I picture myself suspended between many pairs of pulls. For any two pulls there is a family of paths whose points keep a fixed difference between how far they lean to one side or the other. Those paths are hyperbolae; they bloom as twin branches around a quiet bisector that I leave untouched—thin “meniscus” bands of reserve where neither influence wins. I render several such families at once, each anchored to its own pair of foci, so the page becomes a ledger of tensions: decisive sweeps that arc past one another, apertures of neutrality left intact, and crossings that acknowledge dialogue without sealing space. The portrait is a map of negotiated difference—identity traced as fields of equal bias.