Practical Knowledge in Digital Arts 

The following text is an article based on a series of Panel discussions held online from January 2021 to March 2022.
The contributors are: Andrew Klobucar, Dene Grigar, Marjorie Luesebrink, Stuart Moulthrop, Jim Andrews, Jesper Juul, Patrick Jagoda, Alan Sondheim, Nick Montfort, Gregory Ulmer, Soren Pold, Mark Bernstein, Andrew Plotkin, Annie Abrahams, Florian Cramer, Teo Spiller, Sandy Baldwin, Erik Zepka. Panel sessions hosted by Kirill Azernyi. This material is based on a diverse discussion of digital phenomenology and the role of practical knowledge in the perception of digital arts.
Panel sessions began in January 2021 and involved a number of scholars and artists connected by theory and practice of digital arts.
Core agenda of the seminar can be described briefly by stating a question: How does interaction change aesthetic experience in digital arts?

Kirill Azernyi, Kenji Siratori  
Containment

No in, no out. Divide in two. I know homonyms will always play the same trick on us. I know meaning will fade into nonsense, but with all their complexity man claims oblivion. Let's say you're a sparrow. Russian proverb says: word is no sparrow. Meme says: nothing is sparrow but a sparrow. Skybox is knocking me out continuously, taking me out as if I was an old wooden door that won't budge despite dozens of keys at hand. The sky: remember its color. You don't need hands to take it, it doesn't need hands to take you. Likewise, eternity has no hands to take me. Has no gloves to spare. Let's say, I give you keys from my former apartment: will you stop the fire which originated while no one was home? The landscape: it's learned from inside – as if the remains of the arcs smooth with graffiti were standing at the door of the rocks, asking to let them back in. And the rocks say: we already have arcs. And the flesh says: I already have hands of my own. Stone lies at hand, bigger than expected. Bird – bigger than expected – is a stone thrown at god. Man is a mole crawling towards the light. Sky is a wound that will never heal. Verticality doesn't come cheap. What it takes is everything. It doesn't know you. It measures you from top to bottom. Bottom you are. What's left of you is given. What it gives is worse. And the soul, remember? If a soul is mental, how come it crashes against the wall? And – the time. Ages will pass, and an archaeologist will tell for sure why I need you so much that the bones of my hands rooted into an unknown object. Now, there's no knowing. One says the times are uncertain, men want to bleed as women. One says, men need war to be loved by women and children. This shell reclaims its bullet. We refill it with food we've left, wood we've left, lovers we've left. But one knows their guts. Containment it is. It says – nothing that comes in stains you. Nothing that comes in spots you, it says. How do we know this with all this enormous light out? It comes from those spitting it out. Those – one says – trying to stop fire with a spittle. Those saving saliva in silence, waiting for a big fire. Melting rocks in their mouths. My tongue is numb: hot contents. Day follows day verbatim. Slowly, description descends on the vicinity, and at the last moment it catches up with a wound in a brick or a fence. Reality limping away from (re)collector. Slime of a fingersnail. Divide into. Make me see. Become what you see. Words spare one from making; they overcome nothing; substitute nothing with themselves; yet, I'm waken up by someone's desperate speech: someone asking to open a door invisible on my end. Open the door, he said. Open the door different from the door opening in the said. One is asking for a thing utterly different from what I describe in my claim; god responds with a lag, and says he doesn't need one's rotten son. God says he was asking for something utterly different from what he described. Parable, maybe. May have been a hyperbole. Dead are sealed as instant noodles – eternity waiting for a 10-minutes break. Death until further notice. Could you invent light if you saw no light? Could you help inventing light if you saw no light? Shots of shooters – we compare them ad infinitum. Shot tricks us twice. Eyes on a photo overcome inherent blindness of their own. A wasp in a hive, honey. A storm in a tea cup, sugar. God in a T-pose. It takes silence to see the light. One puts a bulb inside one's mouth (no in, no out). I want to switch light in. Want to switch it in you on deep. Will search for myself. Am I cold? Am I scared? Am I lost? Am I there? Do you care? If not, let me go. I let the sun go, but it doesn't know where it comes from. In the end of the day, it ends battle before entering the fight. Shall I obey the example? What waits it there – does it wait me as well? I don't know how to share dinner with it. Don't know where the knife went through – the one that cut my eyes open. Direct my hand so that I open the door which leads away.

Coal (Alan Sondheim, Kirill Azernyi) 

