$LNQ👨🏿‍🦱

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/Discord server @ lnq#7586

Join the orchestra and converse on the Discord servers @ lnq#7586.

Inventor: 🧑🏿Link Starbureiy | License: UUelcome
UUe® (aka 🧑🏿lnq's jukebox) :== client for stew choreography^{^}. In streaming The Origamic Symphony🎶, it auctions + dispenses^@ stews.^~ ^^ Stereotype:=sequence+print. @@ A function of fugue extensibility. ~~ server actions

UUe is a kind of abstract cell. This [26-brane] automaton is an organic development from attempting to prove Q♭, a deep math 🧩puzzle* rooted in random walks. Two (2) genera abstractions are: a kernel for mathematical modeling (of auction theory applied to twistorspaces), and a method of compliance.** An over-simplified explanation of the problem is: if you take a really long (but finite) tape and split it into some countable number of smaller branes, how does that effect the computability of the tape itself?

/// +UUe was originally an acronym for 'United Under economy',later changed to 'united under Egglepple'. It no longer is an acronym; it's just 'UUe' (pronounced like "whee"). However, both 'United Under economy' and/or 'united under Egglepple' are still applicable.
+UUe - a mathematical model - qualifies as a jukebox by its rotisserie, with internal operations similar to those of a cell. Realization of its utility happens via the Stewdio.
+Because u-u economics mandates that clientele in the (u-u) scheme is part of a supply chain, UUe functions like a vending machine.
+lnq is the (official) mascot of UUe. This is "🧑🏿lnq's Jukebox".
+In gameplay, UUe is the house🏠.

united under Egglepple™|

united under Egglepple is the unofficial (yet formal) name for UUe. This is the kernel orchestrating u-u economics - systematic configuration* of the payload by auctioning^% fibor(s) from the portfolio: [SSS = (micro) through UUU = (macro)], which leverages stewc taxation.%% A necessitation of compliance. This is to say that the whole of Egglepple (particularly the nuts) is 'statistically united'; a parimutuel system is extensible and potentially twistable (u,u).

Server operations are shelled using tokenage* for auctioning and gameplay.** Kernel development is an organic reaction to gameplay. Ludologically, this conversely implies that all disjoint games are variant. Put another way, yesegalo and 🍄meshroom are self-synthetic. (see UUelcome, u-u economics, .uue, UUe interface, Juke Lemma, patch, Pink program, braine🧠🗂, Quantumquotient, DUCC🦆, #recital, Stewdio)

/// It was originally a trust that has since morphed into something much more sophisticated; a shift similar to Egglepple being re-appropriated into the the jukebox.

Function map: UUe ↔ UUelcome → Pajamas

/The Egglepple Company

The Egglepple Company (or just Egglepple) is the pseudonym given to what is now known as Egglepple (kindergarten). It was an incorporated^@ business entity in various states throughout the United States of America prior to its deprecation, reorganization, and later inclusion into 🧑🏿lnq.@@ Reference: Ohio Secretary of State's Office

Historically, Egglepple was the very first establishment to be a standalone/independent recreational mathematics+ enterprise (+:=contract-based, sometimes ghostwriting for academe from 10/2000 - 02/2001 (also of interest The Stewart Ellis Company - Gobotech, Link Starbury Network, #305)

/// pm:=pure mathematics, am:=applied mathematics. (see Funshine/Toonlight)

"Egglepple" is the middle name of 🧑🏿Link Egglepple Starbureiy, after whom the company is called, and by whom the entity was created. It spawned from the unincorporated/unorganized Egglepple portfolio (for toy [🧩puzzle] design, circa 1991).
/// Nowadays, the 'company' portion is assumed to be my roster (of characters/personalities +gallery) and the yots.

I attended The Ohio State University foremost to gain access to its aero facilities and research laboratories (I worked in aero/astro at HCGL-R1). As a student, I 'dabbled'; never settling on a major/minor. Back then, I put in my time roving the halls of the mathematics, physics/astronomy, and chemistry departments, as well. I was fairly new in that world ("publish or perish") and really wasn't familiar with LaTeX (I still don't like it -- tmi: I am notoriously bad with grasping foreign languages, and as more of a visual person, reading modern mathematical notation - of which Latin & Greek is the foundation - was a weak suit for me. Sometimes I felt like and have been called an idiot for not bothering to master the syntax because "real" mathematicians seem to rely on it, but my rationale is that the world is operating entirely on holograms, algorithms, music to some extent, and genetic code, not formulae, and so mathematical modeling [mathmod] is my preferred method for ideation. This forced me to get along by creating my own style to communicate with my peers.) and that publishing scheme back then (the departments certainly didn't make it easy for non-staff to be resourceful with the system), so I did what I did best when it came to visual expression, I drew stuff up/wrote stuff down on napkins (yes, at times with wax crayons🖍️ or colored pencils✏️).

