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#.#..#.#.#                                          .#.#.##.#.
#.#.##.#..                *********                 .#.#..#.#.
#.#..#.#.# **                                    ** .#.#.##.#.
#.#.##.#.. **               PLUS                 ** .#.#..#.#.
#.#..#.#.# *                       MINUS          * .#.#.##.#.
#.#.##.#.. *      ZERO                            * .#.#..#.#.
#.#..#.#.# .                                      . .#.#.##.#.
#.#.##.#..             .. MIRROR NOTE ..            .#.#..#.#.
#.#..#.#.#               .............              .#.#.##.#.
#.#.##.#..                                          .#.#..#.#.
#.#..#.#.# AT AN OPPORTUNITY, A MOMENT SUCH AS THIS .#.#.##.#.
#.#.##.#.. UNDERAPPRECIATED, UNDERESTIMATED, UNDER  .#.#..#.#.
#.#..#.#.# THERE IS SIMPLY NO TIME TO CHOOSE WHAT   .#.#.##.#.
#.#.##.#..                                          .#.#..#.#.
#.#..#.#.# EVERYTHING IS IN THROUGH THE LEFT HALF   .#.#.##.#.
#.#.##.#..     OF MY FACE, AND OUT EXACTLY OPPOSITE .#.#..#.#.
#.#..#.#.#     ^^^THROUGH THE RIGHT HALF^^^ OF THE  .#.#.##.#.
#.#.##.#..                                    FACE  .#.#..#.#.
#.#..#.#.#     PLUS MINUS ZERO BUT POLAR OPPOSITES! .#.#.##.#.
#.#.##.#..                                          .#.#..#.#.
#.#..#.#.#  #..# #.# #                              .#.#.##.#.
#.#.##.#..  AND                                     .#.#..#.#.
#.#..#.#.#     THE ECHO IS TRAVELLING WITH EVERY    .#.#.##.#.
#.#.##.#..     BEAT, MAYBE ONE HUNDRED AND THIRTY   .#.#..#.#.
#.#..#.#.#     MILLISECONDS, TO TWO HUNDRED AND     .#.#.##.#.
#.#.##.#.. #.# EIGHTY MILLISECONDS, AND DOWN,       .#.#..#.#.
#.#..#.#.#     ALONG MY DREADS, MAYBE LIKE          .#.#.##.#.
#.#.##.#..   A CAP TO THE LEFT AND UP FOUR HUNDRED  .#.#..#.#.
#.#..#.#.# TO THE RIGHT                             .#.#.##.#.
#.#.##.#..                                          .#.#..#.#.
#.#..#.#.#    ABOUT ~MAGNETISM~ OR ~WHAT~ ~ELSE~    .#.#.##.#.
#.#.##.#..                                          .#.#..#.#.
#.#..#.#.#   DISTORTION AND HEAVY GLASS AND PALM    .#.#.##.#.
#.#.##.#..                                 TREES    .#.#..#.#.
#.#..#.#.#                                          .#.#.##.#.
#.#.##.#..                                          .#.#..#.#.
#.#..#.#.#                                          .#.#.##.#.
#.#.##.#..   MY                                     .#.#..#.#.
#.#..#.#.#   I HAVE MUSIC THAT LIVES INTO WEIRDER   .#.#.##.#.
#.#.##.#..    CORRIDORS, MY FLESH IS PUSHING        .#.#..#.#.
#.#..#.#.#    MY                                    .#.#.##.#.
#.#.##.#..    BODY FURTHER INSIDE                   .#.#..#.#.
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#.#.##.#..                                          .#.#..#.#.
#.#..#.#.#                                          .#.#.##.#.
#.#.##.#..                                          .#.#..#.#.
#.#..#.#.#   THERE        IS TOO MUCH MOVING INSIDE .#.#.##.#.
#.#.##.#..                                          .#.#..#.#.
#.#..#.#.#                                          .#.#.##.#.
#.#.##.#.. WEIRD REVOLVINGS, HOW MUCH MADNESS,      .#.#..#.#.
#.#..#.#.# WEIRD ABOUT HOW MUCH MADNESS THAT'S      .#.#.##.#.
#.#.##.#..       IA . @REVOLVED ABOUT TO BE REVOLVE .#.#..#.#.
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#.#.##.#..                                          .#.#..#.#.
#.#..#.#.#                                          .#.#.##.#.
#.#.##.#..                                          .#.#..#.#.
#.#..#.#.#     AND I, THE SURGEON, CHOOSE THE       .#.#.##.#.
#.#.##.#..    FRYING PAN                            .#.#..#.#.
#.#..#.#.#   WHATEVER DOG I WANT .................  .#.#.##.#.
#.#.##.#..  AND MY SPEED IS EVERYTHING. THE LAST    .#.#..#.#.
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#.#.##.#..      RADAR STATION... FOR A WHILE...     .#.#..#.#.
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