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Make it stand out “If it’s the same element: it cannot be recruited twice.” https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/9cadc4e4-3cd0-47b5-8be7-13d4448a0d88/%5BCorrection%5D_Capture+d%27%C3%A9cran+2026-03-23+182615.png Tت。 - Make it stand out To logical connectives and conjunctions in English, these symbols would also hold (so I will attempt to teach you how this document is structured, in the least) — A Matter Of Opinion? Yet, many languages have consequentially ill-mistaken the roles of commas and “And”: mistaken, either for being at an equivalence class or equal-order and hierarchy as a commas. If found, recognise, how this will be noticeable as a BIG MISTAKE on the part of many linguist or scholar. The Alternative Interdisciplinary Stratification If anything below (to come) were to be debated, further: one of our only moves available would undoubtably affect the “parent status” of “prepositions over conjunctions” (our lemme—“prepositions, greater-than conjunctions”). Commas — An “IF”: prematurely, employ the “General union operator”, “∩”; normally—for Predicates (“organising full-stops”) and to sum over all in-of, to, a written; to sum over all Predicates (not predicate-subjects). “And” — the “Boolean” intersective operator for the “Predicate-subject” , “∧”. ⬗⬖ ”And” ⬗⬖ “An intersection”— Mathematically, associate it to a wedge like the “carret” symbol (“^”): a wedge, as to “∧”—“A ∧ B”. It intersects; in nature to segmental alphabets, its natural language is unequivocally to a conjunction. Language ⬖ The English conjunction “and”—a conjunction (by semantics and syntax; modulating as an operator, of order, on, predicate-subject or expression). Maths ⬖ Mathematically, you’ll also notice that it is becoming to: a particular type of multiplication— I would go as far as to say that, the intersection is equivalent to a cross product (“x”). ⬗⬖ ”Or” ⬗⬖ “A union”— Mathematically, associate it to a “vee”: as to “∨”—“A ∨ B”. It unifies; its natural language, in nature to segmental alphabets, is also unequivocally to the conjunction “or”. Language ⬖ The English conjunction “or”—strictly, a conjunction; by its chief, semantics and syntaxes: acting in and modulating expression or results, categorically, as an operator. An operator, of singular-order-to-kind; unlike the “generalised union operator”, a capital-u (“U”; ) which unifies a long sequence of items (values; predicate-subject or expression). Maths ⬖ Mathematically, you’ll notice that it is becoming two separate but unique kinds: addition and a divisor-first division (A divides B, by some factor k). Representing itself with a vertical bar (“|”): such that “A|B” (“A divides B”), expanded, or intrinsically meaning: "B/A=k" (“B divided by A, equals k”); this means that “B=A*k” (“B equals, A times k”). ⬗⬖ “Full-stop” ⬗⬖ Among statements, clauses, predicates, subjects: amongst, punctuation becomes—where: the full-stop is an outer-product. Allowing for a new matrix with held from or by as a larger singular or identity matrix, providing linear independence across all rows. This, where the outer-product aggregator. As “linear independence of matrix rows” implies “orthogonality” such a result: it is a settled result, as a matrix; whose every component or main idea or main subject-to-expressions (from union or intersection), included in, is therefore passible to its own axis (“orthogonality”; of an implied 90-degress separation between dominant axes). An outer-product: producing size (conversely, the dot-product) an outer-product; as to the more universal term or definition for the dot-product (formally, as to squares or square matrices “n x n”), via a rectangular matrix dimension/size allowance (as to rectangles or rectangular matrices “m x n”): governing and encompassing, the inner-product— produces a scalar (a single value). ⬗⬖ “Semi-colon” ⬗⬖ “Semi-colon” is the symmetric difference, “triangulator”, or cross-product. A linguistic subset operator (potentially nearing the equality, at a pair of subset introversions); where, it is therefore championed, as, an asymmetric equivalence (“equals”; A ⊆ B and B ⊆ A, if-and-only-if maintaining a strict directional orientation of the subset). The equality has a direction, because it implies ultimately that something is “subordinating” by step-sequence (this is, as opposed to the biconditional operator; also called, a one-to-one correspondence; symmetric). I would say, “semi-colons” are very “Spiritus”: if you’re still feel unsafe or uncertain about when to use a “semi-colon”, if it isn’t by association to “triangulation”, this idea of the latin word “Spiritus” is my offer; as the long-standing placeholder I carried, growing up, to the use, implications and associations for “semi-colons”. (I