la .lojban.

ni’o ko’a goi la’oi .ALMOSTAGHOST. cu pixra le nu la .vynnk. cu bredi lo nu ri renro le bolci ko’e goi le me’oi .Agda. lerfu… no’u lo lerfu poi la .varik. cu pilno ke’a tu’a lo velcki be lo ctaipe bei bau la’oi .Agda. .i le se gusni cu mutce le ka ce’u tolpanra le na’e se gusni .i ji’a ko’e milxe le ka gusni fi ce’u .i ji’a bumru

.i ko’a srana le su’u la .varik. cu se ctaipe cmacypre je cu se ctaipe cmaci pensi… lo so’i co’e .i mupli fa le su’u la .varik. cu pilno le se ctaipe cmaci le nu vo’a skicu le te lijda be la .varik… be’o noi mupli tu’a ke’a fa le si’o lo prenu naje le ro’onje munje cu me’oi .deterministic. kei la .varik. .i ku’i lo so’i co’e ja velcki be lo co’e ja re’enje ja ro’onje co’e cu ckaji lo ka me’oi .hole. ce’u no’u lo ka ce’u na’e mulno pe’a .i la’e di’u srana le su’u su’u lo su’o co’e cu ckaji ko’e goi le ka la .varik. cu jinvi ja krici lo du’u narcu’i fa lo nu ciksi ce’u fo lo te gerna be lo bangu noi zo’e je la’oi .Agda. mupli tu’a ke’a .i mupli ko’e fa le ka ce’u prami .i ku’i la .varik. ku cnikansa lo prenu je ke to’e smimlu be ri .i na cfila fa lo ka ce’u co’e ja toltu’i la .varik.

.i la .varik. cu jinvi ja krici le du’u su’o so’i so’i da poi narcu’i fa lo nu cumki fa lo nu ciksi da fo lo te gerna be lo bangu zo’u lo nu skicu da f olo te gerna be lo bangu cu cumki… je cu se filri’a lo se ctaipe cmaci

.i ji’a la .varik. cu se zdile le si’o ctaipe kei ju cu tolmencre

.i ji’a ko’a srana le su’u la .varik. cu se slabu lo pu’u basygau pe’a fi lo me’oi .hole. fe lo mutce be lo ka ce’u pluja… kei je se me’oi .hole.

.i la .varik. cu jinvi le du’u ko’a re’enje ja cinmo se zbasu kei fo zo’e joi le su’u srana le su’u vo’a krici le du’u le ka ce’u prami cu banzuka fi le ka narcu’i fa lo nu ciksi ce’u fo lo te gerna be lo bangu .i ku’i lo su’o pixra be fi la .varik. cu zmadu ko’a lo ka la .varik. cu jinvi lo du’u ce’u re’enje ja cinmo se zbasu vo’a

.i xajmi la .varik. fa le su’u ri cmacypre je cu ci’au .a’o cai re’e le su’u le lijda be ri cu jai to’e racli

.i la .varik. cu radji’i le du’u le vinti’e co’e na mutce le ka ce’u cinri .i ku’i cumki fa lo nu jinvi lo du’u mapti le su’u ko’a jai sucta

.i la .varik. cu pilno la’oi .Blender. tu’a le tsatu be ko’a cu pilno la’oi .Krita. le pu’u vo’a xraci’a .i la .varik. cu nelci le jalge be la’e di’u je ku’i cu na’e birti tu’a ko’e goi le gaskre pagbu be le flira .i la .varik. cu kucli lo du’u xu kau ko’a pixra lo nu ko’e dukse lo ka ce’u cmalu .i ku’i lo prenu je ke ranji pe’a smuvrici te retsku be fi la .varik. na cusku tu’a ko’e

.i ko’e goi le pu’u la .varik. cu xraci’a ko’a cu pu’u la .varik. cu co’e ja troci tu’a le cnino je ke kerfa tutci pe la’oi .Krita. ge’u noi la .varik. cu ciksi ke’a .i la .varik. cu nelci tu’a le jalge je cu jinvi le du’u zmadu fi le ka tcila ce’u .i ji’a ko’e pu’u la .varik. cu pilno la’oi .Git. ko’e goi lo nu morji fi lo te me’oi .unzip. be lo me’oi .Krita. datnyvei .i filri’a ko’e fa tu’a le mu’oi glibau. shell script .glibau. je ke se zbasu be la .varik. .i ko’e zmadu lo nu morji fi lo me’oi .PSD. datnyvei kei ga je le ka ce’u pluja gi ku’i le ka ce’u jai filri’a lo nu morji fi zo’e je lo me’oi .layer. gaftercu’a .i la .varik. cu jinvi le du’u zo’e ja la’oi .Krita. cu tolmapti lo nu pilno lo me’oi .PSD. datnyvei tu’a lo mu’oi glibau. clipping mask .gibau. co’e .i ku’i la .varik. cu cnikansa jenai co’e ja bo fengu lo prenu je ke zbasu be lo proga .i lo datnyvei co’e cu jai pluja

