Fran, my creative toolbox, with vertical and horizontal lines taking into account the perception of the world, ignored the rules, defied the impulse toward mild nausea, headaches, boredom and artificial intelligence, becoming my ultimate user preference, and I hers, something the system did not know how to construct and so we had to develop our own liquid architecture, a data visualization environment where she would say things like "I see what you mean," or "can I take a closer look at that before it gets too old," her exotic skeletal demographics being rendered into some 3-D object-oriented hypertext system made by remote processing units (our avatar Otherness lost in the lust of last looseness?), my own engagement with it all more than cerebral, in fact somewhat delicate to the touch so as to have access to all of her stored metaphors, the riddles of her Real Audio Stream again telling me "the combination of these two methods greatly reduces the displayed information while providing both local detail and global context."
For example, if an object-oriented data visualization environment were to somehow find a way to my heart and transpond some unexpected meaning by way of igniting the circumference of my latent desire, it should not be assumed that the navigation widget would automatically engage itself in a tactile adventure. True, there exist derivations of other interesting scenes, especially in regards to more "frivolous" objects whose iconography suggests the potential spatial depth of an inverted bell-jar curve of significant economic proportions, yet to proceed in this direction without having to worry about obscuring the complexity of the situation may cause an imbalance between the receiving node and the disseminating mode thus creating new artistic rules about the compositional integrity of the imagination's virtual reconstruction as a kind of puppet utterance whose virtual strings respond to various input devices.
Now, as we have seen, the object's "gravity counteraction strength" creates a force whose origin is unknown, yet the so-called "creation parameters" are still outlined by the desire to reach a basic human heart. This basic human heart is lyrical in its coded complexity and when motivated beyond its inanimate posture can mobilize an entire armed force of preprogrammed lines ready to discharge at any moment. Pushing manually-operated buttons in a way that causes facial contortions and other bodily transformations can lead one to rethink the factory-like output of say, a Volkswagen bug, as during the Reign of the Autobahn. Of course, all references to gaseous eros and extended cardioidal strains of human existence are only used metaphorically but their purpose, as exercise, is to present the receiver of ones transmission with an opportunity to act. As a rule, the animated changes that take place within these interpersonal relationships and their mutually adhered to Philosophy of Life, are going to make a great deal of difference in how effective they are and how easy the problem is to manage.