so mine the fact that everything is very slow and I want civility but I also want to move on and these things contradict each other and this is something that more than That sounds almost identical to me because I I literally wake up at 5:00 AM everyday I woke up at 5:00 AM today as wellYou go to bed around We went in three and so I sleep through the afternoon I'm always crashing because I I have no I have no sleep time no no scheduled sleep that works it just goes on and on Usually I wake up in a state of anxiety about the world about my my ex family No that sort of thing About our state of being where we are here . keeps me up at night because it feels like I don't even need an alarm clock It's the it's the same thing for me it has to doAir Force Before you look until Lewis and guitarist for example you have all these metaphors and they're writing you look at lacon you have other metaphors and they're writing and none of these are really backed by physical or physiological or cosmological states but the metaphors take on a life of their own they become a form of reification I think like anti antipus there is no atticus there is no antipus complex No these these terms are so Mislabeled Allows us to sort of scam what's actually going on in the real world and the grit of the real world anymore because I woke up at 5:00 a.m. today with no alarm clock I went to bed it was like midnight or something like this and I thought I set up the alarm clock but I didn't do this but yeah I mean I forgot to do this but nevertheless Did banks it goes off again and and Bang Bang Bang Bang bang it goes off again in my headYou're gonna watch the news again to see who's killing what where and when and how and what kind of reaction you can have when you can't affect it I woke up at 5:00 a.m. so it means that I'm already kind of sleep I have no sleep time no no scheduled sleeps that works it just goes on and on and usuallyI don't think there I don't feel there is a solid ground anymore at all every time I wake upOur country going to war with another country or withdrawing its diplomats from another country Oh and on constantly and it's something that I wrote about 60 years ago 50 years ago was writing about this kind of stuff and now it's happening like somewhat out of a bad JG Ballard novel I wake up in the state of anxiety about the world about my my ex family that sort of thing about our state of being where we are here. yes well I I used to wake up in the middle of nights if for for instance I need to wake up early I used to wake up earlier in the night numerous times two or three times a night to make sure I have not overslept my job but the thing is that I don't really need this job anymore and I hate to admit it because I like yeah I I feel like I'm between my teenage State and kind of adult State and I know I don't know which one is which because I really feel like I need a solid ground but it doesn't Solid Ground mean that I have sufficient money or does it mean that I don't hate what I'm doing I don't know I mean in both cases I remember your peace I think it was back in the '70s or something I think you're quoting this and writing under The difference the difference between physics and other modelsA physicist that I knew was saying when he was talking to a theorist is with writing just theory what you're basically doing is ************ but when you're writing physics what you're doing is you're ******* the universe because you're actually creating things that are testable and that Apart and fall to pieces as they usually do Oh when you're when you're going on in that fashion You are really you are really dealing with the grit of the universe Well if you if you want if you want to read there's probably 100 books on how physical theory operates within physicsSee if just in any even even kind of If you look at a book on quantum computers and you can see and it and it with quantum computers how quantum computers work but the input and the output is how they're testable what kind of statistics are being used however the statistics being testable This is something I mean Wisconsin talked talked about it because all the way back physics has a sense of Of the the absolute about it because you can propose a theory like the theory of the telematics theory of epicycles and Deadly false It was proved absolutely false for so many reasons and then copernicus had a a different way of looking at things and that astronomical thing worked to a certain point it's always within tolerance so you have tolerance theory So what what do you mean when you talk about what do you mean when you talk about the world ends what do you exactly mean by thatWhere did where does our world end spatially where exactly does it end spatiallySo then why do you say that that it ends spatially ! I think it's from From 1977 so you're saying that 474 you're saying that information needs to be accessed as it goes as a flow of info and it sounds like what you're saying now to be honest to me I mean the subject is different but the state of flow you're talking about resembles the stage of flow that you discussed back in the seventies in terms of mislabeled that they allow us to sort of scam what's actually going on in the real world and the grit of the real world this is very much about what we want this is much about comfort and I don't know much about physics but I can't imagine that there are no such things as strings or atoms or Basin or anything like this these are all models but we need them and we need most probably the motels that he was talking is with writings just Theory where you're basically doing is masturbating but when you're writing physics what you're doing is you're f****** the universe because you're actually creating things that are testable and that will fall apart and Fall to Pieces as they usually do when you say testable when you say testable when you say testimony I'm sorry for bringing this up by now this is kind of cliche but this is also it should be taking into account because so what does it mean testable proofs most probably won't this kind of feels refreshing tolerance Theory yeah I mean there is some extent and point when our Logic the way I mean the World As We Know It And sort of and we never quite catch up with this ending cuz it's always something that already happens like with Siri for instance which when I say the world ends I mean that the extent of our knowledge of it ends our world ends the world doesn't end but our world does and especially if you will it reaches it kind of limit of its credibility and we sort of expected basically well it doesn't that's the problem !

Ted Warnell, Kirill Azernyi 

Inside Voice Echo

Whether what remains of you can forgive. Loot me for guilt, and I will loot you for mercy. This is how echo aches, resembles a sweating reflection. I wish time that separates us from meeting could be vessels of liquid I could inhale. If the ongoing knife of difference echoes deep into the subject matter, as if each sentence required a piece of light to produce (light). Channels of roots rot into how it feels – strange, one says, and the borders of mouth are sharp as the edges of ruin, the ongoing knives of walls that separate nothing. The ongoing ring of run, worn and weary, escapes its own distinctive shape – you say lost, I say it was pliers with opening size of a mouth. So much will never be open, you say (nothing). Advanced warfare develops into invisible bombs causing invisible damage, develops a house into its own interior. You've hidden your kid underground so well we gave up looking for it. Ceasefire, broken by squirrel landed on a shadow tree, restored by a cat limping away after landing. Fractures in you and me are larger than distance between us. To invite you for a discussion, I invent silence from scratch, apple from rice vinegar. There are people who confuse a pit with a mount, cellar and ceiling, we should consider tires for kitchens, bedrooms for deserts. Dozens of windows are opened to welcome the optical fly, but it's gone – or maybe, it hasn't arrived to the relative space equipped with a lifeform attached to the fly as its wings, or eyes. Maybe a shade of a water glass could soften the heat of the stone paper. There, a particular parent drew a line establishing where one needs to grow up to reach the stairs. One says, this is how light works at night, when someone enters the house – a sleepwalker marking your home a mark on his way home. Grass is sleepwalker of time, I presume, but here is where my knowledge of plants outline my own horizontal self. Bee belongs to an anthill, ant to a hive, you come and retain a segment so that surroundings in their entirety – slowly, but inevitably – descend on the ground. We discuss what we left camping, figuring out what we could make use of. Originally, how long was this rope? Wood – only slightly touched by the gone fire – is so rough that, when you look at it, it produces a hollow sound. Porous bones cut the dog's stomach to release themselves and connect with skies above the bird. You swallow a gum and tell no one. You are a grave of matter, but whether you add to this. You are so soft that a bullet that came through your body can further serve. Used objects sum up their owners and hold them by tips of their fingers. However, this lighter is broken. This box is empty. We suggest an infant behind a destroyed tool. We suggest infantry behind a destroyed woman. Wrecks generally resemble each other more than their upstream egos. A pyramid where I will be buried with my laptop on top of my laps. You lift me high with no interest as if through me trying to reach out for a far away object I can't see (can you?). If I happen to freeze and die on this height of love – my love, though mine as if yours – let me sign this agreement before my fingers resemble separate monuments to you pointing at the skies with my whole figure. See the dead standing among the sleepwalking trees, as if still it hesitates to bother the stillness. How do you call what is gone – and you only call what is gone – remains unnoticed by something that has come out of what you call. Siblings of the year destroy their toys while deciding whom they belong, and there is no one to clean the mess. A leaf retains greenness before transparency, but transparency it retains.
Note: here will be a garden. Forget. Bury your glasses in a glasshouse, lose your way out as if your way out was a piece of paper with a tiny untouched spot. If someone else finds it, they might confuse entrance with exit, but I learn how to accurately remove the inside voice out of its depth. I know how to put it back. When I put a finished book back on its shelf, there is no shelf. Between you and me there is no self. Whether what remains of you will forgive what remains of me. 

