Dante Alighieri is refining his literary applications of astronomy (conceptually informing the geocentric structuring of concentric spherical shelling of cosmological membranes around a stationary Earth (as well as facts such as the diameter of Mercury)) by studying the text (by astronomer Ahmad ibn Muhammad ibn Kathîr al-Farghânî (AKA Alfraganus)) <<Elementa Astronomica>> (or <<Elements of astronomy on the celestial motions>> (a compendium of exploratory astronomical geometric materials from the <<Almagest>> (by Claudius Ptolemy (denizen of Dante's <<il limbo>>) in Arabic→Latin translation by Gerardo da Cremona (also the Latin translator of the <<Almagest>>) and another translation by Johannes Hispaniensis of Seville is the volume available to Dante during his exilation in Verona (or wherever)))),
at a certain resolution the smoothness of a vacant winter sky (never exactly blue in its total impression but sans cloudforms of any species (a sky that although indistinguishable from the same stark uniformity of summer is quite evidently frigid from the asymptotic hue variation)) is organizing the perceptions into a nesting series of gridcells (renderbuckets), the scalar ranging in the cells of this hue distribution are beginning at the breadth of the entire sky itself (the aspect ratio of the viewer is approximately a □ for the clarity of this analysis) and upon the vision swallowingly interlacing with the fullness of that panorama is decaying into a reasonable quantity of cells (no greater than that of a chessboard (all cells being without scalar consistency by virtue of their lying in a space of projection anywhere from the retina to the mesopause (85.295km (where a 60degree visionfield is yielding a maximum gridcell dimension of 98.49km □)))) identifiable by the subtle hue variation at the perimeter of each cell & by the sporadic density variation of the subsequently diminishing gridcell scaling (where a □ of one density is bordering a □ of another density) is articulating the □like nature of the module, the finest grain of the celestial gridcell matrix is apparently inconsistently spacefilling the superseding scalar □nest although there is in fact a definitive & consistent minimum scalar stratum whose continuity & presence is obfuscatingly untenable due to coagulations of similar hues into graphic figurations such as linesegments & blotchy continents are belying their tacit interior partitioning, in a broader vista that discovery of these gridcell scalar variations is introducing an alternating striping graphic akin to an earthhatch (or ANSI37 overlaying ANSI38) with regular directional alternation following the logic of a plain fabricweave, through the procedure of geometrically projecting the visual perception into the sky all figural elements are percolatingly emerging as ganzfeld surfacefeatures out of the cellular framework (this kind of emergent visual framework is rendering the introduction of any figural elements in an inescapably cellular species of perception) & upon the overall twodimensional unity of the firmament (stimulating an interrogation of whether the viewer is looking at anything at all or is intentionally or unintentionally depriving the vision of stimuli (translating into immaculate visualizations shivering forth from the hermetic oscillation of neuronal <<ion pumpnoise>>)) → the pixelization of powerline insulators & pixelization of a raven & the pixelization of transmissionlines (the difficulties of delineating fine nuances such as slender linework in a pixelspace are apparent in this perceptual framework) & pixelization of a segment of wood cylinder (with aperspectival cropping (although the visual axis (a ray extending from the fovea through the centerpoint of the corneal curvature) is orientable <<the quadrille>> (□ tiling) paradigm of vision is by definition a species of orthographic projection that is masquerading (analogous to a multicellular organism who is in fact a colony of unicellular organisms) as a perspectival theater)) are mapping onto or percolating forth from the firmament, sensitive or visionary cropping is capable of transforming the least interesting vistas into masterpieces of compositional abstraction, in conjunction with <<the quadrille>> such manipulative croppings are harvesting even greater enigmaticism by obscuring graphic figurations through reductive gridding & interpolative hue sampling, the cropping of three ravens perching on transmissionlines such that the right & left & bottom of the cropframe are intersecting the birds is creating ambiguity between figuration and background where the sky (or the wan blueness) is masking a black underpainting apart from three inlets around the perimeter or the sky is background upon which three black peninsulas are entering, ravens on a transmissionline & atop a utility pole are looking