The physics suspension lines, that operate the sociology behaviours of the latters (Barolo Xylie's puzzle, of whose latter); they, from their being a normal physics audience, to theology's waiting for the acceptance of refusal by the Gary Oldman-Dracula interior absolutism, acceptance of refusal knows no irony (deflected, by ACH's Mary Ellen's Sissy Spacek, the real deconstruction face art, of Mary Ellen as she smokes), can't have its cake and eat it with the non-irony absolutism: the analysis can never sleep.
Can never sleep - it is the jigsaw put together (a John Kramer reference, with Amanda), of the means to access Dex's possession of slots as a mutual creation of Dex's slots into the origin of history being the left-wing transcendence identity.
Theology's waiting, for the acceptance of refusal: the ulterior identity, of this trade process, in which the physics audience can be the humour of not having to offer therapy to theology's computation of romance being the real spirituality, is the independence, from the just now paradigm (as a cocksure art design), of Dex's and Infinity's immaculate as emotion versus Still-Evil Needs No Irony.
What are the non-threats, to this versus?
They include, the gravity as visual implementation of theology's suspension lines oversight, of face to face stories (the face to face stories consisting of the sociology awareness possessing humour activation for deployment against the face to face art), and after, whatever
Dex and Infinity then:
The physics possession, of their slots, is a creator of betrayal to the sociology history possession of the slots
For Burgess Meredith
and for Dermot Kennedy