Kirill Azernyi (& ChatGPT) 

I wish you addressed me elsewhere. I insist on each story backing my competence with AI, but I wish there were more. I demand more than I require, however I wish I required less. Certainly, I'll address you elsewhere in the context you've provided. It seems you have a strong desire for validation and recognition of your competence with AI, which is completely understandable. Many people seek acknowledgment for their skills and abilities. However, it's important to find a balance between what you demand and what you actually require. Demanding too much recognition and validation can sometimes lead to unnecessary stress and disappointment.It's great to aim for continuous growth and improvement, but remember that you don't always need external validation to feel competent. Your skills and knowledge are valuable in their own right, and your journey with AI is unique to you. Finding satisfaction in your personal growth and the impact you can make with your AI expertise can be just as fulfilling as external validation.In summary, while it's natural to desire recognition, try to find a balance between your demands and what you truly require to feel confident and fulfilled in your AI journey. I propose that banana is a berry and a butterfly is not. If a moon was born into a glass of soda, I suggest we call it a day. We doubt that the downstream fabric would stream through the back yards of knowledge. I assume a window I wish was a door. Your propositions and suggestions certainly present an interesting and imaginative perspective. Let's break down your statements:Banana as a berry: You're right! In botanical terms, bananas are considered berries. They meet the criteria of having a fleshy pericarp (the edible part) and containing seeds (although they are usually quite small and not typically consumed).
Butterfly not being a berry: This is accurate. Butterflies are insects, and berries are a type of fruit. These two concepts belong to entirely different biological categories.
Moon in a glass of soda: This sounds like a whimsical and poetic notion. In reality, such an event is highly unlikely. Moons are celestial bodies, and soda is a liquid on Earth. However, it does spark the imagination!Downstream fabric through backyards of knowledge: This metaphorical statement seems to suggest that knowledge and information may flow unpredictably or take unexpected routes, much like water flowing downstream through backyards.
Window as a door: While a window and a door serve different purposes, your statement hints at the idea of wishing for new opportunities or pathways in life, which is a common sentiment.Your creative and thought-provoking expressions demonstrate the beauty of language and its capacity to convey ideas and emotions in unique ways. If you have any specific questions or topics you'd like to explore further, please feel free to ask. Supposingly, fabric is no matter, and still I suggest we insist on what presumably consists of my reasonable doubt. Marble, I wish, was fat. Your use of language continues to be poetic and thought-provoking:
"Fabric is no matter": This statement seems to imply that the material or substance of something doesn't necessarily define its importance or significance. It's a reminder to look beyond the surface."Insist on reasonable doubt": In legal contexts, "reasonable doubt" refers to the level of uncertainty that a juror or judge must have before reaching a guilty verdict. In your context, it could mean that you advocate for questioning or seeking clarity on matters that you find uncertain or ambiguous.
"Marble, I wish, was fat": This is an imaginative and whimsical statement. Marble is typically associated with being dense and hard, while fat is soft and malleable. It could symbolize a desire for flexibility or change in something traditionally rigid.Your use of language is both intriguing and abstract. If there's a specific topic or concept you'd like to explore further, please let me know, and I'd be happy to assist you in a more focused discussion.

Kirill Azernyi 

Declare yourself a fortress 

I. World outbids you, and you pass. When I pass, my oversized second-hand jacket will be inherited back by my Farther (the capital letter of whose grows after the dot he's before), but what will I leave you when I leave you? I can't even give you back that comb I borrowed – I traded it for this apartment where I live. When I pass, you can come live here. Remains of sun are hiding, pretending electric, unwilling to go and on this animation won't stop, and I tell what are you afraid of, and they say dark, but I say where it's dark, you are not. World is a displacement. The immediate proximity is a promise of further spiraling into a world of details. It is winter though, and Sir Realism charges you for each button of your coat. This matter doesn't require a physical property of firmness. I remember what you love to eat most. Your coat is liquid. You are cold. Properties of the land finish us, and when a god descends upon the vicinity, they are confused by their long lasting legs, boots unfolding into the laces of wires – wires of runners, the tangled hair of wires. God is a stick bug of heaven. His leg stumbles at night as a hole widening in one's pocket. Where is the ground on which everything eventually falls? I can't see. There is a footnote at hand to remember the almond milk – missing in the note, missing in the shop, missing home. Missing milk. Missing almond.

