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..@.@.@.@@ @.@..@.@.@
.@@.@.@..@ 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. @.@..@.@.@
.@@.@.@..@ @.@.@@.@.@
..@.@.@.@@ @.@..@.@.@
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