The astronomy department was awesome in the regard that they treated people who came through their doors respectfully. The math department, however, was the total opposite. There was so much ego (mine included) polluting the building that it was almost laughable, yet frustrating. [-- Mathematicians can be a pompous bunch who struggle for trivial results, and their demeanor reflects that. --] Anyway, there would be these 'challenge' problems/help requests from the community (ie. intra-departmental) often posted on bulletins, offering modest bounties💵 (very short-term contracts) for their solutions. The opportunist in me would peel these from the boards, take them home, and come back shortly thereafter with my answer(s) written on (paperclipped🖇️) napkins. In addition to being a technician in the engineering building, I remember just vagabonding off of those purses (yes, I was a 'bounty hunter') for periods at a time (sometimes in conjunction with all-levels math tutoring/coaching gigs). I guess that - in addition to responding to Michio Kaku's earlier proposition - was me (being the person responsible for) turning math into my version of a sport (, and thus, solidifying my interest in ctfs🏁).

/Robot🤖 (play)

Robot :== a short one act performance and composition by 🧑🏿Link Starbureiy debuting March 19, 1997. The play is a solo piece about a fictional cyborg (🧑🏿lnq) on Earth's🌍 moon🌚🌙 sometime in the near-distant future.

Significance
The ideation and drafting for Robot began in February 1997. This was his final creative arts assignment (complementing the technical piece) as a schoolboy, and was scheduled to be performed in a talent show the following month. Robot is 🧑🏿lnq's first thematic piece (no box office), and often credited as the beginning(s) of the proprietorship, Link Egglepple Starbureiy, as well as his foray into cyberpunk.

Robot was part of an annual school-wide talent show that I took part in. The previous year, I had done a Michael Jackson impersonation routine (Smooth Criminal/Moonwalker), which went over pretty well. I then wanted to try my hand at something original, which is where this botched act came in; I sought the assistance of a classmate - whom he and I drew comicbooks together for fun - to help with the storyboarding, but he, too, was busy at that time as we were seniors trying to close out our high school careers and projects.

I immediately labeled the show a debacle👎👎, and attribute my poor outtake to lack of preparation (the script was still being edited only minutes leading to showtime) and a mishandling of the itinerary by stage crew (and some other lame excuses; in truth, I just sucked😵). In all, I later saw the show as a blessing that I would use as fuel to create more one-man acts (later attributed to my foray into deeper performance art that Summer) which evolved my opéra-ballet, Stewart.

It should be noted that I came up in the era of Nintendo. A major platform game of the time was The Legend of Zelda^[z]. It's a great franchise. No, my name is not Link after the protagonist character in the game; it's my real name. Anyway, there was no 'Zelda' to speak of in my adventures, so I just adopted 'Link, The Legend' to fancy my ego. And now you know.🤭 (do not confuse with 🧑🏿Link Starbureiy%roster, cyborg, or Starbureiy automaton)

/Link Starbury Network

Link Starbury Network (LSN) was the original name (circa February 28, 1997) of the proprietorship now known as 🧑🏿Link Egglepple Starbureiy (lnq).

It started out as his senior project, before branching into an umbrella of works (namely exploiting properties from the then-untitled Egglepple [puzzle🧩] portfolio carried over from his gradeschool years).
/// The project was a technical piece with a creative arts supplement to it [see Robot]. I elected to do something for math class, and my idea was loosely about membranes and the faux physics of some made up object called the 'orbitron'. ← Ask me about it later.

"I seek to push the limits of my 🧠brainpower." - 🧑🏿lnq

LSN would morph into a mathemusical focus by 1998, after Starbureiy began working on the EGP Keynote. (also of interest The Egglepple Company)

/// The name was later modified in the year 2000 to reflect the personal change in the founder's identity, which included the alphanumeric e and i in his surname. (see 🧑🏿lnq nomenclature)

I credit LSN as my foray into the world of professionalism. I consider myself to be a professional athlete of sorts, in the direct mold of mathletics. So, the establishment of LSN marks the point on my timeline when I 'went and turned pro' (part-time). This gave me a grand sense of purpose -- winning (ie. beating the odds / establishing benchmarks). What I like about winning is that it is absolute; only one team can be the first to capture the flag🏁. This is kinda/sorta why I got into wargaming🪖.

