║ ((  ║          ▐░ ▌▌▌▌▌▌▌ ░▌           ║  )) ║
║  )) ║        ░▄    ▄▄▄▄▄    ▄░         ║ ((  ║
║ ((  ║               ▀▀▀                ║  )) ║
║  )) ║    ╔════════════════════════╗    ║ ((  ║
║ ((  ║    ║ [1] Enter this space   ║    ║  )) ║
║     ╚════╝ [2] Run away!          ╚════╝     ║
╚══════════════════════════════════════════════╝
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

[super beautiful]

'''''''''
'''''''''
pdftotext

brutally converting the one format into the other
quick access to many many words

sadie plant

FOURTH

ESTATE

•

LONDON

zeros
+
ones

DIGITAL WOMEN
+ THE NEW
TECHNOCULTURE

c o ntents

Using Xpdf with traces back to 1995, 
from the open source times of Glyph &  Cog, LLC. 

Just some line shifting

Plain Text Party Line 
n Text Party Line Plai
xt Party Line Plain Te
arty Line Plain Text P
 Line Plain Text Party
e Plain Text Party Lin
ain Text Party Line Pl
Text Party Line Plain 
 Party Line Plain Text
ty Line Plain Text Par
ine Plain Text Party L
Plain Text Party Line 
n Text Party Line Plai
xt Party Line Plain Te
arty Line Plain Text P
 Line Plain Text Party
e Plain Text Party Lin
ain Text Party Line Pl
Text Party Line Plain 
 Party Line Plain Text
ty Line Plain Text Par
ine Plain Text Party L

Imagine it moving PaRTY!<3

Plain Text Party Line 
 Plain Text Party Line
e Plain Text Party Lin
ne Plain Text Party Li
ine Plain Text Party L
Line Plain Text Party 
 Line Plain Text Party
y Line Plain Text Part
ty Line Plain Text Par
rty Line Plain Text Pa
arty Line Plain Text P
Party Line Plain Text 
 Party Line Plain Text
t Party Line Plain Tex
xt Party Line Plain Te
ext Party Line Plain T
Text Party Line Plain 
 Text Party Line Plain
n Text Party Line Plai
in Text Party Line Pla
ain Text Party Line Pl
lain Text Party Line P
Plain Text Party Line 

https://pad.vvvvvvaria.org/ptpl

  ╔═══╗ ╔═════╗   ╔══════════╗   ╔═════╗ ╔═══╗
╔═╝   ║ ║     ║ ╔═╝  ╓───╖╖  ╚═╗ ║     ║ ║   ╚═╗
║   ╔═║═══╗ ╔═║═══╗  ╙   ║║  ╔═║═║═╗ ╔═══║═╗   ║
╚═══║═╝ ╚═══║═╝ ║ ║  ╓───╜╜  ║ ║ ╚═║═══╝ ╚═║═══╝
╔═════╗ ╔═║═══╗ ║ ║  ║   ╓╓  ║ ║ ╔═══║═╗ ╔═════╗
║   ╚═║═══╝ ╚═║═║═╝  ╙───╜╜  ╚═══║═╝ ╚═══║═╝   ║
║   ╔═══║═╗   ║ ║    chapter   ║ ║   ╔═║═══╗   ║
╚═════╝ ╚═║═══╝ ╚══════════════╝ ╚═══║═╝ ╚═════╝
╔═══║═╗   ║   '%(}░▒█████████▒░[\<   ║   ╔═║═══╗
║   ╚═║═══╝  '/))░▒███████████▒░(%`  ╚═══║═╝   ║
║   ╔═════╗   +&░▒█▀▀██/█████\\█▓)*' ╔═════╗   ║
╚═════╝   ║  "<<░▒▄██▄░███░▄▀▀██▓{<  ║   ╚═════╝
╔═══║═╗   ║   █ ░▒░(o)░░█░░(x)░░▓ █  ║   ╔═║═══╗
║ \ ╚═║═══╝   █ ░▒███▓▓░█▓▓▒█▒▒▒▒ █  ╚═══║═╝ / ║
║ / \ ║       ▒ ▒██████<▀>██████▒ ▒      ║ / \ ║
║ \ / ║         ▒████▓█░░░█▓████▒        ║ \ / ║
║ / \ ║          ░███░░▄▄_ %███░         ║ / \ ║
║ \ / ║           ░▒███▒^^███▒░          ║ \ / ║
║ / \ ║           /-░▓██████▒░ -\\       ║ / \ ║
║ \ / ║      [::--             ---::\    ║ \ / ║
║ / \ ║    ╔════════════════════════╗    ║ / \ ║
║ \ / ║    ║ [1] Hello stranger!    ║    ║ \ / ║
║ / \ ╚════╝ [2] Stop staring!      ╚════╝ / \ ║
╚══════════════════════════════════════════════╝
<3!!! 

