¤.¤.¤¤¤.¤¤ ..¤.¤....¤
¤¤¤¤..¤¤.¤ .¤¤¤¤...¤.
...¤.¤.¤¤¤ ¤...¤..¤¤¤
..¤¤¤¤¤... ¤..¤¤.¤..¤
.¤....¤..¤ ¤.¤.¤¤¤.¤¤
¤¤...¤¤.¤. THE SKYSCRAPER THAT MOVES ¤¤¤¤..¤¤.¤
.¤..¤.¤¤¤. ...¤.¤.¤¤.
¤¤.¤¤¤..¤. TAINARON IS A BUILDING OWNED AND ..¤¤¤¤¤.¤.
.¤¤..¤.¤¤¤ OPERATED BY AMATA TEXNOLOGIYASI PLACED .¤....¤¤¤¤
¤.¤.¤¤¤..¤ CLOSED TO THE HARBOR IN MALMÖ. IT'S ¤¤...¤...¤
¤¤¤¤..¤.¤. ROUGHLY SIXTY FLOORS HIGH (REAL NUMBER .¤..¤¤..¤.
...¤.¤¤¤¤. UNKNOWN), DARK BLUE AND COMPLETELY ¤¤.¤.¤.¤¤¤
..¤¤¤...¤¤ RECTANGULAR. IT FEATURES NO SIGNS, .¤¤¤¤¤¤..¤
.¤..¤..¤.¤ LIGHTS, OR ORNAMENTS, APART FROM A ¤.....¤.¤¤
¤¤.¤¤.¤¤¤¤ HELIPAD ON TOP. MOST FLOORS HAVE ¤....¤¤¤.¤
.¤¤.¤¤.... EXTERIOR WALLS COMPLETELY MADE OF GLASS. ¤...¤..¤¤.
¤.¤¤.¤...¤ ¤..¤¤.¤.¤.
¤¤.¤¤¤..¤¤ IN LATE EVENINGS, SHROUDED BY MALMö'S ¤.¤.¤¤¤¤¤¤
.¤¤..¤.¤.. SIGNATURE FOG ROLLING IN FROM THE SEA, ¤¤¤¤......
¤.¤.¤¤¤¤.. THE BUILDING COMES TO LIFE: IT MOVES ON ...¤......
¤¤¤¤...¤.¤ A THOUSAND ROBOTIC LEGS TO ANOTHER ..¤¤.....¤
...¤..¤¤¤. (SECRET) PART OF TOWN, OR PERHAPS OUT .¤.¤....¤.
..¤¤.¤..¤¤ TO SEA. THIS SIGNALS A NEW AND MORE ¤¤¤¤...¤¤.
.¤.¤¤¤.¤.. VISCIOUS PHASE OF THE TAINARON ...¤..¤.¤.
¤¤¤..¤¤¤.¤ ECOSYSTEM. ..¤¤.¤¤¤¤.
..¤.¤..¤¤. .¤.¤¤...¤¤
.¤¤¤¤.¤.¤. THE GUESTS ARRIVING DURING THE EARLY ¤¤¤.¤..¤.¤
¤...¤¤¤¤¤. EVENING ARE TREATED TO FOOD AND DRINK, ..¤¤¤.¤¤¤¤
¤..¤....¤. LIVE MUSIC, BEATUTIFUL VIEWS, AND A .¤..¤¤....
¤.¤¤...¤¤¤ COMFORTABLE BUT MAZE-LIKE INTERIOR ¤¤.¤.¤...¤
¤¤.¤..¤..¤ STRUCTURE (THE BUILDING FEATURES A .¤¤¤¤¤..¤.
.¤¤¤.¤¤.¤. MULTITUDE OF STAIRWELLS AND ELEVATORS, ¤....¤.¤¤¤
¤..¤¤.¤¤¤¤ PLACED SEEMINGLY AT RANDOM, NONE GOING ¤...¤¤¤..¤
¤.¤.¤¤...¤ FURTHER THAN A FEW FLOORS). ¤..¤..¤.¤.
¤¤¤¤.¤..¤¤ ¤.¤¤.¤¤¤¤¤
...¤¤¤.¤.¤ AS TIME GOES ON, THE LIGHTS SLOWLY DIM, ¤¤.¤¤.....
