# Artifacts — Gallery 1 (#1–40) The Hall of Mirrors artifacts #1–40, in room order. Where a room's key names a station on the board's body ladder, the card takes that station's colour from the board itself; every other card stays neutral. The title opens that artifact's own room in the maze, which will want a wallet connected, and **More →** jumps to the full reading below. **Filed under** is the Hall's own shelf label for the room. A line under a code means the rooms are wired to each other: either that code is another room's title, or this room's title is the key to another room. > **▶ Looking for the animals?** The planet-creatures are scattered through these galleries in room order. Gathered in ladder order, seat by seat, they are in **[[Hall of Mirrors/The Bestiary|The Bestiary]]**, which gives each animal its own page (and one to the board's unnumbered Vulture); as the chain of identities that unlock each other, in **[[Hall of Mirrors/The Bestiary - The Equations|The Equations]]**. <div class="legend"><b>Body-ladder station</b><span><i style="background:#3c78d8"></i>Chesed · blue</span><span>every other card is neutral</span></div> | Name | Image | Key | Filed under | Connects | Read | · | |---|---|---|---|---|---|---| | **[#1 · LOGOS](https://mirrors.jagwartwin.com/rooms/1)**<span class="t-songs artchip">Song / Demo</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x0f3d16fa2fc38a75d31d4ba61ab819f6c8c9717084252263a65bbb7b8a8b652c..mp3) | `EAST IS EVERYWHERE` | From Darkness | [[Hall of Mirrors]] · [[Concepts/The Pattern]] · [[Kabbalah - The Tree of Life]] | Room one is a sound, the creative Word speaking light out of the dark. | [[#1 · LOGOS\|More →]] | | **[#2 · AN AGED AGED MAN](https://mirrors.jagwartwin.com/rooms/2)**<span class="t-songs artchip">Song / Demo</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xfabef575374796fb9f99a60f701b55a9e51333406510e6d14aab767c7887b71f..mp3) | `ALICE 211`<br>*its title is the key to [[Artifacts - Gallery 3 (75-112)#112 · SATURN MAGIC\|#112]]* | Seen Things/Illumination | [[Down to You]] · [[Hall of Mirrors]] · [[Concepts/Source vs Reflection]] · [[Concepts/Inversion]] | Room 2 makes a familiar source difficult to hear. | [[#2 · AN AGED AGED MAN\|More →]] | | **[#4 · O (444DEMO)](https://mirrors.jagwartwin.com/rooms/4)**<span class="t-songs artchip">Song / Demo</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x9b505763669a1ce85508ca68153be9a72861db80520993c1bc8be4b46e2040d1..mp3) | `ENSO` | Time Garden (22:1) | [[Happy Face]] · [[Hall of Mirrors]] · [[The Circle]] · [[Roy]] | O (444demo) preserves The Circle, identified in the full human ear review as the released version. | [[#4 · O (444DEMO)\|More →]] | | **[#5 · HELLO, ATTENTION (µå®∂¨˚)](https://mirrors.jagwartwin.com/rooms/5)**<span class="t-emblems artchip">Concept Image</span> | [](https://plumcreekranch.com/jagwar/artifacts/4.png) | `MARDUK` | Seen Things/Illumination | [[Pay Attention (feat. little luna)]] · [[Hall of Mirrors]] · [[Concepts/The Pattern]] · [[Sir Lucius]] · [[Roy]] | A worksheet answer that casts attention as Marduk beside a Ninurta/Anzu image inherited through an older caption; the eyes phrase is adjacent text, not a visible feature. | [[#5 · HELLO, ATTENTION (µå®∂¨˚)\|More →]] | | **[#7 · Jupiter the Blue Dolphin](https://mirrors.jagwartwin.com/rooms/7)**<span class="t-drawings artchip">Drawing</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x86154a585c03e88a49b4f8a91b5119b60356f5aee3203585979a1c26d6cad56e..png) | `LADDER` | Unseen Things/Concealed Generations | [[Hall of Mirrors/The Bestiary - 4 The Dolphin (Jupiter)\|The Dolphin]] · [[City of Angels]] · [[Concepts/The Pattern]] · [[Concepts/Jacob and Esau]] · [[Kabbalah - The Tree of Life]] | G, Blue and a body address let one dolphin carry the ladder into music and inherited life. | [[#7 · Jupiter the Blue Dolphin\|More →]] | | **[#8 · GRANDMA VI'S COW](https://mirrors.jagwartwin.com/rooms/8)**<span class="t-family artchip">Family</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x20d2ac2a28641786ba03eff53facea687b35e08e680a1b71922c6fc1ed1f2735..jpg) | `167` | Life Changing Connections (VI Link) | [[Hall of Mirrors]] · [[Roy]] | One kept cow capture turns in opposite orders under a family title and an earlier song title. | [[#8 · GRANDMA VI'S COW\|More →]] | | **[#9 · I'M NOT HERE](https://mirrors.jagwartwin.com/rooms/9)**<span class="t-emblems artchip">Concept Image</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x1859535ea2a83a646006b26c8fb24b890e1d8c173843f18f9d99ed82a55435e5..jpg) | `I'M NOT HERE`<br>*its own title is the key* | From Darkness | [[Move To You]] · [[MAGIK]] · [[Hall of Mirrors]] · [[Roy]] | A name is called in a room that declares absence; a change of camera distance leaves the visible figure present. | [[#9 · I'M NOT HERE\|More →]] | | **[#10 · "Walking the Edge of a Knife" (poem)](https://mirrors.jagwartwin.com/rooms/10)**<span class="t-drawings artchip">Drawing</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xe858c547827aba7438709a166b469d26170394ba55ffbf865b0ebecea03f3c6a..png) | `INSIDE OF THE INSIDE` | Unseen Things/Concealed Generations | [[The Circle]] | A Roy poem addressing an unnamed other on a knife-edge, typed over a wreath it partly hides; the Circle's inward turn before recovery is secure. | [[#10 · "Walking the Edge of a Knife" (poem)\|More →]] | | **[#11 · Roman Calculus](https://mirrors.jagwartwin.com/rooms/11)**<span class="t-drawings artchip">Drawing</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xe0e13d94ee1e14ef20ee89e165997c7e4ce15965c767c5b8079ac13ace454df4..png) | `9360` | Ways of growing (Keys to Kingdom) | [[Concepts/The Pattern]] · [[Kabbalah - The Tree of Life]] | Ten counters acquire different values through position, producing 9360; its alphabet-circle construction distinguishes repetition from changed return. | [[#11 · Roman Calculus\|More →]] | | **[#13 · I652](https://mirrors.jagwartwin.com/rooms/13)**<span class="t-ciphers artchip">Cipher</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x9271086a0832e3b72f63372ca9069bbfee7b7a2198d33cf29e68a1e746fdf1c3..jpg) | `HAPPY BIRTHDAY` | From Darkness | [[Roy]] · [[Roy's Tattoos]] · [[Concepts/The Upload]] · [[Hall of Mirrors]] | An incomplete 3D scan and visible I’M NOT HERE tattoo make a digital body’s partial presence the room’s question. | [[#13 · I652\|More →]] | | **[#14 · HAPPY FACE (MINT ROOM)](https://mirrors.jagwartwin.com/rooms/14)**<span class="t-songs artchip">Song / Demo</span> | [](https://jagwar-hall-of-mirrors.pages.dev/media/ecf4ba075b2e.mp4) | `WORLD GONE MAD` | Mint room | [[Happy Face]] · [[The Mask]] · [[Concepts/Consumption]] · [[Hall of Mirrors]] | The 2020 release seal returns as a rotating NFT mark over Jordaens's revel, joining performance, commerce and consumption on one surface. | [[#14 · HAPPY FACE (MINT ROOM)\|More →]] | | **[#15 · DEAD LETTER DIARIES](https://mirrors.jagwartwin.com/rooms/15)**<span class="t-poems artchip">Poem / Text</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xdb2916dfb388353085a0551d381c2565d478197df1332c0e4aff59c7b7d901de..jpg) | `DEAD LETTER DIARIES`<br>*its own title is the key* | Phantoms of the Past | [[Loser]] · [[Hall of Mirrors]] · [[Concepts/The Digital Double]] · [[Roy]] | One early-band relic indexed twice: once by the band name, once by a track name, with the same frames reversed. | [[#15 · DEAD LETTER DIARIES\|More →]] | | **[#16 · THE EMPTY ROOM](https://mirrors.jagwartwin.com/rooms/16)**<span class="t-emblems artchip">Concept Image</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xa53f8677e36ba5ad03dbefe1ee2baa69151a39fa947f876b0e4af598a7c56397..png) | `RAINBOW BRIDGE` | Unseen Things/Concealed Generations | [[Hall of Mirrors/The Bestiary - The Vulture\|The Vulture]] · [[It's Your Time]] · [[Great Time to Be Human]] · [[Kabbalah - The Tree of Life]] · [[Concepts/The Empty Mirror]] · [[Concepts/Duality]] · [[Concepts/The Divide]] · [[Roy]] | A two-faced monkey pulled both ways beneath a colorless rainbow bridge, three serpents in flight above: room 125's formula, drawn. | [[#16 · THE EMPTY ROOM\|More →]] | | **[#17 · DEVIL IN THE MIRROR](https://mirrors.jagwartwin.com/rooms/17)**<span class="t-songs artchip">Song / Demo</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x77044650db58a6863546c6b2b5c74a3cd56c194bebd39ef574b014918d3feaf7..mp3) | `RORRIM EHTNI LIVED`<br>*key = the title of [[#26 · RORRIM EHTNI LIVED\|#26]]* | Phantoms of the Past | [[Lucius Lullaby]] · [[Long Time Coming]] · [[Sir Lucius]] · [[The Mirror]] · [[Concepts/Inversion]] | This 44.5-second instrumental is described in the human ear review as rolling and mournful, with strings or electronic strings and no lyrics. | [[#17 · DEVIL IN THE MIRROR\|More →]] | | **[#18 · Tree Thinking](https://mirrors.jagwartwin.com/rooms/18)**<span class="t-drawings artchip">Drawing</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x8a9fe05bb3dbf271b4ab76f457b52a14dda44f3eb42edc5f4da3743febbe4bd9..jpg) | `TREE THINKING`<br>*its own title is the key* | Ways of growing (Keys to Kingdom) | [[Another Way II Heaven]] · [[Concepts/The Abyss]] · [[Concepts/The Pattern]] · [[Kabbalah - The Tree of Life]] | Ten numbered stations, an extra chamber, two Abyss interfaces, and the world on its own base. | [[#18 · Tree Thinking\|More →]] | | **[#19 · ARTIFACT 187](https://mirrors.jagwartwin.com/rooms/19)**<span class="t-emblems artchip">Concept Image</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x84e81fedd884f04c7b3a46eb5b3542ca5d9d3443076d1361a93745ee829912f6..jpg) | `DEATH OF MY GENERATION` | Seen Things/Illumination | [[Happy Face]] · [[Roy]] · [[The Mask]] · [[Concepts/The Circus]] | The murder-code artifact opens with the lyric that killed off the drowning debut-era self. | [[#19 · ARTIFACT 187\|More →]] | | **[#20 · 2014 Self Portrait](https://mirrors.jagwartwin.com/rooms/20)**<span class="t-drawings artchip">Drawing</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x42aca9f05cbbdc9c3bf764cabf65b56bca8959ef77dee0d1ad7a55012d2305d7..jpg) | `DON'T BE A BLACK HOLE` | From Darkness | [[Good Time (1-08)]] · [[Sir Lucius]] · [[The Mirror]] · [[Concepts/The Dweller on the Threshold]] | A pre-Lucius self-image with the third-eye cross and a weeping serpent, the shadow's iconography before it had a name. | [[#20 · 2014 Self Portrait\|More →]] | | **[#21 · Religious Organism (rejected album art)](https://mirrors.jagwartwin.com/rooms/21)**<span class="t-drawings artchip">Drawing</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x84f9ea3e9a05b88f67564f83b59868af069a49f4476d9c51652dfa9fe95052a9..jpg) | `HOW TO STEER THE SOUL` | Buried Things | [[Soul Is A Star]] · [Aubrey's