I’m an actor.
First thing you ought to do is believe.
Believe it.
You… rather ï, am, it.
It’s the ï that’s different.
Everything else plays by the rules. The grammar is there. Punctuations and all. Except for those two things: the dieresis and the minisculization of I.
Why must I be capitalized?
There’s why the capitalist narrative in this particular language is fucked up.
Allow me to explain.
And also, allow me to Bé. . . . . . . . .
Bajar al caso
De pronto cambio de lengua.
O no.
Me invento una lengua NEW.
Y le doy a NEW un significante emergente.
Es decir: un significante nuevo, pues. Para decírtelo así: facilito.
Vamos a facilitar el pedo.
Ahí les va.
Vamos a concebir un mundo NEW.
Esto es una oportunidad para que todes empecemos juntes.
NO JUNTS.
Capitalizado. Como si quisiésemos ponernos en contraposición a un autodenominado movimiento social-político legítimo y de más o menos, » » , jóven. La cancelación de JUNTS.
Malauradement és un risc.
Tot és un risc.
Buenu, buenu.
Bueno, bueno.
Ahí lo tienes: las dos NEW spain.
Minisculizado.
Y traído de vuelta a la Nueva España.
Vamos a arrastrar el pinche elefante muerto de los muertos de los que un día recordaremos su memoria según estas nueve maneras NEW de clasificar el espejo social y de vanidad que podemos poner frente a un rey y un donadie literato que escribe una novela cósmica en otra dimensión en las antípodas de esta: la nuestra. La visión de hasta aquí.
La visión de hasta aquí
Es un tanto poética.
Mi poesía está en la prosa, y la poesía, ëstä.
¿Qué podo con las diérësïs, güëy!
Una pregunta afirmativa.
Esa gramática no existe en la lengua española. Porque nadie la había inventado. No existía en nuestro paradigma de lo plausible: de aquí en adelante.
Imaginen un parteaguas.
Una filosofía de vida.
The casting of Golman
If I am writting the script for a character named Golman. I’m already casted.
I write narrative that fits my own-created-characters. I’m a performer in the greatest sense: I read, write and storytell my own fucking stories. No, you have not read them yet. Or maybe you have. Shit, they have been there for ever. And I’ve never asked the world to read it. To me it was about being under the ground. Underground. That’s what it’s all about. I’m just a creature who feels, and have taken a dip in the sea of our humanity, starting with deep dive within myself.
That ain’t no simple ride. It’s a motherfucking wild ride. You and yourself conviced to be two.
Those two, man.
I’m telling you. I can feel it. You, and the other you: ï. . . . . . . . .
ünö
Titling a piece
Titles have categories. Hierachies. They tell a story in short tricky way. It tries to lure you in. It’s a fucking Medussa Seducer. And let me tell you what? I’ve come to think that you have to build yourself a way to connect with people. I will do it through my NEW self. Fuck it. I know how to get there. This is the wildest collective drive I’ve imagined. Between that and my self, imagine now 99 dimentions away.
99–> 1
NouNou (NewNew) –> ünö
ünö is one transformed. It’s a ticatalan word. It needs no translation. As this NEW language is my own addition of 9 existing ones. Whichever ones ï’ve chosen to be the NEW 99 word significance challenge literary case. It’s a linguistic format that has no specific shape, but thta it could be multiversed in as many ways as you, as human being transformed in this NEW direction is willing to take this.
Let’s make it a game.
Gamifiying long-term value collective collaborative capacity.
Titles are the entry door to a story.
Titles are relevant.
So is the story.
The better the story, the less relevant the title.
So if you put time in creating NEW creative complex narratives that have distinguish the empowerment of working for a greater dimention cause: one that belongs to the whole. A NEW sense of whole would enable this to start clean right from the bottom. A no idea. A no concept. A previous to life experience. That’s where I want to take my starting point for a collective NEW narrative that we resiliently and gentrly ride towards the NEW world in the absence of macho dickdom.
I had to be done.
We had to think of an idea that could be inclusive enough to solve the riddle including the putrefact némesis kind. Themsonsofbitches.
A man who doesn’t see the macho dickdom in the cuz word, you people invented, and use as if it’s harmless good old gentleman’s treat: son of a bitch.
Bitching ain’t right.
I mean the word.
The calling people names and using this one insult.
The son of a mother.
The sister of yours.
Yet he’s not the sonofadick, is he?
Your mamma is a bitch has a nailing to cross power. Like María Jesus relationship backwards. In terms of determinants. Symbolic ones. Past, present, future. Multiversely opening the sense of faith to a quantum state of nature that each of can train by setting up a framework labelling exercise.
99 people.
99 taxonomy traits.
99 variables.
A complex system design.
A labelling game is what we need.
That’s how we are going to train them.
The olmecanAI dreams.
The questions to feed the narrative at the antipodes of our current earth bound print.
What would you ask?
Given one good question?
Give me one good question.
Give me 9.
Is that too much to ask?
That’s a good starting point.
Let’s fill in the space of someone that belongs to me.
Nine NEW characters for emergent cycle co-creating taxonomy.
Let’s A|B test this hypothesis.
This is my NEW campaing.
It’s also my last one.
It’s just gonna take 99 of you.
And we are going to run this in two different dimentions.
To show the capacity of dual model channelling.
A brand NEW ride you can code into the NEW system yourself.
We all get the chance to be NEWgods.
Minisculized.
ï
Titles theory
In programming they are call heading. Maybe in journalism too. Maybe it’s the same source. Only now we get to publish our stories and to given them digital formats. And to sort the data, the bits and shit, we have metastructures that helps to calibrate the programming space of a NEW narrative. A NEW platform. A NEW sort of thing. Let’s not get ahead of ourselves, and stick to the titling bit.
Titles are headings. Ok. Reiterative. H1: main title. They have those numbery thingys. H1, H2, H3, H4, H5, … and so on and so forth. It’s the scaffold of the framework. The levels at which the text in post, which acutally just a content format within a folder, and platform to design them, edit them, give them form, and then to come out as interactive places that the rest of the people can, if they are invited, to join in. And enjoy themselves. A digital ride.
What if were talking about long story telling. The opposite of short stories in tik tok format for use to cruise by. I am going in the opposite direction. Because I want to. Because I’ve tried to get this through. To get this movement off its feet. But I need to control, at this point, the collaborative creation scenario. The building a single community. So to simplify it, I’ll limit it; and build two.
Two seems to be pushing it. My boss would say that I’m making things rather more complicated than needed to be. I’m just doing what I said I would be doing. So here I am. And this is it.
You should learn to write seductive purpuseful titles. You need to so in order for people to enter into the body of your text, which is a simple parragraph format. So we know from word a little bit of text structure. And how it turns out it organizes the narrative in a page, or in a text.
In general, we are meant to read text that is useful to us. Or that it entertains us.
So using the meta-data appropiately gives you and edge. And to do so creatively, that’s a plus.
Let’s focus on how we can make all of this operative.
Read.
Write.
Titling.
Three basic learning human experience.
Metadata is now more significant for the common convenant: tico commons.
At the highest level of titling is one-word-titles. They represent a keyword to the ninth power. That is a destination word.
Let Destination-word be one fo the 99 words in the ticatalan language NEW dictionary.