Trivia: My decision to 'go pro' at that time, more-or-less was influenced by two of my favorite sports icons, Kobe Bryant🏀 and Tiger Woods⛳, who also had graduated from the amateur ranks months prior (in 1996). These fellow Black men quickly found success, and I didn't want to get left behind, so, in the spirit of me wanting to become an athlete (or at least treating CTFs like a legitimate crypto-sport), I would later follow suit (by inventing my own game+league and just going at it /// time periods: 1998-1999, 2005, 2008). All of the elements of my invention were named after me (link, stew, etc.) as a reminder that I am only competing with/against myself ... We'll just ignore for a brief moment the fact that I more truthfully made this advancement because I was losing - small-time; I was, as usual, flat broke back then (the week just before I became a legal adult), and got sick+tired of embarassing myself begging(?) for lunch money (in other words, I turned professional because wanted to take control of my own life and be a winner, not because I was under some celebratory influence). In hindsight it only helped that my mother and I have always had a tumultuous relationship, and I had insecurities of her maybe kicking me out of the house again even with a few months left of school, so there was mounting pressure to produce. -- Also, just for the record, a rookie Kobe🥩 (#8:) was my all-time favorite NBA player [aside: we both wore our heads bald👨🏿‍🦲 in high school, though for different reasons]. I fancied Tiger🐯 because golf (and the mental resolve that comes from it which I find admirable) is a capture-the-flag🏁-type of 🪖wargame between a person and Nature, which is similar to what I do 🧩.

More trivia: Two other 🏀basketball players whom I thought were cool, Stephon Marbury and Allen Iverson, were also on my radar at the time due to them being in the same draft class as Kobe. Stephon's nickname was 'Starbury', which was the name I used when making presentations in those days. Allen Iverson - given the nickname 'A.I.' - played at Georgetown (Hoyas) prior to being drafted by Philadelphia (Sixers), so I had a lot of exposure to him. Putting both nicknames together yields something like 'Starbureiy', if you think about it.😉 (see 🧑🏿lnq nomenclature)

Even more trivia: Myself, I'm addicted to very large number and huge volume products. As for me wanting to dominate my sport, I drew inspiration from 🏈football players Andre Ware and Steve "Air" McNair, specifically what they accomplished in terms of posting gaudy numbers during their junior and senior seasons at UHouston and Alcorn State, respectively. Per McNair, I distinctly remember those ESPN highlights every week as he was straight ballin'! - setting/breaking records campaigning for the Heisman Trophy. He played for a 'small' (non-powerhouse) school that garnered a lot of doubters thrown at him, and that just made it seem like it was him against the world. I think they each probably realized as I do that accolades are mainly opinion-oriented and only partially grounded in statistics; so it's in the best interest of a player to exit a game leaving no doubt of their achievement(s).

///end trivia

My ancestors were slaves, and there remains an intolerable level of disrespect towards and by people who share my phenotype. It boils down to the only two sides of the fence being 'win' or 'lose', and either is up to the individual. "Solipsistic absurdism" is the thesis I'm personally trying to resolve. The musician, Prince, said in an interview that he viewed his contract to Warner Bros. as a sort of destination, where the endgame was emancipation. For me, besides my ideas {credits by and statistics🏅 (recognition) from}, I would not be interested in owning anything that I do not have access to. These things are why I place a premium on freedom, winning now, contumacy, mobility, simplicity, and pay-as-you-go; they contribute to my nature of non-attachment/anywhere-survival and staying independent of societal norms (eg. funemployment, DIY, name-switching), thus giving me an urge(ncy) to 'break free🔓' of restrictions, so to speak, and be the master of my own domain. Such behaviors usually manifest themselves in so-called '-punk subcultures^[c][b][s]' [exploits & jailbreaks🔑🔓 & patchwork]. Go figure! Privilege escalation is akin to freedom ('self-determination'), therefore neural hypervision [vh] is what freedom is all about. /// The Universe became absurd^[d] to me the moment I learned that its geometry is flat, and that Minkowski spacetime is non-net positive (0). One can then deduce that energy🔋🔌 can be ported into a spacetime via quantum tunnelling. If/when this were actualized, then something can literally be created from 'nothing', hence the absurdity.
In elementary school I would obsessively draw mazes all day just for fun. I think I invested so much time doing so in part because the trauma of enduring a lot of personal domestic stife mixed with my autism^[smd] led me to wanting to spend all of my time in a world that I had created for myself. This resulted in me having stopped caring about school (or at least the academics) after my sixth grade year (my favorite as well as one of the most wonderful years of my life😊) with Mr. Michael Woodring (the greatest 🍎school teacher ever, and the person whom I consider my mentor -- also shoutsout to principals Joseph N. Rucker and Marvin Spratley (who 'graduated' me even though I had underperformed), as well as the 🧹custodian Mr. Whitney for similar appreciation), and so - to my parents chagrin - I became a poor pupil; my marks were terrible as I maintained an arrogantly bad habit of truancy and falling behind in homework. I did, however, ace standardized exams, and around this time had developed a reputation of being a 'Mr. Solve-It'.

