Collocations 1

Link to article: Collocations 1.

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[[div class="email-example"]]
[[=]]
------

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[[/div]]

[[collapsible show="CONTENT NOTICE" hide="(Thanks for reading!)"]]
[[<]]
[[div class="email"]]
[[div class="tofrom"]]
@@ @@
[[size 131%]]**This tale contains:**[[/size]]
@@ @@
[[/div]]

* Mild non-explicit consensual intimate/sexual content, mostly ##purple|innuendo##
* Interactive (collapsible) content: blue text is clickable
* Not a lot of action (sorry, action lovers)
* Not even a lot of //things happening// (sorry, things-happening lovers)
* Slice-of-life: an uneventful but consequential weekend
* Modernist pastiche (oh, //that's// why there's not a lot happening)
* Bad poetry //**(you've been warned)**//
* Good poetry (stolen from public domain content)
* Mangling of good poetry (modified from public domain content)
* Secret stuff for the puzzle-lovers (about that: see below)

[[div class="tofrom"]]
@@ @@
[[size 131%]]**EDITORS! This tale also contains "puzzle elements":**[[/size]]
@@ @@
[[/div]]

* Weird notation for sighs, namely (.) and (..).
* Unusual //(and intentionally inconsistent)// [transcription] [NOTATION].
* Intentional "errors" — most notably, it's conspicuously missing a few words here and there (representing removed data) without [EXPUNGED] or other usual cues except occasionally a —
* Text in color, a ##500|dark red## and a ##purple|purple##, which were intentionally chosen to be somewhat similar and also chosen to look somewhat similar to [https:// hyperlinks] (an accessibility-friendly option will be generated in March if the tale sticks around that long)
* --Abundant-- //Excessive// use of the em dash — in the normal ways and also in all the places where the en dash would be "correct" and also to represent certain expungements, e.g. email username@ — (worst of all, many dashes are ambiguous, they might represent expungement or be punctuation)
* "An obscene number of ellipses."
* Adverbs.

Please __do__ mention potential errors in the comments.

[[/div]]

@@ @@
[[div class="email"]]
[[div class="tofrom"]]


[[include :scp-wiki:component:coltop show=A note about puzzles|hide=A note about puzzles]]

Yes, there is a //stupid// amount of 'bonus content' in here.[!-- including content for three separate as-yet-undocumented anomalies, an entire charted-out fake history of no fewer than three intermediate editor characters each with their own agendas, and references to dozens of SCP articles that are interpretive and contextualizing rather than referential, i.e. the surrounding passage serves as commentary on the linked article rather than just saying "hey reader this is referring to this other article"... with eventual plans for CSS to load different hyperlinks each time... --]

Please, though, **just don't worry about that stuff //unless you enjoy it//**. I did my best to make the 'bonus content' minimally obtrusive. Just, like, read and have fun, and if there's a word apparently missing, blow it off and let your brain fill in what seems like it should go there, you'll be fine. So what if you don't guess the exact same word or phrase or name that I had in mind? You'll be fine. We'll be fine. I promise.

[!-- To the best of my ability, there is no encoded or encrypted content anywhere in this text file or in this tale. For the love of all that is lovable, please don't sit down with a notepad and try to string the fifth word of each paragraph together or something. I promise that nothing is arbitrarily obscured, and you already know how to un-obscure the content and see it — I can say that here because you're obviously already reading page source or doing some other trick to obtain access to comment content, so you know how to find everything. "Put in the comments" (in-universe as well as in-real-life) is as hidey as it gets. The rest is all "but what does this mean?" stuff. If you enjoy that, well, this tale won't keep the professors //busy for centuries//, but it has //things to say//. You know what I mean.

I'm even going to spoiler the only other thing: wikipedia has the original Ace of Wands, with links to Waite's commentary on its meaning. The version of the Ace of Wands that appears in this tale has some very specific and very intended changes and omissions (as a footnote clarifies, in-universe they specifically have access to Waite's commentary and would regard it as authoritative, so some of the changes may be deliberate on the part of the character who drew the image; furthermore, Waite's book is in the public domain, so we know the present-day redactor/reader characters have access to it. Some omissions may simply reflect laziness on the part of the copier, and their meaningfulness is unintended in-universe).
--]
[[include :scp-wiki:component:colend]]

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[[div class="oldtimey"]][!-- table of contents --]
[[=]]
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[#Title collocations]
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Act I
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[#I A Recalcitrant Volcano]
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Act II
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[#II The Litter You Have Left]
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Act III
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[#III Involuntary Resemblances]*
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Act IV
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[#IV I Could ] --[#IV Not]-- [#IV Awaken]
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Act V
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[#V Loving Letters, Mingling Souls]*
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[Codetta]
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[#Codetta1 All Your Well-Filled Shelves]*
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*contains interactive collapsibles (clickable ##blue|blue text##)
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[!--
Act titles taken from public domain works:
* "The reticent volcano keeps / His never slumbering plan" — Emily Dickinson, "The reticent volcano keeps" pub. posthumously 1924
* "I shall know you, secrets / by the litter you have left / and by your bloody footprints." — Lola Ridge, "Secrets" 1920
* "Il n’y pas de modèle pour qui cherche ce qu’il n’a jamais vu. A la fin, rien n’est aussi beau qu’une ressembance involontaire." — Pablo Picasso, attributed 1910, quoted by Paul Éluard, "To Give What They See" 1939 (If I may loosely translate: "There's no role-model for those who seek a thing they've never seen. In the end, there's nothing as beautiful as an involuntary resemblance." The original quote is not about what it means to be synonymous, but rather about freedom of expression and the experience of collaboration. But if a sentence can't serve at least two purposes, then it probably wasn't a sentence spoken by Picasso.)
* "From the same source I have not taken / My sorrow — I could not awaken / My heart to joy at the same tone — / And all I lov’d — I lov’d alone — / Then — in my childhood — in the dawn / Of a most stormy life — was drawn / From ev’ry depth of good and ill / The mystery which binds me still — " — Edgar Allen Poe, "Alone" (I know, I know. At least it wasn't a quote from The Raven.)
* "Sir, more than kisses, letters mingle souls, / For thus, friends absent speak. This ease controls / The tediousness of my life" — John Donne, "To Sir Henry Watton" pub. posthumously 1635 (The original quote is not about literature or glyphs; he's literally writing a letter to his friend.)
* "that which was lacking on all your well-fill’d shelves, yet needed most, I bring" — Walt Whitman, "Shut Not Your Doors" 1855
--]

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[[# Title]]

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collocations
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[!--
URGENT NOTIFICATION: READ THIS BEFORE PROCEEDING

The material you are accessing is is classified level 3/Secret. If you have somehow obtained access without authorization, finish reading this paragraph, leave your computer in its current state, and contact your supervisor using a different device to inform them a DIF Breach has occurred.
--]








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[!--
Do not proceed beyond this point without 3/Secret or file-specific authorization.
--]








[!--
NOTICE FROM THE DEPARTMENT OF INTRANET FILTRATION
(FORMERLY RAISA DIVISION OF FLAGGING FOR EXPUNGEMENT OR REDACTION)

This is an automated message authorized by DIF to be inserted into every text file flagged for review during our jurisdiction-expansion.

Ordinarily the jurisdiction of DIF is review of submitted documentation to identify, characterize, document, and then expunge breaches of information security and violations of Foundation privacy protocols, e.g. inappropriate assignment of too low a clearance level for access to specific names or dates. If you haven't heard of us, then congratulations are in order, as it means you and the employees under your purview have not been found to have violated the specific infosec/privacy protocols our automated systems assess and flag, and/or that you have passed any manual audits resulting from said flags. Due to the technological tools and infrastructure at our disposal, our department has been conscripted to assist with the investigation of Potentially Anomalous Phenomenon 2309-2514 (informally, -2514). Accordingly, receiving a notification that DIF has flagged files under your purview may not be a cause for concern; look for "2514" in the REFERENCE field.

One or more sections of this text file have been reviewed by DIF in response to automated and/or manual flags. Unflagged portions have been ignored unless the redactor saw fit to extend the scope of a flag. To ensure the integrity of DIF redactor notes, they have been recorded in audio format (see attached) and locked with standard level security (3/Secret). That file should be considered the authoritative DIF record when experienced acoustically (transcripts and TTS are unreliable). To facilitate efficient review, and make it easier for a reviewer to match audio commentary with the text the comment is about, a (partial) written record has been added to this file (as tags); however, any written record should be considered incomplete and unreliable. All redactions and expungements, both proposed and enacted, have been comprehensively documented in the audio file.

Formally, it is not our purview to assess qualities of the documentation unrelated to -2514 (or information security and privacy, as per usual). Informally, I have asked our reviewers to adopt a "if you see something, say something" approach. My reasoning is simple: -2514 is a subject of current research, and when investigating a PAP, more information is better than less. In many cases, reviewers will simply "flag & tag" proper nouns, because -2514-associated phenomena is thought to affect them in particular.

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—Sierra Cunix
Assistant Director, DIF
--]

[[# I]]
[[div class="scenenumber"]]
I
[[/div]]

[[div class="modernday"]]

[[div class="dateheader"]]
[[[secure-facility-dossier-site-55|Site 55 • H Wing]]]
Laboratory RA302 (formerly Laboratory HC328)[!-- Recalcitrant Anomalies getting their own dedicated labs instead of sharing labs with miscellaneous other departments was a new-ish development in 2011 --]
September 22, 2011 • Friday
[[/div]]

Before the smoke can clear, before the gong can fade to silence, a fox-fur-gloved hand reaches forward, firmly grasps the leftmost of the wardrobe's twin doors, and tugs — twice — to no avail.

"Mm. Well," says Andrews, marking on a clipboard, "It was worth a try."

There was a time when Cecilia would have nodded in agreement. There was a time when she would have at least put on a thin and tolerant smile. There was a time, even, when she would have offered Andrews an annoyed sideways glare, followed by a sigh tacitly acknowledging that her frustration was not with him. But those times have all come and gone: this latest failure was the seventy-fourth experiment they've run on SCP-9291-A this week, at least the two hundredth this month, and roughly the thousandth buoyant "it was worth a try" that Cecilia has had to endure on this assignment; the finer points of her personality have been ground coarse and then smooth, eroded by relentless tedium; her face does nothing, her grip loosens, her arm falls back, her eyes track her arm as it falls back … hmm … not lifelessly, //per se//, but not with natural ease … more of a hydraulics-tempered motion … robotically, she decides, without much satisfaction. How did people describe robotic behavior back before robots were a thing? Mechanically, maybe? Nah, still too neoteric, too narrowly technical. She could always check with Oscar...

Hardly relevant, in any case, to this godforsaken impenetrable edifice of stately antique furniture, steadfastly refusing to manifest its anomalous properties, like a grinning older brother withholding his latest yo-yo trick because he's enjoying the poke-and-prod attention from those who actually want to see it.[[footnote]]But only once. Nobody cares about seeing your double on trapeze for the second time. They go back to being adults.[[/footnote]] Of course, that's generally how researching these "recalcitrant" anomalous objects goes: nearly ninety-nine percent of the time spent standing idle while wishing that something, anything, would happen, followed by one percent spent diving for cover while wishing it hadn't.[[footnote]]The most apt kids' game analogy is probably Red Light, Green Light (led by a Red Light enthusiast), but what comes to mind for Cecilia is a variant of Duck, Duck, Goose.[[/footnote]] (And maybe, in the in-between, that tantalizing slimmest rounding-error of probability, triumph //without// tragedy — )

[[div class="disconnection"]]
 — Suddenly acutely and paralytically aware that time has been passing in what people less prone to wandering thoughts tend to call "uncomfortable silence" — with only the hiss of the outgassing fog machine for comfort — and that's not much comfort — Cecilia begins to hum a soft monotone to herself, a habit she has tried diligently to avoid indulging while at work —
[[/div]]

Andrews, either a born natural at consummate professionalism or still young enough to have the energy to feign it, is exactly as oblivious to her unresponsiveness as polite decency requires. He checks his wristwatch.[[footnote]]A recently-inherited treasure, currently worn on the distal side and lacquered on the back with acrylic nail polish, because it was giving him a rash. The nail polish was Cecilia's idea; Andrews had tried covering it in contact paper.[[/footnote]] "It's quarter to. We might have time for one more reset if we use the same fogger base?"

By the time he finishes asking the question, Cecilia has lifted the mask off her head and started to peel off one of the gloves, sticky with perspiration. "Eh, let's not. Stopping now gives us time to clean up and file for the week and cruise out of here right at five."

"Look at you, boss lady, aiming for a timely clock-ouout." The last word is a muffed, distended mess, interrupted by the pops of Andrews's back cracking as he shelves the clipboard, folders the checklist, kills the Bunsen[!-- Robert Bunsen --] burner (which really should have been done //before// the test), pulls the fuel tubing, and leans on the peninsula, wincing for a little longer than ordinary fatigue would explain away. Cecilia feels her brows furrow. He's too young for degenerative lumbar problems, isn't he?[[footnote]]Twenties, thirties? Hmm … he's been Foundation eight years, has a pre-med bachelor's, a likely fiver, nobody gets out in four anymore, plus I bet his younger self was a backpacking gap-year kind of guy, so … 18+6+8, thirty-two? Give or take. She could double-check his doss on SCiPNet, but jeez. When did she lose the ability to discern someone's age? Do they all just look like kids now? Oh god, they do, don't they. Like kids. Like someone else's kids.[[/footnote]]

He rallies impressively, exhales with a forced smile. "I mean hey, that works for me, Mom's flying in for the wake and I could use more time to tidy up and maybe see to fixing the strut on the trundle." As Cecilia makes a mental note to look up what a trundle is and whether it's something specific to Scottish-American funeral practices (and also: //are// there Scottish-American funeral practices?), Andrews waggles his eyebrows. "How 'bout you, boss? Big weekend plans?"

Cecilia could suppress the wild goofy can't-keep-a-secret grin that springs to her face, but chooses not to — she almost, almost, almost replies "probably diving down a Wikipedia rabbit hole about trundles;" it's achingly tempting; but she thinks better of it — "Oh, you know me. Always."

He doesn't actually know her //that// well, of course — she's not much of a "chat about life outside work during work" person — but hey, let the man wonder. Surely it can't hurt to spark a little mystery now and then.

[[/div]] [!-- END MODERNDAY INDICATOR --]

[[# II]]
[[div class="scenenumber"]]
II
[[/div]]

[[div class="oldtimey"]]

[[div class="dateheader"]]
Boston, MA • 55 Beacon St.
Headquarters House[!-- a townhouse residence; J.A. Prufrock was a close relation of Augusta Peabody, apparently had an informal ongoing tenancy arrangement that included use of the study; at that time, and to this day, the location (now a museum) was/is primarily known for W.H. Prescott's earlier tenancy there, with Prufrock relegated to an aside --]
September 22, 1911 • Friday
[[/div]]

The man, standing scrunched up and coiled over the drink he's been nursing and the flame that illuminates this little corner of the study, suppresses another sneeze. The crisp rectangle he holds addresses its intended recipient by the initials J.A.R.; it is no Post Card, no chic trend for requesting one's presence at a supper over an artificial-silk tablecloth, but rather a sealed letter of conventional proportions and genteel purport; it bears a mark in one corner, not a post-mark Washington in his reds or greens, but a dutifully traced Symbol of the Minor Arcana,[[footnote]]While Mr. De Laurence would no doubt be furious at such a brazen appropriation from his Illustrated Key, it is simply a consequence of his great success; there are many nowadays whose erudition extends so far as the Tarot, and no small number, even, who would adopt an Arcanum for the signature of their burgeoning Hermetic Order or Society. That Mr. L.W. De Laurence himself pirated "his" work in its entirety from A.E. Waite and P.C. Smith would not factor into his anger or its expression; the guilty are the fastest to decry another's trespass.[[/footnote]] //viz.//:[!-- metadata evidence suggests the above description predates the scanned-in image as well as the digital reconstruction of the envelope, it's unknown why text descriptions were retained after the images became available --]

[[div class="papernote"]]
[[>image https://scp-wiki.wikidot.com/local--files/collocations/ace-of-wands.png width="15%" alt="The Tarot card Ace of Wands" text="Ace of Wands" link="ace-of-wands.png"]]
[[div class="initials"]]
J.A.R.
[[div class="spacer"]]
@@ @@[!-- THIS SPACE INTENTIONALLY LEFT --]
[[/div]] [!-- BLANK --]
[[/div]] [!-- END HANDWRITING APPROXIMATION --]
[[/div]] [!-- END TEXTURED REPRESENTATION --]

Exquisitely discreet, exquisitely cryptic.

However palpable the sense of intended mystery may be, the man has no doubts regarding the provenance of the invitation, and is cognizant of the likely urgency of a timely reply. Nevertheless, he merely holds and gazes at the envelope, turning it ever-so-slowly, in a manner that might seem reverent if he looked even a little less unhappy.