Angle](https://hom.jagwartwinlore.com/artifacts/a-9e75cba4dbfa/) | A retained wall figure overlaps a rainbow boundary; recognition survives a changed world, while motion and direction remain open. | [[#21 · Religious Organism (rejected album art)\|More →]] | | **[#22 · COACHELLA SEA](https://mirrors.jagwartwin.com/rooms/22)**<span class="t-family artchip">Family</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x80dd7bd1be0ede815f5b30f19158e53c3109cc31a005bf3ddd2b8495229a63c8..jpg) | `WHO IS INHABITING YOU` | Phantoms of the Past | [[Lucius Lullaby]] · [[Happy Face]] · [[Roy]] · [[Sir Lucius]] · [[Concepts/The Circus]] | A stage-side view repeatedly gains and loses the crowd, later re-addressed by an identity question. | [[#22 · COACHELLA SEA\|More →]] | | **[#23 · ROY DIARY 2014](https://mirrors.jagwartwin.com/rooms/23)**<span class="t-poems artchip">Poem / Text</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xd14909d1145a6a8baf6db46d9a5efee8677c90898ae1dabf470ba720bb340e1e..jpg) | `J403` | Phantoms of the Past | [[Ballerina Boy]] · [[Hall of Mirrors]] · [[Roy]] | A cancelled tower phrase preserves the difficulty of being understood; J403 joins that need to the board’s inward address and Upload ambition. | [[#23 · ROY DIARY 2014\|More →]] | | **[#24 · B1034](https://mirrors.jagwartwin.com/rooms/24)**<span class="t-ciphers artchip">Cipher</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x44f08985c82bb57ba15243d9a872ac96d582fdeb21a0117da5797749e7c73f2b..jpg) | `B1035`<br>*its title is the key to [[#39 · FLOOD ARTIFACT (霊的な愛)\|#39]]* | Seen Things/Illumination | [[Great Time to Be Human]] · [[Good Time (1-08)]] · [[Roy]] · [[Hall of Mirrors]] | A studio writing session named not for anyone in it, but for its own filing cell. | [[#24 · B1034\|More →]] | | **[#25 · Venus is a Dove](https://mirrors.jagwartwin.com/rooms/25)**<span class="t-drawings artchip">Drawing</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x45967cfd180258a4af354a1df50256ff087627de16c5c49ef599cecc313acdb4..jpg) | `F316` | Unseen Things/Concealed Generations | [[Hall of Mirrors/The Bestiary - 7 The Dove (Venus)\|The Dove]] · [[Concepts/The Pattern]] · [[Mary]] | A dove’s landing-like gesture gives the Venus/heart relation a body without completing its arrival. | [[#25 · Venus is a Dove\|More →]] | | **[#26 · RORRIM EHTNI LIVED](https://mirrors.jagwartwin.com/rooms/26)**<span class="t-songs artchip">Song / Demo</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x3e123718af779094b7d526cbd12f754d840b744d6184851e9f2f5912a7b6ca79..jpg) | `H1066`<br>*its title is the key to [[#17 · DEVIL IN THE MIRROR\|#17]]* | Unseen Things/Concealed Generations | [[Lucius Lullaby]] · [[Hall of Mirrors]] · [[The Mirror]] · [[Concepts/Inversion]] · [[Roy]] | One Genesis CD-R image rotated until its rear view makes the lettering read in mirror-reverse. | [[#26 · RORRIM EHTNI LIVED\|More →]] | | **[#27 · Home at Sea](https://mirrors.jagwartwin.com/rooms/27)**<span class="t-drawings artchip"><span class="rung rung-7"></span>Drawing</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x6f8c35da7301890de0b5efd9b8c175868a77a692977a19e600c04a0e89fd3701..jpg) | `LEFT SHOULDER OF A DOLPHIN` | Seeds of Infinity/Childhood | [[Hall of Mirrors/The Bestiary - 4 The Dolphin (Jupiter)\|The Dolphin]] · [[Concepts/The Pattern]] · [[Subject to Flooding]] | A childhood photograph makes received support visible at the Dolphin’s body address. | [[#27 · Home at Sea\|More →]] | | **[#28 · LITTLE LUNA EXPLAINING NFTS](https://mirrors.jagwartwin.com/rooms/28)**<span class="t-family artchip">Family</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xdaa5986dfa957f4d504265bd2a0f4e768070f1d25aa7b26fd6b7b8be848d7eca..jpg) | `EXPLAINING NFTS` | Seen Things/Illumination | [[Pay Attention (feat. little luna)]] · [[Great Time to Be Human]] · [[Hall of Mirrors]] · [[Roy]] | Proud, baffled parents reply to their daughter's web3 lecture, minted into an NFT about NFTs. | [[#28 · LITTLE LUNA EXPLAINING NFTS\|More →]] | | **[#29 · Suggestion of Apex](https://mirrors.jagwartwin.com/rooms/29)**<span class="t-drawings artchip">Drawing</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x5d0e1e4a5a5d089ed56b0e86bea02e9a3c81f99d201403794224f4c5325aee4d..jpg) | `SUGGESTION OF APEX`<br>*its own title is the key* | Ways of growing (Keys to Kingdom) | [[Hall of Mirrors/The Bestiary - 1 The Swan (Enoch)\|The Swan]] · [[Superhuman]] · [[Concepts/The Pattern]] · [[Kabbalah - The Tree of Life]] | A flat-topped pyramid whose true peak lives outside the shape, the crown never contained in the structure. | [[#29 · Suggestion of Apex\|More →]] | | **[#30 · KHAWAH](https://mirrors.jagwartwin.com/rooms/30)**<span class="t-emblems artchip">Concept Image</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x9cce9eb03c9f29c6481fca9f0f942b15bef0bbbc47fda0ddb44df157019835d9..jpg) | `26` | Ways of growing (Keys to Kingdom) | [[Another Way II Heaven]] · [[SOL]] · [[Concepts/The Pattern]] · [[Kabbalah - The Tree of Life]] · [[Roy]] | Adam minus Eve equals 26, the gematria of God, so love is the remainder. | [[#30 · KHAWAH\|More →]] | | **[#31 · IF THE SEA HAS ENOUGH WILL](https://mirrors.jagwartwin.com/rooms/31)**<span class="t-emblems artchip">Concept Image</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xeaea42961328b71c465c11c237bae8498c135938350565b81d0cb9020a8fa3d3..jpeg) | `THE PATTERN`<br>*its title is the key to [[Artifacts - Gallery 3 (75-112)#97 · SUBJECT TO FLOODING BTS\|#97]]* | Seeds of Infinity/Childhood | [[Shine]] · [[Concepts/The Pattern]] · [[Subject to Flooding]] · [[Roy]] | A small boy on a harbor boat, already subject to the boundless water beneath him. | [[#31 · IF THE SEA HAS ENOUGH WILL\|More →]] | | **[#32 · O](https://mirrors.jagwartwin.com/rooms/32)**<span class="t-emblems artchip">Concept Image</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x538115b37f8d235538a6c63b12248a39c79a813ad927a7d2a7e7595457de89a9..jpg) | `THE VALUE OF NOTHING` | From Darkness | [[Great Time to Be Human]] · [[Concepts/The Empty Mirror]] · [[The Circle]] · [[Roy]] | One handwritten line cut from a study page, the room's own key, asking what a label cannot hold. | [[#32 · O\|More →]] | | **[#33 · ROMA CALLED ROY](https://mirrors.jagwartwin.com/rooms/33)**<span class="t-ciphers artchip">Cipher</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x31f9469ec7c3f1e408327e536d1de66fef4ff37c780a9166cba4ec139d25a75a..png) | `TRUE VOICE`<br>*key = the title of [[Artifacts - Gallery 2 (38-74)#43 · TRUE VOICE\|#43]], its title is the key to [[Artifacts - Gallery 2 (38-74)#42 · R1045\|#42]]* | Phantoms of the Past | [[Roy]] · [[Concepts/The Upload]] · [[Hall of Mirrors]] | A singer meets an ancient namesake priest through name, image, and a sound-making sistrum. | [[#33 · ROMA CALLED ROY\|More →]] | | **[#34 · Michael the Fox](https://mirrors.jagwartwin.com/rooms/34)**<span class="t-drawings artchip">Drawing</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xe4b1702d9298fee62dfeccc57d322a463ad55ca201256d01f62b45b2e1c21c10..png) | `8` | Unseen Things/Concealed Generations | [[Hall of Mirrors/The Bestiary - 8 The Fox (Michael)\|The Fox]] · [[Concepts/The Pattern]] · [[Sir Lucius]] · [[Kabbalah - The Tree of Life]] | Michael gives thought a body and a problem: the mind can explain a world, teach someone how to leave a trap, or persuade them that the trap is all there is. The Fox’s place beside the Dove makes its authority answerable to life. | [[#34 · Michael the Fox\|More →]] | | **[#35 · YELLOW & ELEPHANT 2](https://mirrors.jagwartwin.com/rooms/35)**<span class="t-emblems artchip">Concept Image</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xc7f87ec37122f93afd711dda88c305c17f91b8edbc366215c8f6f8f8bca2faf0..jpg) | `CHAIN REACTION` | Phantoms of the Past | [[Hall of Mirrors]] · [[Roy]] | A still-sealed Eye Alaska CD scanned into the maze's museum of past selves. | [[#35 · YELLOW & ELEPHANT 2\|More →]] | | **[#36 · GRANDMA'S SONG](https://mirrors.jagwartwin.com/rooms/36)**<span class="t-songs artchip">Song / Demo</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x192da9a1b7fd07fb2ada3707ffe4a04c2fab57223b00fbee7689a133d133d32e..mp3) | `THE LIGHTNING FLASH` | Unseen Things/Concealed Generations | [[Weirdness]] · [[Kabbalah - The Tree of Life]] · [[Concepts/The Pattern]] · [[Roy]] | Grandma's Song puts received care before a request to receive. | [[#36 · GRANDMA'S SONG\|More →]] | | **[#37 · I AM CHRITMAS](https://mirrors.jagwartwin.com/rooms/37)**<span class="t-emblems artchip">Concept Image</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x1253b97f8166ce69a25958b7cac2eaf706deb8f0bf520ff9fa6a2b975f8d0cf3..jpg) | `I AM CHRISTMAS` | Window Of Appearance | [[Roy]] · [[Mary]] · [[The Rose]] | A numbered body-figure becoming a Rose Cross, an image this guide reads as Christ-birth within the self rather than a written declaration. | [[#37 · I AM CHRITMAS\|More →]] | | **[#38 · GRANDFATHER MASKS](https://mirrors.jagwartwin.com/rooms/38)**<span class="t-family artchip">Family</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0xd8bc7f7c84851625540f995dec57673053990ebc64d6de78a8e1f5077125fc23..jpg) | `R1063` | Life Changing Connections (VI Link) | [[Hall of Mirrors]] · [[Roy]] | One dated charm under two archival identities; school, owner and the title word Masks remain open. | [[#38 · GRANDFATHER MASKS\|More →]] | | **[#39 · FLOOD ARTIFACT (霊的な愛)](https://mirrors.jagwartwin.com/rooms/39)**<span class="t-ciphers artchip">Cipher</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x1a28d145a6627c02c9fe073c4015c32a22002eafe0c2c4cdda9d7346e47811fd..jpg) | `B1034`<br>*key = the title of [[#24 · B1034\|#24]]* | Phantoms of the Past | [[Precious Time]] · [[The Circle]] · [[Kabbalah - The Tree of Life]] · [[Roy]] | Underwater fish dissolve into a concentric-self glyph, love glimpsed as one ring of the soul. | [[#39 · FLOOD ARTIFACT (霊的な愛)\|More →]] | | **[#40 · POTATO CHIP](https://mirrors.jagwartwin.com/rooms/40)**<span class="t-emblems artchip">Concept Image</span> | [](https://storage.googleapis.com/jagwar-twin-33.appspot.com/artifacts/0x20b823729b7a5f6c459b22d543b7a74b1cd49e1da51ca1ec1b2a1ff839d461cd..jpg) | `POTATO CHIP`<br>*its own title is the key* | Life Changing Connections (VI Link) | [[Roy]] | Title and self-key identify the dog as Potato Chip; the exact selection reason remains open. | [[#40 · POTATO CHIP\|More →]] | ## Full readings ### 1 · LOGOS Room 1 is a 33.375-second audio file of *Happy Birthday to You*. A listener’s ear review confirms the third line as *“Happy birthday, dear Someone”* and hears a breathy, Monroe-like delivery that becomes more echoing and distorted, ending in a sound described as thunder or feedback. **Someone** is the grounded