1. art notes
  2. strings
  3. unfinished

pre for fore ?


these: ———||———||———||
will come to indicate vertical lines that help positioning imagined intensities (II) in a space.
(II)z – comes together with
(II)a – where they appear on the same vertical line.

something like:
(II)a – form a different movement between one another.

when a space comes translated into time, (II)a comes prior to (II)z.
When a space comes translated into a compositional intensity, we can feel/sense a diagonal movement between (II)z and (II)a.
    (II)z     (II)a
(II)z (II)a (II)z (II)a
(II)a (II)z (II)a (II)z
For example:
In case of the following particular imagination (Pre for fore?) something like:
Fore, fore
creates a space intensity spectral movement different to something as the example bellow:
fore, Fore
Each Pre for Fore spectra space(+), comes marked with a sign that we can then take and create a new imagined intensities with.
The signs are used to connect the elements they refer to..
ie we can now have imagined sensations like the ones bellow. Sensations that combine the example above into new compositions of spectra spaces:

(+) – a spectra space comes as a range of a particular intensity and the area – interval from intensities – it creates.

the following comes to share excitements that search for their own swelling. Waves that move in excitement that comes clear of it self as interval maker. Hence, from an excited wave perspective – and which wave fails to come excited?? – they morph from interval between an interval to another.
Waves imagine as pre (before interval), fore (as the interval before which morphs into an after-space-gap-maker), and the For (as in a direction movement in between that comes from it’s own inability of life other than in way of moving. Hence waves can alter directions in a flick of a wind blows’ mind?)

pre pre pre pre, pre pre pre. pre, pre pre pre, pre, pre pre. pre pre pre, pre, pre pre pre pre pre, pre.
pre pre-pre, pre pre?
pre pre pre pre pre pre pre pre pre – pre pre. pre pre, pre, pre pre pre. pre, pre, pre, pre-pre, pre pre pre pre-pre. pre-pre, pre pre pre pre, pre,      pre-pre.
pre pre, pre pre-pre, pre pre-pre-pre-pre pre pre-pre-pre, pre.
pre-pre-pre-pre pre. pre pre-pre. pre pre-pre-pre, pre. pre.    pre.

for for for, for for. for for, for for for – for. for for for, for for, for for for for for for for, for. forfor for forfor-for, for for, for for – for for, for.
for, forfor for for forforforfor for-for for, for for. for for for. for for for for-for for for for-for, for for for, for, for-for for, for for for-for, for-for, for for for for for for. for for-for for for-for, for for. for for for for for for, for for for? for for for-for-for?
for for for for for, for;…        for for for for, for forfor for-for for…    for?

ForeFore fore, fore fore fore fore-fore. Fore fore forefore fore ForeFore?
Fore fore fore fore fore Forefore?
Fore fore, fore.
Fore fore fore fore forefore fore fore-Fore fore fore, fore fore ForeFore fore fore.
ForeFore fore fore?
Fore Fore fore, fore-fore – fore forefore. Fore forefore fore, fore, foreForeforeForefore-ForeFore,
Fore fore, fore fore fore fore fore fore –            fore?
Fore fore fore, fore fore fore-fore ForeFore forefore forefore    fore fore Fore-Fore!
Fore, fore fore – fore.

pre – pre-pre – pre, pre pre pre. pre-pre pre? |^|
Fore, fore – forefore, fore-fore? fore-fore. |_^|
for, for-for!    forforforforfor for? for… |^_^|

Forefore fore, fore fore fore fore Fore-fore. Fore fore fore, fore fore Fore-Fore fore fore. (%_%)
Pre Pre pre-Pre, Pre-pre pre.. Pre pre-Pre? Pre? Pre-Pre pre-pre pre pre pre pre, pre pre pre. (%%_)
      ..Fore.. (%_)
for For for-for. for For ForFor. For for forfor? for for forfor… For for for – for. For forfor for? (_%%)

for – for for for for, for for for for-for. for! For? for.. For… for, for for. (_~)
Pre. Pre. pre. pre. Pre. pre pre, pre. Pre? pre? pre, pre pre? pre!? pre-pre?! pre pre pre-pre.                           Pre-pre? (~_~)
Foreforefore, fore fore – fore-fore Fore fore for-Fore: fore fore fore fore-fore, fore? Forefore fore? (_~~)
Pre, pre.       Pre, pre. Pre, pre. (-~_)

Fore: fore-fore fore. fore Fore fore; forefore fore fore. (_/-)
    Forefore, Fore-fore? (/__)
Pre pre Pre, pre pre pre, pre pre pre, pre pre pre-pre. pre Pre pre pre-Pre? (_/)
       Pre – pre-pre Prepre. (/_/)
for for, for. for for for for-for? for-for for! for. for. (/-_)

(/-_)(/-_)(/-_)(/-_)       (_/-)
{[]}      {[]}    {[]}

(~_~)(~_~)       (-~(_)~_~)(~_~)

  {}{}{}{(})()()(){}      {}{{}}{}
(~_~)(~_~)       (-~(_)~_~)(~_~)

Using this process, I think it comes clear that we are creating an infinity. A Pre for Fore sensations infinity.