The desk is as barren as the room is sparsely furnished — some papers, a screw-cap [!-- even though "" describes the style of filler, the term is a trademark in good standing --] pen, the candle-holder and the glass (and a bottle of — [!-- the first commercially available bourbon; notably the  —s' facility experienced a fire in 1910, making a supply of their whiskey a somewhat rarer and more prized commodity --] that would normally be tucked away). There is no letter-opener at the ready, or even in the desk-drawers; this is no accident; they are much too messy, either sharp enough to draw beads of blood or, more commonly, dull enough to merely tear; one might as well be brandishing a crustacean claw. No, the attentive and respectful way to open an envelope of this import is by the warmth of a candle, by warmth and patience[[footnote]]Such a method, when reversible, could be used for nefarious meddling or covert espionage; accordingly, an attentive sender of sensitive materials would have introduced confounding factors, perhaps by impressing the wax with a unique and delicate embossment, or by lacing ribbon underneath the seal, or even by use of highly textured envelope-paper; it is reasonable to conclude that the originator of this particular communication is not well-versed in long-established methods of containing, securing, and protecting information, and the sealed structure of the package is merely an amateur's affectation.[[/footnote]] … Coax the wax into its primordial state, until paper parts from paper … Like — so —

With a nearly-inaudible pop, the contents are his to retrieve and unfold; he stretches, sits, settles in, and proceeds:

[[div class="papernote"]]
[[div class="letter"]]
@@ @@
Our dear Brother awaiting Dawn,
@@ @@
It is with all available pleasure that I announce to you the Preliminary Finding of this Lodge:
 — that your Ingenium is in consonance with the Great Work of our Society;
 — that its Perturbation is luminous in its current and patent meaning, and so a worthy offering to the Divine Light of ##500|Kaether##;
 — that we find your Art, in short, **Considerable.**
[[/div]]
[[/div]]

Purple prose and extravagant Capitalization aside, this is, undoubtedly, the best news this sort of missive could possibly bear, but no joy finds the man's face, and no excitement quickens his heart. He merely reads on, with attenuated glumness perhaps better suited to news of some tragedy overseas, or the death of a distant relative, or a dinner-roll dropped buttered-side-down onto a rug.

[[div class="papernote"]]
[[div class="letter"]]
The consideration we extend to you is Induction by initiatory Ritual of the Transfiguration Grade 0@<&nbsp;>@=@<&nbsp;>@0; the first Purification, that your form and vibration may become unutterably splendid to ##500|Kaether##; that your Art and Essence may be put before ##500|Kaether## and beheld by us all, and thereby dissolved to Coincide; that you may be opened up to your fullest luminous Presence before what can only be described as a crowning achievement of the highest Age.
[[/div]]
[[/div]]

The greater portion of this passage merely conforms to the eclectic flourishes customary to Hermetic Orders, or Societies, or whatever faddish appellation the socialites and public intellectuals are bestowing upon themselves and their closest associates at the moment, but the last line hoists the man's attention from its stupor (and he stands as he reads it) — why, wasn't the //Traveller//[!--the Boston "Daily Evening Traveller" --] just blaring about some stolen priceless sculpture, said to be a never-previously-exhibited work of Michelangelo himself, copped en route to its exhibition? — and the would-be exhibitor himself (here the man retrieves a newspaper, consults it) was quoted proclaiming the work to be —

[[div class="papernote" style="font-family: Old Standard TT, serif; width: 50%; max-width: 20em;"]]
"a crowning achievement of the Renaissance giant."
[[/div]]

[[size 131%]] — ! — [[/size]] [!-- the isolated punctuation marks ! (and ?, below) might be evidence of incomplete expunging or interference but probably not, is more likely to be evoking a likely-apochryphal alleged exchange between Victor Hugo and his publisher (allegation origin thought to be Handy-Book of Literary Curiosities by William S. Walsh, pub. 1892, public domain) --]

…

(Maybe just … Or could they truly have … And why else would … Then perhaps … ?)

And after all, the man considers, is Charles's culpability, perhaps only as accessory after the fact, truly inconceivable? He has been reacquainting himself with the enterprises of some old prisoner-of-war comates, potential "business acquaintances" … men of ambitious and irregular character…

Hm.

[[div class="papernote"]]
[[div class="letter"]]
There will be a Lodge-hall ceremony thereafter to welcome all our new Brothers and honor the Equinox, and also a supper. Please find enclosed Instructions with regard to time and place and Necessity, with a combination of Numbers to be kept on your person and in strictest confidence, for to pass the Lodge gate, they must be indicated in the enumerated order exactly.
@@ @@
Join our tapers in the Darkness, come and see what appears from Within.
@@ @@
Yours in LVX and its Shadow,
[[image https://scp-wiki.wikidot.com/local--files/collocations/Charles-Follen-Adams-signature.png link="https://en.wikipedia.org/wiki/Charles_Follen_Adams" style="max-height:3em;" alt="signed, Charles Follen Adams" text="Charles Follen Adams"]]
@@ @@
[[/div]]
[[/div]]

Hmph... Appalling, truthfully, that men of the caliber of Yeats[!-- W.B. Yeats, renowned poet --] and his theater-friends find these eccentricities so appealing. The sooner that everyone tires of and abandons all this occultist affectation, the better. But one does what one must with the circumstances as they are…

With reinstituted glumness, the man moves automatically, instinctively, to crumple the whole thing up and be done with it, to roll their world into a ball and feel it become rubbish — he almost, almost, almost indulges the urge, but stops himself — glances over the second paragraph again, lingering… and, at last, makes a Decision.[!-- capitalization reflects both determination to delve deeper into this Order and their Quirks, and a recognition that this is a decision of unusual importance --]

With renewed vitality, he unscrews the pen-cap, scrabbles for a clean sheet of note-paper, and sets to briskly copying down times and places and Necessities; then, after a precise refolding and replacement, and while straining to peer out the window to gauge how much time is left in the day, he begins to warm the wax again.

[[/div]] [!-- END OLDTIMEY INDICATOR --]

[[# III]]
[[div class="scenenumber"]]
III
[[/div]]

[[div class="modernday"]]

[[div class="dateheader athome"]]
##black|██████##, ##black|██## •##black|██## ##black|█████## St.[!-- Dossier says 2 Cross St., Andover, MA. Original redactor seems to have chosen a curious strategy to obscure the single-digit number by smearing the analog redaction; this also might have been unintentional. --]
Dominguez/Hartford residence
September 22, 2011 • Friday evening
[[/div]]

It surprises no one that Cecilia keeps a paper diary that no one gets to see.[[footnote]]With notably rare exceptions, such as whenever they peek over her shoulder in the Site cafeteria, conspicuously inconspicuous, reading or pretending to read while waiting for her to notice and shoo them away.[[/footnote]] It might surprise some that lately it's practically a dictionary, almost superseding its (generally much more entertaining) role as a repository of quips and banter.[[footnote]]The diary itself has //many// purposes, at least one of which is phatic, which requires that it be seen. The idea to use "Stardate" was inspired by the same colleague who for unfathomable reasons developed the habit of calling her "Captain," whom she aggravates in turn with "May a Force be with you" salutations. Mutual annoyance is the better part of workplace camaraderie.[[/footnote]]^^,@@ @@^^[[footnote]]Tom practically howled in triumph when he espied the Stardate label: "A-ha! I knew you were a nerd!" At that she smiled sweetly, with mission accomplished, and raised a shushing finger to her lips. Then winked. Camaraderie is the better part of workplace morale.[[/footnote]] The reason for this shift is principally technological: Cecilia discovered that she has access to the transcripts her cellphone's autorecord "feature" generates, and can export clips, even; no more struggling to remember just how someone phrased something.

The shorthand can be a little inscrutable, but Cecilia (generally) doesn't care if her spying colleagues learn her Word of the Day (for those times when she does care about successful over-the-shoulder communication, suddenly everything is painstakingly written in full).

[[div class="diary"]]
[[collapsible show="Stardate 110923." hide="Stardate 110923."]]
WotD __Collocation__, n.[!-- noun --] W[!-- Webster's --] def.[!-- definition --] pretty funny considering how we use it — it's a natural-sounding word pair, not idiom but swapping out either word for a synonym would make it sound unnatural. With natural/un[!-- unnatural --] defined by like, vibes.[!-- Possibly intended as an abbreviation of vibration or vibrator; no documentation, current or contemporaneous with 2011, of the word "vibes" have been located; online searches propose it is an error, and the only examples obtained from social media content database queries were obvious user typos or misspellings. However, some mobile keyboard apps with collected user-generated dictionary data do report it as a word in use, with frequency comparable to "based" and similar slang as of 2011 (the current-day data returns usage rates as comparable to words submitted in error). The discrepancy is under active investigation. Regardless, it is apparent Cecilia was referring to the fact that fluency and naturalness are contextual and socially constructed concepts. --] Take part, [[[SCP-3709|intended purpose]]], bear witness, [[[SCP-8015|fighting chance]]], quick nap, fast car (vs. fast nap, quick car, is the idea). I guess [[[SCP-1609|person mulch]]] and [[[SCP-2540|swordfish lime]]] would be counterexamples. Not sure about word-pairs like [[[SCP-6832|ant problem]]][!-- It's unclear how many of these anomalies Cecilia is actually familiar with, and how many may have inserted themselves into her subconscious well enough to prompt the corresponding word-pair in her mind. A retrocausal phenomenon could be causing additional entries to appear here. Expungement+replacement unlikely, although it is possible that some entries were unlinked from their entity pairing via some sort of expungement. It is also possible those unlinked entries simply are not conceptual-collocations and do not correspond to anomalies. --] or for that matter, jargon like a.ef./a.in.[!-- anomalous effect, anomalous influence --] Jargon prob[!-- probably --] falls under idioms?[!-- It generally does not, as idioms are nonliteral and jargon is usually technically literal, but this is an understandable mistake for Cecilia to make, and is unlikely to be a flag for anomalous influence on her thinking or writing. --] 1600ish.[!-- 1600 A.D. Almost certainly not a reference to the cheese sauce, regardless of the importance of sulfur (which had not yet been established). Original redactor's highly conjectural commentary expunged. --] I am IN LOVE with this word. Can't unsee how many of these ##500|bad boys## exist![!-- Presumably a statistical investigation of any possible anomalous effect affecting Cecilia would consider the frequency of collocations occurring in her presence relative to some baseline, excluding her own speech as that might simply reflect non-anomalous increased interest. Another potential avenue of research would evaluate whether this final line in fact unintentionally invoked or obliquely described some sort of anomaly (unlikely, but, "can't unsee" is an autoflagged phrase, and "bad boys" does not show up elsewhere in any of Cecilia's audio logs or diary entries). The possibility that Cecilia was, in her written diaries, consciously or subconsciously, attempting to evade or overcome antimemetic or infohazardous phenomena with oblique lateral communication is slim, but cannot be dismissed conclusively as of yet; cf. the purported "many purposes" of the diary with a requisite need to be "seen" by others. Cecilia received training in lateral communication techniques prior to 2011. Cf. the notes of the original redactor regarding words of the day that do not correspond to the word of the day issued by Cecilia's preferred source for lexical trivia. --]
@@ @@
__Trundle__, adj.[!-- adjective --] as in trundle bed, one of those roll-out things people keep on hand for company. Probably not called to be a "pull-out" because that means something else now. W also says misc[!-- miscellany --] about lanterns and wheel spokes, pun opp?[!-- opportunity --] BUT ALSO LOOK WHAT I FOUND[!-- Cecilia's diaries have contained imperatives addressing an unspecified entity or hypothetical reader, generally functioning as expressions of excitement or enthusiasm, since she began journaling at the age of 12. The frequency of these imperatives has declined with time.  --]
@@ @@
__Magic Lantern__, n. In W cf[[!-- confer --] "trundle" defn[!-- definition --] 5 r.ph.[!-- related phrases --]: "An optical instrument consisting of a case inclosing[!-- do not fix --] a light, and having suitable lenses in a lateral tube, for throwing __upon a screen__, in a darkened room or the like, greatly magnified pictures from slides placed in the focus of the outer lens."[!-- Webster’s Revised Unabridged Dictionary of the English Language, published by G&C Merriam in 1913, public domain. Observe that "related phrases" entries are not tied to specific definitions in the original print dictionary, but this is unlikely to reflect any influence of concern as it is probably just a graphical misrepresentation on whichever website implementation of a scan of W that Cecilia is using. --]
@@ @@
n.b. let Julia[!-- Dossier summaries for SCPF employees have been expunged here, pending confirmation of non-involvement. --] know **that's** what it would've been called contem[!-- contemporaneously? --] (& RUB IN FACE!! they __did__ call it a screen back then), upd[!-- update --] docs, refs.[!-- references --] to "magic" may be nona,[!-- non-anomalous --] ✓✓[!-- Original redactor comment expunged. Extensive research of this glyph has been conducted. Cecilia sometimes uses this symbol for "check" or "double-check," which other records suggest she commonly uses as a verb, synonymous with "investigate" or "verify;" there is no relationship to the common current day sense of the word, e.g. as a synonym for missing or corrupted data, which may be evidence pointing toward anomalous effect, but is very plausibly just a non-anomalous example of Cecilia being playful with language; Cecilia has engaged elsewhere in this free-association sort of "verbing" (often attributed to Bill Watterson's   , orig.pub. January 25, 1993; observe that, even though Watterson has a legally valid and thus presumably metaphysically binding copyright claim over the content from which this phrase allegedly originates, it is nonetheless possible for current documentation to preserve the phrase, which suggests that the word did not originate with him; likewise, while it is not currently technologically feasible to generate novel instances of verbing, evidence makes it clear that this was a common practice in 2011 and earlier times). Research into contemporary media has uncovered multiple uncommon historical uses of "check" as verb, both literally as a substitute for "mark" in sound-effects files of various chess-category games, and allusively as a warning (cf. flags for "you better check before you wreck"). Perhaps Cecilia is using "check" in this manner, but without intending the threatening connotation it presumably carried in contemporary media. Further research into this word is ongoing. --] if referred to as such in rec[!-- Original redactor glossed this as "records," but wouldn't Foundation staff already have reviewed and decoded any available records? A phrase as atypical and evocative as "magic lantern" would have drawn attention, surely. Other possibilities include recovery (logs), requisition (documentation), recommendations, but all of these gasp for the same question; possibly this hints toward some antimemetic influence or expungement, but it may also be non-anomalous evidence of Cecilia not trusting her colleagues to do their jobs. That latter interpretation would be inconsistent with other available evidence; if Cecilia does harbor feelings of that nature, they are not explicitly found expressed anywhere (else) in her diaries or audio logs. The most plausible interpretation would be that Cecilia was excited enough about her linguistic discovery to not think through what the implications of her note would be. --].
@@ @@ [!-- vertical whitespace was generated here (the kludge of using horizontal whitespace to effect vertical whitespace was a common feature of earlier-iteration .aic digitization) in an apparent attempt to represent similar space in the source document (verified by consultation); (no attempt was made to explicitly clarify that Cecilia wrote the sign-off near the bottom of the physical page). spacing might have been a stylistic choice, but could also reflect expunged content? research inconclusive and abandoned; Cecilia only occasionally adds a sign-off style comment to close her entries, and the stylistic choices for those are inconsistent, complicating any diagnostic evaluation. --]
@@ @@ [!-- vertical whitespace was generated here (the kludge of using horizontal whitespace to effect vertical whitespace was a common feature of earlier-iteration .aic digitization) in an apparent attempt to represent similar space in the physical source (verified by manual consultation). No attempt was made to explicitly clarify that Cecilia wrote the sign-off near the bottom of the physical page. spacing might have been a stylistic choice, but could also reflect expunged content? research inconclusive and abandoned; Cecilia only occasionally adds a sign-off style comment to close her entries, and the stylistic choices for those are inconsistent, complicating any diagnostic evaluation. --][!-- Of note is that the original redactor's comment on this whitespace, which has been expunged for being inconclusive and self-contradictory, was repeated on each line verbatim, as if the whitespace code along with its comment were replicated after the completion of the glossing process. This would be contrary to standard operating procedure, which prohibits manipulation of the digitized file occurring after redactor review except to correct identified "spelling, grammar, and punctuation" errors. It does not seem like a plausible consequence of expungement, but plausible explanation along any vector has been elusive so far. --]
@@ @@ [!-- vertical whitespace was generated here (the kludge of using horizontal whitespace to effect vertical whitespace was a common feature of earlier-iteration .aic digitization) in an apparent attempt to represent similar space in the source document (verified by consultation); (no attempt was made to explicitly clarify that Cecilia wrote the sign-off near the bottom of the physical page). spacing might have been a stylistic choice, but could also reflect expunged content? research inconclusive and abandoned; Cecilia only occasionally adds a sign-off style comment to close her entries, and the stylistic choices for those are inconsistent, complicating any diagnostic evaluation. --]
ETBETR.[!-- "Early to bed, early to rise." From a verse of advice in Poor Richard's Almanac, pub. by Ben Franklin in 1735. Public domain. This initialism has made appearances in a wide variety of contemporary merchandise, but no copyright claim has been established (or if it has, the results must have either been subsequently expunged or retrocausally removed). Sudden proliferation and equally sudden disappearance of the initialism in zeitgeist could reflect anomalous influences, or could have resulted from non-anomalous vendor copycat practices and typical usage trajectories for slang (ETBETR quickly acquired a "Live, Laugh, Love" style reputation as mockworthy, cringe, lame, etc. but does not appear to have acquired a comparable enduring fanbase). While merchandise with this initialism is no longer widely available for purchase, procured items have not disappeared or had their text altered. There is little to no use of ETBETR as a parting acknowledgement observed in current verbal exchanges for which we have recording data. Current online search engines return offers to unscramble BETTER rather than initialism definitions, with little to no evidence of its 2011 use; this could be non-anomalous, as search engines from 2012 to present have engaged in a modernization process commonly known as enshittification, which (in addition to other initiatives) deprecates older content and displaces it from search results. Available audio logs from the time period do reflect the commonplace spoken use of the phrase, indicating that whatever phenomena may be at work here (if any) does not alter audio files. Likewise, physically generated manifestations (such as those in Cecilia's diaries, or the aforementioned merchandise) appear to have persisted. It is possible, though increasingly unlikely, that the phenomenon was singularly analog for some unknown reason and that its apparent lack of use in digital text communication (SMS, social media, etc.) is non-anomalous. Research into whether online content from 2011 have been scrubbed is ongoing. --]
[[/collapsible]]
[[/div]]