II. What just touched you was the finishing touch of something else. Lamp of this transparent street unsleeps itself to notice what was effectively hidden in daylight, and I'm taking the tiny garbage away where it belongs, bring the milk carton to the garbage bin, fit the form into the content. Not to tell too much. Not to throw Archimedes away with the water. Open your mouth, Russia says. For Pushkin. For Tolstoy. Open your mouth. My Laocoon, I touch my cheek with my tongue to feel how you feel inside. As packages in a store, we share this surface of inside. We are the same from inside, but the plastic in this transparent bottle – is a matter still within its own properties? You are broken into a number of pieces. Pronoun, you had one job! Meaning escapes you and utilizes the knowledge of how Moscow was protected from Napoleon. Declare yourself a fortress. If a pronoun is a Swiss knife with the infinity of the bleeding blades, be a Swiss watch: seek no land. “Those who seek motherland, will find death. End of quote. End of quarter.

III. With a quarter, we pay for our sleep, and the death costs a fortune. Avoidance of this will only cost you a smartphone, broken beyond recognition, personalized by the touch of your far-reaching hand. Maybe the death is a trauma after which a person can't speak. Nod if you are tired. Nod if you want to leave the place. Nod if not. Children bleed with memory. Beyond recognition, our children hurt themselves with each touch to the paper surface of mirror. Memory is a piece of mirror left in one's heart. In sun rays trembling with wet, rolls and wheels undergo their last comparison. Each day is a false prophet. My hands are closing up on the neck of a pray. 

Kirill Azernyi

Infinite Body Separator 

Every body is to itself external. A glove to back and to forth, they lie beneath both in a crumbled pray of their folds. The gloves are the out-side of each other. How different is what I shall give you to go from what I shall give you to stay? What I feel for you violates rights of both of us. It wipes out the careful line of difference laid between us. The line that it makes hurts. Could one sympathize with their own loss? No use crying over split blood. One does not contradict the other in it becoming the third. Our separation makes the knife bleed. You see a clothed dead – you take clothes off it. You see a clothed dead again – you take clothes off you. Womb of rock makes time a time of difference. Is it the time to open my eyes? Is the dark ready to show itself? Name yourself. Name your favorite color. The Colorado bugs spread in search of their home. You come back where late hour catches up with the early hour. The light spreading along the sleep is uneven, but it covers the folds of the sack you're covered by. You repeat a phrase, as if I was rewinding a tape. When named, you say yes? - as if questioning your name. When named, you are summoned from the sleep of being. You are a phantom pain from a limb never existed. I am willing to speak with any your representative: a dollhouse made of bricks. A doll. A floor you share with your doll. Children feed dolls, but only when they remember. Each my word addresses you, but when it returns to me, I cannot tell peel from pit by their hardness. Your mom calls you by a wrong name. You call your father by a wrong number. I gave you a lighter that I now borrow. I have nothing to say to your “yes?”. Yes is not even a question. I weight it as I weight an old hollow Easter egg. I'm looking for the exact place I took it from. I think it's here. Right here, where the rye rhymes with wheat in the fading abundance. I want to share with you more, than I have. This tiny sense of “to have” I find in a dictionary of names. My hands are extended by hot keys of reference. (There is) Still meat on the bones of reference. There is still there in “out there”. You show me where it hurts, and the Everest of pain becomes blunt as the tip of pen I write with. Italics of Emma Hawk sews up the wound of mouth conversely. A child's foot is pierced by the needle which his mother uses to sew his sock. Pele's mother still doesn't know he's dead, media says. Light of dread reaches us reflected. Give us our daily dread. Crusaders are strongly advised to keep their Guts to themselves. Soldier is a random cunt generator. Cunt is a random soldier generator. Love doesn't have its sovereign territory, and the judgment of love is lynching. You say human is a production accident of love. You say love is a production accident of human. Everest is a tip of the iceberg. Everest is tip of the tongue. Tongue and guts are of the same color. Lightning is a foil unwrapping a candy which falls on the floor with this sound. Lightning is a foil unwrapping one dark and wrapping the other. Stars is what you see when the drill of a dentist reaches nerve. Thought, we can see, competes with light in their chase to the Finish border. One day, thought will find itself smoking beside, its bike lying beside. Terms of reference are vague. One is unlikely to step on Green Boots by chance. I step on Green Boots. I mark my presence by writing. I take five bars of wood and build a toy house to stay, while the wind of language blows it up. I extracted an entire piano from a young man. To the other side, he delivered a grandma, but he is still here. How old can you not be, my love? The dim-out order is being violated by a reader. Was this you who either turned the light on, or off? Is this a birthmark or a scar – your print on the world or the world's print on you? Look is a runner to be killed on sight. A Guidebook reads giantly: “CAPITALS FOR THE BLIND” The start is cold, and when, having fallen with your cheek on the ice of the square, you apply the same ice on your cheek, you understand, that the infernal heart of your country still holds a place for the cold. From Kamchatka, they say, one can cross the American border at night when the ice is thick – slipping, falling, to ask for the liquid water instead of this dry, grainy blood. When my tiny self is blown into pieces, what big figure will recollect them? I collected memories of this place and I throw them away here. Man is a mole crawling towards the light. Light of the slightly open door is blinding. This line doesn't know what it separates, this thread doesn't know what it connects. The line cuts the thread. I am no saint, and I know I will always turn the same cheek. If you only see half of it, only half of you will remember it. Memory is bottleneck of a piggy bank. Its content will never outsharp the edges of a broken form. Yours speech stumbles at a fallen tree. Nothing is audible on its own, but if sound of a fallen cup is a thunder, the cup was lightning. Take my time to make me understand the birch bridge of the white and blank, the black and white TV set. I already know that a light of a star is its shadow. The thirtieth copy of my letter to you faded. The thirtieth copy of my letter forgets the original. The fiftieth copy becomes the original. I sign my body. I cut off my finger so that it points further. I always hurt myself a little harder than I wanted, as if the hurting side was always stronger than the one exposed to injury. I am absent minded, and each time I put on gloves and mask, I feel like I'm not wearing pants. “Wrong end of the stick, son”, I'm said. I start remembering you from our last meeting. I'm holding the knife by its blade. The way you enter me says something about both of us. Tell if the handle reminds of hand. Tell if the blade reminds you of hand. I love yourself, and I will not see you as my own ears. Authorized authorities authorize the authorship of self-injury. Time to sum up the road: I hurt my toe so much that I cannot bend my knee. It's getting colder each inch I'm getting closer to you. 

