2024-07-04 - [4.3] Syntax and Semantics

Initially, the most interesting thing about the new event is that it involves a strange-mind that isn’t Shayled.

His mother’s partner is interesting but she can only offer so many answers and Courth is still desperate for answers. If anything, the more Input he receives the more he wants. Each time he answers one point, two more crop up! It would be frustrating if it wasn’t for the greater good, for the push towards that one defining moment he can feel creeping up on the horizon.

The Jemeer-mind is interesting in his newness (remembering that the strange-mind-inputs are also person is more difficult when Courth is consumed with the need to evaluate) but more importantly in his focus. Then the music starts.

At first the vibration is nothing but an extra annoyance, a buzzing distraction from the important work of peeling definitions and keywords from Jemeer’s surface thoughts, until all of the man’s focus turns to playing the notes. That is interesting. Courth locks on to that attention and focus, clinging to a mind he sees as similar to his own. Finally, there’s someone else who thinks attention should be paid to the finer details.

The actual rhythm and beat filters in later and he recoils, spins, shudders against a shell he’s never considered a cage before right then.

This…This is just maths! This is just counting! All of this flowery nonsense and emotion – Gwillanth’s enjoyment and humming along, the apprentice’s worry, Jemeer’s dedication – is just background noise to mathematical formulae. One note is a number that interacts with another and fits within a greater collage of numbers. One-two-three, One, One-two-three.

Courth briefly brushes against the apprentice’s mind to see if the boy is the same, but brushes the mind away almost immediately. Too worried, too preoccupied with hitting only his notes and not considering the whole piece, worried he’ll fail. Gwillanth is clearly an intimidating distraction. Jemeer, though…

Courth rocks as much as he can through the whole performance, whispering the beat and tracking the changes in tempo and key. It’s disappointing when it ends and Courth leans into their direction as they lug the big harp out again. Come back. Come back, comebackcomeba- Ahem. That was childish, and he was supposed to be better than that.