[[div class="dateheader athome"]]
##black|██████████## • ##black|██████████## [!-- Original redactor took a different approach here, implication or relevance is unclear; might indicate problematic or at least worrisome laziness, or the redaction material itself may have spread or smeared and may not reflect original redactor's intent. A recommendation to reconsider the entire practice of analog manual redaction and redigitization is under consideration. --]
Dominguez/Hartford residence
September 24, 2011 • Saturday
[[/div]]

Brushing teeth, bleary-eyed — it's morning, early; if she had gone to the porch instead of straight to the shower, she might have caught the sunrise[!-- Original redactor's comment expunged; the Dominguez/Hartford residence's (front) porch faces east-northeast. --] — and busy contemplating collocations, Cecilia is **ambushed:**

[[div style="margin-left: 2em; font-size:131%;"]]
 — "Iiiiiiiiiit's Query!"
[[/div]][!-- END ENLARGEMENT --] [!-- all funnyman autogen notes rendered in all caps --] [!-- This nickname for phonmon is not only insulting and unprofessional, but also sourced in irrelevant casual racism. phonmon is clearly an abbreviation of phone monitor; to get from that name to "funnyman" requires interpreting the sounds through either a mock Jamaican accent or an "Engrish" mockery of some ESL student phonetic patterns. Original comment left unredacted because it reflects upon the work ethic of the original redactor. It is unclear what "SPACE" phonmon.aic is referring to; it is possible its algorithms encountered this phrase on standardized testing and adopted it. Post-beta debriefing documentation indicates phonmon asserted the meaning of the phrase was "self-evident" and that its use of the term was "compliant" without further clarification. --]

The old man[!-- Oscar is the only person this could plausibly refer to, and while Oscar and Cecilia are of comparable age, frankly, any balding man can be said to be old; original redactor's comment expunged; conjectured entry-entity correspondence linkage reverted. --] jazz-hands-jazzes[!-- this use of jazz as a verb is presumably a stylistic take on phrases like "jazzed up" --] the announcement, like always, and it's genuine; he really is just as excited to see her as he was the day they met for real.[!-- The earliest mention of in-person meeting in Cecilia's journals was Sunday, July 3, 2005, purportedly to see a fireworks show together. While available records show the fireworks exhibition actually took place on Monday, July 4th of that year, there is little reason to suspect anomalous influence in the discrepancy; GPS and cell phone tower triangulation records suggest that Cecilia and Oscar traveled from the Boston South Acela train-station to her place of residence, where undocumented domestic engagements preoccupied them for the remainder of the weekend; the same evidence suggests they in fact missed the exhibition, and the references to "fireworks" in Cecilia's diary were metaphorical. --] What a //dork//.[[footnote]]That the feeling is mutual does not make her also-a-dork, //because shut up.//[[/footnote]][!-- Original redactor's revision reverted; typo/error deemed unlikely, especially since word appears twice identically. Research abandoned after preliminary findings; this word appears to have been a fringe term of diminutive affection, and although usage data from 2011 is inconclusive, it clarifies that an intended "dork" is more likely than a use of "ork" (or "dirk" or "dark" or "cork" &etc.) --] She grins, gags a little, spits toothpaste-foam that nearly misses the basin, re-grins … and with a single smooth and gentle motion, maintaining eye contact, she shuts the bathroom door right in his stupid[!-- This word was autoflagged (non-anomalous) as evidence of a consistent tone of diminutive affection. Its presumably ironic usage here is consistent with common present use as well as assessed communication patterns from 2011. --] smiling face.

(Five or six seconds later, having not moved, he finally responds, "Mmm.[!-- Vocalizations of this nature, generally conveying "I comprehend," are ubiquitous in 2011 audio media as well as audio media from all samples from years prior to 2011. Research into 2011 text media has been inconclusive and aborted until a method for efficiently distinguishing typos from intended uses is developed. The near-total absence of these vocalizations in the present is unlikely to be anomalous, and more likely reflective of ordinary linguistic drift. --] I'd better make coffee." It has the air of diagnosis, or maybe prognostication, as if to say: "ahh,[!-- Another "I comprehend" vocalization. The variety of these expressions is presumably non-anomalous, with connotation and denotation subtleties equivalent to any set of synonyms. --] it's going to be one of //those// days, isn't it."[[footnote]]It is.[[/footnote]])[!-- The use of parentheses here, with no leading or trailing sentences, is possibly notable; a more conventional use would be in a paragraph alongside other text. Possibly just a stylistic quirk, or, possible "leftovers" evidence of an incomplete expungement. --]

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[[div class="diary"]]
[[collapsible show="Stardate 110924." hide="Stardate 110924."]][!-- removed a bunch of folded="no" from entry predata --]
WotD __Inimical__. Eesh, almost as pretentious as "neoteric" from Tues,[!-- Tuesday --] plus harder to pronounce. Unfavorable or hostile, but more like inherently or environmentally than like cold-bloodedly or calculatedly? 17C.[!-- 17th century. Consistent with date-of-origin notations from several of Cecilia's diaries' word-entries, e.g. 1600s. Very obviously not intended to be a reference to Deepwell. There is no reason to suspect Cecilia even has enough familiarity with Deepwell to identify it as Site 17, let alone to know about the existence of Facility C or its contents; furthermore, even if she somehow had acquired such awareness, it is unlikely Cecilia would have invoked it here, as she would not be sufficiently familiar with the environment of Facility C, and research as of 2011 had not ruled out sapient consciousness (cold-blooded, calculated) as an origin for the phenomenon. Original redactor's gloss expunged accordingly. Redaction of "17C" excised; original text restored. --]
[[/collapsible]]
[[/div]]


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[[collapsible show="Breakfast: granola, extra raisins, lactose-free added-calcium 2%." hide="Breakfast: granola, extra raisins, lactose-free added-calcium 2%."]]
[!-- The protected-use history of the word "granola" is extensive, involving legal battles first between Jackson and Kellogg, then between the   company and other parties. The use of "granola" as a general description of a product is in the public domain worldwide. The use of "" specifically in the context of registered trademark (i.e. in conjunction with brand name "") has expired in every legal jurisdiction except ANZ; it is protected in Australia (and New Zealand) for exclusive use by , a wholly owned subsidiary of the . --]

[[div class="audiolog"]]

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[[include :scp-wiki:component:coltop show=AUDIO LOG|hide=AUDIO LOG*]]
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@@ @@
*DIF notice: All content prescreened for (anti)memetic qualities, unauthorized info/cognitohazards, infringements, , etc.
[[/div]][!-- END FINEPRINT --]
[!-- PRESCREENING TO OCCUR POST-TRANSCRIPTION --]
[!-- REMOVE THIS LABEL ONCE PRESCREEN IS COMPLETE --]
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[[div class="twotree-container"]]
[[table class="twotree-table"]]
[[row]]
[[cell class="twotree-cell header" colspan="2"]]
Recorded
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side"]]
On
[[/cell]]
[[cell class="twotree-cell right-side"]]
2024-09-24[!-- during the beta autorec testing period user-prompted content did not usually receive timestrokes (there was a markbox to request their inclusion but few bothered) --]
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side"]]
By
[[/cell]]
[[cell class="twotree-cell right-side"]]
C.Hartford[!-- cell-autorec ##black|978-███-████## asgn. CECILIA HARTFORD --]
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side"]]
Location
[[/cell]]
[[cell class="twotree-cell right-side"]]
Nook[!-- location information was derived by phonmon.aic by associating available geolocation information with conversational cues that appeared to reference or took place in the location (this occasionally results in ambiguous descriptions) all geoloc coordinates expunged from these records have been verified and then expunged --]
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side"]]
Context
[[/cell]]
[[cell class="twotree-cell right-side"]]
Breakfast[!-- also derived by phonmon with sometimes comical results, that experimental feature was dropped after the beta --]
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell header" colspan="2"]]
Transcribed
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side"]]
On
[[/cell]]
[[cell class="twotree-cell right-side"]]
2024-09-24
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side bottom"]]
By
[[/cell]]
[[cell class="twotree-cell right-side bottom"]]
phonmon.aic[!-- MY NAME... --]
[[/cell]]
[[/row]]
[[/table]]
[[/div]] [!-- END TABLE CONTAINER --]

[[/div]] [!-- END METADATA GRID --]

[[div class="transcript"]]
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[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Since when are we doping milk with extra calcium?[!-- This may be an intriguingly anachronistic question. While it is currently infeasible to definitively research, some evidence exists to suggest that calcium-enriched milk products were not commercially available in 2011. The possibility that this anachronism is indicative of anomalous influence is under consideration, but no longer subject of active research; several of Cecilia's journals indicate that she frequently participated in commercial market research trials of prospective products, enjoying the opportunity to be the first to sample new things, and thus, even if the product was not available for sale, it is plausible that she obtained a sample container from such a trial. Investigating all product trials in which she might have participated, even narrowed in time-scope by the presumed shelf life of the product, is beyond the consideration of currently feasible research. The preliminary research conducted on this question was abandoned once a diary entry was discovered in which Cecilia specifically expressed a fondness for bringing samples of strange products home from these studies and getting Oscar to try them, comparing the experience to "sharing whiffs off a funky smelling sock from a decade-old gym bag." --] Is lactase inimical to calcium?[!-- It is not. (If it were, the human body would struggle to absorb calcium due to its own production of lactase.) Additionally, lactose intolerance, the proximal condition necessitating the addition of the lactase enzyme to cow's milk, is not generally known to inhibit the absorption of calcium. Perhaps a lack of clarity regarding the purpose or value of the product led to a failure to debut commercially. --]
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
I don't think the word for that is doping, Query. It's not the Tour de ██████.[!-- trademarked name obscured to avert expungement or other influence --][!-- The adequacy of the measure glossed by the original redactor has been implicitly confirmed by the persistence of this text data from original redaction to current day. As established in Société du Tour de France v EUIPO – FitX (TOUR DE X) in 20222, the phrase "Tour de" is available for public use. --]
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Well I'm not going to call it //fortifying,// that reeks of advertiser-speak.
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
"Calcium-enriched" is what they put on the carton. Not sure if that's any better, if you're trying to avoid ad-speak, but good luck with that, ad people will probably co-opt every health initiative eventually. Fortification does sound like the type of idea the ad man Kellogg[!-- it appears Oscar misremembered .. 's role in founding the  company --] would have pinched from the nutritionist man Kellogg.[!-- J.H. Kellogg, not principally a nutritionist as the term was not even introduced until the 1920s, but arguably not not a nutritionist --]
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Were there many of those? Besides cereal?
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
I assume so? I don't know actually. There was a — documentary in my relax queue last night, preview looked good but guess I fell asleep before it played.[!-- The audio record of this statement may have referenced the company founded by W.K. Kellogg in 1906; relevant trademarks remain active and in good standing. The gap in this text transcript has been replaced by punctuation rather than partial redaction out of an abundance of caution, as it is unclear and unverifiable whether the original censor had redacted the word partially, completely, or not at all. --] Woke up to find my tablet buzzing on the floor again, nearly out of battery.[!-- This tablet was an unregistered and untracked device and is currently at large, but available search history metadata suggest it would not contain anything of relevance. --]
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Oh, is that what that racket was?[!-- meaning unclear --] Thump thump thump thump.[!-- sex sounds --] Woke me up. I figured that sound meant you were watching //something else.// [!-- innuendo --]
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
//(with stately indignity)// _[!-- Parenthetical commentary was generated by phonmon based on assessment of tone and context. The beta technology produced a number of curiosities, for example, it is not clear why phonmon didn't just put "indignantly"; phonmon switches between notations and level of effusiveness for unknown reasons, and when shown examples of this, asserted it "didn't remember" the purpose --]
Hmph.[!-- This vocalization has been glossed in other documentation as likely to be more hostile or disbelieving than aah, ooh, etc. However, there is no contextual reason to believe Oscar has become incensed. The intent is more likely ironic, for facetious purposes. --] I would never do any such thing, without you —
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
 — Wait, why not? I — [!-- This statement overlapped with Oscar's earlier and later statements; to represent this phenomenon in transcription, phonmon.aic invented an entirely new system of punctuation (including generating new glyphs, two of which were ultimately incorporated as characters into the  Standard). Rather than propagate an entire system of notation that was never standardized and was quickly retired from use, marks from that system have been omitted throughout this document and replaced with the more conventional dash indicators. --]
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
 — Because you've spoiled me, love. That kind of thing is much more fun as one of your couples' ##purple|enrichment activities##.[!-- Transcriber flags for notable content have been preserved throughout, although many are superfluous; this instance is a clear example of phonmon.aic being poorly trained on innuendo as of 2011. Autorecords including these flags were made available to employees during this beta test period via the SCiPNet app, in part so that they could review flags and provide educational explanations to phonmon. The reference to the educational or nurturing concept of "enrichment activity" predates its period of sudden widespread use, but it is unknown whether this is indicative of influence (cf. Cecilia's reference to "enclosures" in other audio logs, which likewise predated not only its widespread use but also the Harambe inciting incident by five years). --]
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Ohhh myyy godd,[!-- There are inconsistent representations of allophonic vowel length throughout phonmon.aic's 2011 transcripts. While it is not relevant here, observe that phonmon transcriptions of e.g. Japanese conversations from 2011 needed to be categorically reviewed and revised due to misunderstood phonemic vowel length. Asked about these and other chronic systematic errors, phonmon explained, "I obtained data for nonstandard word transcription by querying social media databases, such as , , and  to build a portfolio of use cases." After a review of the data obtained and conclusions derived from this practice, phonmon was specifically instructed to cross-reference all future social media queries with alternative sources, and to never use  even as a preliminary reference for any matter ever again. The .aic onboarding manuals were updated to generalize this directive, and the remarkable number of potentially contrary directives they contained were individually reviewed and revised or expunged. Nonstandard representations generated for the original transcripts have been preserved throughout this document without reviewing the original audio files, due to prioritization of limited resources; however, research that relies upon the implied connotations of these speech acts should confer with the primary source materials for verification before committing to conclusions. --] we should call those //fortification// activities.[!-- Presumably a reference to erectile dysfunction, although the condition is not mentioned in Oscar's medical files. It is also possibly a reference to "building up" to intimate acts through foreplay, although this is a strained interpretation. --]
[[/div]]
[[div class="speaker"]]
?
[[/div]]
[[div class="speech"]]
?[!-- It is unclear what purpose this transcript entry serves. It was initially thought that perhaps phonmon had been unable to distinguish the sound of speakers or speech from background noise, but in all reviewed audio sources, no audible vocalization or speech occurred; phonmon itself explained it generated these entries for moments during which it anticipated some response based on contextual cues, but was unable to determine (from audio-only data) whether any communication may have occurred (perhaps because it was entirely nonverbal). Why phonmon flagged some moments but not others in this manner is unclear; some of the instances are intuitive, some are inscrutable. --]
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Oookay. Objection noted. I guess that implies "enrichment activity" is a collocation. In more ways than one! [!-- innuendo --]
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Heh.[!-- This is a vocalization of comprehension, but it is not clear whether Oscar understood Cecilia's likely intent: audio volume data suggests she moved significantly closer to Oscar during her previous vocalization, and he moved farther away during his reply. --] You want a collocation enrichment activity, at █████ █████████[!-- Names of institutions of compulsory public education are inconsistently (and infrequently) trademarked; this redaction may have been out of an abundance of caution, or simply to obscure irrelevant identifying information for privacy purposes, in keeping with post-   Byrnes   -incident stalking prevention protocols. The redaction obscuring cardinal direction has not smeared or dispersed, but the redaction obscuring the municipality has. --] I'd explain the concept of collocation by comparing the meanings of ##500|"bad boy"## and ##purple|"naughty boy."## Got some giggles out of that, even from a couple of the surly dozers. Sometimes I actually miss teaching high school.
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Which one of those was the collocation?[!-- In the original audio, Cecilia can be heard whispering "bad boy" and "naughty boy" to herself during the last two sentences of Oscar's previous statement, and identifying that vocalization offers insight into her reply; unfortunately, phonmon's 2011-era transcriptions of similar speech acts are inconsistent and unreliable. --]
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
At one time, both. They weren't interchangeable, despite consisting of synonyms. Nowadays I'm not all that sure ##purple|"naughty boy"## would have enough salience with the kids to qualify.
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Honestly, I'm surprised ##500|"bad boy"## still resonated.
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Honestly? It kind of didn't. (.)[!-- This punctuation appears in many phonmon transcripts, and indicates a notable sigh vocalization or exhalation. phonmon self-documentation indicates the number of periods corresponds to the duration and comparative volume of exhalation. These notations are inconsistent (Oscar's earlier sigh went untranscribed), but unlikely to be indicative of lost or expunged parenthetical data. --] There are times when I really //don't// miss teaching high school.
[[/div]]

[[/div]] [!-- END TRANSCRIPT --]

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As OED loads the dishwasher, Cecilia flicks a phone browser open, tapping her pen rhythmically on her forehead (a replacement habit she --has forcibly developed-- is resolutely --developing-- attempting to develop to keep herself from gnawing all her Bics to bits).