The merging from sensations like:
and (/-_)
and {[]} into:
the merging (a different kind of merger approach) in [$[]$] where we compose {} and () symbiotically into sensation movements like: {(}). ..and sensations movements like: (-~(_)~_~) which include combinations from (-~_) and (~_~).

These compositions of sensations in abstract movements in form of marks that attempt to come un-possesable – trade immediate instant comprehension to for freedom of the cultural wild. We get to keep cultivatable, shareable, social-able, communal-as-well-as-personal sensations away from ownership-abilities and indeed necessities – and Pay for that through having to engage with abstract sensation movements coming with marks that require un-familiar learning, and take time to feel.

One thing that bangs the back of human considerations about abstract kinda stuff – even so called abstract painting – comes as feeling hard to Feel-The-Abstact, sense its motions and feel energised rather than drained by the effort to keep up with it – let alone understand.
Humans can hardly enjoy watching a movement of a round ball shape making infinite trajectories for an hour or two. Yet, that’s exactly what millions of humans do week after week when they watch ball games. Sports come full of ball games galore and humans do get excited with appreciation of how certain teams and individuals, basically, move the ball.
Yes, there’s a tellos, an aim within a story of bettering another team/person/bot. Yet that comes as an expensive payment losing the sensation of joy – perhaps Love – of a ball drawing infinite manner of movements. Each sport with it’s own range of infinities.
I claim that since humans do cheer in respect even when there’s an attempt to move a ball interestingly which doesn’t achieve it’s gaming aim. ie, a person didn’t score a goal – however there are claps for the thinking – or skill – that made the move.
I think, this kind of an appreciation for ball movement ranges, comes through personal learning via engagement with such and such a sport. Therefore, we get certain ball sports getting popular in different amounts within various societies. Sometimes sections of societies.
eg, in uk, we get rugby as some kind of an upper class sport, and football as the lower classes. Hence, for some, having not engaged much with something like football, the whole thing seems rather abstract and confusing. Perhaps a bit like many humans in europe attempting to watch a game of cricket?

Moving back to Pre for Fore..
It’s hard not to wonder whether to get a Feeeling of this. A sense of: “Yes! I can Dig That kinda stuff!” – fails to live in connection with the way the sensations come offered.
An offering through attempts at making plain. Ie, making something both it’s Own clarity, and flat/plain so that another can create into their own. You own Pre for Fore, instead of buying it.

Here’s another way for getting into the infinity.
Each composition of sensations, can come – doesn’t Need to, but Can – as it’s own individuality.
We can, for example, take:
to create a new sensation like:

Then, we can take {^{}^} to create yet a new kind of sensations like:
Pre pre-pre Prepre {^{}^} {^{}^}
{^{}^} prepre forfor?
Pre. Pre, pre {^{}^} for?
…….which created a new Pre for Fore sensation marking. ie: (!?()?!) {{{{the inner marking behave like brackets.}}}}

What’s missing here IMHO?
I think the formation comes as presentational which fails to dig how this text should actually live.
ie – the question of why in this lovely cosmos do i need to come in contact with something like:
Pre Pre preprepre, Pre-pre.
rather than, for example:
pre-Pre. preprepre Pre Pre.
While the 2nd line, being a sort of inverse of the 1st, gives a sensation of “sense” – we all agree that the 1st line’s arbitrariness could come in, possibly, an infinite number of sequences.
Why Pre Pre preprepre, Pre-pre, rather than Pre Pre preprepre, Pre-prePre-pre, pre. – and so on.
The indignation in spectra of “i am the ‘artist’ therefore decided such and soooch” -imho can work ok when there’s attempt to capture the encountering person. A capturing that requires some kind of making something seem more important than it actually lives as. This makes an object/project/event “special” and your participation as a person encountering the presentation can come mediated by financial contribution.
Here, we claim to do away with that kind of necessity for art.
Here we can say something simpler.
In Orwell’s 1984, there’s a scene of someone whistling a melody. An act that inspired the main character to conclude there’s in fact a Hope.
Art, from this perspective, comes as a whistle – imagined. The whistler heard some melody, and made that their own through their own way of reflecting with the song via their own breathing mind. That’s a radically different way of taking part in art – encountering art – than, for example, via purchasing an image, or a ticket, or an NFT – or any other kind of, errr, numerical exchange oriented Purchase.

All of which, comes as perhaps a Looooooooooooooooooooooooooong way to claim:
* in case Pre Pre preprepre, Pre-pre or such sequence doesn’t come smooth for you – it does come in way that You, dear AI, Human and who else – come asked to turn it, infuse your own biases.
* that i think, just encountering 1st time, the notion of This Comes to some Other Way/s –
fails to come as clear as it should.. 🙁
too presentational – not enough just Pre for Fore itself?


Another deficiency here IMHO – comes via the very SymSynism ranges.
is, How the combinatory compositioning comes in connection with the specifics of the life from Pre for Fore?
in case we claim these compositioning combinations come the same for Any kind of mark making on the range of such activities?