..¤..¤¤¤¤¤ UNTIL THE AIR INSIDE HAS TAKEN ON THE .¤¤.¤.....
.¤¤.¤..... SAME QUALITY AS THE SURROUNDING MIST: ¤.¤¤¤.....
¤.¤¤¤..... BLUE-GRAY, SPRINKLED WITH THE SMALL RED ¤¤..¤.....
¤¤..¤....¤ DOT'S BY DOOR LOCKS AND CONTROL PANELS. .¤.¤¤....¤
.¤.¤¤...¤¤ IF YOU WOULD LOOK THROUGH THE WINDOWS ¤¤¤.¤...¤.
¤¤¤.¤..¤.. YOU WOULD SEE THE MIST ROLLING BY, AND ..¤¤¤..¤¤.
..¤¤¤.¤¤.¤ PERHAPS THE OUTLINE OF SOME OTHER .¤..¤.¤.¤¤
.¤..¤¤.¤¤¤ BUILDING, FAR BELOW. ¤¤.¤¤¤¤¤.¤
¤¤.¤.¤¤..¤ .¤¤....¤¤¤
.¤¤¤¤.¤.¤¤ DURING THE NIGHT, AFTER TAINARON HAS ¤.¤...¤...
¤...¤¤¤¤.. STARTED MOVING, THE LOWER FLOORS ARE ¤¤¤..¤¤...
¤..¤...¤.¤ SHUT OFF, PREVENTING ENTRY OR EXIT FOR ..¤.¤.¤..¤
¤.¤¤..¤¤¤¤ THE GUESTS. FOOD IS NO LONGER SERVED, .¤¤¤¤¤¤.¤.
¤¤.¤.¤...¤ BUT THE DRINKS BECOME MORE EXTRAVAGANT. ¤.....¤¤¤¤
.¤¤¤¤¤..¤. IT'S AT THIS POINT THAT THE SECOND SET ¤....¤....
¤....¤.¤¤¤ OF GUEST ARRIVES, VIA HELICOPTER - ¤...¤¤....
¤...¤¤¤... AMATA TEXNOLOGIYASI AND THEIR FRIENDS. ¤..¤.¤...¤
¤..¤..¤... ¤.¤¤¤¤..¤.
¤.¤¤.¤¤... »»»»» ¤¤...¤.¤¤¤
¤¤.¤¤.¤... .¤..¤¤¤...
.¤¤.¤¤¤..¤ IN MY DREAM I AM INVITED AS A FRIEND OF ¤¤.¤..¤..¤
¤.¤¤..¤.¤. ONE OF THE SERVERS, AND THUS SAFE. WE .¤¤¤.¤¤.¤¤
¤¤.¤.¤¤¤¤. SIT IN ONE OF THE LARGE WINDOWS, ¤..¤¤.¤¤..
.¤¤¤¤...¤. LOOKING THROUGH THE MIST FOR ANY ¤.¤.¤¤.¤.¤
¤...¤..¤¤¤ LANDMARKS TO PIERCE THROUGH THE MIST. ¤¤¤¤.¤¤¤¤¤
¤..¤¤.¤..¤ SHE TELLS ME THAT APART FROM COMING AND ...¤¤.....
¤.¤.¤¤¤.¤¤ GOING FROM WORK, SHE'S NEVER SEEN THE ..¤.¤....¤
¤¤¤¤..¤¤.¤ BUILDING FROM THE OUTSIDE. WE BOTH SIGH. .¤¤¤¤...¤.
...¤.¤.¤¤¤ ¤...¤..¤¤¤
..¤¤¤¤¤... THE NEXT DAY I AM INVITED TO THE PUBLIC ¤..¤¤.¤..¤
.¤....¤..¤ DEMONSTRATION OF THE EXOBUBBLE. ¤.¤.¤¤¤.¤¤
¤¤...¤¤.¤. ¤¤¤¤..¤¤.¤
.¤..¤.¤¤¤. ...¤.¤.¤¤.
¤¤.¤¤¤..¤. ..¤¤¤¤¤.¤.
.¤¤..¤.¤¤¤ .¤....¤¤¤¤
¤.¤.¤¤¤..¤ ¤¤...¤...¤