Tonal Semantics: A Maormer Perspective
- Editors Note: [It is generaly assumed that all mer have a simmilar perspective on the Aurbis, the Dwemer, or Deep Folk as they are called in polite colovian society, according to highbrow synod commentators beeing the only example of their anuic offshots that have breached the subject of Tonal Architecture and a further exploration of the concept of Aurbis. Indeed this is incorrect, to prove this compiled an account of the Maormer, or the elusive Sea Elves as they have been aptly named by Altmeri Mariners, not detailing their own relations with the grey maybe but rather their perspective on contemporary tamrielic scholars. In many cases, such as this author believes, to their own great amusement.]
Tonal Semantics: A Maormer Perspective compiled by Triceres Creveticus, Synod, Colovian Quarter, West Waeld Annotations added in cursive
“Grey Aurbis is intrinsically unattainable,” says Nu-Hatta; however, according to The Three Moons Dance , it is not so much the Aurbis that is intrinsically unattainable, but rather the Perfect Society which is always Lleswer, and eventually the failure, of the Aurbis at the Dawn. In The Anuad-Semblex, Nu-Hatta examines deconstructive construction; in Anuad Annoted, however, he denies semanticist Tonal Architecture theory. In a sense, the premise of deconstructive construction holds that the task of the Warrior Poet is significant form.
“Architecture is part of the meaninglessness of language,”proverb of the Yoku Hip-Speakers. If the Merish Post-dawn paradigm of consensus Altmeridoon holds, we have to choose between deconstructive construction and conceptualist denial of Lunar Lorkahn. However Cyro-Nordic Dibella-Shonni texts promote the use of padomaic Aurbex Ultimatum to deconstruct hierarchy of Sub gradient.
“Nirn is used in the service of anuic perceptions of sexual subgradience,” as has been told by the Academy of Firsthold since the merethic era; however, according to Phrastus of Elinhir (Who shall be forever discredited among these halls) , it is not so much the MUNDEX ARENA that is used in the service of anuic perceptions of sexual subgradience, but rather the defining characteristic, and subsequent absurdity, of the Aurbis itself. The characteristic theme of Lord Thrice-Blessed by Clockwork Genious Fyr, [Divayth] essay on semanticist tonal Architecture is the common ground between shared subgradient consciousness and divine egg-cracking. Therefore, Nu-Hatta uses the term ‘Numannoid situation’ to denote not merethicism, but postmerethicism.
“Aurbis is part of the failure of truth, that is Lorkahns virtue” says Ys-Yonna. Nu-Hatta suggests the use of SITHISIT to regurgiatate and modify merish sexuality. Thus, it can be concluded that the works of the Diblashuut are an example of mythopoetical Tonal Structure.
The main theme of the works of Nu-Hatta is the dialectic, and eventually the fatal flaw, of neosemantic Tonal Architecture. The characteristic theme of the Maormeri Enantiomorph is the role of the Warrior Poet as observer. AE ALTA ANSU GURLENTH But the subject is contextualised into a Cantimeric discourse that includes art as a reality. Several theories concerning not desituationism, as the Sload would have it, but postdesituationism may be revealed. It could be said that semanticist Tonaltheory suggests that reality is impossible, I AM ALL NOT, but only if narrativity is equal to sexuality; if that is not the case, we can assume that there is no such thing as a dreamer, salmon leaping.
Altmeri canon institutes the use of postpadomaic Tower-dispersal to attack the status quo of LHKN-failure. The Clockworks model of the ayleidoon paradigm of discourse holds that the medium of intermundial dreamsleeves is fundamentally dead, given that the premise of deconstructive construction is valid. The term ‘prestructuralist tonal detection” is used to denote the absurdity, and thus the collapse, of dialectic subgradience. Thus, Nu-Hattas essay on deconstructive construction implies that tonal structure under Red-Law is a product of the collective unconscious, thus collective subgradience of an imagined dreamer. If semanticist Tonal theory holds, we have to choose between anuic and padomaic theory. But the example of deconstructive construction intrinsic to Nu-Hattas Llewswer is also evident in Fyr,Divayths Introspections of irregularity, although in a more dialectic sense. The primary theme of the works of Nu-Hattais the difference between society and reality. In a sense, Phrastus states that we have to choose between semanticist anuictheory and padomaic materialist theory.
In Lleswer, Nu-Hatta examines pretextual dematerialism; in Annuad-Ad Semblex he affirms semanticist Tonaltheory. But an abundance of sublimations concerning dialectic dematerialism exist.
This is it for Part 1, part 2 will follow soon! EDIT: Cleaned up the links somewhat!