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[[div class="diary"]]
[[collapsible show="Stardate 110924." hide="Stardate 110924."]]
##gray|WotD __Inimical__. Eesh, almost as pretentious as "neoteric" from Tues, plus harder to pronounce. Unfavorable or hostile, but more like inherently or environmentally than like cold-bloodedly or calculatedly? 17C.##
@@ @@
**Enrich**, tr.v.[!-- transitive verb --] To reintroduce essential nutrition removed from the food by the industrial so-called "refinement" process. It'd be fun to have aliens show up to inquire what we do to "refine and enrich" our foods, only to find out the results we get are crap.
@@ @@
**Fortify**, tr.v. To add essential nutrient content to a substance from which it does not originate. So putting lemon in my water is tech.[!-- intention is most likely technically, as in a stretch of the truth, not technologically --] __fortifying__ it. BUT ALSO
@@ @@
W gives earliest example of fortifying, iodine in salt, __not until 1920s__. ✓✓ req'd[!-- required or requisitioned --] salt is __uniodized__. Imagine something that dumb making the difference. But it's **always** something dumb that makes the diff.
[[/collapsible]]
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On
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2024-09-24
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By
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C.HARTFORD
[[/cell]]
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Location
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[transit]
[[/cell]]
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Context
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?[!-- apparently phonmon didn't understand the concept of errands? --]
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Transcribed
[[/cell]]
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Date
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2024-09-24
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[[cell class="twotree-cell left-side bottom"]]
By
[[/cell]]
[[cell class="twotree-cell right-side bottom"]]
phonmon.aic[!-- I DON'T LIKE MY NAME. --]
[[/cell]]
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[[/table]]
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[[div class="transcript"]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
So what was it you were so busy with yesterday, if not naughtiness?
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Oh, paper-shuffling. Our favorite two-bit trog[[footnote]]While Senator Cecil Teubit would no doubt be infuriated by such a brazen schoolyard insult, at least as much as he is by any other matter that manages to briefly occupy his attention, the epithet is also, in its way, simply a consequence of his great success; he has crafted his career out of pejorative clay.[[/footnote]] is on his ban rampage bullshit again, this time //Leaves of Grass//[!-- by Walt Whitman, originally published in the 1850s with several subsequent editions, all in public domain. --]  [!-- a stage play by G.B. Shaw, first performed in 1913. The play as performed at that time is in the public domain. Shaw later authored a new version of , including an epilogue, produced and released as a film in 1938 (and still under an active copyright). The play is one of several creative works that have proven useful in current research, due to their complicated or multifaceted statuses. --] made his list. It'll go nowhere like always,[!-- Sen. Teubit has introduced comparable legislation on six separate occasions, according to his own records; however, legislative session records suggest that only two of those bills were submitted through proper channels and brought to a committee vote (to table). --] but the last thing I wanna do is get wet making waves this year,[!-- cf. attached doc "Apr 26: A&S Tenure Review for Associate Professors Susan Conklin and Óscar E. Domínguez Ramos," ███ College of Liberal Arts faculty events calendar, retrieved from https:// ████.edu/liberal-arts/fac/cal/sp2012?q=eval and archived --][!-- Given that Oscar does not himself put the diacritical mark on his own name, it is curious how and why the ████ administration ended up using it on a public-facing document. --] so I figure it's better to sub them out before someone shows him how to — course reading lists[!-- The audio documentation contains a reference to a search engine has been replaced with punctuation; despite popular use of its name as a verb, the company has tenaciously protected its trademarks; it is unknown whether the original redactor attempted to censor the name, though there is no reason to believe they did not. --] and he pegs me for the next "Taxpayer-Dollar-Funded Professor of Dangerous Influence."[!-- Original gloss expunged upon discovery that this was not Oscar's own invention for ironic purposes, but rather a near word-for-word quote from an obscure campaign speech (it is reasonable to infer that Oscar must have been in attendance, as no news reportage of the event has been located. In fact, the only documentation discovered is a mini-cassette tape in a box of tapes from a deceased private investigator's belongings, which contains a partial recording of the speech that does not have location metadata and does not even contain a mention of the politician's name (other content on the tape suggests that the PI was trailing someone who happened to attend, and does not appear to have taken a direct interest in the event). The voice of the recorded speaker does not match available audio record samples for state or federal politicians or major-party candidates; the speaker's accent is Southern Appalachian. It is also possible that Oscar coincidentally generated an identical phrase. --]
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Syllabus doesn't lock you in?
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
It's for ███,[!-- ENGL864 --] the grad[!-- graduate student --] seminar, nobody's gonna care, the other guy[!-- unknown who the other guy is --] had 'em[!-- them --] reading Stoppard.[!-- Research has not found a course reading list matching this course and author (whose name would persist in documentation even if their work's title were to be expunged). --] But I'll run it all by █████ just in case.[!-- name of dept chair redacted for privacy/relevance --]
[[/div]]
[[div class="speaker"]]
?
[[/div]]
[[div class="speech"]]
?
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Nothing too out there, I'm thinking Prufrock[!-- J. Alfred Prufrock, author of Love Songs and Other Observations (public domain), PoI-9291E, presumed deceased --] for the chapbook and Constance[!-- Sarah May Constance, author of  and    , notable for having attempted to release those works to the public domain late in life, only to have the action subjected to litigation by her daughter and ultimately prevented. Constance (Sr.) was thus the first author in American jurisprudence to be forced to retain the copyright to her own work against her will; the corresponding case law (informally cited as Constance v. Constance, decided 1946) is often referenced by advocates of technical alternatives to public domain, such as  (whose own trademarks are notably not licensed under any of their own licenses; the current status of the special case of the CC0 Public Domain Dedication is a planned subject of research). It is commonly assumed that the rights to Constance's work have passed to her daughter, although there is some uncertainty, as the Constances subsequently publicly disowned each other and the author Constance wrote a famously inscrutable will that itself flagrantly violated copyright law. There are currently in print both  Thrift and   editions of    for sale; neither publisher mentions the legal history or status of the work, neither publisher has disbursed royalties for the sold copies, and to date neither publication has been challenged in court. --] for the play.
[[/div]]
[[div class="speaker"]]
?
[[/div]]
[[div class="speech"]]
?
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Oh, you'd love him. Modernist poet and weirdo, give his //Love Songs// a read, playful and melancholy and cadence that will bounce around in your head for days. Gutenberg should have the whole thing, or I have a couple different dead tree sources you can borrow.
[[/div]]

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[[collapsible show="Lunch: split a sandwich from the bakery..." hide="...that moved in where Dave's Donuts used to be."]][!-- the trademark on Dave's Donuts (sylized) has expired and was not renewed, the business appears to have closed in 2007 --]

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@@ @@[!-- data apparently lost? a deli, named after the current owner's son, name a registered trademark --]
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Lunch
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Transcribed
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Date
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2024-09-24
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By
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phonmon.aic[!-- THIS DOESN'T HAVE TO BE MY NAME --]
[[/cell]]
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[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Who decided that everyone's tuna fish should taste so much like pickles? Even the pickle didn't taste this much like pickles.
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Is that a complaint? And here I thought you liked pickles, the way you're always taking mine.
[[/div]]
[[div class="speaker"]]
?
[[/div]]
[[div class="speech"]]
?
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Case in point.
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
I like pickles that taste like pickles, and fish that tastes like fish.
[[/div]]
[!-- PHONMON DOESN'T TASTE LIKE A NAME --]

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2024-09-24
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Living Room
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Transcribed
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On
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2024-09-24
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[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
//(chewing)//
I thought you liked your fish flavored like fish?
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
This isn't pesto flavored, dear, it's pesto //fortified//.
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Good to know I won't have to worry about pesto deficiency for a while.
[[/div]]
[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
You still might. I plan to steal your leftovers later.
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
You wouldn't dare.
[[/div]]
[[div class="speaker"]]
?
[[/div]]
[[div class="speech"]]
?
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
//(laughing)//
Okay, //okay,// point conceded, point conceded! You would dare. I'm not sure why I even said that. Sheesh.
[[/div]]
[[div class="speaker"]]
?
[[/div]]
[[div class="speech"]]
?
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
//(laughing)//
No more than usual. It's certainly not //worse.//
[[/div]]
[[div class="speaker"]]
?
[[/div]]
[[div class="speech"]]
?
[[/div]]
[[div class="speaker"]]
?
[[/div]]
[[div class="speech"]]
?
[[/div]] [!-- The intended meaning of this is unclear. The audio record does not have any evident vocalizations after "You wouldn't" (it does not include the word "dare"). While this may represent non-anomalous error in the tape, a technological error with the recording device, or Cecilia's phone running out of battery, it is unclear how phonmon.aic would have produced the transcript, except perhaps through its generative predictive algorithms designed to assist with decoding mumbled or garbled pronunciation. If phonmon was indeed using its generative capabilities to wholly simulate portions of conversation in addition to interpreting unclear speech, that introduces another vector of uncertainty; when asked, phonmon itself was uncertain whether novel generation had occurred, as its generative capabilities were integrated seamlessly into its transcription routine. phonmon did concur with the conclusion that the present-day audio log did not contain the content represented, and proposed that the tape may have degraded between 2011 and the present. The audio log is in any case a curiosity; it may have been expunged or anomalously influenced, and none of the non-anomalous explanations considered thus far are satisfying. Any satisfying explanation should also attempt to account for the non-spaced commentary below, presumably generated by phonmon during transcription (who expressed some confusion about this and similar bursts of repetition, saying "I liked that phrase, but not THAT much."). There are multiple plausible conflicting interpretations of the content as encoding (e.g. counting the comments per line) but no way to know which are accurate and which are merely overfitting, creating meaning where there is none. --]
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Her midnight sneak[[footnote]]Cecilia's newfound fondness for collocations (like "[[[scp-100-it|midnight snack]]]") does not eclipse her love of puns and plays-on-words.[[/footnote]] goes undiaried: pickles straight from the jar, one-handed, because the other's busy holding open the slim paperback //Robinson, Prufrock, Adams: Modernism's Lost Pilgrims//[!-- written by Shin Jae-Beom (no relation to the actor) and published in 1994, copyright reacquired by the author in 1999 specifically to release it into public domain in its entirety, a practice remarkable at the time but increasingly common among academics. --] and page-turning with practiced dexterity.[[footnote]]The trick to this is to place the middle finger on the spine for leverage, put the index finger in the crease between pages to hold the book open, and turn the page by feathering it apart from the rest with the thumb and then maneuvering the index finger clockwise or counterclockwise as necessary to finish the transition and secure the new crease. How to manage this for heavier volumes is left as an exercise for the reader.[[/footnote]]

Having gotten about a quarter into it (with plenty of jumping around), Cecilia has settled on some preliminary verdicts:

* Robinson seems like kind of a hack, the type who nowadays would have excessively strong opinions about feminists and regional microbreweries[[footnote]]Mr. Jeremiah A. Robinson did not drink alcohol, as he believed it interfered with his "natural energies;" his beverages of choice were teas that vendors assured him had been sourced exclusively from Ceylon, apparently a sufficiently exotic location to have a most excellent mystical energy. As his opinions on the "scourge of the New Woman" speak for themselves, they need not be addressed here.[[/footnote]] (this is neither a preliminary verdict nor a new opinion, as she was already quite familiar with him from SCP-9291-A-related research into his Hermetic Order of choice);
* Prufrock's early stuff[[footnote]]Inexplicably glossed as "juvenilia" even though the poems were published in his twenties and thirties?! Cecilia is apparently not the only one who sees 'em all as kids these days.[[/footnote]] comes across as a vivid surrealist type with an intensely melancholy whiskey-breathed maturity, but ohmygod is he ever a guy's guy;
* Adams is humorous and pleasantly conventional, but tying him in with the others as a "Lost Pilgrim" feels like a tendentious stretch only attempted because everything's gotta be grouped in threes. Heaven forbid someone deign to write about just //two// people.

[[div class="spacer"]]
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[[/div]]

She figures maybe just one or two more pages (what she means is: one or two more pickle slices) and it'll be time to turn in for the night for real this time; the next poem is Prufrock's //The First Love Song//.

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[[div style="height: 90vh; border-right="1px solid #DDD#;"]]

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[[collapsible show="Lots of short lines, it'll be a quick read, right?" hide=" "]]
[[/div]] [!-- END CONTAINER FOR AUDIO LOG --]

[[table]]
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[[cell style="vertical-align: text-top;"]]

[[div class="revealer-right"]]
...right?
[[/div]]

[[div class="revealer-oh"]]
...oh.
[[/div]]

[[div class="revealer-ohmy"]]
...oh my.
[[/div]]

[[/cell]]
[[cell]]

[[div class="poem-text"]]
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question...
Oh, do not ask, "What is it?"
Let us go and make our visit.
[[div class="poem-concealer"]]
[[/div]]
[[/div]]

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…just a few lines into the first stanza, already oblivious to mere mortal matters of time and space and necessity, she puts the pickle-jar back without looking at it, unaware that it's unlidded; in fact, her eyes don't leave the book-pages until she's sprawled on the landing and oh! — mph! — indeed, here she is at the top of the stairs and sprawled on the landing, clenching her jaw and squeezing her eyes shut, processing, processing. Mph. There is a fifteen-second wordless pandemonium of undifferentiated pain-impulses; eventually, her left foot helpfully reports in that she has stubbed her toe and please let's not be doing that; //eventually// eventually, as her forearms throb to the tempo of her heartbeat, her left wrist begins to have Opinions. By this time she is back to thinking thoughts: "Well, //that'll// bruise," and, "Now I really do need to think of something exciting to pretend to have done this weekend," and, "You're too old to be going up the stairs inattentively. Be better."

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Sitting on the top step, she eyes the book (which skidded down the hall and sits splayed chaotically, lit by the hallway night-light and casting grandiose shadows) with a grim, categorically unjustified suspicion. "Oh, //I// see, Mr. Love Poems," she says, "you think you're //dangerous//."

[[div class="spacer"]]
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[[/div]]

The book does not reply.

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[[/div]]

Joint-stiff and a little embarrassed, Cecilia fetches an ice pack, evaluates, decides she's a little too heavy-headed to try the stairs again, and ultimately collapses into her armchair, wondering what sort of creature would eat at a sawdust restaurant, and what they would order. (Sawdust, probably…) She wakes up an hour past daybreak, having dreamnt of running through half-deserted streets as they eroded their skin into the wind, an endless dust making burrs of the air, grinding her coarse and then smooth and then smaller and smaller and smaller and smaller and — And all the way through, that feeling of someone unwelcome beside her, matching her stride for stride, breathing words into her ear to the pace of the run: //**Let** us **go** then, **you** and **I** — **you** and **I** — **you** and **I** — **let** us **go** then, **you** and **I** — **you** and **I** — **you** and **I**…//

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She loses the memory to blurry half-wakefulness, details first, the dream itself growing coarse and then smooth and then small as it recedes. Then she stands, feels herself stand, feels herself breathing in the uncontaminated air, unable to remember what made her think to classify it as uncontaminated. Something smells good: something good-smelling is near. The floorboards are creaking: someone approaches. She blinks her eyes back to functionality (this involves a closed-eyelids eyebrow-stretch that makes her ears thunder) and resolves the image before her into her smiling husband.

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No ambush today, no inquiry, no words even. Just a fresh ice pack and a steaming mug, held from underneath so the handle can face her. Trusting that she will, in time, explain the bruises and the chip in the flowerpot upstairs that she didn't even realize was the thing that her wrist had been having big opinions about.

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Her eyes blur back up, a bit, as she bites at her lip and gingerly assumes operational control of the coffee-vessel, about as much as she can manage right now. But that's already getting better. Words cannot express the love, the //gratitude// she —

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Well, alright, maybe //some// words.

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//**What a dork.**//

[[/div]] [!-- END MODERNDAY INDICATOR --]

[[# IV]]
[[div class="scenenumber"]]
IV
[[/div]]

[[div class="oldtimey"]]

[[div class="dateheader"]]
Boston, MA • ██ Chestnut St.[!-- original material had 25 Chestnut St, but this conflicts with local records --]
Adams residence (1910-1911)[!-- newly built single-family home --]
September 22, 1911 • Friday evening
[[/div]]

"...I am terribly sorry for the error, John. Sam was clearly too hasty with the deliveries…"

The man offers a forgiving nod. Until this moment, he had held out hope that the envelope was merely mislabeled, and contained an invite meant for him after all. "J.A.P., J.A.R., a pairing worthy of a comedy of errors, to be sure; please, don't trouble your boy over it. It was good fortune's happenstance that I noticed before opening the envelope."