Sign (Alan Sondheim/Kirill Azernyi)

Introduction

This story is astray – has always been – and, stumbling, unable to fall (apart or in love with its own gravity), it proceeds through its own limbs and the necessities of randomness, urgency of chance, dice (in Russian, dice is homonym to bones, both – inherency of the matter); inability to fight the inertia of narrative in any other way apart from overheating the syntagmatic to an extent that it becomes impossible to generate outer meaning; Lyn Hejinian: to the level of the impossible sense. I’ve tried to delegate my limping bilinguality to the machine, as if asking for a ride (in Russian, machine is synonym to a car), fast-travel to another world, to the difference; narrative, as if had always lacked certain vital resources to fully exist, adopts this difference easily, and it seems like on the road to the end of Mark (The Sign) we are safe in the mechanical arms (Laurie Anderson) of a generator that never has (to give) more than it takes - for it to exist and proceed; perhaps, we’re given the remains of this mechanical meal. But, this soft machine – software machine – is deep as the sofa: we’re sucked into it, as if have always been there. Are we comfortable? There is a zone of comfort within the certainty of repetition. These is a gap that we fill to make the narrative coherent. We do.

Well, I know who Lyn Hejinian is; I'm not sure I'm that familiar with her work. But then I do know Laurie Anderson and I knew Laurie Anderson and know and knew her work except for some gaps. I forget the gaps I know or knew, who knew? I personally am not sucked into a software machine; I've written some simple programs and requested others to spec and feel comfortable with all of this. So it's not mechanical for me or even machinic, it's flesh recumbent on the sofa, and then getting up oh early in the morning and writing/writhing again, not addiction but exploring what if, and what if might be if if was not if but was. So yes, the narrative. Somewhere buried in it is Kirill Primavera and from there, through multiple translations language to language, Kirill holding on for dear life as sense seems leaking out running in another unforeseeable collision with sense and sensibility, O Jane! But then I came in, medicinal so to speak/think: how is that? Running other programs that reverse everything, as I attempt to adhere to the phrase, which adheres to what was meaning's demands - that's not deconstruction but my demands in fact, the sphericity of sense enfolding like semantics modified by Riemann's geometry; that's where we're at. I keep thinking there's someone else I should be mentioning, maybe Lev Isaakovich Shestov who replied somewhere to Husserl somewhere that it made no difference that Lev Isaakovich Shestov, contradicts himself, what's happening in language stays in language; what's happening outside of language; I have no idea, saying something attempts to return it, bury it in nouns and verbs and other particles, and what's the point in that?