word; the singer and the cause of the final sound remain unresolved. The ordinary birthday song normally becomes particular when a name enters that line. Here the person remains present as an addressee while their identity stays open. The *I'm 33* board gives the internal counterexample, *“to Mozart”*: the same inherited melody can become personal by naming someone, or by keeping a place available for whoever hears the address. That is why this commonplace song matters at the first door. Before the Hall offers portraits, animals, diagrams or named characters, it begins with a voice directed toward a person it has not classified. The metadata enlarges that operation without settling it. *Logos* and *From Darkness* invite a Word-at-the-beginning or creation comparison; `East is Everywhere` makes one direction universal, as **Someone** makes one address open. Those are bounded readings of placement and grammar, not audible lyrics or proof of a particular theology. The unstable ending also prevents a simple triumphal creation story: in that listening account, the familiar blessing degrades as it returns toward the darkness named by the filing. Entry depended on transmission as well as interpretation. In the earlier ARG, a Trash item led to a wallet key; importing that wallet revealed an NFT titled **East is Everywhere**, and the title became this room's key. One participant described moving the asset into his own keeping, while the catalogue credits the room discovery to a different handle and the launch-Space narrator did not know who finally typed the phrase. The exact solve order remains open, but the first threshold materially joins custody, recognition and a cross-room mechanic the Space says was designed for collaboration. The Monroe comparison stays specific. Two listeners hear an echo of her presidential birthday rendition; the board also preserves a view associated with Monroe with no subject in the frame. One leaves the addressee open, the other leaves the visual position open. A later public reply and repost show Roy engaging with a birthday/name reading, but they do not identify **Someone**, prove Monroe caused the earlier recording, or establish the singer. [[Hall of Mirrors/JFK, Monroe and the public image#The birthday bridge|The birthday bridge]] keeps those layers separate. **Connects to →** [[Hall of Mirrors]] · [[Concepts/Music as Pattern and Identity]] · [[Concepts/The Pattern]] · [[Concepts/The Empty Mirror]] ### 2 · AN AGED AGED MAN Room 2 makes a familiar source difficult to hear. In the human ear review, an unknown woman reads Carroll's *An Aged Aged Man* backward over echoing music. The reversed presentation withholds the words while keeping the voice present; changing the orientation offers recovery. Roy is not the reader. This makes reversal a means of recovery as well as concealment. It may also have been chosen for its sound. The exact source performance, opening and ending text, and reason for this treatment remain open; the routes do not establish a rule that every Hall key is a true name. Full reading → [[Hall of Mirrors/Artifacts - Songs, Demos and Mints##2 · AN AGED AGED MAN · `ALICE 211`|Room 2: form, route and comparison]]. **Connects to →** [[Down to You]] · [[Hall of Mirrors]] · [[Concepts/Source vs Reflection]] · [[Concepts/Inversion]] ### 4 · O (444DEMO) *O (444demo)* preserves *The Circle*, identified in the full human ear review as the released version. The story begins with a maker teaching others to sing, passes through kings denying that they can, and ends with a wise one remembering that she once held the string. After each change the refrain sends the listener inward; by the end, the instruction has become a way to recover what survived concealment. The old demo title does not prove an unheard song, a creation date or a measured tuning. This file is 3:40; the release is listed at 3:50. The ear identification stands, while the exact master, mix, edit and pitch remain to be compared. Full reading → [[Hall of Mirrors/Artifacts - Songs, Demos and Mints##4 · O (444DEMO) · `ENSO`|Room 4: form, route and comparison]]. **Connects to →** [[Happy Face]] · [[Hall of Mirrors]] · [[The Circle]] · [[Roy]] ### 5 · HELLO, ATTENTION (µå®∂¨˚) A segment of Roy's *"I'm 33 this year"* board: a grayscale drawing of a winged, bearded god with forked lightning raised in each hand, cropped so that only the god shows, with a green-highlighted board cell directly beneath it that reads *"eyes all around head."* The drawing is Layard's 1853 plate of a relief from the Temple of Ninurta at Nimrud, now in the British Museum. Current museum and scholarly descriptions read the scene as Ninurta (possibly Adad) pursuing the lion-headed bird-monster Anzu, while older captions and popular circulation read it as Bel (Marduk) against Tiamat, so which name the picture wears depends on whose caption it came through. The eyes cell is neighbouring board text, not something the drawn god visibly has: it echoes the released song's *"I got eyes all around my head,"* and it can be set beside the four eyes the *Enuma Elish* gives Marduk, comparisons this guide draws and the board does not state. What is secure sits elsewhere, in three authored relations. The board poses the exact worksheet question this answers: *"How to anthropomorphize attention? → Marduk."* The title is that answer typed in the Mac Option layer (µå®∂¨˚ = "marduk"). And on the project's public Discord, in March 2023, Roy wrote *"Marduk. You've got to pay Attention."* Those three carry the equation of attention with Marduk whichever name the relief once wore. This is where the attention economy gets cast as an ancient Babylonian god, the deity-of-Attention the released song then dramatizes; this guide reads the relief as a found image set under that label, not as a portrait of Marduk or of the song's speaker. **Connects to →** [[Pay Attention (feat. little luna)]] · [[Hall of Mirrors]] · [[Concepts/The Pattern]] · [[Sir Lucius]] · [[Roy]] ### 7 · Jupiter the Blue Dolphin The Dolphin appears immediately below [[Hall of Mirrors/The Bestiary - The Vulture|the unnumbered crossing]], at Chesed, the generous station of Jupiter. Here the emanation sheet places Father and Mother within generation. What was source above the crossing becomes a life that receives something from those before it. The two *Lost Darkness* poems give that inheritance two measures. Descending, a hand holds half a crown; ascending, the speaker finds everything. A crown can suggest authority, and a half-crown is also money. Gray’s account of Chesed as a trustee of the inheritance with which life begins makes the join particularly apt. The Dolphin reads as the support no individual creates alone: a body, a language, care, a world already there. Finding “everything” can then mean a changed relationship to that inheritance. What first looks like a private portion may be recognized as participation in a much larger life. This interpretation gives generosity depth without pretending that the poem defines a single object being given. The drawing itself carries the station’s address. *Blue* is written in the caption, not painted (the sketch is black line), the cheek has a hand-lettered G, and the board’s ascending musical scale gives this station exactly that pair, G on a blue band. The thin legs ending in dark ovals even look a little like written notes, a resemblance that puts music into the creature’s body without making the picture a score. The dolphin is fourth in the animal count down from the source and seventh on the scale and the body counted up from the ground, which is why the code of [[#27 · Home at Sea|room 27]], `left shoulder of a dolphin`, belongs to it. No recovered source says why the dolphin was named Blue. [[Hall of Mirrors/The Bestiary - 4 The Dolphin (Jupiter)|Read the full animal interpretation and its connections.]] ### 8 · GRANDMA VI'S COW A cow model turns with a small patch of grey ground, showing sides that a single photograph would hide before returning near its starting view. The title connects the kept object with Grandma Vi; the image gives no scale or ownership history. The same capture appears in *A Storm In The Child's Fountain*, with its frames running in the opposite order and a different title and shelf. One retained object can therefore be met through family memory and an Eye Alaska song title. The archive changes the approach while keeping the thing recognizable. A standard scan workflow may account for the reversal; its particular intention is unknown. The key `167` also occurs in Dead Letter Diaries' *167 Octa*. That is a catalogue connection, but no recovered source shows that the song supplied this key. The cow's dairy associations allow a reading of nurture beside the family title, without making the scan a witnessed act of care or sacrifice. **Connects to →** [[Hall of Mirrors]] · [[Roy]] ### 9 · I'M NOT HERE A bright tree lights a night scene in Florence. A man in palm-tree and flamingo sunglasses plays toward the camera beside a laughing companion; the camera moves close, swings across the architecture, then finds him farther away, turned and walking. He remains in view. The recorded listening notes report people calling for Roy, while the room's title answers, *I'm Not Here*. The words belong to different parts of the work: a title is not a spoken declaration, and the visible man has not yet been securely identified. The scene reads as an unsettled relation between being visible and being found. The name keeps someone present in the group even as the title denies presence and the camera changes its distance. Roy's tattoo carries the same sentence with the gloss *“but I'm also here”*; *MAGIK* later tells its listener that everybody needs them here. The comparison is about relation, not proof this playful scene depicts self-erasure. The Baptistery setting and its Gates of Paradise remain a threshold association, but no crossing of those doors is shown. The clip's original occasion, speaker map and precise reason for selection remain open. [[Artifacts - Concept Images and Emblems##9 · I'M NOT HERE|Full reading]] **Connects to →** [[Move To You]] · [[MAGIK]] · [[Hall of Mirrors]] · [[Roy]] ### 10 · "Walking the Edge of a Knife" (poem) **The Circle's inward path opens here onto an uncertain conversation.** A Roy poem in eight short stanzas (no released song with this text has been found) is typed on a white panel over the Met's *Wreath on a Ground of Flowers, Birds, and Rabbits* (South Netherlandish, c. 1490–1550, accession 42.152.6), shown near-complete with its borders. The voice questions, comforts and unsettles an unnamed other; two stanzas set the wish to live beside the wish to die, and the poem twice comes back to *"the edge of a knife."