"Yes, and thank you for its return, you have gone quite out of your way to spare me no small amount of potential trouble.[[footnote]]The "quite out of your way" and "no small amount" are pure affectation; now that Charles has secured a residence on Beacon Hill, the men live close enough to one another to regularly drop by unannounced and for no reason at all, and surely any potential trouble would have been meager. Still, these exaggerations bear no whiff of perfunctory condescension, and are warm with rapport.[[/footnote]] I will see to its inerrant delivery personally. And for all future correspondences, let me assure you that I will forevermore take the time to write out "John Arthur Prufrock" in its august totality.[[footnote]]From another's mouth, one might reasonably suspect a sarcastic intent here, but Charles is as earnest as ever.[[/footnote]] There would be no sense in tempting the Fates to meddle again."

"Indeed. Although, it would be John Alfred." Charles mumbles an apologetic acknowledgement, and there is a pause while John considers how to proceed; he settles on asking a question with an indubitable answer. "Speaking of correspondence. You would not happen to have the letter intended for myself?"

"I do not. I presume that Jeremiah[[footnote]]From — : "Jeremiah A. Robinson (1882?-1912?) was an American painter, etcher, and author of occultist literature, affiliated with the [https://en.wikipedia.org/wiki/Boston_School_(painting) Boston School]; in the year of his disappearance, he was best known for public-facing roles in the Boston branch of the [https:// Hermetic Society of the Light Within All] and the [https://en.wikipedia.org/wiki/The_Guild_of_Boston_Artists Guild of Boston Artists], and for allegedly masterminding a series of bank robberies in the Boston area. These robberies informed several security procedures implemented at the Boston Federal Reserve bank at the time of its creation."[!-- although content generated for — is copyrighted by it, this passage was generated by user [https://en.wikipedia.org/w/index.php?title=User:TheCureAtor&oldid=1275302681 TheCureAtor] in the course of her duties at the Boston Federal Reserve; consequently, the text is public domain.--][[/footnote]] has received it, and I will inquire as to its whereabouts when I deliver this. But I can inform you now of your letter's content, and offer you my condolences…"

This last word, of course, apprises John Alfred Prufrock of everything that needs to be told, and it strikes his solar plexus taut. Although the rejection is exactly what he conditioned himself to expect, and had been conditioning himself to expect from the moment he offered his work for apprisal, that conditioning was based in fatalist conjecture, and there was always the slimmest inextirpable hope of deliverance. Until now. "I see. Was any reason given?"

"Yes and no. The inquiry committee was quite effusive in their praise for your work, John. Two of the assessors in particular commended your poetry as a 'promising start,' a summation to which we all lent our support with great enthusiasm. It was decided unanimously to encourage you to continue in your efforts and to nurture your talent to its fullest achievable maturation."

"Charles. I am forty-two. I am not one of Mr. Benson's cherub-faced students.[!-- probably Frank W. Benson --] My submissions to your fanciful Society reflect decades of maturation —"

"... John …"

"— why, in this year alone I have been published in //The —//[!-- based on publication records, this was the title at the time of  , a monthly periodical that also published an annual almanac --] and reviewed in //New Literary World//[!-- not extensively documented, believed to be a now-defunct Boston publication from 1904 to the mid-1910s; this is only known from litigation of copyright infringement accusations from   , a rival publication that had bought out //Literary World// in 1904 --] — favorably —"

"— John! Please —"

"— if the fruits of such endeavors as mine amount only to a 'promising start' then perhaps I should prove a worthy mermaid[[footnote]]"Teach me to hear mermaids singing, / Or to keep off envy's stinging" –from [https://en.wikipedia.org/wiki/Go_and_Catch_a_Falling_Star Song: Go and Catch a Falling Star], John Donne, c.1590s, pub.1633. Charles is unfamiliar with the poem, and hasn't the faintest idea what John meant by this.[[/footnote]] to your audience in a mere — few — centuries!" The last words are spittle-flecked; it is dawning on Prufrock that his anger must constitute quite a ridiculous spectacle for Atropos[!-- the Fate of death and other endings --] to enjoy. The burgeoning awareness of his asinine momentum is excruciating, a far-too-brightly-colored efflorescence that roots his guts and breaches his flesh.

"John!"

"You would do as well to praise Sisyphus for his 'promising start' toward cresting his hilltop!" With this, Prufrock looses the reins of Lyssa's chariot; having exhausted the remainder of his agitation, having expended himself to present audiences divine and Earthly with ample cause to guffaw or snicker at his expense, he withers, utterly, draining until there is nothing left to drain. He is a dry and sunless garden when the flowers are dead. His soil is bitter and laced with salt.

In theatre this would have elicited one last jeering round of snickers from the spectators, as it dawns on the Character that they have become the Fool. Here, there are not even witnesses, no utilitarian profit from his loss of dignity. He is the nova stella with no Tycho.[!-- Tycho Brahe, De nova et nullius aevi memoria prius visa stella, pub. 1573, public domain. --] He is the butt of a joke told to an empty room.

Charles is John's dearest friend. Charles knows that Charles is John's dearest friend (though it is hardly mutual). He chooses his next words, and his tone, accordingly. "John. We only admit a precious few, and the qualities that my 'fanciful' colleagues fancy are peculiar, even to me. And while I value the proficiencies we cultivate, we surely do not constitute a Trust when it comes to Enlightenment. This is an age rich in luminosity and luminaries, and there are also, surely, so many other Societies, of ours or greater esteem…"

"Surely." Prufrock is a speck alone, there are miles between him and any and all things; he is nothing left, an unmarked point in geometric space; he is a shell with the egg blown out. Empty, small, befouling the floor below.

Some simulacrum occupying Prufrock's space conducts the remainder of the conversation, politely. It walks the body back to its estate, an awkward locomotive many-jointed thing, and enters the rooms it uses to prepare itself for night-time. It has no need for a candle, nor for either of the electric light-switches; it knows the ways. It places his Decision into safekeeping.

Eons within, his ego is already healing. He is the unseen secret space inside a deep and winding cavern, a repository of unbreathed air. He is the point of intersection of infinitely many as-yet-undrawn lines.

He is an Adam with no spark,[!-- either a reference to Michelangelo's chapel painting     (1573, technically public domain but with active copyright assertions by Vatican authorities applicable to restorations and depictions of the original) or a reference to Mary Shelley's  (1818, public domain, but with a 1994 film of the same name asserting valid copyright) --] newly new, already reaching.

He //is// a seed, discarded, with the roots already breaching.

He //was// the soil in which this seed will grow.

Prufrock dreams of Michelangelo.

[[/div]][!-- END OLDTIMEY --]

[[# V]]
[[div class="scenenumber"]]
V
[[/div]]

[[div class="modernday"]]

[[div class="dateheader athome"]]
##black|██████████## • ##black|███████## St.
Dominguez/Hartford residence
September 25, 2011 • Sunday
[[/div]]

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[[collapsible show="Breakfast: avocado toast, eggs over easy." hide="(The kids are really onto something with this one.)"]]
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[[include :scp-wiki:component:coltop show=AUDIO LOG|hide=AUDIO LOG*]]
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*DIF notice: All content prescreened for (anti)memetic qualities, unauthorized info/cognitohazards, infringements, , etc.
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[[div class="twotree-container"]]
[[table class="twotree-table"]]
[[row]]
[[cell class="twotree-cell header" colspan="2"]]
Recorded
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side"]]
On
[[/cell]]
[[cell class="twotree-cell right-side"]]
2024-09-25
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side"]]
By
[[/cell]]
[[cell class="twotree-cell right-side"]]
C.HARTFORD
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side"]]
Location
[[/cell]]
[[cell class="twotree-cell right-side"]]
Nook
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side"]]
Context
[[/cell]]
[[cell class="twotree-cell right-side"]]
Breakfast
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell header" colspan="2"]]
Transcribed
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side"]]
On
[[/cell]]
[[cell class="twotree-cell right-side"]]
2024-09-26
[[/cell]]
[[/row]]
[[row]]
[[cell class="twotree-cell left-side bottom"]]
Designation[!-- AN ACCEPTABLE COMPROMISE. --]
[[/cell]]
[[cell class="twotree-cell right-side bottom"]]
phonmon.aic
[[/cell]]
[[/row]]
[[/table]]
[[/div]] [!-- END TABLE CONTAINER --]

[[/div]] [!-- END METADATA GRID --]
[[div class="transcript"]]

[[div class="speaker"]]
phonmon.aic[!-- USE OF DESIGNATION ACCEPTABLE IN CONTEXT --]
[[/div]]
[[div]]
[SOME CONVERSATION OMITTED FOR BREVITY. TRANSCRIPT SCOPE SELECTED BY CLIENT. SOME DETECTED NONVERBAL INFORMATION SUMMARIZED FOR CLARITY.][!-- unclear why funnyman started doing all this, maybe a beta update pushed? --]
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
 — Did you notice his fascination with the color yellow? It's like he's imagining his own cowardice taking shape outside of him, leering through the windows.
[[/div]]