downward expectantly at slightly different orientations seeming to be wavering in a bobbing motion although the hue & mottling of the sky are suggestive of stillness, <<Akhob>> is the titular city of an emergent tale whose primary characteristics are the intuitive imagery of ganzfeld redactive textfields, sunset wavelengths leaking through the lactic matte firmament are striking the projective platter with registrations of ochre & umber not in individual gridcells but in larger intercell mottlings are indicative of veracity (developing reliability of veracity through a random sampling of cells), such parallax overspraying of hue samplings are only possible with deepspace perception (or at the very least not flat projective perception (or in alignment with the constraint of the gridcells although being so distant (beyond the mesosphere) that there is no observable parallax occlusion of the ochre with the blue hues much in the same way the observations of Copernicus are feeding into the cosmology of Galileo Galilei ((who papal inquisitor ((the Salieri of architects) architect of the <<Villa Parisi>> (property of Bruno Mattei) is appearing as the primary location in several movies including <<Le Notti del terrore>> by Andrea Bianchi & <<Patrik vive ancora>> by Mario Landi & <<Blood for Dracula>> by Paul Morrissey & <<Amorous Wedding Repetition>> by Dean Craig (writer of <<Death at a Funeral>> & producer of <<Carrie Pilby>> (featuring Cornelia Guest of <<I've Knowledge of who my Murderer Is>> & <<Twin Mountaintops>>))) Vincenzo Maculani & ostensibly Pope Urban 8 are condemning to housearrest (for his heretical advocacy of heliocentricism (a rejection of Dante's geocentric literary cosmological structuring of the <<Divine Comedy>>)) in an exurban farmhouse near Dante's dearest Florence) is composing <<On the Morphology & Location & Dimensionality of Dante's Inferno>> which is suggesting through structural analogy with Filippo Brunelleschi's dome for Santa Maria del Fiore (his tomb) that the roof of hell is 600km thick) in which almost everything is in motion,
construction of a vector between a node J & a node A in distinct blockmatrices is not feasible, nor is construction of a vector between a node J & a node A in a single blockmatrix feasible without the cooperative embodiment of all nodes along that vector,
a photon is a location of incremental luminosity in the lighting solution & is not a trajectory, the sonic seasonings of the whimper & the foliage of the planetree clacking & begging for mercy & the injurious rumor & the footfalls of a bird—only the shadow of the bird—through translucent plastic roof & the gale & the pulsation of granite—each are stationary in a notwavelike radiant shiver latently bristling the static medium, but sonority is a misconception as is luminosity, they are not properties of a greater scene but scenographic totalities in themselves, each grain is the whole,
lacking necessary resolution or breadth of vista the cloudspecies floating alone in the upper righthand of the sky is unidentifiable even with Dunlop's indispensable <<The Handbook of Weatherstuff Identification>>, instead a careful analysis is revealing a pale nebulosus (or mediocris or calvus or humilis or castellanus or lenticularis or fractus or capillatus or uncinus or floccus or fibratus or spissatus or stratiformis or congestus) whose composition is an interlacing tessellation of insectoid bitmappings of various orientations are bleeding their hue pixels out across the sky with distinct cirriform trailings, regardless of its height above the horizon the presence of one cloudform is activating the phenomenon of atmospheric perspective in an acute dissolution of the boundaries between firmament & firma by setting off the scrutinous investigation of the sky for more white pixels is scanning down from the cloudform across a gradient that is undetectably (with the focal constraint of such unflinching attentiveness) shifting from relative blue to relative white where the vision is swallowingly exploring a snowy terrain that is only apparent as being below the horizon from the emergingly translucent sculpting of shadowplay, the barriers are down between the real & the unreal and the dead are looking in (desirous of sitting by our warming conflagrations of turf), the buttermilky snowscape is as deceptive to the perceptions as the featureless infinitude of the sky perhaps more so in its secondhand transmission of luminance which is making the disruption of a corpse facedown in the snowfield more significantly startling, hoarfrosty dead winter grasses intruding (wormeatingly digdugging orthographic fjord incisions of the background hue) into the contusive mottling of a greatcoat with fanning out hemline is emerging from or disappearing into the clumpy thicket, apparently facedown on the basis of the absence