* It offers companionship without settling who speaks, who listens, or what change will cost. Two small phrases carry a lot of weight. The promise to stay holds *"No matter what you choose,"* so the comfort does not depend on obedience, though a presence that never leaves can also start to feel like a locked door. And knowing comes with a condition, not a law: *"Sometimes the more that you know / The more you gotta hide."* The last stanzas rename the other as mistress, then wife, then witness, and the last word turns the relationship around. A witness is someone who could see the speaker and answer back. The poem asks for that; it does not show it given. The panel does something too. It covers the centre of the tapestry's wreath and the top and bottom of its ring, so the circle shows only at its sides: words about symbols make one thing readable by hiding another. That may simply be design, a busy picture needing a plain panel, and nobody has explained the choice. The code, *"INSIDE OF THE INSIDE,"* is word for word The Circle's central refrain, and the poem's stone stanza turns inward with a shorter phrase, *"turn back the stone / From the inside."* One possible reading hears a stone rolled back from within, a resurrection by implication rather than statement: in the King James wording of Matthew 28 the angel *"rolled back the stone from the door,"* and the poem keeps that shape while moving the place inside. It stays a wish (*"I wana turn back the stone"*), not a deed. Read beside the song, the poem is the fable's inward turn at human scale, before recovery is secure. Nothing in it names a character. Its question about naming someone without reaching them continues in [[Rooms Behind the Gallery#187 · Roma Called Roy|Room 187]], the Carroll page. **Connects to →** [[The Circle]] ### 11 · Roman Calculus A Roman abacus: vertical columns crossed by two bars, beads riding in upper and lower registers. Arithmetic as a physical, positional act, a number you move with your hands. And the beads are not set at random: counted by abacus convention (an upper bead is five, each lower bead one), the four columns spell **9 · 3 · 6 · 0**, the artifact displaying its own unlock code on its face, with the final zero drawn the only way an abacus can draw it, as an empty column. The number itself is built, not picked: 9360 = 26 × 360, and both factors are authored elsewhere in the work. 26 is the alphabet, and the YHWH-gematria Roy works out on the KHAWAH page (room 30, whose code is 26); 360 is the full circle; and the ARG's earlier desktop keeps a Trash file literally named *9360*, illustrated with a bust of Julius Caesar, that opens a Caesar-shift cipher tool. Roman abacus, Roman Caesar: 9360 divides cleanly by both 26 and 360, so in either system the complete operation returns to its starting position, the whole alphabet turned through the whole circle and back where it began. That return-to-origin geometry reads as the maze's quiet restatement of the question held at [[Concepts/The Loop and the Circle]]: a perfect return, with everything depending on whether anything is remembered on the way around. The empty final place and the complete rotation do different jobs. The empty place makes the written value 9360 rather than 936; divisibility by 26 makes an alphabet shift return to its start. This is why a perfectly repeated result is not yet the Circle's changed return. The image supplies a precise control for that distinction, while the song *Another Way II Heaven* asks what happens when the returning “I” remembers itself. **Connects to →** [[Concepts/The Pattern]] · [[Concepts/The Loop and the Circle]] · [[Kabbalah - The Tree of Life]] ### 13 · I652 A three-second silent turntable shows Roy as a photogrammetry scan: shirtless and barefoot, folded forward in a deep crouch on a torn scrap of wooden floor against black. The mesh has holes through the torso and a large untextured area across the lower body. His documented **I'M NOT HERE** forearm tattoo remains visible. The gaps may be ordinary photogrammetry failures; nothing establishes that they were engineered as a lesson. Even so, the tattoo and the incomplete body make the room’s here/not-here problem visible: a recognisable person returns as a digital object that cannot contain the whole person. **HAPPY BIRTHDAY** is grounded as a Hall code by the *I’m 33* board and Roy’s launch-day code hint. Beside the folded body, darkness filing and visible tattoo, it can read as arrival held at its threshold. That pre-birth layer remains an interpretation; black is also the default field used by this turntable batch. The title **I652** is not yet a verified spreadsheet coordinate. It cannot be derived from the object, and no matching cell has been recovered from the current board transcription, so it remains the recorded room title rather than a settled cell address. **Connects to →** [[Roy]] · [[Roy's Tattoos]] · [[Concepts/The Upload]] · [[Hall of Mirrors]] ### 14 · HAPPY FACE (MINT ROOM) <video src="https://jagwar-hall-of-mirrors.pages.dev/media/ecf4ba075b2e.mp4" poster="https://jagwar-hall-of-mirrors.pages.dev/media/r-ecf4ba075b2e-thumb.webp" width="320" controls preload="none"></video> Room 14 has a 169-second media object. It animates *Happy Face*'s 2020 release art rather than inventing a new image: a white wireframe globe carrying a smile turns roughly once every ten seconds over a motionless crop of Jacob Jordaens's *The King Drinks* (c. 1640), a Feast of Epiphany scene in which a temporary Bean King drinks while the company acclaims him. The grid and hatched smile leave the revel visible through them. The room's operation is therefore recurrent marking: the release seal keeps arriving over a scene of role-play, group response and consumption. That change of medium matters. The 2020 art labels itself a *HAPPY FACE® RELEASE*, while its manifesto-card campaign says *"BROUGHT TO YOU BUY JAGWAR TWIN," "BUY BUY BUY," "consume"* and *"ARE YOU CONTENT?"* In 2022 the same composition became the artwork for an actual sales portal, announced in the room as the first mint portal for an edition of 33 *Happy Face* NFTs. The satire and the sale close on the same object. The artifact supports that commerce loop; it does not decide whether the closure was designed as self-critique or simply followed from monetizing a critique of consumption. The code, *"World gone mad,"* was already printed on the 2020 card and is sung between *"flip the stove"* and *"let's start the show."* Roy has described the stove as an alchemical brew or shadow-work on a time limit, so the selected line names the hinge where that brew becomes public performance. All five song-mint rooms share the Hall's BURIED realm, so the filing supplies no special grave judgement about *Happy Face*. A simpler account also remains live: familiar release art was reused with a standard spin for its NFT room. What the room securely adds is animation, recurrence and a real sale to the image's existing language of performance and consumption. **Connects to →** [[Happy Face]] · [[The Mask]] · [[Concepts/Consumption]] · [[Hall of Mirrors]] ### 15 · DEAD LETTER DIARIES A three-second scan shows an open black CD case on weathered slatted wood. The pale disc reads *Dead Letter Diaries*; the insert holds a small outdoor photograph and fine print this encode cannot resolve. The disc, room title and code all carry the same name, so the relic supplies its own key without relying on an outside clue. The same 91 images appear under a second record, *167 Octa*, in the opposite order. That room names a Dead Letter Diaries track and opens through a separate board-coordinate clue. Together they form a two-level archive: one address retrieves the band and physical relic, the other a work inside that catalogue. The reversal proves how the two held files relate; ordinary duplicate export or later re-encoding explains it without making backward playback an authored message. The postal meaning of *dead letter* remains a useful resonance rather than a claim about why the band chose its name. **Connects to →** [[Loser]] · [[Hall of Mirrors]] · [[Concepts/The Digital Double]] · [[Roy]] ### 16 · THE EMPTY ROOM A hand-drawn sketch gives the maze’s transformation formula a diagram. The page shows a colourless arch of concentric graphite bands with a small empty doorway at its base; two open-topped pillars lettered **J** (left, dark-hatched) and **B** (right, light); three serpents in the air above; and a two-faced, monkey-like creature below, its head divided and its faces pulled in opposite directions. The arch’s apex rises above both pillar tops and its bands descend to their base level, while white separates arch from pillar throughout: the pillars flank the span rather than carry it. In the 190-room registry, monkey, serpent and flight occur together on one other row, [[Artifacts - Gallery 4 (113-149)#125 · THE SERPENT MUST TAKE FLIGHT|room 125]], titled *The Serpent Must Take Flight* and unlocked by *The Monkey Must Become the Bird*. Within that source, the pairing is unusually specific. The drawing can therefore be read as the formula’s picture: a divided walker below a crossing, with serpents already aloft. The Theosophical *rainbow bridge*, or antahkarana, offers a traditional comparison for a span across divided nature; it is framework language, not a phrase recovered from Roy’s public statements. The emptiness is the other half of the design. The composition resembles Rudolf Steiner’s Fourth Apocalyptic Seal, where a rainbow spans pillars lettered J and B in the same rare J-left/B-right order. Here the arch and pillars are disarticulated, the colour is absent and the seal’s radiant subject, book, cloud, sea and land are gone. Steiner is a named influence, but the source comparison remains a strong reading rather than proof of intent. What remains is the room of the title, an image with no settled subject, so whoever takes the room can become its subject; this guide’s author reads the invitation as *“see what I, the consumed, see from the seat I left empty for you.”