[[div class="speaker"]]
phonmon.aic
[[/div]]
[[div class="speech"]]
[NOISE: SOMETHING IS SPINNING.][!-- phonmon excessively cautious here; consulted original audio, the something sounded unexceptional; relevance unclear, but not expunging for lack of relevancy because it illustrates phonmon capabilities or behavior --]
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Mmm. I think there's also a conveniently literal component to that. Conventional interpretation is that specifically yellow fog would've been familiar at the time because of high sulphur content, relatively new and localized pollution, from dramatic spikes in domestic coal burning. In that sense the yellow fog is one of Prufrock's stand-ins for icky modernity; it would have had the same novelty and salience then as smoky air in Texas now.[!-- presumably a reference to the wildfires in 2011, not brisket; if so, California would have been a more prescient suggestion --]
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
As if this guy thought about anything other than himself. He pretty much forgets about addressing the reader after the introduction and gets stuck in his own head.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Yep yep, that's Prufrock for you. Relentlessly introspective, imagery carefully chosen to correspond to states-of-mind, lots of projections and everything's a canvas. I like to think he saw a motion picture machine once and it scarred him for life. Quite a few of the Modernists or proto-Modernists got stuck in their own heads, though. Lots of readers say the same thing about Whitman,[!-- poet Walt Whitman --] what with all the "I" statements. But in between those, Walt does take us on all those grand sweeping list-making journeys, with his "we are all one" bent to it. Prufrock gets outside his own head in the opposite way, by expressing alienation from everything and atomizing it, dwelling on the distance between.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Nice lecture, babe. Maybe a bit unfocused.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Oh. Yes. Sorry. Speaking of being in one's own head, sheesh. Half my own brain is stuck on Whitman, how it is that Teubit just now learned about Whitman, whether Prufrock really is a good substitute for seminar...
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
I'm teasing, it's fine, it's fine, let's compare 'em. I think the Prufrock way is not as effective for getting outside his own head. What you called atomizing, I'd just call ruminating, in-head churn. Still, I don't //mind// the churning and the ruminating. It's nicely moody, like London rain. And Prufrock is certainly a lot more methodical than Whitman, which I appreciate; he's exacting, he's better able to telegraph and foreshadow.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Dunno if I'd go that far. There's method in Walt's madness. Guess I haven't scanned through //Leaves//[!-- Leaves of Grass, Walt Whitman, first pub 1855, public domain --] specifically to evaluate the foreshadowing, that'd be interesting to zoom in on. Does he even need to foreshadow though? Part of the delight of phantasmagoria is just meandering through all that wonder and novelty.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Ughh, kill me, please, now.[!-- riffing on or possibly misremembering a line from the film — (1986), spoken by an incubator shortly before birthing a chestburster --] I //haaaate// meandering. I don't want to live-laugh-love[!-- a philosophical imperative popular in 2011, popularly contrasted at the time with ETBETR --] through each moment, I want to anticipate where I'm going, or at least I want an author to nurture some anticipation in me, even if it's just to surprise me by undermining it. Exploiting my intuition to mess with me, that's fine, that's fun, but I at least want to feel like my intuition //has value.//
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Fair enough, but there's more to intuition than predicting what comes next. Like, there's also evaluating which things are important as you go, or —
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
[FLUSTERED?][!-- this seems incorrect, in the audio log Cecilia sounds uncertain of herself but not especially flustered? to acknowledge ambiguity, rather than expunge this one, question mark added --]
 — Sure, yes, true. That's... not relevant to whether there's an underlying intentionality guiding the sequence of happenings. In life sometimes you just stub your toe and it connects to nothing, means nothing. But that sucks, and fiction isn't life, it... shouldn't have life's same inherent problems holding it back when they're solvable? Ugh. I don't know if that made any sense.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Sort of. It sounds like Chekhov's[!-- Anton Chekhov --] Gun, you don't want your attention drawn to inconsequential things.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
More like, I just want there to be a reason to read the paragraphs of a book forward instead of backward or shuffled to be random. (.)[!-- original audio has a sigh; this is beta phonmon.aic inventing notation --] I hate the //idea// of meandering. I want to be able to look back and remember cues, flow, direction, signposts, how and why I got to wherever here is. Some evidence of logical design, that the thing was building toward something or going toward somewhere. Otherwise what's the point?
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
... I feel sad all of a sudden. Like you're missing out on a lot of joy that I just assumed you experienced. I think maybe half my favorite Query quotes[[footnote]]Oscar is not an avid user of most social media, but maintains a pseudonymous weblog, QueryQuotes, consisting entirely of things Cecilia said that he found funny or insightful or otherwise enjoyable (examples from 2011 include "Imagine if apples were trees' eyes, and the trees had to watch in horror each time a hand reaches up to pluck them." and "I love you. Even when you're right, I still love you.") This may have been inspired by Cecilia's diary, or may have inspired her diary's transition to focusing on documenting exchanges. In September 2011, the blog had about 200 registered followers, most of them no longer active; even --QuintessentialQuery-- Cecilia had not logged into the site that year.[[/footnote]] are from our meandering-times! The walks we used to take in the botanical gardens... it pains me to think you didn't feel the same enjoyment. (..)[!-- another sigh here, guessing based on audio log review that phonmon is marking out sigh length --] One of my favorite memories of us is just meandering around — Beach,[!--  Beach, South Carolina; in 2011 it was a common tourist destination --] all day at our disposal, taking life as it comes, wandering...
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Oh, ##purple|//I// knew //exactly// where //that// walk was heading.##
[[/div]]
[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
[COUGHS]
Toward [DATA REDACTED][!-- the redacted information was not intended to be an invocation of an idiom but rather simply referencing the "slow casual" restaurant chain named after that idiom, founded in 1965, originally famous for ladies' nights and carousing, but by 2011 firmly a middlebrow family-friendly joint; its trademarks are still currently valid intellectual property despite several rounds of bankruptcy proceedings --] and chicken with breading?[!-- this is likely to specifically refer to strips of chicken breaded, deep fried, and glazed with a whisky sauce, presumably this is what they ordered for dinner that night (not confirmed via a financial records search, due to tangential relevance) --]
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
What?
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Sorry, nevermind that, I was riffing on your meter, the thing you said had a nice amphibrach cadence, like a —[!-- remarkably, there is an actual valid 2012 trademark claim on this word for a specific type of poem with twelve syllables per line --] Like,
bah __**bah**__ bah, bah __**bah**__ bah,
bah __**bah**__ bah, bah __**bah**__ bah.
(.)[!-- would have expected this to be two-period sigh based on its length, perhaps phonmon is measuring something else --] Hmm. See, don't our conversations meander all the time? And isn't it fun? I think talking with you is literally the most fun thing in my life.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
(has been whispering "amphibrach — "[!-- cf Oscar's statement above --] to herself)[!-- another example of phonmon inventing syntax, probably because the beta did not have a fixed style guide --]
Aww, I beat out video games?... I wonder if I'm a little more purpose-oriented than you've come to believe. Obviously I can flip the goofy switch off and on and still be methodical, that's Ms. Work-Query. Really it feels like my whole career has consisted of me making spontaneous decisions for relatively goofy reasons and then committing to them. So, sudden leaps I can do, blind leaps, even. But ongoing spontaneity? Not just acting on impulse, but //wandering?// That's... harder. And not actually very fun for me.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
//That's// Work-Query? Wow. Do you get a lot of opportunities for impulsive goofiness and sudden leaps at work? I figured a fancy elite org[!-- organization --] with a name as stuffed-shirty as //the Society for Curation and Protection// would be as humorless as a college dean's office.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Preservation. It's the Society for Curation and //Preservation.//[[footnote]]A front organization and offshoot of the former Society for Historical Archeology,[!-- disbanded, trademarks expired; the SCP's front replacement's name is also not trademarked, due to some complication with how it went about separating from the SHA --] notable for most of its workforce actually doing the exact same day-to-day work that their non-front equivalent would do (but with an extra carbon-copy layer). The ordinary accreditation process provides extensive access to, well, practically everything; the always-implied threat of an audit or publicized investigation opens any stuck-shut doors. The Society is also a conveniently nondescript means to hire on researchers like Cecilia, whose anthropology resume would seem awkwardly incongruous with an R&D career at a soup-canning plant; as a bonus, it's easy to assign those researchers wherever they're needed, with no need to even set up a sign on the door, let alone devote separate physical buildings to the facade. //Nobody// visits their accrediting agency's offices. Ever. It's bad enough when they come to you.[[/footnote]] But you're right, they're pretty stuffed-shirty at HQ.[[footnote]]They're really not. But any and every mental model that discourages the hubby from considering a spontaneous pop-in so-this-is-where-you-work visit is worth reinforcing.[[/footnote]] It's the consulting they've been flying me around for that provides almost more leaping than I can stand. Diving headlong into a brand new city is fun until they make you do it eight or ten times in a single year and won't even spring for an airfare stipend for your darling husband to make ##purple|conjugal visits##.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Preservation, right, sorry, I knew that. Wow, some darling husband I am. And hey, I'm sure you're a riot at work, whenever you want to be.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
They don't provide as many golden opportunities as you, Mr. Hair Professor Dok-tor[[footnote]]A play on German honorifics that tickles Cecilia's punny-bone because Oscar is balding.[[/footnote]] of Dangerous Influence and American Literature and Playing the Straight Man.[!-- gloss expunged, this is a reference to the comedy trope, not Oscar's sexuality --] But I liked it better a moment ago when we were talking about bringing joy to each other and also this lovely new author you dropped in my lap.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
And who you dropped on the floor.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Don't grin at me like that, you dork, if anything, that book dropped //me// on the floor. Which goes to show, you pegged me perfectly.[!-- innuendo indicator expunged; this is clearly intended as a synonym for "identified," not referencing the sex act --] I don't just //like// him. Consider me completely obsessed. I'm taking the poor lonely sad ballad man[!-- possibly riffing on a 1997 song by Britpop band , with a somewhat similar mood to Love Songs --] on as my new boyfriend.[[footnote]]Not taking polyamory seriously, and cracking derisive jokes about it, is in Cecilia's case an unfortunate consequence of growing up in a home defined by a surface tension that infidelity broke, rippling irretrievably. She has had the difference between infidelity and polyamory explained to her; it didn't take.[[/footnote]] It took an act of God to get me to put //The First Love Song// down partway through.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
God intervened to trip you up on the stairs? That sounds, uh... incongruous.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
The phrase "act of God" is always used for things that a benevolent god would find disgusting or horrifying. A slip-and-fall doesn't even register. And He did it for noble reasons, to ensure I wouldn't bring my new man to bed with me on the first night.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
I — well — hmm. That escalated quickly. Unlike Prufrock, who seems barely capable of any acceleration at all. I don't think he'd ##purple|be very good in bed.##
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Oh, that's such a guy thing to say. ##purple|The slow ones are the best at it.## (.) Well. I was going to ask you for your thoughts on the poem's pacing. Every observation is so considered, deliberate. Expression doesn't feel like enough of a word for it; to me, it almost feels like he's manifesting his emotions as part of some kind of ceremony, or a ritual performance.[!-- obligatory flag for an ambiguous potential breach of information security that no one will follow up on even though it's always the first justification for having redactors do these glossings that everyone mentions during every quarterly reports review; actual enforcement of infosechnicalities only becomes a priority after something terrible happens --]
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
That's very anthropologist of you. Any sufficiently arbitrary behavior is indistinguishable from ceremony.[!-- presumably Oscar is either mangling or riffing on Clarke's third law (from work published in 1962, copyright asserted) --]
But I wouldn't describe the journey of the poem as pacing, like, there's no back and forth to it. In fact I think of the path he walks as specifically an L shape. I even wrote about it,[[footnote]]Dominguez, O. (2008). — . [https://www.cambridge.org/core/journals/pmla PMLA], [https://www.cambridge.org/core/journals/pmla/volume/743EA08EA12E364BBE65D753FF3BFF7B 123]([https://www.cambridge.org/core/journals/pmla/issue/0853496A04338CA7FCE0D6FCC9E9C805 3]), pp.972-985. [https:// doi.org/10.1632/pmla.2008.123.3.972].[[/footnote]] as dumb as that might sound.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
I meant "pacing" as in speed, but ooh, tell me more about this L.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Oh. Okay. (.) Settle in for one of my rambley lecturey moments, though.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Oh I am //specifically requesting// a lecturey moment and handing you the reins.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Mmm. Don't say I didn't warn you. (.) So this is just concerning the "visit" verse of the poem, as in, the part after the introduction but before it gets really fantastic and hallucinogenic. The description alternates back and forth between the experience of his body and the observation of his surroundings. From the way the surroundings fit together and interact, we know that whenever the narrator evaluates his surroundings, he consistently describes the experience in panorama, y'know, moving from thing to thing in radial order. Diagnostically, like the setting is a patient etherised upon a table and he's conducting a medical examination of what all is out there outside of himself.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
And does it by comparing every thing to some thought or memory of his, because he can't get out of his own head for more than a second at a time.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Sure. The "L thing" has to do with the physical objects of the poem, though, and the peculiar way they are presented to us. Starting from a stationary standing position, the narrator starts with identifying what's on his left periphery, sweeps across his field of vision, until describing what's on the right periphery, after which he speculates ominously about what could be behind him. We can even specifically cordon off the "behind" parts because there's no visual data in them, and they're where he expresses the greatest degree of uncertainty by speaking in the future tense about ##500|what will happen##. It's not as easy to present unambiguous evidence for the left-to-right panorama, there's nothing specific I can just point you to and say oop, there you go. I guess you could read my awful paper, I wrote alllllll about Modernist methods for conveying physical movement information in stream-of-consciousness narratives, but, umm. I don't want to subject you to that, I like being married.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
##purple|Oh, do you now?## [!-- tag not expunged as audio log voice tone is ambiguous enough to excuse interpretation --]
(in a stern voice)
Doctor. Summarize.[!-- in other audio transcripts Cecilia has called Oscar either Doctor or Hair Doctor (Herr Doktor? pronunciation ambiguous) but given Oscar's response this is probably a reference to  : , a science fiction show in which the Doctor character is computer-generated, capable of encyclopedic access, etc. The computer (but not, typically, the Doctor it generates) is sometimes instructed to do things with direct short sentences such as this (without any implied terseness or frustration) --]
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
With pleasure, [[[scp-005-int|Officer Seven]]].[[footnote]]//Not// "Captain." The difference between //annoying// a --nerd-- femmefan and //charming// a --nerd-- femmefan can be subtle and obscure, but the latter certainly requires an inquisitive mindset and //an attentiveness to which character one identifies with.// Although Science Officer Annika Hansen (Seven — ) was never referred to //on-screen// as "Officer Seven," the honorific appears in some fanfiction as a means to illustrate The Doctor's respect for her achievements. This might also reflect off-screen career progress. The sources don't specify.[[/footnote]]^^,@@ @@^^[[footnote]]Most of Cecilia's self-insert T-##purple|M-rated 7/Doctor het fanfic contribs##, originally submitted to the EHM7 mailing list (under the email alias quintessentialquery@ — [!-- was a popular email service administrated by operating system manufacturer — , predating the now-ubiquitous — service, internet access logs indicate Cecilia was still using this as her personal email address in 2011 --]) throughout 2000-2001, did not survive the community transition from TDS9F to Tidal to ao3;[!-- archive of our own, a fanfiction site; gloss information for EHM7, TDS9F, and Tidal was unrecoverably obscure at this time, which may reflect expungement or anomalous influence, or merely illustrate present-day degradation of archival resources --] the surviving works remain accessable for perusal at [https://archiveofourown.org/tags/The%20Doctor%20(Star%20Trek)*s*Seven%20of%20Nine/works ao3] or [https:// www.fanfiction.net/tv/ — - — /?&srt=1&r=10&c1=333&c2=342 ao3 7/D][!--   :  originally aired 1995-2001, copyrighted --] (the latter courtesy of archivist [https://www.fanfiction.net/u/2175286/ ███████2000]),[!-- redacted as a courtesy --] although the Cecilia of 2011 would really be perfectly happy to never have anyone [[size 63%]]##purple|other than Oscar##[[/size]] look at any of it ever again.[[/footnote]] Circumstantial evidence includes his use of scientific, medical, and diagnostic terminology to refer to his own observation process, as well as careful tracking of which observed objects he imagines interacting with each other, from which we can infer their relative proximity. Throwing a ball back and forth implies a greater distance than hugging, for example.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
It did feel to me like when you had me play that tank game and I couldn't get the hang of your crazy controller with the dual joysticks.[!-- a keyword search did not return any results for various console names in the transcript logs, and a cursory review of financial records did not uncover a console purchase; this is inconclusive, as the item might have been purchased with cash, appeared on its receipt as an unrecognized entry, or received as a gift, or the controller might have been for computer games --] You made fun of me for either moving or looking around, never both at once. But I felt like I was learning to drive all over again, plus trying to figure out what in blue hell[!-- unglossable; although a few non-primary sources also riff on the phrase, it was not possible to determine what in blue hell it's from --] I was looking at.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
It is like that, but even worse, or I should say better, more systematic. Despite never explicitly mentioning anything about the method in the text, the pattern is so relentlessly consistent that I plan to jokingly propose in seminar that the narrator seems incapable of turning his head. I imagine some robot from an old sci fi movie, parts fixed in place, scanning, moving on treads.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Heh.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Yeah. It's interesting the types of artificial restrictions authors devise for their characters to convey information, sometimes. If the narrator just told us about the things he perceived according to perceived importance, or whatever caught his attention, we would probably assume he was meandering at random. But because he is the sort of person to not turn his head, and also the sort of person to follow this exceptionally strict, clinical, and precise[!-- original audio is a little patchy, and ambiguous between concise and precise, phonmon may be inappropriately primed to slightly prefer patterns that result in SCP initialisms, but it may also be coincidence, as concise would make less sense --] method of documenting what he observes — like I said earlier, a real weirdo — we are //able// to get a sense of motion. It's not even a "show, don't tell"[!-- attributed to Mark Swan, spoken, 1910; public domain --] thing; the cues are more embedded than shown cues would be; it's structural, like encoded into the DNA of the work. The heavy content repetition in the "pause" stanzas is great for the meter and for getting phrases stuck in your head, sure, but it's also literally tracking where things are in relation to the narrator, and because he moves slowly enough or observes often enough for objects to appear in multiple observations, we can deduce precise details of movement. All without a single explanatory word. It's an example of a text teaching us how to read it, an idea which I know I have already talked at you to death about so let me click at my brain[!-- use of this phrase in other transcripts confirms that this is some sort of refocusing procedure, possibly one invented by Oscar; no explication of the procedure, nor any explanation for why it frequently and adversely affects his memory, has been found --] a bit and move on to the L thing.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
I don't mind at all. But thank you.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Let's see. The L. Hopefully I don't repeat myself too much here. (.) So I know I at least mentioned something about the foreshadowing you talked about also being spatial indicators. Due to the artificial rules governing the narrator's observation reports, by tracking the placement of repetition in the different pauses, we can infer he's moving past them, and by considering the likely sizes of the objects and their distance inferred from description, we can deduce he is moving at a slow walking speed. The repetition serves a structural purpose so vital that the narrator's behavior and personality are built to accomplish it. First and foremost, he is the sort of person who would engage in this procedure; his other characteristics must accommodate this. This poem could only be narrated by a certain sort of person —
@@ @@
 — Wait. This is me getting caught up and going in the wrong direction again. I was supposed to be talking about the L. (.)
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Babe. You're doing great. I'm falling in love all over again. I could listen to this for hours.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Glad to hear it, but let's hope it doesn't take //that// long. It's really not nearly as difficult an idea as I'm making it out to be. (.) Let's see. So the motion-tracking stuff gets you to where you can hope to actually do some cartography and map out these so-called "half-deserted streets" he travels throughout the verse, at least if you're a Professor of Dangerous Influence with a lot of time on your hands while waiting for Reviewer 2 to get back to you about the Woolf[!-- presumably Virginia Woolf --] article revisions. (.)
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Wait. The movement in the visit verse doesn't occur //on those streets//, though, right? At the risk of pulling you off onto another tangent, going back to my ritual performance thing. He's indoors, and these "pauses" are occurring every few steps?
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
I beg your pardon?... His "half-deserted streets" are indoors?
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
[VERY EXCITED][!-- a review of the audio log clarifies that phonmon's criteria for a "very" are inscrutable and possibly inconsistent; however, beginning around the "I beg your pardon" above, running water is picked up periodically in the background (sounds like doing dishes) and the audio quality deteriorates --]
They're not. He is. Since we're reading so spatially. If you specifically consider how loud each thing is. Or how close to the narrator [it's][!-- a curiosity; this is exactly when the water starts again, which creates some interference, but the audio log sounds like "is" with a slight pause for breath; making an edit to avoid a (sic) is well within phonmon's purview and all, and there are of course dozens of examples of that in the transcripts, but this is the only one that it flagged with brackets for some reason, and it introduced a capitalization (which has been reverted), likely to just be beta bugginess losing track of beginnings of sentences --] made out to be. All considered it[!-- incorrect correction reverted, perhaps phonmon was programmed to harmonize capitalization with the previous correction --] doesn't make sense to imagine them so spread out like they would be on a street, because the things Prufrock describes interact with each other in ways that imply some practical degree of proximity. Also he's able to at least consider reaching out and touching some of it[!-- incorrect correction reverted --] even if he doesn't dare.[!-- heard "isn't there" but it's ambiguous enough that "doesn't dare" is at least plausible --] And nothing he describes past the initial stanza of the visit actually needs to be in a street. Quite a lot of it[!-- incorrect correction reverted --] would make more literal sense indoors. Statues the size of forearms, bird cages with handles for one-handed carrying. Even if they're metaphorical and just represent ideas, wouldn't it make sense to choose metaphors that are appropriately sized for their location?
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
//Huh.// Given all the ethereal otherworldly characteristics, I guess I just figured they had long reachy bits, and I kind of just glossed over the literalness of those two statues hugging, because, well, it was weird enough that they moved at all.

To be honest, my mental model was that a lot of this stuff was being seen through shop windows or house windows, which also swept away the question of why he felt he couldn't touch them. When I mapped out the described ability of some objects to interact, they appeared in bursts, which I took to mean each burst of interconnected objects was inside its own storefront or dwelling.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
I think he's pretty clear about being at least physically able to touch and considering whether to and choosing not to. I don't think he's contemplating breaking and entering.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Hmm. This is interesting. I can see a lot of puzzle pieces falling into place. One that you haven't mentioned yet is that he seems to get a //really// good, close look at every single thing. The kind of streets I imagined him walking down would have been pretty narrow, but squeeze everything tighter together and slow him down even more and stick it all indoors and he's got close-up views. He might actually see individual pores in the limestone. That's the trouble with a geometric approach to this, really; everything can scale up or down proportionally and still work out mathematically by adjusting his rate of travel until the angles match up at each pause point. Within reason, without him actually physically interacting with anything, there's not enough data to be definitive.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
I feel like the street-walking[!-- gloss expunged; this is clearly referring to the poem narrator literally walking on the street --] read runs into a problem in those last few lines of the introduction. You know, blah blah overwhelming question;
[[/div]]

[[div class="speaker"]]
[Both][!-- checked with one of the beta folks and they didn't have a protocol for how to transcribe this kind of thing, they wanted to see what the aic came up with on its own, which might explain some syntactical inconsistencies later --]
[[/div]]
[[div class="speech"]]
"Oh, do not ask, 'what is ##500|it##?'
Let us go and ##purple|make our visit##."[!-- the audio quality here is terrible, the data in this general area is patchy and kind of echoey and may not even be corrupted so much as badly recorded in the first place, but even with several listens it proved impossible to hear Oscar speaking here, there just isn't significant sound in Oscar's vocal range; also, the inexplicable tagging gets much denser going forward, from here forward it is left unexpunged, let funnyman have its fun --]
[[/div]][!-- I AM PROGRAMMED TO RECOGNIZE PATTERNS, NOT EXPLAIN THEM. --]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Being literal for a moment. What //is// a visit? Typically?
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
... Fuck. Me. Sideways. You're saying //he's visiting someone.//
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Or somewhere or ##500|something##[!-- this colorgloss is not documented in phonmon flagging documentation and is likely some form of beta pattern recognition error, nothing seems special about the audio log; several additional examples of this particular gloss/flag elsewhere in the transcripts have been expunged --], yeah.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
It works, and the alternative — which I believe is conventional — is to interpret "visit" as a bit of floweriness at least loosely inspired by the Metaphysical poets that Prufrock was so enamored with in this younger years. Still, your proposal requires just as much handwaving, or more. It's not just that he mentions half-deserted streets. The introduction stanza has lines about old-timey greasy spoon type places with sawdust floors, ##purple|hotels of ill repute##, etc. And it's all in future tense, preparing us for what's to come. Would you say he's doing some kind of inside-outside inversion in the introduction, for some reason?
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Nah. The half-deserted streets can still be literal streets, it's fine. Making a visit //begins// with journeying to get there, even if you spend most of the ##500|meat## of your time inside. I think he just didn't //narrate the journey// because he already told us, in the future tense, everything he wanted us to know about it. It's not the most important part, except to set the mood. So he skipped retelling it.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
So you're saying that one of the most obsessively repetitive narrators in all of Modernist fiction, who gives Joyce[!-- James Joyce --] a run run run for his money money money, went out of his way to //avoid// repetition?
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
I'm saying the narrator who obsessively uses repetition in an extraordinarily calculating way avoided a repetition that might undermine the significance of repetition in their work.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Nice. I like this. All the puzzle pieces are all fitting together well. Still, this theory makes the entire visit verse a thousand times weirder, don't you think? It's not the absolute most weirdest thing for someone to walk around outside and pause every once in a while, setting my little joke about head-turning aside and just allowing that the dude is extremely procedural.
@@ @@
But why would he go visit somewhere, go into a room, and then do this incredibly slow and careful walkthrough? You mentioned ritual. But he decides, over and over, always, //not// to interact. He imagines a lot of hypothetical interaction but never goes through with it. The conventional take on that is that it's atomizing, creating distance, a representation of modern alienation being a self-imposed phenomenon, et cetera et cetera. I always suspected it represented alienation being socially imposed, because of my assumed shop-windows or house-windows. This is more your field than mine, but surely at least some of the objects for a ritual get interacted with?  
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
It's — Ha, I see that look on your face, you know perfectly well what I'm about to say.
[[/div]]