A natural loner [🐺], I came to accept that the school setting (ie. student body, administration) was not for me. For those reasons, I hadn't wanted nor was expecting to continue my education (ie. college -- I only had one scholarship offer coming out of school); my career path had been defined (but not yet refined) already. My future's uncertainty probably due my poor scholastic grades was yet another pressure point expediting me to go pro-am. /// My father was a serial entrepreneur who regularly designed white-label software systems, so I guess it's fair to say that he influenced me somewhat in those regards.
That pivotal Winter, I was looking for a sophisticated 🧩puzzle to work on (so that I could realistically call myself a 'professional' and be able to self-support my dreams) or to at least pad my portfolio in case I opted to matriculate to an art institute (because I lacked sufficient training in the 'proper' methods of commercial animation + toy design🧸🎨). What eventually ended up happening was that I later stumbled upon Michio Kaku's book, Hyperspace - where he proposed string field theory, after it was recommended to me by a classmate in our final semester. That book, as well as the movies Men In Black and Contact^[b], which premiered that Summer, solified my interest in pursuing aero research (particularly astronomy, even though my reason for studying cosmology was to see if there is anything more beautiful in the Cosmos than this girl that I had a ❤️crush on). From those, I became enamored with the concepts of causal modeling[🔋] and the holographic principle - which essentially state that information is locked🔒 in a loop➰ on a brane, the projection of which we perceive as the Universe. By the following year (1998), I had laid the groundwork for the STU keynote, which was somewhat inspired by the X-Files movie's concept of parasitic RNA spawning life. The year after that (1999), the movies The Matrix and The Thirteenth Floor further pointed me in the direction of the simulation hypothesis (ie. virtuality, aka informatic control over the 🧠nervous system), more precisely, treating the entire Universe as a computation (this theme came to me indirectly from André LaMothe's 📚tomes, Black Art of 3D Game Programming and Tricks of the 3D Game Programming Gurus: Advanced 3D Graphics and Rasterization, whereby I don't exactly think of the world as a videogame🎮, but certainly there exists evidence of it running on some sort of game engine). In fact, it was The Matrix's introduction of the red pill's complement, the blue pill, that led me to conclude that cyberpunk is the natural endgame to biological evolution. /// {in the same vein as what I was saying earlier} In computer science terms, with what I am doing (trying to brick a neuron), 'experience' :== persisent data structures recycled through closed strings, and by corrupting each of those files, 'existence' would be rendered null(0).
As an aside, the approach I settled on when it came to letting my work (UUelcome) 'speak for itself' was slightly inspired by Ramanujan's Notebook. In it, he developed a great number of identities (with little to no proofs) that later found their way into physics. On my end, I anticipate that the fibors I synthesize might further industrial drug design/biosecurity, but I really am careless to stick around and see that to fruition. I don't base my career on application(s) (my toys, however, should find utility); I do what I do for myself only, because I want to. Back to Srinivasa, I'm intrigued how he - in surrendering to his illness - poured himself into his mathematical manuscripts, especially during the last few months of his life. ...I always assume the end is near. It's a terrible way to exist, but it gets results. This motivates me to put as much energy as I can into jailbreaking🪖🔓 lnq, which is the most challenging/fulfilling thing I've ever done, but would set me free + prove that I'm the best🥇.