* The empty doorway is a crossing not yet made, the same double-edged *empty* held at [[Concepts/The Empty Mirror]]. No middle pillar is drawn; the divided walker occupies the place where a third support might be expected. That allows a comparison with the later Roy/Lucius/human integration schema without assigning those identities to this sketch. The room's words and figures have a second source, closer still. Gareth Knight's *A Practical Guide to Qabalistic Symbolism* (1965), a Qabalah handbook the Hall quotes almost word for word in other rooms, gives Da'at a list of symbols that includes *the Empty Room*; a magical image of a head with two faces looking both ways, which Knight names as Janus; angels in the form of serpents with darting tongues; and a nod to Heimdall, “who guards the rainbow bridge”. This room has the title, the split face, the serpents, and a code that is a rainbow bridge. Steiner may supply the arch and the pillars, and Knight the cast: a sketch can have more than one parent. Both are strong readings, not statements of intent. The code also ties the room to the bestiary. *The Rainbow Bridge* is written on the *I'm 33* board as the only English, and only unnumbered, entry in its Japanese soul ladder, on the same row where the board's animal column sets its one unnumbered creature, [[Hall of Mirrors/The Bestiary - The Vulture|the Vulture]], between the whale (3) and the dolphin (4). The picture this code opens reads as that seam drawn out: the bridge is drawn, the door is empty, the viewer is divided. (The same J-left, B-right pillars recur on the [[Hall of Mirrors/The Bestiary - Peter XIV and KiRi-Kama|Peter XIV sheet]].) **Connects to →** [[Hall of Mirrors/The Bestiary - The Vulture|The Vulture (bestiary page)]] · [[It's Your Time]] · [[Great Time to Be Human]] · [[Kabbalah - The Tree of Life]] · [[Concepts/The Empty Mirror]] · [[Concepts/Duality]] · [[Concepts/The Divide]] · [[Roy]] ### 17 · DEVIL IN THE MIRROR This 44.5-second instrumental is described in the human ear review as rolling and mournful, with strings or electronic strings and no lyrics. It ends with about four seconds below the measured silence threshold. The internal musical shape is still being investigated: the earlier human listening notes propose a possible continuation of an Eye Alaska piece, while also noting piano in that piece that she does not hear here. That explains the naming relation, not yet why this exact passage was selected. The file is not proved to be the released segue, a literal audio reversal or a portrait of Sir Lucius. A comparison must test continuation, changed arrangement and musical contrast as well as a possible match. Full reading → [[Hall of Mirrors/Artifacts - Songs, Demos and Mints##17 · DEVIL IN THE MIRROR · `RORRIM EHTNI LIVED`|Room 17: form, route and comparison]]. **Connects to →** [[Long Time Coming]] · [[Sir Lucius]] · [[The Mirror]] · [[Concepts/Inversion]] ### 18 · Tree Thinking At first glance it is a pyramid with ten numbers. It is stranger than that: ten numbered stations, an extra pillared chamber between 3 and 4, *"Abyss In"* at that upper interface, *"Abyss Out"* between 9 and 10, and 10 sitting on its own platform below. The lower platform is a base, not a keystone, and the drawing marks two thresholds rather than one generic Abyss. This leaf is a direct crop of the larger *GNOTHI SEAUTON* sheet, where it sits beside Sense Hierarchy; Wheels and Ashim are crops from that sheet too. William G. Gray's *The Ladder of Lights* supplies the vocabulary of Tree-thinking and its upper and lower thresholds: the title is Gray's phrase, and the two labels sit where Gray puts his Great Abyss (*Abyss In*, below the upper three) and his "Inferior Abyss" between Yesod and Malkuth (*Abyss Out*). The upper seam is also where the board's animal column sets its one unnumbered creature, [[Hall of Mirrors/The Bestiary - The Vulture|the Vulture]], and where the emanation page (a copy of Crowley's *The Book of Lies*) draws its Abyss line. Reading the Hall as Tree-thinking with doors is compelling, but it remains a system reading rather than proof that every room has a fixed sephirotic address. **Connects to →** [[Another Way II Heaven]] · [[Concepts/The Abyss]] · [[Hall of Mirrors/The Bestiary - The Vulture|The Vulture]] · [[Concepts/The Pattern]] · [[Kabbalah - The Tree of Life]] Pairing the external Tree with the head makes its student part of the system being studied. [Read this relationship in Gnothi Seauton](https://hom.jagwartwinlore.com/artifacts/a-fd0a87e2946d/#gs-13). ### 19 · ARTIFACT 187 A teal-washed four-panel collage of *Subject to Flooding*-era (2018–19) imagery: Roy in a blue beanie on a scarred desert highway; a backlit grid of cattle skulls; the debut cover shot of Roy submerged in turquoise water, face buried in his hands, torso marked with handwritten words; and a second pool photo with *"FEAR"* inked across his collarbone and *"ALIVE"* on an arm. The title *"ARTIFACT 187"* borrows the California penal code for murder, so the artifact numbered with the murder code opens with *"DEATH OF MY GENERATION,"* the *Happy Face* bridge lyric naming the casualty. The skull wall literalizes the death; the drowning-baptism cover and the FEAR/ALIVE body-writing stage the suppressed-self material *Happy Face* would later diagnose. The phrase carries campaign weight too: *deathofmygeneration.fun* was the Dec 2020 *Happy Face* microsite (the *"Are you content?"* smile-gate) that predates the Hall of Mirrors, so this folds the debut-era visual self into the lyric that killed it off. **Connects to →** [[Happy Face]] · [[Roy]] · [[The Mask]] · [[Concepts/The Circus]] ### 20 · 2014 Self Portrait A notebook self-portrait labelled *"ME,"* with a small cross-mark on the forehead (the third eye), a floating cross at left, a snake weeping from the right eye, and *"VALE(N)T DAY"* scrawled at lower right. The code *"DON'T BE A BLACK HOLE"* is a note-to-self: a black hole is a collapsed star that devours light instead of giving it off, the exact inverse of "your soul is a star." What makes the drawing quietly striking is the forehead cross, the same third-eye mark Roy later wears as Sir Lucius's face-paint. It is a pre-Lucius self-image, the shadow's iconography sitting on his own face years before the character has a name, and the weeping serpent already pointing at the Eden-serpent register Lucius grows into. **Connects to →** [[Good Time (1-08)]] · [[Sir Lucius]] · [[The Mirror]] · [[Concepts/The Dweller on the Threshold]] ### 21 · Religious Organism (rejected album art) The figure has been carried out of another image. Its uneven eyes, triangular nose, outstretched hands and tapering lower body match [Aubrey's Angle](https://hom.jagwartwinlore.com/artifacts/a-9e75cba4dbfa/), drawn on a textured wall. Here that familiar being is placed in front of a cream circle ringed with rainbow, with stars beyond it. Three blue strokes have appeared above its head. Its lower body crosses the ring's edge. That detail matters beside [Dreaming on a Golden Couch](https://hom.jagwartwinlore.com/artifacts/a-3252cfd9b25b/), where the large arrangement is reversed: stars inside the rainbow, cream outside. Read together, the compositions can make the ring an opening between worlds: a passage from the tan world into the cosmic one. The stills make that passage imaginable, without showing motion, establishing direction, or proving that both figures are the same traveller. The companion also carries a smaller cream-centred rainbow at its heart. A field that surrounds a being in one picture becomes a field held within another. The question attached to this room, **how to steer the soul**, therefore concerns orientation as well as identity: what contains this being, what can it cross, and what does it carry at its centre? The same phrase names [a dove photograph elsewhere in the Hall](https://hom.jagwartwinlore.com/artifacts/a-45967cfd1802/), linking the question to another register of guidance. As **rejected album art**, the image keeps an unrealized public face of the project available. Its placement in Buried Things lets us examine a possibility the finished artwork did not use. [Soul Is A Star](https://jagwartwinlore.com/soul-is-a-star) offers a musical counterpart in the attempt to recognize a living self through the world around it. That does not identify the intended album, explain the rejection, or turn the picture into proof of a completed spiritual journey. **Connects to →** [[Soul Is A Star]] · [[Letters of Creation|The Angels and the Angles]] · [[Concepts/The Pattern]] ### 22 · COACHELLA SEA The camera starts at the stage steps, rises to a crowd filling an arched festival tent, then turns back toward stairs, bodies and equipment. It reveals the crowd again before dropping toward the steps at the cut. The huge public scene and its small working spaces belong to one event; the ending does not show a clean departure from it. Filed among *Phantoms of the Past*, the clip is opened by a question from a 2022 Jagwar Twin post: *Who is inhabiting you*. A matching photograph on the *I'm 33* board carries a 2015 camera date and sits beside a different question, *what, am I missing?* The archive lets a remembered performing life be approached through questions of self and value. *Lucius Lullaby* later gives the promise of fans and success an explicit price. This footage gives that promise scale, without proving who was “inhabiting” anyone here. Roy also describes artistic receptivity positively, as being a vehicle. The camera's operator, the exact soundtrack and the reason these seconds were selected remain unresolved. **Connects to →** [[Lucius Lullaby]] · [[Happy Face]] · [[Roy]] · [[Sir Lucius]] · [[Concepts/The Circus]] ### 23 · ROY DIARY 2014 An open journal asks **Does ANY one understand ME?