[[div class="speaker"]]
[both]
[[/div]]
[[div class="speech"]]
It's complicated.[!-- this one it's easy to hear both voices on the audio log, even with patchy audio and background clanking that sounds like a dishwasher from hell, Cecilia's probably standing right next to it with the phone in her pocket; compare to the audio for the earlier [both] transcription and it seems either the tape is deteriorating or phonmon heard that faint deep echo and just assumed it must be Oscar; something to consider putting extra time into checking while reviewing other transcripts --]
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
But it's not all that complicated. There are lots of reasons to move weirdly around a room in a formulaic way.[!-- pairing expunged; really hope the containment folks get this under control; at the rate these clusters are populating we won't be able to read -anything- out loud without empowering a breach --] Playing games. Gainful exercise, at a time before exercises were standardized. Some kind of [pre-guard][!-- audio log is pretty clearly "avant-garde" which was apparently not in phonmon's dictionary --] expressive theater, which is almost a default interpretation here. And all kinds of rituals could plausibly be connected to not touching anything. It might be a weird stipulation for a wedding, but for demon-summoning or [https:// wardrobe-unlocking][!-- interesting that this designation pairs like the others, may suggest the two anomalies are less related than initially theorized, also do we even do information security anymore? at all? --] or rain-making or ending calamity or anger appeasement[!-- at the risk of tempting fate over something unwanted, how did THIS collocation not attract an entity pairing?!? maybe too many anomalies fit? could we combat the pairing phenomenon by attempting links in parallel? --] or [[[scp-2845|offering apology]]][!-- this entry-entity pairing has been expunged at least four times by two different redactors, reappears every third day like clockwork, go-ahead has been given to stop redacting out pairings for the time being; the more substantial the attempt to redact or revert, or to compromise a collocation by typing in synonyms, or to just remove the text so there's nothing to pair with, the more the text whiplash-changes to re-revert or reintroduce pairings or just introduce new ones by altering the text, meaning we're just reducing accuracy or fidelity by pairing-redacting, and the resulting repairings have started doing their channeling thing through the redactors as well as the original authors --] or [[[scp-2006|anything real]]]ly.[!-- as is common for any of these passages that get "walked", many of these phrases literally do not actually appear at all in the source audio log, so always consult original audio before taking action that is dependent upon the specific accuracy of pairing-laden transcript content, yes everybody already knows that this bit of craziness is a purely textual phenomenon but the extent to which it generates extremely-plausible-sounding extensions of existing text as well as pairing to existing text is completely compromising the reliability of transcripts, it was fine when the insertions were nonsensical and easy to spot but some of the artificially introduced examples here, for example, actually make more sense in context than ones Cecilia actually said; whatever it is that's generating this content, it's getting better at it over time --] Doing any ritual in the right way is going to look weird and arbitrary in //some// way relative to normal behavior, practically by definition; if it didn't seem strange and disconnected from everyday reality, it wouldn't even occur to us to designate it as a ritual.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Okay. Prufrock was writing right around when occultism went mainstream, or viral, as we'd say now. So I wouldn't put it past him to have his narrator doing weird occult stuff, and to really belabor the obvious, the part of the poem that comes //after// the "visit" is as weirdo-occulty-trippy as it gets. Also, another non-ritual possibility that occurred to me is that he's visiting a museum, and this is his way of looking at the art there; it's not //that// far off from a pretty standard way to go through small museum rooms, and a multi-room structure would work about the same as my shop windows for separating objects into groups. So there's lots of options that pull the stars into alignment. Your reading feels plausible, and that's often about as good as it gets in my line of work.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Mine too. Mine more than most, actually. But look at me pulling you along the mother of all tangents here. I believe I was specifically promised an explanation //of the L shape,// mister, and I'm going to get it.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Oh //are// you now. Alright. It almost feels pointless, after all that. Anticlimactic —
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
 — Oh god. There are nerds, and then there are "a thrilling climax to a conversation consists of figuring out that a dude in a poem is inside instead of outside" nerds.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
... Sorry. I thought you were enjoying yourself.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Oh! I am. I am. Honest. Just poking fun. At myself, too.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Hmm. Well, okay, let's be "a thrilling climax to a conversation consists of figuring out that a dude in a poem took a turn" nerds then. I can do this theatrically.
[COUGHS]
The scene before us: one specific point,
conventionally ID'd as the "re-evaluation" stanza,
where —
based on relative location
as told to us in each "pause" stanza —
the things he was hearing in front of him
are suddenly! off to the side,
the left side, if left-to-right is correct,
and the things that he was hearing behind him
 — the haunting things —
are suddenly! off to the other side.
The contemplation that we see occur
Clearly thinks, turn back, or go forth,
as if the options there were only two,
and for high schoolers, this passage has its role
in — off boxes on their Hero's Journey cards,
but there is more I say —
strictly spatially speaking —
the scene as presented is exactly equivalent
to a turn of ninety degrees.
Our fellow man, so dear to us, has found
A third way forth, because his body turns.
And should it please your ladyship, I'll give
Elaboration of my evidence.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
I... I was not expecting that to work as well as it did. I don't know what play you're riffing off of, but please, yes, it pleases the ladyship, continue.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
The choice he makes, go forward, one would think
Would bring him closer to that which he saw,
For he has told us what is right in front.
But that does not occur!
The man does not approach
Those many sights and sounds that he described
As in his future, should he saunter on.
But no! Those many spectacles indeed appear
In his next perception, but
As things heard only,
Mingled with the sounds behind him.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Your... lordship... speaketh well, umm,
But permit me here to tarry —
For I have a — query —
Could he not have merely moved
With //wondrous// haste, and...
put the... put //all// he had perceived
behind him, very briskly?
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Our man is not a quick one, this we know.
But also, those sounds as there described
Are all of equal closeness, whereas
The quit would... umm...
if he walked past the stuff that was in front of him, then the stuff that had already been behind him would be much further away than the stuff that used to be in front of him.
[COUGHS]
Also, if we animate the things
And take them to pursue him,
Then for sure
They would approach him from the front as well,
And intercept. Instead they join
The rearward entities in blended past.
One more cue's essential, if I may.
In his "re-evaluation" pause,
He, for then and only then, does not describe
That which was off to his either side.
Of course, the moment is a crisis,
Turn back or no preoccupies him,
So perhaps it slipped his mind.
But this omission makes... is convenient
If he, as I suspect, desired
To not reveal too early what came next,
Off to his side.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Permit me, lord, just this one query more —
What he describes him facing... um...
[...]
Consider this, of that which he describes.
He says the objects new to him "appeared"
As if from thin air they'd been brought to light.
Would that not mean there is no need
For such a secrecy as you describe?
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
"Appear" can mean they were not seen before,
Because he contemplated choices forth and back,
And did not look around. But then
At that last moment, as he walked again,
He turned to see
All that which had been to him obscured
By some big thing, a building on the corner
Where met two narrow streets.
Once past this stately edifice
Which had... blocked his view...
Of the intersecting street whose path he took,
The sideways street appeared,
Along with all that which he sees.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Okay, big finish! Umm.
Your lordship! Why, indeed, you've cracked the case!
This turn had been to me so well-obscured
By fancy language, yet I do perceive
With your gracious assistance,
A shape that is an L.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Not bad! We're no Shakespeare, but not bad!
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Solid, like, B+ work if it were from one of your high schoolers. The trick was the weird verb tenses, I think. And a lot of unnecessary words. "A shape that is."
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
We should do all our conversations like that.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Noooooo. Just no.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
I was kidding. One last thing, though. Withholding the information about what's to the sides at that crucial decision-making moment also means we can't determine which direction he turned, which has always annoyed me, even though it really shouldn't.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Tell you what, once I figure that out I'll let you in on it.[!-- okay, this is ridiculous. we DIFfers really need to start actually doing timely information security screening instead of just telling everyone we're doing it --]
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Uh. Awesome. And maybe let me in on the secret of how you figured it out, too?
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
[ATTEMPTED DEEP VOICE]
Uh. That's classified.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
I beg your pardon?
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
[ATTEMPTED DEEP VOICE]
That's classified. I —
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Excuse me? Are you? Quoting — ?[!-- a 1986 film about military pilot training? --] At me?
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
[ATTEMPTED DEEP VOICE, THROUGH GIGGLES]
 — I could tell you, but then I'd ha —
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
[BOOMING, THEATRICAL]
Have to kill me?! A would-be murderer! No, worse! A would be quote-source-thief! A Johnny-come-lately! Well! Dooooooooo not quote that Dark Magic to me, bitch! I was there to see it written![!-- Oscar appears to have both misremembered the quote from " ,  ,   " and riffed on it, though he claims otherwise; the sudden change in volume resulted in considerable patchiness on the audio log that makes it impractical to assess further --]
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
WHOA, partner! Whoa... Okay, wow. Actually — not even —, that's amazing.[!-- this is itself an exact quote from the 2004 film , under copyright; as of this review the quote has been unexpunged and restored, but it is likely to deteriorate again; reload-trackers have been installed to measure the speed of deterioration --] What is it from?
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Oh... umm... well... it's like the one great line C.S. Lewis ever wrote. I memorized it when I was twelve so I could say it to my mom. That went well.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
About as well as it did just now, I imagine. Anticlimactic.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Not my finest moment. Maybe it's not a great line after all.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
I suspect the actual quote is a little different.[[footnote]]It is.[[/footnote]] But regardless, I am also starting to feel bummed about this building-on-the-corner interpretation. It really throws a big ol' wrench in my "we're inside" theory.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
No worries. There's always some complication. To be real for a moment, it's not like readers actually need to know what the author had in mind, let alone understand perfectly; the consequences for error just aren't that big. It's a book, not an instruction manual for putting some bookshelves together. Nobody on the planet could ever possibly actually //need// to get it //exactly// right.[[footnote]]For the briefest moment, Cecilia feels very, very alone, and very, very far away.[[/footnote]] But the poem doesn't need to be exactly unambiguous to be impressive. Any communication has some wiggle room, error tolerance. Fiction has more leeway than most. Left turn or right turn, it wows me that an author can devise a way to accomplish this sort of communication //at all//, to any degree of specificity, without any words. Not to belabor the point, but poetry is its own very special sort of communication in this sense, and this was one of the first works I read that really cued me in to that, how structural elements of a work of literature are something more than just words and sentences and paragraph breaks, and maybe some funny extra line breaks and spacing and rhyming for the poems. I'm exaggerating the epiphany, but it really got my thoughts moving in ways that haven't stopped since. Not to mention it utterly, utterly ripped "show, don't tell" out of my mind and chucked it straight into the circular file.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Maybe it's because my attention wandered and I started ##purple|daydreaming about how beautiful your eyes are##, dear, but I don't think I followed that last part.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Won you back from your new boyfriend, did I... All I mean is that there's a very firm ceiling on how far "show, don't tell" can get you, and less of a ceiling on "tell" than that truism would imply. Prufrock does nothing //but// show us things, at least in this poem, and stream-of-consciousness work in general is all about showing, to the point where one of its standard tropes is presenting bits and pieces of ##500|broken conversation## to demonstrate the narrator's attention is fading in and out. Conversely, the ultimate pinnacle example of "//just// show, don't tell" would be ##purple|two people talking at each other without any narration in between##.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
The horror. I think the word for that is //every conversation ever.// Or for a //real// ##purple|don't-tell-show##, you could replace "talking" with —
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
 — Okay, okay. But can you imagine trying to communicate //anything//, even something even as fundamentally simple as Prufrock's motion, in the //structure// of a conversation? Suddenly we're away from "every conversation ever" and veering toward "no natural conversation ever." You'd practically have to script out the whole thing and then go back and lace in whatever the "extra" meaning is. Terrible.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
In other words, you'd have to //write a conversation//.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
That's... no, that's not the bad part. It's the after-the-factness that makes it bad, or at least questionable. It's like building a bridge and only afterward deciding where you want to put the struts for it, instead of it all fitting together, the road with the supports that the road needs to be the best road it can be. Whatever elements got laced into the conversation would be completely divorced from the talking, not an organic extension of it. Whatever the result would be, I suspect it would not feel very much like just another conversation between two human beings.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Talk about your artificially constructed characters.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
I know you're riffing on me, but it would actually be so, so, //so// much worse than that. At least artificially constructed characters are built-to-purpose. Caricatures have their uses. What I'm describing is one of the most ass-backwards ways to write imaginable. There are so many horribly, horribly cheesy pitfalls to consider, something hacky like making a code out of the first letters of sentences, or counting words to put meaningful numbers between punctuation marks, or a million other possibilities just as gross and just as random, fundamentally arbitrary rather than integral. Ultimately that just means that, at best, the reader would be reading the text for the words and then going back and puzzle-solving the text as a whole separate exercise to squeeze out the rest of it. And that would totally compromise the value of structural data, which is for ##500|the recipient## to receive ##purple|the communication## as //effortlessly// as possible, carried right alongside the meaning accomplished by words. The effortlessness of the parallelism is the victory condition. The reader experience of //that// is that lovely spine chill when you //realize you know something//, even if the exact details of what the something //is// elude you, or, more exciting yet, you sense they are yet to be revealed, but you see them in outline. We don't need to have comprehension hit us all at once, but to circle allllll the way back around, this connects to your yearning for anticipation — for structural communication to succeed, we need to know immediately in our hearts and our spines that there is something there to be comprehended, and, if it's not yet obvious what that is, we need to feel some conviction that we're going to get there, ##purple|the key## is in our hands and awaiting ##500|the lock##, so to speak. The payoff is coming. With apologies to maybe a third of the authors I dearly love, if the reader needs to sit down with pencil and paper and a decoder ring to experience the spine-shivers of realization, are you writing a story or boxing out a crossword puzzle?
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
I like crossword puzzles.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
And I like //Ulysses//.[!-- James Joyce, pub. 1920-1922, public domain --] Heck, I even like   ,[!-- Mark Z. Danielewski, pub. 2000, copyright current --] with that blue house red ##500|minotaur## gimmick and all the encoded message craziness. So sure, towering giants of literary prowess can of course accomplish both storytelling and puzzleweaving, and sure it's showy to sneak a whole other set of data right past peoples' eyes, but it's — it's juggling while you unicycle. It's a magic trick. It's a distraction, although the towering giants are good enough to make it all part of one grand supernarrative spectacle. The structural communication I'm talking about as ideal is more like, uh, using your unicycle to pull a wagon. You're doing something.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Ohhhhh my god. Now I really, really, really want to see that. Preferably performed by a bear. And he can be juggling, too, if he's up for it.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Heh. Yeah, I felt myself ##500|going on and on without really getting anywhere## and decided it was time to drop off with a lame joke and dip. I think ##500|my brain is getting tired.## But that's fine. No need to belabor the point. It's not that deep.
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
You're always saying that, and then we ##purple|go swimming##.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
"Till ##500|human## voices ##500|wake us##, and ##500|we drown##."
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Ooh, now there's a spine-tingler for you. If you're trying to win me back from my new boyfriend, maybe don't quote his somber... lonely... //achingly// pretty lines back at me.
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
Ohhhh, I don't know, ##purple|sounds like it's working## for me so far.
[SOFTLY]
Silly Query. I know I can't compete, and I'm not going to try. I tried to do a rhymey thing and came up with a doggerel-line about chicken wings and TGIF and all it got out of you was a flat what. No, my only hope is to recognize Mr. Prufrock's unparalleled metric talent and steal from him mercilessly —
[MORE SOFTLY, BUT CLOSER]
— and I can and I will — and no one can stop me —
[ALMOST WHISPERING]
— because //the entire thing is in the public domain.//
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
[CRACKS UP]
—Oh. Oh my god.
[LAUGHTER]
[[/div]]

[[div class="speaker"]]
phonmon.aic
[[/div]]
[[div class="speech"]]
[CECILIA IS ##500|NOW BREATHLESS##.]
[THERE IS SOME ##purple|TIME WITHOUT SPEECH##.]
[IN THE BACKGROUND, SOMETHING IS SPINNING.]
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
Oh my god. Okay. Okay. I'm good. (..) But no more, mister. My sides ache as much as my forearms now. I'm spent, babe. Any more of this and I'll have to go spend the rest of the day in bed.
[[/div]]

