Of Forms and Observers

Chapter 1: Cubes

The main character of the present story(line) is located in a 3x3x3m [=27m^3] white-coloured cubical room. He lies down on the floor, devoid of clothing, holding pen and paper [these two items will soon prove to be relevant to our storyline] with his [bare] hands. The ambient air sits comfortably at room temperature, 20-25C°, keeping his own inner temperature at bay, 36-37C°. The he pronoun indicates the biologically masculine character of his [our(my) protagonist] genome, but a quick glance at his phenotype tells a remarkably different story, [here meant in the metaphorical sense by which linguists like to play with strings of letters and obfuscate what is more commonly thought to exist: they, as many others, believe that language holds the power to subsume ontology into its reign. But any individual, be it man, woman, or otherwise, of rational character can easily see the absurdity in this. None other than the types of McX and Wyman, all too common in the times before the cube came to be, would gleefully enjoy the time they'd waste fuzzling naming and meaning with the casualty one skips rocks. This however is neither here nor there and serves only to distract the reader from the (story)line at hand. To ease the hardship and ambiguity of putting thought to paper we(I) will henceforth denote this character of ours as Enki], Enki's soft pale skin unravels into a distinctly aristocratic form, the sort that is yearned by the intellectual class of any sufficiently developed society. His feeble limbs protrude in a levitating-like state, as if threatened by the faintest gust of wind. What is most striking however is the tender expression enclosed in Enki's uniquely idiosyncratic physiognomy, enticingly predatory in its unassuming warmth. The sort that will get your run-of-the-mill well paid and married heterosexual office worker fired, or so it did.

The picture that has hitherto been painted [rhetorical...... Figure] is one of mighty verbiage, but the reality, as a matter of fact not fiction, is that Enki is what seems to be a fairly young and frail looking skyclad boy resting on the pavement of a near propertyless cube-shaped room. The otherwise lacking scenario highlights the presence of two aforementioned items [the attentive reader will be well aware of what is here intended]: pen and paper. Let us now move onto a purely[in its most perverse meaning] spatio-temporal description of what is happening, as a matter of fact not fiction. Enki is lying down on the floor at t=1, his left hand holds an unknown multiplicity of medium sized sheets of paper, on the right he holds down a ballpoint black inked pen, his [slim] legs are stretched forward parallel to each other, his head rests [uncomfortably] on the floor. Enki gets up on his set of [two] feet by t=2, the process by which this occurs is not explained to the reader, but is known by the narrator and left to the interpretation of the former. At t=3 Enki can [could] be seen by one of any observers within the cube getting back down on the floor, sitting on his crossed legs and [finally] putting down pen to paper. This brief description of a sequence of movements will now serve to lead us onto the crux of what our story-line will cover. For the sake of fiction, let the author of the present text be denoted as 'A', and the character of said text, Enki, as 'E'. Let now A=E, thank (((you))).