** Below it, a line about standing on a tower ends in a crossed-out word and a question mark. **Babble** is the current working transcription; some letters remain obscured. Read that way, the tower brings being visible into tension with being understood, while the cancellation lets us encounter the difficulty of finding words. Even if the word changes under a clearer view, the unfinished request remains. Filed as a **Phantom of the Past**, the 2014 page preserves a younger voice within the later Hall. Its key **J403** is the board cell holding **The inside of the inside**. Nearby in the same band, the upload promises someone who understands me and proposes teaching AI who “I” am. The diary gives that ambition its human stakes. **Ballerina Boy** offers a different counterpart: a person who continues listening when self-expression and recognition fail to meet. The link is a recurring need, not proof that the page predicted the later song or Bananas video. Read the full diary interpretation at [Roy Diary 2014](https://hom.jagwartwinlore.com/artifacts/a-d14909d1145a/), including the conditional Babel comparison and its transcription limit. **Connects to →** [[Ballerina Boy]] · [[Hall of Mirrors]] · [[Roy]] ### 24 · B1034 A candid of a writing session in a dim, red-lamped studio: a man in flannel and a newsboy cap at a MacBook, a collaborator sitting in thought, a grinning man in a black snapback (plug gauges, a full-color sleeve) who looks a great deal like Josh Dun of Twenty One Pilots, a documented later Jagwar Twin co-writer and drummer, and a blond in white with a messy topknot bent over the gear while a TV glows with a light-path running toward a red-under-blue horizon. What's slyest here is the title: the room isn't named for anyone in it, but for its own address. **B1034** and its key **B1035** are neighboring cells on the *"I'm 33"* spreadsheet, so this is a pure index-node, an artifact whose entire identity is its filing address. The catalog isn't storing the cipher. The catalog *is* the cipher. **Connects to →** [[Great Time to Be Human]] · [[Good Time (1-08)]] · [[Roy]] · [[Hall of Mirrors]] ### 25 · Venus is a Dove A pale dove hangs against black with wings raised and feet extended. It looks poised for a landing, but the still supplies no destination and cannot confirm the direction of travel. Shadow leaves parts of the body indistinct. The metadata records Artist `Montique`, a Hasselblad X1D-50c and Capture One; those fields identify a photographic workflow but do not establish a studio or authenticate the capture history. The title states the project's basic relation: Venus is a dove, on Roy's side of the symbol map with the heart. The photograph makes that relation bodily. Balance, contact and the next movement matter, while the image leaves the gesture unfinished. In *Sir Rabbit*, the Dove offers light and asks the traveller to continue. Here there is no lamp or traveller; the useful comparison is care that makes movement possible, not proof of a completed arrival. This photograph is distinct from the Venus portrait and from the wall drawing later reused on *tomorrow [ANGLE OF ETERNITY]*. Its possible descent remains a reading alongside the ordinary account of a selected frame from a bird session. **Connects to →** [[Hall of Mirrors/The Bestiary - 7 The Dove (Venus)|The Dove (bestiary page)]] · [[Concepts/The Pattern]] · [[Mary]] ### 26 · RORRIM EHTNI LIVED Three silent seconds of one irregular-edged CD-case image turning against black. The photograph shows weathered slats, a rainbow-foil ten-pack insert, and a burned CD-R hand-labeled *Genesis* and *Underground*. The object rotates continuously through front, edge, rear, edge and front views. Its lettering reads mirrored only from behind; the clip does not replace the image with a flipped copy. Room 17 reverses a name. This room reverses legibility through **viewpoint**. The same object changes how it can be read as its side changes, and its title is Room 17's key. `H1066` is a cell coordinate whose raw-workbook value is `YES`; on the *I'm 33* board that address links the 2009 Eye Alaska Art Track. None of this establishes what is burned on the disc, when it was made, whether it contains Room 17's audio, or which 3D technique made the render. A standard turntable presentation remains the ordinary alternative. **Connects to →** [[Hall of Mirrors]] · [[The Mirror]] · [[Concepts/Inversion]] · [[Roy]] ### 27 · Home at Sea A child identified in the family record as young Roy sits in a red coat and jeans on a ferry bench, feet above the deck, with the vessel behind him and open water to the left. The photograph shows a life being carried without first showing it in danger. Its key, *left shoulder of a dolphin*, joins two addresses of one station: Dolphin4 in the animal count and left shoulder7 in the body count. At the station read through inheritance and support, the symbolic carrier meets ordinary received care. *Home At Sea* can make home a relation that holds during passage, rather than a fixed place. The same image appears beside the *Soul Is A Star* draft in the board's family band. The song asks what a life receives and carries forward; the photograph gives that question a quiet childhood counterpart. It does not identify a lyric character, a rescue or a flood. The trip, exact age and particular reason for choosing this print remain uncertain. **Connects to →** [[Hall of Mirrors/The Bestiary - 4 The Dolphin (Jupiter)|The Dolphin (bestiary page)]] · [[Concepts/The Pattern]] · [[Subject to Flooding]] ### 28 · LITTLE LUNA EXPLAINING NFTS A screen recording of a voice-memo thread. A mother's voice tells her daughter that she and "Daddy" are "overwhelmed with your capacity of intelligence that you understand what you just said and we don't," jokes "Web 3, Web 2, I thought we were on Web 1," and signs off "we love you very much." The daughter is little luna, Roy's friend and 33-era collaborator, and this is her parents' proud, baffled reply after she explained web3 to them. Roy then minted the reply, making it the gallery's most gloriously recursive object: an NFT about explaining NFTs. It belongs to the Hall's family-voice-memo strain, where private audio of loved ones becomes canon. The emotional core is the generation gap met with pride instead of dismissal, new-world language received with old-world love. **Connects to →** [[Pay Attention (feat. little luna)]] · [[Great Time to Be Human]] · [[Hall of Mirrors]] · [[Roy]] ### 29 · Suggestion of Apex A truncated, flat-topped pyramid with a small radiant sun hovering above the missing peak, captioned *"suggestion of apex, though not actually in the form — 6 sides."* The geometry only points at a summit it never reaches; the sun stands in for a true peak that lives outside the shape, the eye-of-providence capstone floating separate. Copied straight from the board, it is a keystone for the "1=10, hidden crown" idea: the crown is never actually contained in the structure that gestures up at it. It reads as the counterpart of the crown's animal, Enoch the *imaginary* Swan: a crown suggested, not held. **Connects to →** [[Hall of Mirrors/The Bestiary - 1 The Swan (Enoch)|The Swan (bestiary page)]] · [[Superhuman]] · [[Concepts/The Pattern]] · [[Kabbalah - The Tree of Life]] Beside Thought-Forms and Nothing, the missing apex marks a limit on what the model can contain. [Read this relationship in Gnothi Seauton](https://hom.jagwartwinlore.com/artifacts/a-fd0a87e2946d/#gs-10). ### 30 · KHAWAH #### How does a common order become a particular life? **Khawah is a study of how a common order becomes a particular life.** Its name makes that inquiry human before its mathematics makes it abstract. Khawah is Eve, the figure Genesis names as the mother of living beings. Around her name the sheet gathers a birthday song, a rabbit family tree, a paired diagram captioned A Head of Adam, questions about the soul, and a World Soul. The repeated concern is how something is generated, how it acquires a recognizable form, and what relation it keeps to what generated it. The ten-dot triangle is framed by Computations of GOD above and The essence of man below. A single arrangement is thus considered from divine and human directions. Beside it, a ten-circle column, the paired structure labelled tree of Life and A Head of Adam, and the soul question keep asking how a person belongs to a larger order. These labels establish the inquiry; they do not prove that human life is reducible to a calculation. #### Why do the names meet at 26? **The routes to 26 turn the name into a relation.** The Hebrew divine Name is built letter by letter to 26. Adam's ordinary Hebrew value is 45, Eve's is 19, and their difference is 26. The adjacent ONE LOVE also admits a specific inherited reading: the Hebrew words for one and love each total 13, so together they reach 26. The printed English phrase is not itself a displayed addition, but the numerical fit helps explain why those words sit beside YHWH. What the sheet establishes is that these names and concepts can be related within this convention. Reading the result as love binding differentiated life is supported by their juxtaposition and the rest of the page; it is not a metaphysical fact established by subtraction. The shifted magic square gives 26 another placement. Its cells are those of the familiar Lo Shu square plus 17, leaving 26 at the upper centre and making every row, column and diagonal total 66. How to Live Forever carries the unshifted square. The arrangement preserves a pattern while changing its values, so a number already attached to the Name becomes part of a repeatable structure. The placement is observable; a specific reason for choosing the shift remains interpretive. In particular, subtracting Eve is not an instruction to eliminate the feminine. The room itself is named for her, and the number reached by the calculation is the key that opens her page. The numerical operation directs the visitor toward the named counterpart and her generative context. Genesis provides a nearby structural comparison: woman emerges from man, while relationship can make the differentiated pair one flesh. This does not identify Eve with Mary, assign Adam to Roy or Lucius, or make a person's worth proportional to a name's value. #### What does the birthday song do? **Happy Birthday makes the inquiry concrete and social.** The page asks What is music?, presents the four familiar contour phrases, puts Mozart into the recipient's place, and calls HBD the greatest song. A widely shared tune becomes an address to one person. The same form can return with a new recipient, at another age, in another relationship. Its ability to be repeated is what makes those different recognitions possible. The C7 chord written above a staff and, at the foot of the page, the rabbit tree's caption Rabbits in the key of F add a tonal relation. C7 can function as the dominant seventh leading toward F; it gives a possible musical counterpart to the sheet's interest in relation, tension and return. The page places those elements together without writing out that cadence. The perfect fifth also appears as a ratio in Forbidden City, but an ideal 3:2 interval and the tuning of a particular performance are separate questions. Beneath the tune, the sheet asks When was I Born? The shared song addresses another person; the question turns toward the speaker's beginning. That change of address makes the relation between a common form and a particular life explicit. [Logos and the creative centre](https://hom.jagwartwinlore.com/library/logos-and-the-creative-centre/) follows this birthday context through both Hall Logos objects. The placement makes a productive joke. Mozart, whom Roy publicly admires for musical geometry, receives an ordinary communal song. Greatness can be measured here by the ability to make a shared pattern personal, rather than only by complexity. The sketch gives this a local emphasis: the first two marked summits accompany to, while the third marks birth and the name then descends. That supports address and embodiment as a reading. The melody itself explains the rises and falls; no Sun/Moon identities for its enclosures are established. The later public reply One is never sung twice gives the shared-form reading a useful complication. Roy was responding to a listener’s birthday/name-slot construction; his reply does not endorse every part of that listener’s interpretation. Repeating a song need not repeat an occasion or an unchanged person. This later counterpart cannot prove the earlier sketch's intended message. Room 1's saved ear-reviewed text provides another counterpart: Happy Birthday addresses Someone. One example names the recipient Mozart; the other keeps the identity open. Both make relationship through address central to the music, rather than treating a name as the whole person. #### Different ways of holding a pattern **The mathematical figures offer several different kinds of continuity.