of lapels the rightarm is extending straight out from the body and is missing its righthand although a foggy diffusion of darker pixels is blotching out from the stump, the location of the headcrown & nape is a pooling area of umber & taupe indicative of crushing the skull and the spilling out & desaturation of its gruesome informality, the skull is crushing under the perfection of a cubic ashlar suspending from the beam of a mobile variation (excluding the slingrelease mechanism of its payload) trebuchet (the inscription of a Greekcross in the location of the skull of the executee (maintenance of the precise location of the skull is necessitating nailing or staking the executee to the killingfloor) is an automatic task (the extension of an appendage with a stylus from the chassis of the instrument to the exact center of the ashlar is swinging around an axle at the end of the beam at the end of the slingrope on a secondary axle is allowing rotation of the cubic mass for angular conformance with the topography upon deathblow) in association with the anchoring of the trebuchet at the execution location) with precision is slinging the deathblock only upon the skull and no extent of the neck whatsoever, executioners are hoisting the ashlar aloft from the deathcrush where the debris of the headcrush has the appearance of virtual lamination between the earth and forestfloor morning mistcloak, the methodology of <<Peine Forte et Dure>> is alluring to ADA executioners although for its architectural ramifications & precision less than for its implicit leniency & openness to contrition, the giant sucking rushing creation of a vacuumspace along a circular trajectory from the cleaning basin area all the way around to the execution destination, in accordance with the aesthetics of the gridcell the ashlar of death in execution by trebuchet is (on its impacting facet) milling in such a way as the stonesurface is a low relief quadrille tiling of □ recessings into which the orderly distribution of brainmatter liquefaction & blood & CSF are in an arrangement of small coagulating depositions on the earth,
in the outdoor entry foyer of each massive is vending machine (consisting of three liquid dispensers (1 is a saccharine lemon syrup 2 is a vaguely fizzy medium 3 is stillwater for rinsing the juicecup) atop which are sitting three reusable glass juicecups whose frequently poor cleaning is responsible for large outbreaks of rhinovirus & influenza & Epstein-Barr virus & 1herpes & strep bacteria & hepatitis B and hepatitis C & cytomegalovirus (an affliction that is turning the genitals & nipples & ears a vivid cerulean blue and causing their sloughing away from the body during deepsleep into small broadly conical spoiltips) within the ostensibly hermetic massive communities,
swelling gallium wavelets rolling across the crinkling outcroppings of aluminum, stochastically variable acceleration is creating tension between the event structuring of physical relationships and the smearing chromatics of perception, the columnar presentation of a static configuration of lossless hue indices (although accurately characterizing the physics of tokenizing the vectorization of a smearevent corpus) is irreconcilable with the holistic lossy perception of huesmears, tessellations of mudcrack islands burblingly sinking envelopingly into the sea, pale (Prussian blue & cobalt violet & dioxazine purple & asphaltum & transparent earthorange & greengold & perylene red & cerulean blue & phthalo emerald & Vandyke brown & terre verte & cadmium chartreuse & quinacridone magenta & umber burningly & raw umber & phthalo blue & napthol red & brownpink & chromium oxide green & yellow ochre & indanthrone blue & cadmium lemon & nickel titanate yellow) seawater flooding across the 3point geometries of desiccation is requiring the giving way of hypsometric analyses of figural landscape aspects to bathymetric analyses of background seafloor aspects, networking black aluminum sprues (configuration as a latticing of craquelure negative space in what is appearing to be an outpouring leakage of molten black aluminum or oxidization of zinc is in fact simply a murky vastness against which the sprue lattice is catching curvatures of ambient luminance) are injecting a whiplashing topography of molten black aluminum across a baseplate with variable temperature calibration is creating areas of riftvalleys and appalachian undulations of differential thickness as well as superficial texturings (faultingly crumply & abrasively granular) associatable with differential cooling,
the earth is trembling & graves are opening & coming among the living are messengers of death esconcingly lurking in the nights of terror.
John Trefry is the editor of Inside the Castle in Lawrence, Kansas. You can find him at www.insidethecastle.org and on Twitter @incastellated.