THE NEW ada the the eve eve eve 100 102 
103 104 109 112 114 115 121 124 125 127 
131 137 140 143 144 151 152 153 154 156 
sea 165 176 man 166 171 177 182 185 191 
199 210 xyz 218 214 194 the eve 233 237 
239 244 248 250 253 off 223 229 256 257 
297 307 ble the all me. and one the and 
and and and had way the for and was to, 
and did not any was for the was had way 
for had it, And us. The Far too for us. 
was and our had all our had had our had 
and and few the who did had un ­ had and 
not way our own all and for are Sun The 
Art war ada met she was her its Ada she 
was Ada the who had her was the the had 
for "We see the her the its the 2nd 3rd 
and the the the Ada she its and saw the 
the hen had the En­  was the his had the 
and the was all one had but and "in the 
the the Mr. had it, put was two The the 
and its his was the the had the the for 
new him the the his the new the the the 
the the for the was or, the far The who 
had the not was now new set the En ­ did 
his new old few one our and in ­ out the 
has and the for his new was his the had 
his the the but had are Ada "to you ... 

3-char crossings

gambling supporting programming casting learning 
beginning spelling passing pottering casting 
anything micromeshing pulsing interacting weaving 
running plying telling nothing nothing 
nothing anything thing taking something 
Everything banding woz:king lating working 
thinking of"making Isolating consisting calculating 
having forming reexamining superseding working 
relating ·having prefacing acting unwilling 
anything being writing providing reinforcing 
leading supporting providing ganizing writing 
retrieving cross-referencing dealing arranging retrieving 
leaking seeping overflowing beginning curtailing 
"criss-crossing highlighting establishing connecting overlapping 
running going exercising everything weaving 
inning existing becoming feeding underlying 
nudging being guiding washing unfolding 
implementing weaving gathering picking connecting 
belonging being corresponding during Supposing 
according weaving weaving being long-standing 
publishing "thinking processing carrying weaving 
looking offSpring nothing excepting embodying 
performing expecting adding rotating backing 
according bringing preceding filing having 
preparing "recurring occurring recurring "eating 
appearing proceeding beginning thinking seeing 
constructing being distributing combining devising 
drawing anything regarding engineering manufacturing 
ting leading Turning Planing including 
ing computing assembling weaving backing 
following ..Unbuttoning having programming Having 
plaiting causing making folding interlacing 
thrusting hiding something concealing working 
missing weaving copying faking ing 
nothing nothing standing nothing making

--ing crossings




 ,__ __         _       _         ,                                      
/|  |  |       | |  o  | |       /|   /         o        o               
 |  |  |   __  | |     | |  _     |__/   _  _     _|__|_     _  _    __, 
 |  |  |  /  \_|/ \_|  |/  |/     | \   / |/ |  |  |  |  |  / |/ |  /  | 
 |  |  |_/\__/  \_/ |_/|__/|__/   |  \_/  |  |_/|_/|_/|_/|_/  |  |_/\_/|/
                                                                      /| 
                                                                      \| 
	 ____            _ _        ____  _             _   
	/ ___|  __ _  __| (_) ___  |  _ \| | __ _ _ __ | |_ 
	\___ \ / _` |/ _` | |/ _ \ | |_) | |/ _` | '_ \| __|
	 ___) | (_| | (_| | |  __/ |  __/| | (_| | | | | |_ 
	|____/ \__,_|\__,_|_|\___| |_|   |_|\__,_|_| |_|\__|
	                                                    
I know an old Swiss woman who has knitted socks for 80 years. She is the cur-
rent matriarch of a family that has been rooted in the same Swiss canton for
countless generations. Marriages have always been made locally; family mem-
bers have rarely traveled far. Now she has 15 grown-up grandchildren. Ten of
them have settled with foreigners and several live abroad. Her family – so Swiss,
white, and Protestant for so long – now extends across three continents and
includes Hungarians, Romanians, Russians, Italians, English, Jamaicans, Koreans,
Somalis and Canadians. In one jump, this monocultural family has become
multinational, multiracial, multi-faith. There are Buddhists, Catholics, a Muslim;
African and Asian great-grandchildren. It took her a while to get used to it, this
sudden distribution of her close-knit, close-by family. But now she knits socks
for all of them, even parceling them up to send to her in-laws in Africa or the
Americas. They are good socks and make useful gifts. And so many people in this
dispersed and extended family wear them that they also seem to function as this
great-grandmother’s way of adding to their connectivity and, perhaps, knitting
them all into her own life.



||||||||||||||||||||||||||||||||||||||||
In response to bi-axial forms of writing

k n i t t i n g
e o     u      
e t h e r 
p h     n 
i i     i n s e r t i n g
n n     n         e
g g     g         l
                  l
                  i
                  n
                  g







...

frames, form, format, form-at 

...

X-Y as movements
as navigation points
as coordinates
Embodied by the monotone 
and spacial strictness 
of the monospace environment. 

Plain text as an intimate space. 
writing :::::::::::     design
writing :::::::::::     counting
design  :::::::::::     counting 
design                  administrating
while                   writing 
Another thing is the manual possibility to intervene.
If this is the layout, this is what you get,
what you see is what you get.