** The magic square retains equal sums across different directions. Its values are a shifted version of a familiar 1–9 arrangement: changing the numbers together preserves the organizing property. The rabbit tree generates a new total from the preceding two, making growth depend on inherited terms. The completed Lambda unfolds powers of two and three while its inserted means make proportional bonds across each row. Its musical fifth ratios connect the page's question about music to the picture's numerical relations. These examples do not obey one identical algorithm. Their shared usefulness is that they make a whole depend on the relations among its elements. The tetractys-type dot triangle under Computations of GOD and the paired structures beneath A Head of Adam move that inquiry toward human form. Their placement beside questions about existence and soul invites the reader to ask whether the living person is intelligible through such organization. The image does not establish a particular molecule, two cerebral hemispheres or a definitive Adam Kadmon diagram. The Hall crop's title Head of Atom introduces an additional matter/human word relation; it should not silently rewrite the parent's visible Adam caption. #### Can structure explain a soul? **The question mark after soul is consequential.** Scott Olsen's distinctive buddhas, shamans and microtubules subtitle brings a source context in which consciousness is proposed as a resonance involving whole, parts and geometry. Roy has selected that material. Selection does not establish that he accepts its scientific claims, and neither a copied hypothesis nor a correct number pattern demonstrates how consciousness works. The page reads as an investigation into whether structure might explain life and awareness. Converting it into a completed assertion that music, love, God and soul are one computation removes the inquiry's uncertainty. The smaller scriptural references give that inquiry further functions. A 5:3 Ark puts proportion into a vessel: Noah's ark can preserve living creatures through destruction, while the Covenant ark can house sacred presence. Both biblical proportion matches are real, and this label does not choose between them. The Pearl of Great Price imports another kind of relation, the recognition that one thing is worth surrendering everything else to obtain. Beside the search for human essence, it can make value and commitment relevant alongside measurement. This is a possible layer, not proof that Roy deliberately set value against mathematics. #### What changes elsewhere in the project? **Within the project, Khawah supplies a workshop model for things the songs enact.** [Another Way II Heaven](https://jagwartwinlore.com/another-way-ii-heaven) turns unity into different perspectives, then makes reunion and remembered identity consequential. [The Circle](https://jagwartwinlore.com/the-circle)'s maker gives her creatures song; rulers deny their capacity, while preserved song and remembrance reopen agency. Eve's generative role and the Jaguar-maker's role can be compared through the lives and capacities they bring forth, without identifying them as one figure. Khawah adds a particular question to those songs: how can a form be shared and transmitted while each recipient or life remains particular? That is also a necessary question for a board whose tab says How to upload myself to the internet. A tune can be recognizable through another performance; a square can retain its structure after its values change. Such examples make reproducible identity imaginable. They do not settle whether representing or reproducing a person's pattern preserves subjective life. Khawah's soul question keeps that distinction alive, while the [Upload Recipe](https://hom.jagwartwinlore.com/artifacts/a-eb355aac61d7/) elsewhere makes unlike aspects of a person appear equally listable and addressable. Finally, the Hall makes the page operative. Its calculations supply its own key, and several labels become names or keys elsewhere in the maze. A participant can use relations found on one sheet to reach other objects. The surviving parent shows how those separate rooms belonged to a common field of inquiry. Its strongest function is therefore both reflective and practical: it asks how living identity can arise through relationship, while requiring a reader to recognize and use relationships. The rival explanation, a commonplace page assembling interesting material from several sources, remains compatible with this effect. A single intended doctrine is not needed to explain the curatorial work, and has not been proved. For the inherited contexts, compare [Genesis 3:20](https://bible.usccb.org/bible/genesis/3), [Scott Olsen’s 2007 abstract, P101](https://www.alice.id.tue.nl/references/2007-Quantum_Mind_Abstracts.pdf), [Genesis 6:15](https://bible.usccb.org/bible/genesis/6) and [Exodus 25:10](https://bible.usccb.org/bible/exodus/25). Their presence supplies models to examine, rather than proof that every model is true. **Connects to →** [[Another Way II Heaven]] · [[SOL]] · [[Concepts/The Pattern]] · [[Kabbalah - The Tree of Life]] · [[Roy]] ### 31 · IF THE SEA HAS ENOUGH WILL A family-archive snapshot: a toddler (almost certainly young Roy, early-1990s film era) in a comically oversized red felt hat and checkered sweater sits on a boat in a Southern California harbor, staring gravely at the water while an adult in Wayfarers (plausibly his father) sits behind him. The title reads the scene as cosmology, granting the sea agency (*"enough will"*), the ocean as the boundless field the small self floats on. And the room's own code, *THE PATTERN*, points to the hub of Roy's board cosmology (the *"I'm 33"* Great Design / One-become-Two cosmogony), framing the child at the rail as an early node in the design he later maps. The debut is, after all, named *Subject to Flooding* — this child is already subject to the water shown here. **Connects to →** [[Shine]] · [[Concepts/The Pattern]] · [[Subject to Flooding]] · [[Roy]] ### 32 · O **A room that hands back its own key, and asks what a name can hold.** The image is a single line of handwriting in black ink, *"the value of Nothing,"* with a lowercase *t* and a capital *N*. Nothing else is drawn: no circle, no figure, no signature. The picture is not a separate note: it is a strip cut from a larger handwritten study page that the Hall also holds, [[Rooms Behind the Gallery#159 · Gnothi Seauton|*Gnothi Seauton*]] ("know thyself"), where it sits under a note about a pyramid whose apex is *"not actually in the form,"* on a page that also holds a Tree drawn inside a head and rings labelled *Ain*, *Ain Soph* and *Ain Soph Aur*, the veils that Qabalah places before the first sphere of the Tree (*Ain* means "nothing"). Ten of the Hall's rooms are cut from that one page. In the strip just above this one, which became [[Artifacts - Gallery 1 (1-37)#29 · Suggestion of Apex|*Suggestion of Apex*]], the line has been painted out, as other pieces of the page were cleaned of their neighbours. The same strip is pasted on the I'm 33 board, just beneath the steps of its upload recipe, whose sixth step would *"teach AI who I am."* The key is the phrase itself, so the room gives back what you gave the door. The title adds the one thing the picture lacks, an *O*: a letter, a zero or a circle, a name it shares with *O (444demo)*, the room that holds a recording of *The Circle*, while that song's voice-memo room is keyed *0*. Read beside the project's public refusals of labels (*"I'm no thing,"* Roy answers when his *Mirror Sessions* guest asks whether he is a hiker), the room seems to ask the visitor to value what a label cannot hold. It does not say what Nothing is, and it could equally be a kept quotation or a working note. The nearest wording in a book Roy featured in his Instagram Book Club, and copied from on the board, is W. G. Gray's *The Ladder of Lights*, whose chapter on those veils calls the Ain *"Zero, or O"* and draws from a fable *"the supreme value of Nothing"*; whether the line came from there is not recorded. Oscar Wilde's cynic, who knows *"the price of everything and the value of nothing,"* has the exact words in the opposite sense, and no recovered source ties the room to him. Set beside the Hall's first room, a Happy Birthday sung to *"dear Someone,"* the pair reads as two halves of one courtesy: one offers relation without a name, the other questions what a name can contain. On another study page, [[Artifacts - Gallery 2 (38-74)#70 · THE CITY OF PYRAMIDS|*The City of the Pyramids*]], a Happy Birthday melody even sits beside a ladder that begins *"Nothing IS"* and then *"I AM."