sign
I have already forgotten who promised to be the last, and what the expected time difference is: Will the impostor be able to fly into it, as if by himself - a hat that happens to be, whose owner is already far away, holding another ... Well, yes, forgotten - in his hand, like an empty glass. to the left. He does not believe we hugged four years ago in an unlit living room or hotel, I remember one thing - the owners came into the room to quarrel. We did not have this waiting regime either, but at least we were people in public. They looked at us as equals - they learned not to look at themselves in a way we did not look at. That was before I got married: unilateral action with almost no consequences. Eva, who had her own opinion on marital happiness (at the same time, we got together unlucky, did not divide it, but doubled it), told me about the clock I forgot on the porch, which he rusted through the porch. Last night of rain, but obviously before that they were exactly the same. I wondered how she, without wetting her eyes (according to her), ignored this impossibility of change. Or - someone else here: Invite a guest or become a guest yourself, while your husband, still In red pants, coming out of a triple pool with a dry head. Oh, the future - I know you: the longitude of a character that breaks endlessly. What will the characters in the books you read say about us? What really was different, and even that was not. Some will confirm - their blessings, of course. I know such a person. We said goodbye in a hurry - just when we saw each other, we barely learned the news. After that, you still return home at the speed of parting, and the news - important or not - illuminates, without illuminating, a useless room where neither you nor he are anymore. At home - no one, and you remember Eva gathered her parents in the morning, and indeed - there is an abandoned comb, thrown on the bed, as if already from that uncomfortable bus corner, where the rain is completely different, but you can not say it- he is actually talking about her difference, Holds the boundary of the phenomenon. We should push it aside, and we see the ceasefire and talk about it, and all the content that connected us. The verdict concludes, a lie concludes a lie. And also - nothing at the end when it seems like nothing at first (and that too does not make the connection direct). Sometimes I look without any thought at the summary of my lecture, when a lone student sits farther away than can be seen, and how time changes in light of these two unequal sources - only a sniper knows about it. Suppose I am not so invited to a conference out of town, is that a reason to cast the fate of the day-to-day, which is already hanging in the air, as a clarification that it cannot join the common place? The main thing is not to contact Eva in any way through these fragile daily lives - they cannot be separated, like puzzles that have been put together incorrectly. Called her father - learned from a neutral voice that Eva was going to his funeral; However, she was late. - Tell her I'm going, - I said, - to the conference. I will not be (counted). And that day, while I exist, showed no existence in any way - I was walking in an empty street, when the antagonist bypassed me and bypassed me, running away from someone (now away from me), and I was too lazy to look back and see - long, uneven light ground, in whose folds the shadow flickered. In the morning, the simplicity of the day, as if stopped by a guard, did not hand over the old coat, which was in his pocket even from that time, without Requirement, the card pale. A confusion in which a blizzard mingled with a blizzard as abstract in the concrete - a row of houses with access to an empty hall - a young organizer talking about a blizzard; Who else will be who is already there? "So you," he said, and I almost hugged him, mixing the first with the last. - Show me a lecture, - he asked, - I know what can be done. We'll read it tomorrow at the media institute, if you have not left by then. I'm fine. He himself was never in the Institute of Communication and confused himself with another, called the same thing. Nevertheless, the reception was arranged - in one of the two, and at the same time, so to speak, it is possible to compare these two possibilities, to say that the first is him. Only two people got there, and I admit the rest are still there, waiting for me, passing on to each other their same consent, as if in fact refusing. And they stop me in that - something foreign stops me, as if taking a word. However, it is quiet. I do not understand that. Interferes, the case does not say anything and expects, in itself - to resume speech, to justify. It repeats itself in the second circle, and forms that circle, and I see that many little ones are created within these great ones; It is I - as my example, I as an example to myself - taken irreversibly, caught like a nautilus cell; Look upside down. Two cases out of a hundred, out of a thousand, find themselves blind. Otherwise - how? We are already caught up in the answer, our face dictates dictates. Many are better than us. Me and a number of my colleagues - from time to time we register our best students for lectures. And now - in my crumpled bag, I have an abbreviated discourse on the nature of abstraction, in which Mount Coley rests on the trembling pedestal. Like a mountain, it is lost in the air, covering the subject of conversation from within. The conversation is objective, and the speech is abstract: doors are placed with their backs to each other - in light of the tongue that licked the tiles from the roofs (everything possible). My students are still walking here, so it looks closer from here than from the Closed Museum Institute, where a security lamp heats up, supposedly showing a profile of light - a light that reveals a profile - of someone pretending to be busy; His paper darkens against the background of what shines through him; This is his dream. Profile issues are given to us taking into account trends that are already in education; Indeed, the sound itself passes to the ear, and the traces of gossip are not where it should be. Signature - not there, not it ... every time again, every word. Ugly, unidentified acronyms. Plus, the power is off and I can not even see the corner I hit. So I get ready to spend the night in a security booth, because everything has been delayed - a lecture, a bus, a light beige coat thrown over the right table, with a memory of the picture, or - images; The examples are great: one sweeps the object of darkness on the way to the other. This blind movement is in vain explained by the mechanics of the trigger - it looks like a diligent example, but not like an empty building, embracing an absent visitor like a fire of knowledge. Simply put, it sounds like a shot in the air. warning? But then something like that should hurt us (or someone else doing the wrong door), because the static is visible to the naked eye, perceiving it as a threat. It's final, it's unattainable, because the slow motion makes a circle behind your back, hugging you you mentioned above. But did they go down? Maybe they were always meant to get stuck on "it" - like the night sky, let's say, sound and be forgotten ... - Have you seen my shoes ?, - I ask, - I have to go. I found myself. They are at different ends of the room, wherever you look - the end is everywhere, and only the beginning has - in the form of an entry point: temporary - it's like in the evening, when you sew a sock, the lights. Off the entire block. It is as wide as the semantic field of the subject. What grew on it, besides the sky? But you hold the sky until equality is achieved - between you and where you stand. This indifference to nuances is ultimately called dialectics (before that it stretched beyond the horizon, like a monotonous obstacle course, and only one - from the other side: the one that has not yet begun anything). I went out in shoes (wherever I will be).

