A Floater's Encyclopaedia of Some Feelings of Some Creatures of Tamriel

Gathered and systematized by Breathes-Under-Nerve, a floating witness, under commission of AV1-Logged-Customer-n5ok98ma1, with license to divulge to other parties, as CONSULTED-RATIFIED-ATTENTIVELYOBSERVED by Imperial Senior Notary AV1.

##The Altmer, (as witnessed in accordance with the best practices of floating) feel the world in such a manner that they must:

SEEK AND GLORIFY TRANSPARENT SURFACES.

The surface should not be reflective - reflectiveness is merely tolerated for its practical utilities.

Ideally, the transparent surface will be segmented by thin frames. Every point in a transparent area must be clearly referrable, but transparency cannot refer to itself - so the reference is made by the frame. The more segmented the surface, the smaller are the frames, and the more precise is the reference.

The transparent surfaces are ranked from best to worst. The best surfaces have a membranous structure; in the membranes flows a distilled ultra-granular referential matter; tastes like pepper; the referential matter can refer to the transparent areas with excellent and consistent precision. Of a lower grade are surfaces with unmembranous frames, but which are otherwise identical. The worst transparent surfaces have no proper framing, suffer from reflections and ununiform density, and are imported from Cyrodiil to contrast the better, Altmer-made surfaces. These Cyrodiilic surfaces are not brought onto the mainland of Summerset - rather they are kept in public boats that never leave the docks.

SEEK AND GLORIFY CIRCLES, SPHERES AND ABOVE.

SEEK AND GLORIFY THE PIANO.

The piano should always be in tune. If all else fails, the quality of tone can be sacrificed to benefit the correctness of the correspondence between theory and tone. This sacrifice should be followed by a forceful play of the piano.

The "highest range" of a progression on the piano should connect seamlessly to the "lowest range" of the piano, in both pitch and shape.

The piano should have pedals, and each pedal of each piano should have a character of its own. It is up to the skill and imagination of the player to find such a use for the pedal that befits its character best. During a forceful play of the piano, the pedals should break with a soft and aesthetically pleasing sound of cracking.

The greatest value of the piano is the atomic texture of its music. The symbol-set of the piano is unusually sterile and well-referrable. It is an excellent end-point to which every sound translates. The translation is not lossy as much as it is normalizing to a shape where it can be theorized about. The culture of theory of the piano is greater than the culture of immediate perception of the piano, and the former elevates the latter, by the idea that the body of theory is so vast that it is impossible to avoid every theoretical pattern investigated by your ancestors.

##The Ayleid, (as witnessed in accordance with the best practices of floating) feel the world in such a manner that they must:

SEEK AND GLORIFY PROGRESS TOWARDS SHARPNESS.

Octagons are sharper than circles. The best parts of a circle are sacrificed in its progress to an octagon, but it is a worshipful sacrifice.

The Ayleid have feathers but no beaks because the implicit beak feels sharper, like a secret weapon that will never collapse into existence and instead fills slowly with sharp and secret potential. For lack of release, this filling does not stop.