----

Founded in February 1997, 🧑🏿Link Egglepple Starbureiy (lnq) is a sole proprietorship managing the career of its owner (namesake), and flagship, UUe®. The lnq philosophy is to utilize defensive disclosure, whereby intellectual property (IP) becomes prior art upon intentional forfeiture of patent application code. lnq is replete with assets that are constantly used as penetration points.

/u-u economics [protocol]

Economist: 🧑🏿Link Starbureiy

u-u economics* :== identifying stews with their parimutuelly Rubik [54-face]^{^} scrambles. ^^ Minimax of moves per solve. ** ie. forms a qubit.

"In a scenario where your energy🔋 needs are growing, an 🔋energy budget is obliterated via tax rebate." - 🧑🏿lnq
/// Not having (or removing) an energy🔋 budget is the fastest way to scale Kardashev.

Because in twistorspace everything is symmetrical and dyadic (u,u), our parimutuel system (ie. a cryptocurrent between links), is reliant on 🔋e:e statistics (the interplay between hypercurrency and hypocurrency). So, structurally, the whole industry of Egglepple [portfolio: recto (EEE) ↔ verso (PPP)] implies that stewcing leads to the creation of ¢ents🪙 (generator), thereby securing🔐 [via crypto] its circuitry. (see quantumquotient, 🧑🏿lnq's walk, crypto compliance, c@$#tag, zero-bubble)

/// By definition, a currency is valuable whence weight can be assigned to its proof-of-work.
+¢ents get recycled♻.
+We have an economy/economic system precisely because we are using a jukebox. Like with any vending machine, you can have whatever you want [demand] (as long as it is available [supply]), you just have to pay for it.

Mechanics
Gameplay: (1) an asset (fibor) gets auctioned off until it becomes frictionless, (2) resultant cryptocurrency (links) is moved via c@$#tags.
In this economy (:= flow of transactions), the house (UUe) will 'purse' (and not 'bank') parimutuelly; transactions happen in curvilinear time (T).
Function map: fibor ⇒ UUelcome ← twist economics → quantumquotient

/Stewperman🦸🏿‍♂️ [host]

Stewperman🦸🏿‍♂️ :== lnq*\avatar🧑🏿.root.uid=0;

/// +The word is a play on the comic book character, Superman, except that Stewperman🦸🏿‍♂️ is not a hero; 'stewper-' ≡ 'brane cell /nativity' ≅ '\0'. Thus, I🧑🏿 am devoid of: external troubleshooting, debt, or operations outside of the Stewniverse.
+Cybernetically, Stewperman🦸🏿‍♂️ :== stewellis🧑🏿-hypervisor (ie. library embedded-neuron == most privileged version of my avatar⁺).

"All I aim to be is Stewperman🦸🏿‍♂️ (host uuelcoME). Equivalently, if I can't become Stewperman🦸🏿‍♂️, I don't want to 'be' at all. Solipsism is the absurd conclusion." - 🧑🏿lnq

My lifestream's ultimate (unlocked🔓) achievement and Black's penultimate position, 🦸🏿‍♂️this is 🧑🏿lnq's android mode, resultant of jailbreaking🪖🔓 stewellis🧑🏿.🏁 Stewperman🦸🏿‍♂️ reigns stewpreme. (see 🧑🏿lnq's Requiem🙏🏿, clone, Pajamas, stewperior, 🧑🏿lnq nomenclature)

Function map: Stewperman🦸🏿‍♂️ ⇐ lnq🧑🏿

/uuelco.ME™ [8-qubits]

uuelco.ME :== STU-sequence
/// +This one big string of bytecode includes all fibor [fugue = stews, MONEY, bubblegum] - itself an address space superset, outputted as a cassette (toy), and bootloaded by lnq🧑🏿.
+Sequencing something (iterative consecution) inductively means that it gets streamed [:== framework (+runtime) implementing system calls], which inherently implies achievement unlocking🔓.
(see UUe, quantumquotient [conductor], Stewniverse, steWAR🪖🎮-🏳,Stewpot, 🧑🏿lnq, Funshine/Toonlight (song), The Origamic Symphony🎶, stewellis, UUhistlegrass, touch-and-go, "Egglepple, everywhere!", "uuelco.ME, anywhere :)", cassette🧱, Stewc Lemma)

/// +(vocabulary) To a large respect, the word is a portmanteau of 'UUe' and the suffix '-ome' [totality of expressed dynamics, function, and structural information - in this case, stews]. Systematically, the word 'uuelcome' has artificial/manufactured congruence to 'genome' (gene + chromosome). The top-level domain [@uuelco.ME] is, in part, indicative of this being my thing (about 'me' :== my stream), so, that's why I named it that way.🙂
+As part of neuromorphic machinery (ie. biological abstraction), UUe would be the cell, and uuelco.ME the cassette🧱 that auctions/orchestrates its contents. In terms of computing, uuelco.ME :== master boot record embedded into every cell.
+With all fonts classified👍, any mesh becomes stereotypable (ie. polymers can be modeled for print), exploiting a composite image of Egglepple.