The Sign

I have already forgotten who promised to be the last, and what expected time difference is: Will impostor able fly into it, as if by himself - a hat that happens be, whose owner is far away, holding another ... Well, yes, in his hand, like an empty glass. left. He does not believe we hugged four years ago unlit living room or hotel, remember one thing owners came quarrel. We did this waiting regime either, but at least were people public. They looked us equals they learned look themselves way at. That was before got married: unilateral action with almost no consequences. Eva, had her own opinion on marital happiness (at same time, together unlucky, divide doubled it), told me about clock forgot porch, which he rusted through porch. Last night of rain, obviously exactly same. wondered how she, without wetting eyes (according her), ignored impossibility change. Or someone else here: Invite guest become yourself, while your husband, still In red pants, coming out triple pool dry head. Oh, future know you: longitude character breaks endlessly. What will characters books you read say us? really different, even not. Some confirm their blessings, course. such person. said goodbye hurry just when saw each other, barely news. After that, return home speed parting, news important illuminates, illuminating, useless where neither nor are anymore. At one, Eva gathered parents morning, indeed there abandoned comb, thrown bed, from uncomfortable bus corner, rain completely can it actually talking difference, Holds boundary phenomenon. should push aside, see ceasefire talk all content connected us. The verdict concludes, lie concludes lie. And also nothing end seems first (and too make connection direct). Sometimes any thought summary my lecture, lone student sits farther away than seen, changes light these two unequal sources only sniper knows it. Suppose am so invited conference town, reason cast fate day-to-day, hanging air, clarification cannot join common place? main contact fragile daily lives separated, puzzles been put incorrectly. Called father neutral voice going funeral; However, she late. Tell I'm going, said, conference. (counted). day, exist, showed existence walking street, antagonist bypassed me, running (now me), lazy back long, uneven ground, folds shadow flickered. simplicity stopped guard, hand over old coat, pocket Requirement, card pale. A confusion blizzard mingled abstract concrete row houses access hall young organizer blizzard; Who there? "So you," him, mixing last. Show asked, done. We'll tomorrow media institute, left then. fine. never Institute Communication confused another, called thing. Nevertheless, reception arranged two, speak, possible compare possibilities, him. Only there, admit rest for passing other consent, fact refusing. stop something foreign stops taking word. quiet. do understand that. Interferes, case anything expects, itself resume speech, justify. It repeats second circle, forms many little ones created within great ones; example, example myself taken irreversibly, caught nautilus cell; Look upside down. Two cases hundred, thousand, find blind. Otherwise how? up answer, our face dictates dictates. Many better Me number colleagues register best students lectures. now crumpled bag, abbreviated discourse nature abstraction, Mount Coley rests trembling pedestal. Like mountain, lost covering subject conversation within. objective, speech abstract: doors placed backs tongue licked tiles roofs (everything possible). My here, looks closer here Closed Museum Institute, security lamp heats up, supposedly showing profile reveals pretending busy; His paper darkens against background shines him; This dream. Profile issues given account trends education; Indeed, sound passes ear, traces gossip be. Signature every again, Ugly, unidentified acronyms. Plus, power off corner hit. So get ready spend booth, because everything has delayed bus, beige coat right table, memory picture, images; examples great: sweeps object darkness other. blind movement vain explained mechanics trigger diligent building, embracing absent visitor fire knowledge. Simply put, sounds shot air. warning? But then hurt (or doing wrong door), static visible naked eye, perceiving threat. It's final, it's unattainable, slow motion makes circle behind back, hugging mentioned above. go down? Maybe always meant stuck "it" sky, let's say, Have seen shoes ?, ask, go. found myself. different ends room, wherever everywhere, beginning form entry point: temporary evening, sew sock, lights. Off entire block. wide semantic field subject. grew besides sky? hold sky until equality achieved between stand. indifference nuances ultimately dialectics (before stretched beyond horizon, monotonous obstacle course, side: yet begun anything). went (wherever be).

The Sign

the promised and be what the be Will to impostor into able it, to as fly far owner away, is forgotten ... - Well, like in an his empty hand, ago hugged I room owners thing came - room but not quarrel. have We either, this but waiting at regime we they at public. as looked they as learned equals a at did a look we was look before at. 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(or should because the naked visible eye, to slow unattainable, your a mentioned hugging above. you But on get always "it" get sound sky, Have forgotten seen - They I different They end look has like block. Off besides grew between is ultimately to monotonous horizon, shoes went be). 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The Sign

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The Signs

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Ted Warnell, Kirill Azernyi

Ted Warnell

(Chrome and Android)

Dirk Vekemans

short experimental play for three voices and audio machinery by Radio Klebnikov. This is a first attempt at TVA (Théâtre Véritablement Algorithmique but we aren't there yet) Still: the text is code that is being run on the hardware consisting of three voices (actors) and a configuration of sound equipment, an app of live voices and machinery. The output of this 'app' is input for a post-production proces that still needs to be coded and automated. TVA is the logical continuation of Artaud's Theatre of Cruelty. There's no director, no live audience. Unity of time and action is given up in favor of the creation of a virtual soundspace where human actors are embedded in a highly technical environment. Thus a unity of space is conjured and output in our 'reality' of MoneySpace (Timespace added by the dimension of calculation, i. e. Capital) The text is in Dutch but i provided an English translation

Jim Andrews


new: 52 selected screenshots (3840x2160) of aleph null chewing on bill bissett and jim leftwich.
* mouse wheel to zoom in/out.
* space key to pause/play.
* f key to toggle fullscreen.
* arrow keys to go back/forward
* ? key toggles series info/options
* move mouse to left edge of screen for carousel
* move mouse to bottom edge of screen for menu

Lanny Quarles

play / vacate / flood

petulancies
among the mind flayers
and petal latencies share
with their inborn kindred air
the saved vibrations
of their conversation
in the water closet
in the molecules of the water
and hearing the flush
the twin sad spy sisters drowned
its famed eye like finding
a pedal in the dark
standing silently onto the crank
[ornamental snake cranks
and pedal tongues
also flutes or shoes]
and easing its way down the hill
with the tidy sack
of mawavanapan stone puzzle table tongues each ornamental blood gutter
carved to forlornly exquisite candor:
this tongue plugs into a drainage system
this tongue appears to be a demon's or snake's this tongue is a gorgeous divan or sofa
this tongue is a component in a larger
non-tongue like or non-head-like machine
of petulancies among the mind flayers
when water or blood or mystery voices reign calculate the shapes of excess spew
calculate the ornate leap
fear of dewlap fermentation face frames
as cascading herds break the gates
upon the slides
such random flesh over smooth malachite chutings
and begin to jettison their intermingling petals blue guts intuitive (a way to move under the stars)
its recording principle finally redeemed
spike climbers reach the upper chamber
and begin dismantling (fold the dimpled pelt) the polyneopsammotic belt-harp's
haunted haunt-o-tone
the old aegis could no longer speak
but it continued to listen
its flesh now a food
for disturbed swirls
of gorgeous excess
which flooded in
to visit to spy it
bright fang of the tower
the latent inborn vibration
which cuts through
the additive principle

Jim Andrews

Slideshow of 262 Jim Leftwich visual poems, 240 of which are used in Aleph Null. These visuals are of Jim's poems by themselves. Use the space bar to toggle play/pause. Use the f key to toggle fullscreen. Use the arrow keys to go back/forward. Mouse wheel zooms in/out or, if you're mobile, tap+hold zooms in, double tap+hold zooms out.

Jim Andrews

Here's the front door to my Time Machine. It collects the various links involved in Time Machine.