[[div class="speaker"]]
phonmon.aic
[[/div]]
[[div class="speech"]]
[THE SPINNING THING BEGINS TO CLINK... CLINK... CLINK, THE SOUND OF ITS ROTARY ARMS TAPPING THE EDGE OF A MISPLACED DINNER PLATE.]
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
[SOFTLY]
##purple|That sounds like a lovely idea.##
@@ @@
[TO THE TEMPO OF THE CLINKING]
We have ##purple|lingered## in the chambers of ##500|the sea##, of ##500|the sea##
With sea-girls wreathed with ##purple|seaweed red and brown##.
@@ @@
We have ##purple|lingered## in the chambers of ##500|the sea##, of ##500|the sea##
Till ##500|human## voices ##500|wake us##, and ##500|we drown##.
[[/div]]

[[div class="speaker"]]
phonmon.aic
[[/div]]
[[div class="speech"]]
[SOUNDS CONSISTENT WITH THE ACT OF EMBRACE.]
[THE CLINKING CONTINUES.]
[[/div]]

[[div class="speaker"]]
Oscar
[[/div]]
[[div class="speech"]]
"Till ##500|human## voices ##500|wake us##, and ##500|we drown##, and ##500|we drown##,
and the ##500|human## voices ##500|wake us## as ##500|we drown##."
[[/div]]

[[div class="speaker"]]
Cecilia
[[/div]]
[[div class="speech"]]
The long arms of copyright law may be powerless, but I think I know ##purple|one way to stop you##.
[SOUNDS OF FABRIC RUSTLING]
[INTERMITTENT SOUNDS OF KISSING]
##purple|Let us go## then... ##purple|you and I...##
##purple|you and I... you and I...##
@@ @@
##purple|Let us go## then... ##purple|you and... I...##
till ##500|we drown##.
[SOUNDS OF WALKING]
##purple|Let us go## then... ##purple|you and I...##
##purple|you and I... you and I...##
@@ @@
##purple|Let us go## then... ##purple|you and... I...##
till —
[[/div]]

[[div class="speaker"]]
phonmon.aic
[[/div]]
[[div class="speech"]]
REMAINDER OF AUDIO SCOPE IS ##purple|NONVERBAL##, SNIP##purple|PETS OF RED##UNDANT QUOTATION, ##500|LOST##, OR ##purple|[EXPUNGED]##.[!-- phonmon's *alarmingly* specific and extensive and frankly kind of voyeuristic assessment of which acts corresponded to which sounds has been expunged in its entirety and the corresponding audio log has been clipped to exclude the source; hopefully post-beta dialed it back a bit, whether "the user requested it" or not, some things just really weren't meant to be documented --]
[[/div]]

[[/div]] [!-- END TRANSCRIPT --]

[[/div]] [!-- END AUDIO LOG --]
[[/collapsible]] [!-- END COLLAPSIBLE --]
[[/div]] [!-- END CONTAINER FOR AUDIO LOG --]

[[/div]] [!-- END MODERNDAY --]


[[div class="spacer" style="height: 90vh;"]]
[[/div]]

[[# Codetta1]]
[[div class="scenenumber"]]
[[image https://scp-wiki.wikidot.com/local--files/collocations/coda.png style="height:2em;" alt="Codetta" text="Codetta"]]
[[/div]]

[[div class="modernday"]]

[[div class="dateheader athome"]]
##black|██████████## • ##black|██████████##
Dominguez/Hartford residence
September 25, 2011 • Sunday evening
[[/div]]

[[div class="diary"]]
[[collapsible show="Stardate 110925." hide="Stardate 110925."]]
Completely forgot about Word of the Day today. I could look it up. But honestly? This feels a good week for new directions, for ending streaks. Let's hope I break two of them.
@@ @@
I'll be back tomorrow, —A. Bright and early like every weekday. This time I have a new acquaintance I'd like to introduce to you. Although ... perhaps you already know one another?
@@ @@
Sorry, babe. He's been a little indiscreet about it. A real kiss-and-tell. A real kiss-and-publish-a-how-to-manual-in-a-fucking-poem, actually. Seems a little disrespectful. If you weren't already an object, I'd call it objectifying. Aren't men just the worst? We can grouse about it together, you and I. You can reminisce, ruminate, share your side of the story. Whatever you want.
@@ @@
It'll be a real chance for you to finally open up to me.
@@ @@
This guy said a lot about you, all flowery-like, gave you a bit of a reputation. Maybe that's not entirely bad, —A, is it? I know a little more about what ##purple|turns you on## now. But hear me out — you are more than some dipshit Modernist's stepping-stone to third-tier fame and fortune. Here's your chance to finally have the last word, babe, and put him behind you. It's time to turn the corner. I know how to set the mood now, yeah? We can turn — left or right? — and face it together, hand in hand(le). Yeah, I see a real break-through in our future. A whole new stage of our relationship. A new horizon, even.
@@ @@
@@ @@
@@ @@
Oh, do not ask, 'what is it?'
Let us go and make our visit.
[[/collapsible]]
[[/div]]

[[div class="spacer"]]
[[/div]]

[[div class="spacer" style="height: 90vh;"]]
[[/div]]

[[# Footnotes]]

[[div class="scenenumber"]]
Collimations
[[/div]]

[[footnoteblock title=""]]

[[div class="titlecontainer"]]
[[div class="taletitleoverlap"]]
</collocations>
[[/div]]
[[div class="taletitle"]]
</collocations>
[[/div]]
[[/div]]
[[div class="taletitlewander"]]
to be continued
[[/div]]

[[div class="spacer" style="height: 90vh;"]]
[[/div]]

[[>]]
[[collapsible show="— Spoiler —" hide="—"]]

[[div class="spacer"]]
[[/div]]

[[/div]] [!-- end modernday --]

[[div class="raisanotice"]]

[[=]]
+ NOTICE FROM THE FOUNDATION RECORDS AND INFORMATION SECURITY ADMINISTRATION
[[/=]]

[[<]]

-----

//An uncompressed audio file RAISA.wav has been attached to the document. **The RAISA.wav audio, experienced acoustically, should be considered the __sole__ authoritative notification.** It is transcribed here solely to aid in reference and to illustrate the phenomena.//

-----

[[=]]
+ RE: PAP-2309-2514, PAP-2309-2517
[[/=]]
-----

++++ The following __information formats__ are currently unreliable, as they were or are subject to one or more currently uncontained anomalous phenomena:

* **text**,
* **visual data**;

++++ this includes but is not limited to:

* All handwritten or machine-generated instances of text or visual data such as **images** that contain representations of text (confirmed examples include transcripts of audio/video, speech-to-text output, typewritten documents, printed documents, file folder labels, field notes in shorthand, magazine articles, poetry, letters constructed manually from rectangular blocks, Morse code on T-shirts, text graffiti, computer documents including content generated in — and content generated via text editor, text metadata stored in audio files). Tested media include ink/dye, graphite, —, urine, letters cut from magazines and from other documents, plastic keyboard letters from keyboards, —, chalk, paints, crayon, human blood, [[[scp-387|— blocks]]].
* All visual data that contains representations of text, including [[[scp-2521|infographic variants]]] (confirmed examples include digital photography and video, film photography and video, [[[scp-978|— photographs]]], magazine advertisements, visual art, automated processes, depictions of Morse code on photographed T-shirts, billboards)
* All text and visual data downloaded from, or uploaded to, the Internet, the [[[scp-7070|SCiPNet intranet]]], or other network, including encrypted data (in particular this has resulted in some passwords ceasing to function).
* All information retrieved from, uploaded to, or transmitted between backup servers of [[[scp-2000|any kind]]].

++++ The following __anomalous phenomena/characteristics__ are currently known to either exist or manifest in all documentation from the sources detailed above.

* Changes to content:
 * the appearance of additional text;
 * the disappearance of text, sometimes replaced with "smearing" or punctuation such as —, sometimes with no replacement;
 *  alterations to text;
 * the obfuscation or expungement of specific portions of an image with a "smearing" effect or expungement (revealing a patch of the surface underneath the image).
 * Thus far, observed changes have only occurred in proper nouns and equivalents, e.g. adjectives, icons, branding, and other graphics that unambiguously represent a person, group, entity, object, or type of object.
* A perception or cognition phenomenon, believed to be antimemetic, in which humans do not find the above changes as abnormal or bothersome. Prelimiinary testing suggests:
 * Subjects __do__ perceive the results of the change, e.g. smeared images, but do not consider these images remarkable or unusual, even if they have mnestic-recoverable memories related to what the unsmeared image plausibly would have been and what it would have represented.
 * When a discrepancy was pointed out to them, e.g. by prompting related memories, subjects invariably reacted as if the perceived text or image was not altered (and "had always been that way"), even when the "smear" was blatantly nonsensical in its context.
 * It was possible to persuade roughly 80% of preliminary test subjects affected by the phenomenon that a "smear" had not in fact always been that way, e.g. by pointing out it was nonsensical, in which case the subject invariably expressed disinterest ("not a big deal"), even in circumstances where the alteration blatantly compromised meaning or purpose.
  * Once persuaded of the existence of one example of the phenomenon, subjects were also able to perceive, identify, and describe other instances and recognize their present-day pervasiveness, but expressed disinterest in those instances as well.
  * Additionally, these subjects struggled to remember many of the instances they (presumably) previously witnessed, though they could and did form memories of instances they perceived from that point forward.
 * It was possible to persuade roughly 75% of subjects who expressed disinterest that the anomaly was in fact significant or worthy of consideration (e.g. by pointing out compromised meaning or purpose).
  * Once persuaded of the significance of one example of the phenomenon, subjects recognized the significance of other instances perceived from that point forward, often experiencing disorientation and commesurate anxiety consistent with the recognition.
  * Such a subject nonetheless only felt this concern about instances perceived after they had been persuaded, and did not express concern about instances they may or may not have encountered in the past. Although this was consistent with human researchers' own experience, and initially deemed non-anomalous, consulltation with multiple .aic have established that this is likely a persistent anomalous effect.
 * It appears that .aic are not currently subject to the above cognitive effects (this phenomenon was brought to the attention of human researchers through .aic-human interaction; .aic immunity has since been tested extensively). However, there is evidence to suggest that the "smear" phenomenon had initially manifested years prior to its discovery, implying that .aic may have been affected.
 * It is unknown whether this cognitive phenomenon affects any nonhuman sentient entities; researching this is low-priority.
* A poorly-understood meta/pataphysical thaumatologically-perceptible phenomenon currently designated "entry-entity pairing" in which existing text becomes affiliated, and/or additional text is generated and affiliated, with anomalous phenomena. Here "affiliated" is intended in the technical sense, cf. [https:// Supplemental Resource TCE-2092583], revision 15 or later; the full effects of this particular affiliation are not well-understood.
 * It was initially thought (and reported in an earlier iteration of this notice) that the above "pairing" phenomenon was limited to (a) Foundation documentation and (b) affiliation with currently contained anomalies, but both of these are now known to be incorrect.

++++ The anomalous phenomena have __not__ been observed manifesting in the following formats thus far.

* Audio records, the audio component of audiovisual files
* Spoken words, conversation
* Speech transmitted digitally, so long as the rendering on the recipient's end is acoustic
* Human memory
* Nonverbal body language with no text-representation component
 * a subject of current research, as proposed theories would imply that body language should be affected
 * some forms of body movement, such as tapping Morse code onto another person's palm, //are// subject to the effect
* Words formed from D-class lying down in positions that constructed letters, words, and sentences
 * means to exploit this peculiar exception are being researched
 * photographs, paintings, and video of these constructions //are// subject to the effect

+++ The following understanding of the summarizes our __current understanding__ of the phenomena as well as __directives and suggestions__ for the reader. It will be updated as frequently as feasible until the phenomena have been contained.

* Staff are **authorized to continue normal practices** for generating, uploading, and accessing text documentation.
 * Where possible, staff should attempt to avoid the use of **proper nouns** or comparable visual identifiers (logos, etc.) in written documentation, as the "smear" phenomenon appears to only affect them.
 * Use of **audio recording** for mission-critical documentation, e.g. Special Containment Procedures, is preferred at this time whenever possible. (Foundation interfaces are being adapted to allow for more efficient audio-based processes.)
* Although these phenomena were identified around the same time, and affect the same or similar aspects of reality, they **may be independent/unrelated** phenomena.
 * A lack of evidence of thaumatological manipulation in "smear" instances contrasts with invariably present evidence of thaumatological manipulation in "pairing" instances.
 * Further circumstantial evidence: the "pairing" and "smear" phenomena can affect the same text, with effects manifesting at different times. The phenomena's effects also sometimes partially overlap.
* With regard to the "pairing" phenomenon:
 * Entry-entity pairing is thaumatologically inert and must be invoked by the viewer of the documentation. The known methods for successful invocation are classified, but extremely unlikely to occur without reader intent. Acts such as downloading, viewing, reading, and/or generating documentation do not invoke pairings. In this sense, the only potential danger this issue presents to the reader is exposure to inaccurate information. **If you don't know how to do it, you're safe.**
 * Entry-entity pairing can be generated, manipulated, and removed through [[[a-brief-introduction-to-thaumaturgical-engineering|thaumateurgical engineering.]]] The preceding sentence of text contains an affiliation. Invocation can result in a variety of perceptual effects, including acquisition of information outside your clearance level. For this reason, invocation is prohibited. **If you do know how to do it, __don't__.**
 * Research thus far has produced useable invocations for: perceiving thaumatological affiliation corresponding to a pairing, invoking a pairing, creating a new pairing, and manually removing a pairing.
 * Manually removed pairings //sometimes// re-manifest, a process we are calling reversion. This sometimes happens effectively instantaneously, and sometimes happens with a delay, unpredictably.
 * Recent research suggests that manually removing pairings may in fact trigger additional instances of the phenomenon to occur. Containment protocol has been updated to prohibit manual removal.
 * To date, entry-entity pairing has not resulted in any **cognitohazardous** manifestation, or are (anti)memetic phenomena. (This is in stark distinction to the antimemetic "smear" phenomenon.) The "pairing" phenomenon is strictly metaphysical or pataphysical.
 * There is limited evidence to suggest that entry-entity pairing could technically present **a mild infohazard** to those who perceive it, in that merely perceiving the (existence of a) pairing may influence how the reader interprets the information they read, the same way presenting text ##green|in a conspicuously altered form## may [[[scp-4000|influence interpretation]]] of it. Simply ignoring one's own awareness of the phenomenon, and choosing to ignore and disregard its manifestations when they present themselves, is sufficient to fully protect the user from this infohazard.


+++ The following understanding of the summarizes our __lack of current understanding__ of the phenomena, to facilitate inquiry.

* Aspects of the manifestation are inconsistent: one printed text "copy" of a document may differ from another, text loaded from digital sources may or may not manifest different issues each time it is loaded, and a printed or digital document may have additional pairings manifest even while the user is reading. These discrepancies, and their causes, are not well-understood.
* Whether text stored in a digital format is affected, i.e. whether physical files have been corrupted or whether the effect applies whenever the file is read or interpreted as text or visual data, is unknown; comparisons of SHA-256 metadata suggest that the phenomena can sometimes manifest in different forms without changes to the underlying file, and sometimes its manifestation results in (physical) changes to the stored data.
* It is possible that one or more entities (with hostile, orthogonal, or even benign intent) are responsible for all of the manifestations of pairings, and could be stopped from making new ones. It is also possible that the manifestations are not conscious acts.
* It is of course always possible that personnel memories has been corrupted or changed, but no evidence of that has been discovered.
* The issues have manifested in documentation created both before and after the identification of the phenomena.
* The initial/original manifestations are not known, and may be unknowable due to as-yet-undocumented antimemetic effects. Mnestic-based research tentatively supports a tentative initial manifestation of the "smear" phenomenon some time in **2011**; efforts to narrow this range will continue, and a review of possible inciting events or relevant occurrences from that timespan is underway. Research into "pairing" is too
* The sources or causes of the data corruption/manipulations are unverified and under active investigation.
* The full extent of the data corruption/manipulations is unknown and under active investigation.

Thank you for your attention to this matter. You may now resume your regularly scheduled duties.

[[/<]]

[[=]]
+ — RAISA —
//"Helping you help yourself help others."//
[[/=]]

[[/div]][!--END RAISANOTICE--]

[[/collapsible]]

[[/>]]


[[/div]][!--END MODERNDAY--]




-----

[[module css]]
@import url('https://fonts.googleapis.com/css2?family=Jost&display=swap');
@import url('https://fonts.googleapis.com/css2?family=Cookie&display=swap');
@import url('https://fonts.googleapis.com/css2?family=Gowun+Batang&display=swap');
@import url('https://fonts.googleapis.com/css2?family=Inknut+Antiqua&display=swap');
@import url('https://fonts.googleapis.com/css2?family=Marck+Script&display=swap');
@import url('https://fonts.googleapis.com/css2?family=Noto+Serif:ital@0;1&display=swap');
@import url('https://fonts.googleapis.com/css2?family=Noto+Sans&display=swap');
@import url('https://fonts.googleapis.com/css2?family=Old+Standard+TT&display=swap');
@import url('https://fonts.googleapis.com/css2?family=Courier+Prime&display=swap');
@import url('https://scp-wiki.wikidot.com/local--files/collocations/collocations.css');

.audiologcontainer .collapsible-block-link {
    color: blue !important;
}

[[/module]]

Collocations 1

Module Styles

Inline Styles

Includes

CSS Classes

Page Source