It's a game of squinting a little, I think.

Whenever I see a new grid I try to figure out what that person might have been seeing, or at least see something that I like seeing in it. I try not to believe that there's no good reason for any part of the gridcosm, which is why I've made myself at home in abstract discombobulations.

I could spend a bunch of time explaining how I think GIZ did a pretty good job of collabing if 531 was supposed to be a variation on the themes in 506/507, but I think the point is that I think we enjoy the grid in different ways. It's not that I don't understand how to play grid the way you're describing, it's that I don't find that as fun. (Which isn't to say that I won't find it fun if someone else wants to make that kind of framework for me to work in.) I don't understand exactly what GIZ is enjoying about what he's doing, but I enjoy working with it and seeing the different ways that it blends (and it blends a lot in more abstract ways).

Like I said in a previous note, I'm all for any kind of restrictions that Ed and everyone agree upon, but in the meantime I'd like to be able to grid the way Ed says is OK without constantly being accused of "abusing everybody else's creative space" and the like. If I grid the way you want, then I've had my creative space crippled.

I didn't ignore Jon's ghostly lady. It's the forearm of the rainbow afro wearing, knife toting guy who can take shape on 532 if people choose to make one of them. If they do, then just about every bit of information in 531 goes toward a cohesive image made of smaller cohesive images, which is one of the things I find cool around the art that naturally happens in the gridcosm.

Enjoy your week.

Take care, L,MKC