I'm bopping around the AFH platform sprinkling the system with bits of axiom on Dimensional Time. Above are the images I selected from the big photoset [nodt][nyc2010] on AFH Flickr. Outside the virtual, softbox-life - IRL - I am hopping from task to task (e.g., offloading furniture, dialing in logistics, reading Walkaways, etc.) in preparations for my family's relocation to Astoria, OR from Bushwick, NYC. Today's exercise involves linking the beginning and end of our cycle as New Yorkers (2010-18, almost to the day), in the manner of a proof of 4D predictive processing. From another angle, I'm suggesting the all-at-onceness of existence within the parameters of 4D existence. From my point of view, that is a plausible enough conversation-starting contention, arising from a scan of the material in the documentary photoset. Living life in the spirit of 4D conjectures and projection amounts to stipulative gaming, as in playing through, or playing out. The archive is then a point of departure and a lens through which to view and interpret unfolding experience, as and after it happens. In Occupy, some of the occupational thinking swirled around the concept of pre-figuration. I would say that the energy invested in that thread conflated the macro-process becoming apparent, as convergent political, economic and social forces manifested their agendas from the inside out. [RE-]Distribution of resources, radical reformation of systems (mostly in service of consolidation, extraction and exploitation), and the coalescing of self-serving fictional narratives to rationalize destructive madness were already consuming the bandwidth of global/local networks. The technical means are marginally visible in the image, which itself is a function of the Big Tech Machine. The format is derived from codes, coding that is/was being disrupted, redirected and buffered into the Ubiquitous field blurring analog and virtual. If all of it is conceivable as energetic, the forefronted energy sizzling through the wires of 2010-18 is electrical. Given the array of content in the gallery above, the urge to misrepresent or -construe the nature of the natural (e.g., the effects of sunlight in a photo taken outside) is lurking not in the shadow, but in the artificial light present in the environments depicted, and also in the media (the screens and projections) themselves. Can it be any wonder that the definition of life itself remains in flux, when the manufacture of "life" is clickable?