Trivia: Before I settled on the name 'uuelco.ME', I had contemplated calling it 'fun:musicbook'. My vision was that it was always going to be an album of some sort of music (in this case, mathemusic). The 'fun' bit had/has to do with the FUN Formula.
///end trivia

My pro-am start was as a ctf🏁 gamer. This parlayed into what amounted to taking on group puzzles🧩^[h], which led me to managing teams of participants. This is the reason I doubled-down on creating my own stream - because I figured that it would be more economical to devise a platform where anybody + everybody could access low-entry 🏁CTFs at will.

The jukebox runs an auction, but supplementing monetization of the proof (pure mathematics is darn near impossible to make money from without sponsorship -- aside: yesteryear, I had a girlfriend whom I once told I was going to 'sell' math for a living, she dumped me the next day😂) is the basic reason gamification exists here in the first place.

The actual stream itself succeeded an earlier attempt of mine in television production - a show called Egglepple: The Mathemagical World. This was me trying to be technical and lamely/gnarly impress the academics of a small college town (resulting in me learning more than I actually output), and I never truly found my audience (note: that program aired on public access television, a narrowcast market).

Production-wise (especially the Funshine🌞 episodes), I was influenced heavily by the arcade machines I was around during my time spent squatting in local Missoula 🎲casinos🎰. Another inspiration came from the dual-formatted game master series, Video Power, as well as scenes from the 1989 film, The Wizard - especially the Super Mario Bros. 3 tournament showcase where the kids/contestants play the game for the very first time anywhere, even before consumers.

Historians note this as a huge moment in cinematic history, where a movie basically served as a longform commercial for a single product/event - the release of a video game🎮 (and the planted germ of e-sports). I present my opera (ctf🏁) in a similar albeit mobile📱 fashion (ie., via demonstrative elements), thus leading me to view the whole world as a gameshow.

The main purpose for designing the stream to be openworld is so that there can exist an unintrusive way to acquire as large as possible clientele on the network, thereby creating the game engine^@ to train our model, which aids in QQ exploitation and ultimately neuronal🧑🏿🦠 dev. Although uuelco.ME is traditionally a recital (demonstrative by default), itself being a contract incentivizes outside participants with a reward function.@@ Parimiutuelity helps to build the distributed superomputer, whose node-to-node proximity is an alternative to the cloud.

My view of 💲money is somewhat skewed; I think a person should make it to the end of their life completely (or near completely) exhausted of energy (ie. money = energy). Since I don't actually sell anything, per se (the jukebox runs an auction on its native cryptocurrency), but serve as the house when it comes to transactions, giveaways as prizes along with other decorations, makes the nature of a gameshow the perfect fit.

"Is there anyone else in the game?!" - 🧑🏿lnq

It^ is a ctf* hashing^& 🧑🏿lnq's walk.^^ This so-called 'jukebox recital' and the formulation of contemporary mathemusic are inventions of 🧑🏿Link Starbureiy.🤓 ** Featuring a bid-ask spread in a greedy auction where threads are maximized [flag = thread(max)] (ie. exhaustion of all 676 ports before a new cycle🔄 of the runtime). && abi threading Flags🏁 are identified as 0-bubbles. (see Stewc Lemma, uuelco.ME License, opera ludo, krayon, 🧑🏿lnq's Requiem, Pink Poem, KOALA🐨, toonage, Funday, treble, vendor, merchant, Black and White, crypto compliance, stewc notation)

/// +For all intents and purposes, this is what I mean when I say that "I op(erate) a jukebox"; uuelco.ME is 🧑🏿lnq's logic/instinct and signature.
+Performance-wise, uuelco.ME is an opera ludo. When I stream it solitaire, it's a recital . When shared for playalong (orchestra), it aims to be a sport.

Function map: quantumquotient ← stewcing ← uuelcoME → cassette🧱 ⇔ lnq🦠 → cell