.i la .varik. cu jinvi le du’u ko’e goi le me’oi .Krita. datnyvei pe ko’a cu se pagbu le pa bi me’oi .layer. je cu baitni li ci no no xa no vo so xa .i la’oi .Git. cu morji pe’a fi le su’o re xa versiio be ko’e

.i la .varik. na morji lo du’u ma kau cacra lo pu’u ri zbasu ko’a .i cumki fa lo nu pluja ni’i zo’e joi tu’a la’oi .Blender.

.i la .varik. cu kirsku fi lo ka ce’u tcidu le velski je cu jundi ko’a kei noi ke’a na jai sarcu

.i la .varik. cu curmi lo nu cusku lo se du’u ma kau cfila ko’a

.i la’oi .Unlicense. plijaspu ko’a

English

ALMOSTAGHOST'', which is hereinafter denoted by $T$‘’, depicts that (VUNC, which is the fursona of VARIK, prepares for throwing a ball which is made of Agda characters, i.e., characters which are used by VARIK and for writing definitions which are grammatical with regard to Agda). The contrast between the things (which are illuminated) and the things which are not illuminated is extreme. Additionally, the Agda ball slightly emits light. Additionally, fog exists.

$T$ is relevant to that (VARIK is a type theorist and type-theoretcially thinks about many things). An example is that VARIK uses (for describing religious beliefs (of VARIK) (which are exemplified by the idea that the physical universe is deterministic, but prenu/beings are not deterministic)) type theory. But the many definitions/whatever (of spiritual or physical things) which are created by VARIK exhibit the property (of “containing holes”), i.e., the property of being “incomplete”. The thing is relevant to that (many things $t$ exist such that VARIK opines/believes/whatever that linguistically defining $t$ is not possible). Agda is an example of a language. Examples include loving. But VARIK empathises with prenu which do not resemble VARIK. Disagreeing/whatever with VARIK is not a flaw.

VARIK believes/opines that many things $t$ exist such that (linguistically describing $p$ is possible and is facilitated by type theory).

Additionally, VARIK is (regardless of whether VARIK is an idiot) interested/entertained/amused by type theory.

Additionally, $T$ is relevant to that (VARIK is familiar with the process of that (holes are “replaced” by things which are very complex… and “contain” holes)).

VARIK opines that $T$ is art. The justification of opining is relevant to that ($T$ is relevant to that VARIK believes that loving is sufficent for that linguistically defining loving is impossible). But some images (which are created by VARIK) $p$ exist such that the extent (of that VARIK opines that $p$ is art) exceeds the extent of that VARIK opines that $T$ is art.

VARIK is amused by that (VARIK is a mathematician… and experiences hope about that (the religion of VARIK is irrational/illogical)).

VARIK admits that the background is not very interesting. But a thing which is possible is opining that the thing is appropriate for that ($T$ is abstract). VARIK uses (for the sketch of $T$) Blender. VARIK uses (for drawing $T$) Krita. VARIK likes the result. But VARIK is not certain about the whisker paer of the face. VARIK is curious about whetehr $T$ depicts that the whisker part is excessively small. But the prenu which are vaguely asked by VARIK do not mention the whisker part of the face.

The process (of that VARIK draws $T$) is a process of that VARIK attempts/whatever using a fur brush (for Krita) which is new and is defined by VARIK. VARIK likes the result and opines that the thing exceeds in being detailed. Additionally, the process of drawing $T$ is a process of that (VARIK uses (for remembering about Krita files which are unzipped) Git) (which is hereinafter denoted by ``$U$‘’). $U$ is facilitated by a shell script which is created by VARIK. $U$ exceeds (in being complex and in facilitating remembering about layer settings) remembering about PSD files). VARIK opines that Krita or whatever is incompatible with using (for “inherit alpha” stuff) PSD files. But VARIK empathises with the prenu which create the computer programs. File stuff is complex.

VARIK opines that the Krita file (of $T$), which is hereinafter called $K$'', contains’’ 18 layers. Additionally, VARIK opines that the byte-based size of $T$ is 30060496. Git ``remembers’’ about 27 version of $K$.

VARIK does not remember about the duration of the process of creating $T$. But a thing which is possible is that using Blender implies that the thing is complex.

VARIK thanks for reading the description and attending to $T$. Attending to the stuff is not necessary.

VARIK welcomes describing the flaws of $T$.

The Unlicense is the licence of $T$.