too—as I continue to improve my writing style and while aiming to remain professional and creative when refactoring or updating my expression and sentencing. I am gradually, perhaps unsurprisingly continuing to recognise the unequivocal nature of the interdisciplinary stratification of these newly afforded punctuative attributes with greater and greater speeds) ⬗⬖ “Colon” ⬗⬖ “Colon” is functional or, a, to a part of; while, by left-to-right decree, it would uphold itself from prepositions, as a “prepositional-istic” operator, and should it therefore present itself mid sentence, it should delimit a predicate-subject, in, for, as parent. This is why it then formulates itself in a parent-parent-parent chain-sequence as a proportion or potential “related-rate”. Conjunction operators are relatively strict, but this preposition-operator admonishes its dominance akin to, or as to, an “f-of-x”—“f(x)=mx+b” (“The Lion King: Simba”; or, anything like “1:2:3:1:5:6:7” or “1:3:1”). ⬗⬖ Parentheses ⬗⬖ A respite; a break (whose final enclosure ends the continuation of the residing logical rule-set). Parentheses?!, not that ironic—important and for any or all changes of pace for the sound delivery of complicated or ambiguous informations; in the least. Don’t joke about what is “merely a parenthetical…”—“Mais, ce n’est qu’une parenthèse!”; hopefully, in regard to the redundant “instructional caveat’s caveat” (the notice’s notice). ⬗⬖ Hyphens; En-Dash; Em-Dash ⬗⬖ “Hyphens or dashes?” Hyphen/dash—modifying the subsequent and leaving the focus on the latter or last. En-dashes—equip to span and represent distances, scope or number. One must know or already decide what to do with it as to an “En-Jambes”; handwriting, choose one of these two, present and following. Em-dashes, “the long ones” (double or triple hyphen)—I decided to carry it as the manner to “en-jambes”, however you would be best using an en-dash for the En-Jambes and keeping it to the glottal stop, the interjection, or (and in full) a distinct companion to the colon. “You”: Do, To The Following— Carpe Diem—you would be best to the following “settings” in for your ultimate set-up: 1. Employing: an en-dash — for the En-Jambes; 2. Employing: an em-dash — to the glottal-stop or the “interjection” 3. Employing: an em-dash — with a space, (not the En-Jambes) to desaturate heavy punctuation; digitally, a perfectly distinct companion to the colon and of semi-colons that “exit” without closing to a full-stop. Complex and Frequent Punctuation “The en-dash”— Due to the brevity of our most popular symbols (to the many or few shown, used or explained; here, and throughout), a most practical extension for determining the hierarchy of multiple nested colons and semi-colons, is to resolve the saturation of punctation with an “en-dash” to open up a “nested sentences”. What do I mean by that? We may not yet be, approved or allowed, to consider the “En Jambes” with the “en-dash” for purposes of listing our all the Harry Potter Book series to full-stops; rather, instead only by companion of continuous similarity to parentheses: it, now and always, remaining the lesser encapsulation or containment to “parentheticals” regardless of paragraphing or indentations. Why do I insist on saying it that way?—because, we in the least, imperatively need clarity beside an unequivocal and agreed system to “exit” or “close” a many more complicated successions (or “saturations”—and only because there wasn’t a good enough rule, and as usual sufficing because of everything else). Conclusion: “Colon” or “Em-dash” So— You could swap the place of colon and em-dashes in your own writing, but when it comes to explaining items or symbols, colons keep things all too close together—right, and benefitting; since, mistaking a largest “colon-delimiter”, instantiating subject, forgives: as an interjective opening-statement frequently works very well! https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/4cecc228-cbf6-40d2-95fd-27553ca8b3bf/universal_example2.png Tت。 - Make it stand out “If it’s the same element: it cannot be recruited twice.” (Source: https://mathgoodies.com/lessons/universal_set/) https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/ad39155b-baa0-4c93-baab-3e14fd122743/Capture+d%27%C3%A9cran+2026-03-25+121203.png Tت。 - Make it stand out “If it’s the same element: it cannot be recruited twice.” https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/fc24b905-64a9-4df0-98f6-36448504d5b4/Capture+d%27%C3%A9cran+2026-03-25+110622.png Tت。 - Make it stand out Rules of replacement: “If it’s the same element: it cannot be recruited twice.” https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/5e2d3b9d-2502-44f0-8f47-9fb63653633b/Venn3tab.svg.png Tت。 - Make it stand out Venn diagram as a truth table demonstrating logical disjunction (“OR”) “If it’s the same element: it cannot be recruited twice.” “Same Voltage Implies True; Differences in Volage Implies False” https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/ad5f9d78-4fd2-4728-a435-65388073f27e/The_11_logical_relations_between_two_sets.svg.png Tت。 - Make it stand out “If it’s the same element: it cannot be recruited twice.” (Source: https://en.wikipedia.org/wiki/Conceptual_space) https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/29d3b9a8-3b84-4578-989d-b5b2c053ff14/ChatGPT+Image+Apr+25%2C+2026%2C+06_18_09+PM.png Tت。 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://doomdudash.com/creative-commons daily 0.75 2025-11-07 https://doomdudash.com/music-resources daily 0.75 2026-10-11 https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/7ec1b433-63d6-4716-97de-1a47241e3de2/Drisco%2C+Get+Busy+Stay+Dizzy.jpeg Music: Resources https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/fa7e5182-a519-43d6-bb78-0f2b1b944338/solfegeguide.jpg Music: Resources - Make it stand out (Source: https://howtosingsmarter.com) Solfège (Latin/Romance) System: in the Fixed Do solfège system—Do equals C, Re equals D, and Mi equals E — - Alphabetical (English) System: uses letters: A, B, C, D, E, F, G; - German System: uses letters like the English system, but replaces B-natural with H and B-flat with B; - Sargam (Indian Classical) System: Uses syllables Sa, Re, Ga, Ma, Pa, Dha, Ni. https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/9cd18d05-88ae-42f6-9f0e-6a9a02ed01c6/Vowels+-+AEIOU-chart_doomdudash.png Music: Resources - Make it stand out There’s still more if you do your own research using the words “speech pathology” and “consonants”; there are primary and secondary consonants that can be “layered together.” https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/9342a61b-88a4-4193-a20c-c6750251cc82/Consonant-sounds-listed-graphic.jpg Music: Resources - Make it stand out (Source: https://literacylearn.com) https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/65048d01-a3be-4167-98db-53fe4685e86b/Minor-Major.jpeg Music: Resources (Source: https://piano-music-theory.com) Clef: Treble; sharps & flats. https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/a1edf637-a142-44b7-8f39-d5903e2de19e/full_note+sequence_bass-to-treble+clefs.png Music: Resources - Make it stand out (Source: https://offtonic.com/theory/book/1-3.html) 101: “How to read sheet music.” https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/ca4c3f3d-8bb7-4520-8345-513849bbf861/Piano+Staff+to+Hands_cliped.png Music: Resources - Make it stand out Treble & Bass Clef: The Musical Staff’s “spaces” finger-layout diagram; for their respective staff position and notes (noteheads, stems, & flag/beam; there are also Treble-treble or Bass-bass Clefs on staves): Treble Clef (G Clef)— - Lines (bottom to top): E – G – B – D – F (Every Good Boy Does Fine); - Spaces (bottom to top): F – A – C – E (spells FACE). Bass Clef (F Clef)— - Lines (bottom to top): G – B – D – F – A (Good Bikes Don't Fall Apart); - Spaces (bottom to top): A – C – E – G (All Cows Eat Grass). https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/c260b7a0-c327-4c98-9d32-90541e3b8ad8/tonnetz-Barb-triads.webp Music: Resources - Make it stand out (Source: https://musictheorymanual.com/nrt-tonnetz) “Tonnetz”: German, for a tonal net (a chord network): Where you’ll apply your order of sharps & flats (the order of “leading tones”)… use this to read a “circle of fifths”— [Order of Sharps and Flats]: F – C – G – D – A – E – B || B – E – A – D – G – C – F (it cycles, as Naturals then of Sharps or Flats; read the entire section). — Moving through the “order of sharps” goes up by perfect fifths; and, Moving through the “order of flats” goes up by perfect fourths. https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/728c3219-f8bc-432f-88d8-be01dd8f949a/BSG0k.jpg Music: Resources - Make it stand out (Source: https://www.reddit.com/r/ukulele/comments/1jvnfzu/songwriting_tips) Circle of Fifths: Organizes the 12 musical keys in a circle where each step is a distance of a perfect fifth; “diatonic chord degrees by position.” https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/1530120575355-7257V4BF12EZRJB4VE29/IMG_4421.JPG Music: Resources https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/e1d09375-7d51-458a-9c55-ed2982365283/Screen+Shot+2022-02-21+at+1.32.54+AM.png Music: Resources - Make it stand out Ableton Live 12— Billie Eilish - Your Power (Ana Whiterose Cover; Doom Dudash Remix). https://images.squarespace-cdn.com/content/v1/57d213a2f7e0ab51452d1846/a69a50b6-abbe-4a86-9a1e-20674f2fe889/Games+-+Chord+Runner.jpeg Music: Resources - Make it stand out Whatever it is, the way you tell your story online can make all the difference.