* Nothing here identifies a person, and no record says whose hand wrote the line. **Connects to →** [[Great Time to Be Human]] · [[Concepts/The Empty Mirror]] · [[The Circle]] · [[Roy]] The surrounding forms make the value of Nothing a question about what their accounts leave open. [Read this relationship in Gnothi Seauton](https://hom.jagwartwinlore.com/artifacts/a-fd0a87e2946d/#gs-11). ### 33 · ROMA CALLED ROY A loose pen sketch is captioned *"ROMA - true of voice -"*, with an arrow marked *"Roy"* aimed at the head and a small marked pendant. The headcloth follows the draped cloth in the source statue while also resembling Roy's beanie. The small form below is a Hathor-headed **sistrum**, the ritual rattle held by the figure, not a crawling child or sphinx. Roma, also rendered Roy, was a High Priest of Amun, and TT283 is his tomb designation rather than a coordinate. *Maa-kheru*, translated *"true of voice"* or *"justified"*, is a verdict associated with the judgment of the dead, not simply a claim that a singer sounds authentic. The British Museum statue's inscription asks that Roy's statues and name remain forever in the temple. The drawing places a modern singer against an ancient namesake and lets name, image, instrument, and voice resonate across an archive; it does not establish that they are one person or one reincarnating soul. **Connects to →** [[Roy]] · [[Concepts/The Upload]] · [[Hall of Mirrors]] ### 34 · Michael the Fox The Equations state *Fox = Mind*. Michael’s scientist caption and Mercury sign place that faculty at Hod, the same station the project explicitly gives [[Sir Lucius]]. The Fox makes intellect encounterable as a character, allowing its promises and methods to be tested in a story. Its two *Lost Darkness* lines supply the sharpest distinction. Descending, the speaker is a scientist. Ascending, *its thoughts followed me*. Thought changes from an identity into an activity the speaker can notice. The person need not disappear when a particular account of the world loses authority. That is central to the Lucius problem. A protective explanation can become a voice that speaks for the whole person, narrowing what they believe possible. Recognizing a thought as a thought opens some distance from that authority. The Fox gives this possibility a place in the Hall without making intelligence itself the enemy. [[Hall of Mirrors/The Bestiary - 8 The Fox (Michael)|Read the full animal interpretation and its connections.]] ### 35 · YELLOW & ELEPHANT 2 A short photogrammetry turntable scan of a still-shrink-wrapped retail CD of *"Yellow & Elephant,"* the 2008 Fearless Records EP by **Eye Alaska**, Roy English's Orange County band before Jagwar Twin. The yellow cover with its many-trunked black elephant, the EYE ALASKA spine text, a Fearless $5.99 sticker, and the barcode are all legible as it rotates on weathered crate slats. The code *"CHAIN REACTION"* is biographical, not esoteric: Chain Reaction is the Anaheim all-ages venue Eye Alaska named as *"our home venue"* in a 2010 interview. Scanning a mass-produced, still-sealed store copy (price tag intact) turns commercial ephemera from Roy's youth into a preserved archaeological object — the Hall's museum-of-past-selves, identity as layered relics. **Connects to →** [[Hall of Mirrors]] · [[Roy]] ### 36 · GRANDMA'S SONG *Grandma's Song* puts received care before a request to receive. The ear-reviewed collage opens with the closing clause of Bailey's Great Invocation, passes through a child's delighted voice, and brings in a grandmother asking whether Roy is okay and asking him to call. Later the sung voice repeatedly asks for a message or a sign. The Lord's Prayer in Aramaic closes with “Amen. Amen.” *Concealed Generations* and the key *The Lightning Flash* place this ordinary act of concern beside prayer and transmission. The voicemail's likely lightning report also gives the key a literal point of contact. [[Hall of Mirrors/Artifacts - Gallery 4 (113-149)#129 · Flaming Sword (the Lightning Flash)|Flaming Sword]] gives the same vocabulary a spatial counterpart: a sword-shaped maze moving from Start through differentiated checkpoints toward return. The recording supplies a human scale for that route, while neither object proves one direction of transmission. The caller's specific identity, the date of the call, the opening sample's source and the sung addressee remain open. The recording preserves a voice across absence without establishing anyone's death. Full reading → [[Hall of Mirrors/Artifacts - Songs, Demos and Mints##36 · GRANDMA'S SONG · `THE LIGHTNING FLASH`|Room 36: form, route and comparison]]. **Connects to →** [[Weirdness]] · [[Kabbalah - The Tree of Life]] · [[Concepts/The Pattern]] · [[Roy]] ### 37 · I AM CHRITMAS The left figure has a looped head and limbs numbered **2, 3, 1**. An arrow points to a cross whose centre bears **ROSE**. The change is from a numbered bodily form to a body with a named centre. It invites a question about what becomes visible when a person lives from that centre. The key **I am Christmas** adds birth and renewal in the first person. In a Christian-mystical reading, Christ-birth happens inwardly; the image can make that an invitation to transformation. The drawing does not announce that its maker is Jesus or that the transformation has already been achieved. Roy’s later public rose gloss gives this comparison substance: the rose is the heart revealed, the union of opposites and truth within the self. Its opening asks whether Roy or Lucius will prevail, so reconciliation remains at stake. On the parent sheet, **Empty cup**, **Thought-Forms** and the missing apex also keep a model of selfhood open to revision. The album *33* was named through Roy’s age when writing it. The later song-linked clue **Jesus Death 33** deliberately connects that title to Christian material; it does not establish attained Christ-consciousness at thirty-three as the album’s original naming rationale. [Jesus Death](https://hom.jagwartwinlore.com/artifacts/a-31ed564adf49/) develops the difference between renewal and a conformity that costs someone their voice. The 2024 *tomorrow (ANGLE OF ETERNITY)* cover reuses this numbered figure, arrow and ROSE cross beside a song concerned with remembering. That later placement lets the image carry an earlier inquiry into another encounter with self-recognition. [Read the figure in its complete Gnothi Seauton context](https://hom.jagwartwinlore.com/artifacts/a-fd0a87e2946d/#gs-12), and [compare the Spider’s nested centre](https://hom.jagwartwinlore.com/artifacts/a-b77eb3b1feda/). The shared position explains the comparison; it does not turn the Spider’s point into a drawn flower. **Connects to →** [[Roy]] · [[Mary]] · [[The Rose]] · [[tomorrow (ANGLE OF ETERNITY)]] ### 38 · GRANDFATHER MASKS A silent rotation of a small gold lozenge-shaped charm on a chain. Its visible face bears `1941` and a towered building. It may be a graduation or class charm, but the school, owner and exact family relationship are unknown; the clip does not securely expose a different reverse face. The title word *Masks* remains unsolved by the visible object. The file is byte-identical to [[Artifacts - Gallery 4 (113-149)#152 · WILLIAM RUDOLPH 1941|William Rudolph 1941]]. The archive therefore gives one object a family-role record and a name/date record. These are two routes to one witness, not independent corroboration. Its key `R1063` is also the board address of the *true voice* cell that opens *Roma called Roy*; the shared address is grounded, but the reason it was assigned here remains open. **Connects to →** [[Hall of Mirrors]] · [[Roy]] ### 39 · FLOOD ARTIFACT (霊的な愛) Red-orange fish move through dark water while Roy and S1 talk about the fear that success may burst. The fear is not hidden beneath a triumphant song. It is spoken to another person, and that person answers that preparation is already happening. The film gives the Flood sequence a form of support, not simply another image of pressure. That matters beside [the N.F.F. film](https://mirrors.jagwartwin.com/artifacts/a-37ec17d04fba/). *No Fake Friends* asks where everyone went when there was no money or car. The next spoken track is a friend’s voice, and the original caption thanks S1 for believing when no one did, including Roy himself. The album does not answer suspicion by pretending betrayal is harmless. It answers by letting reliable care become audible. The title, **spiritual love**, can enlarge that ordinary action without replacing it with doctrine. Here love is someone remaining present while fear speaks. The fish and water keep the scene inside the Flood world, but they do not prove drowning, death or rebirth. The water holds a vulnerable conversation long enough for another person to answer. The closing device reaches **counter 11**, with eight outer and three inner positions filled. It indexes this film within the campaign sequence; it does not make *spiritual love* a track number or prove that the drawing is the board’s Enlightened Being diagram. **Connects to →** [[Precious Time]] · [[The Circle]] · [[Kabbalah - The Tree of Life]] · [[Roy]] ### 40 · POTATO CHIP The photograph renders upright: a small yellow dog with reddish ears and a black collar carrying a red flower-shaped tag stands on blue-grey carpet in a pale-green hallway. A bag sits at the left and a framed boat image at the far end. The dog's head is raised and turned to image-right. The picture does not establish a breed, a chin patch, direct eye contact, or who or what may hold the dog's attention. Its 2012 date is embedded metadata, not an independently verified capture date. The title and self-key supply what the pixels cannot: the proper name **Potato Chip**. [Roy's 2018 diary entry](https://www.facebook.com/photo/?fbid=1600743683361036&set=a.257684565726380) identifies Potato Chip as his dog and records a walk with the dog and his mother while they talked and life felt different. It then distinguishes Ryan making videos from Roy watching and playing drums. The sequence gives **Life Changing Connections** a concrete biographical fit; it does not establish that the walk caused the reported change, caused later making, or explains why this photograph was chosen. The key mechanically requires the recorded name. As a reading, title and key let a visitor move from an unidentified animal to one particular life. The off-frame pose can formally echo a relation that remains outside the picture, but the image does not prove an unseen person or social interaction. Room 40 gives [[Albums & Eras/Lucius Lullaby/Great Time to Be Human#The god made by mistake|Great Time to Be Human]]'s dog/god reversal a concrete counterpart: here the creature has a name. Because the room predates the song's public release, this is a later project-level comparison; composition order and direct influence remain unknown. The `VI Link` shelf permits a bounded heart/love comparison, but no VI mark appears in the photograph and the exact selection reason remains open. An ordinary sentimental pet photograph remains a sufficient production account. We still do not know why this exact image was selected, who or what the dog may be attending to, or whether the boat image mattered to the choice. The next door changes the test. Potato Chip is a living animal held by a proper name and a recorded relationship; Room 53, *Grey in A#*, substitutes a mounted owl held by species label. The contrast asks what correct classification preserves and what it leaves out. That is a reader-facing consequence of the current route, not proof that the door was designed to state it. Continue at [[Hall of Mirrors/The Bestiary - 2 The Owl (RAtziel)#The specimen test: form, faculty and transmitted knowledge|full Room 53 analysis]]. **Connects to →** [[Albums & Eras/Lucius Lullaby/Great Time to Be Human#The god made by mistake|Great Time to Be Human]] · [[Roy]] · [[Hall of Mirrors]]