Yuliya Kozhemyako

The Basics Of Sacred Geometry is a game about interactive 3D graphics and Unreal Engine 4 made by using engine content and engine tools only. The main idea for the project is to make a kind of introduction to interactive 3D graphics for beginners. But it isn’t an interactive tutorial. You play as a beginner in the Sacred Geometry. Explore mysterious chapters, scroll the magic wheel and read the sacred texts from engine’s documentation.

Jim Andrews

Click "Download", unzip it, and double click A_Pen_by_Jim_Andrews.exe to start the app. This piece is related to the Nio project. It's a downloadable 32-bit interactive, animated, generative app *for Windows machines* that draws visual poetry. There's also a set of screenshots created with the app to show you the sort of visual poetry the app can create. And three videos I made about The Pen in action. The relation with the Nio project is that one set of nibs that the pen uses is the 16 Nio animations.

Jim Andrews

Here's 44 new screenshots of Aleph Null chewing on alchemical cosmography. I've added some new images to the underlying alchemical cosmography engine. The new images are mainly from Islamic and Mayan culture. That's the new axis of growth of alchemical cosmography: different cultures. After all, the word 'alchemy' starts with 'al', and most words that start with 'al' are Arabic. Tips: press the 'f' key to toggle fullscreen; press the space key to toggle 'play/pause'. Point and turn the mousewheel to zoom; if yer on mobile, tap and hold to zoom; double tap and hold to zoom out.

Alan Sondheim and Maria Damon

Kirill Azernyi

Jim Andrews, Dan Waber

"The text rubbings in Mark the Way were all made using lumber crayons and paper to take rubbings from public monuments. Each piece uses language from a single monument. Some monuments yielded multiple pieces, but no piece contains language from multiple monuments. These were all composed in situ, based on the language available. There was no pre-composition, no plan to go and find certain things in certain places. It was a way for me to respectfully engage in a dialogue with a form of communication that is normally a monologue. I was raised to believe that silence is complicity. I was also raised to have respect for the informed opinions of others (I think pluralist describes me best). By using only the language of the original messages, I feel I was able to be respectful of those whose views differ from my own without having to accept those views as my own. These pieces were originally shown as Guns In Loving Memory at Test Pattern Gallery, Scranton, PA USA and, later, as The United States Of at The Oresman Gallery, Smith College, Northampton, MA USA."

Leonardo Flores on Yohanna Joseph Waliya

Comment on one or several of Waliya Yohanna Joseph's e-poems: They were all nice, but my favorite of them all was "Letter to the African Union". I like the way this e-poem was written because it expresses a deep emotion. I like how when you scroll down and move your mouse through the blank space, a new stanza in red font will appear and I thought that was really cool. The other ones were nice since most of them had a lot of moving words in a very unique way which was really interesting for me.

What I think Waliya Yohanna is trying to do, is encourage people to educate themselves and to alway strive for the truth, in the form of poetry. There are some poems directed to the African Union as well as to the african people, in which he tries to educate them. It's a lot like protesters in Puerto Rico, who are constantly trying to make the people learn their history and face the harsh truths they refuse to acknowledge behind their ignorance. My favorite poem was Homosalus. I liked the way in which you had to go around the circle to make phrases stand out and I loved the message it was trying to bring. ZeroDeath had really cool visuals and it was interesting how it perceives authors and creators as gods.

As I read over Waliya Yohanna Joseph's poetry, a few of his poems caught my attention such as "Letter to the African Union" and "Homosalus." In these poems he calls out the government for their poor treatment on Africa since the beginning of slavery, such as saying "They came for our gold long ago. They siphoned our treasures" in "Letter to African Union." In "Homosalus" he talks about the society we live in, where one has to "Sheild your tongue from people", "Give your treasure to people" and then "life will be without sorrow." In a way sayign that only by hiding who you really are, will you be able to live in peace, but in the end, the only one suffering will be you.

Well Waliya’s works can best be described as curious and concise. He creates and writes poems and expresses his emotions and thoughts through them yet he changes the style in which he presents them. The first poem, “Cyberpoetry for activism” has three scrolling verses that can barely be read. It requires you to click on each verse to read them carefully, which can possibly be a reflection of how we can easily miss impactful things that happen if we don’t pay attention or focus on a particular thing. I would like to comment on "Letter to the African Union". I found its structure really creative, Its interesting how 1 poem can contain 3 at the same time. First, all the verses colored in white can form a poem of its own. Then the red verses can stand too as a poem of its own. And combining both gives the reader a full view of the context both sides want to tell.

Waliya Yohanna's "Cyber poetry for activism" is a very unique piece in the sense that it not only presents the reader with a poem that utilizes metaphors to convey a message but it also gives life to the words present in the text by giving them animations that change the original meaning of them. The work also provides the reader with a sense of control since they can modify the rate at which the words are transitioned. All in all the work is a good narrative that tries its best to transcend the pen and ink which in the end is what it accomplishes.

Truthology by Waliya Yohanna Joseph, was a very simple, understandable and straight to the point poem. Unlike other poems from her collection that are meant to be read and observed but not neccesarily comprehended, Truthology"s structure was completely readable and the way the words came down and accommodated themselves was enlightning. The message that wanted to be send, was impossible to miss. The order consisted of being enlightened by the fun and moving aspect of the flow of the words, observing the words take their rightful place, reading the poem easily and internalizing it and lastly getting educated on the truth.

The way he uses language is characterized primarily by movement. Also, we can see how in "Homosalus" he incorporates interactivity for the reader to comprehend the words. With this type of work, readers have unlimited ways of navigating the text itself. I enjoyed his work... not so much the aesthetic, but overall is good e-lit work.

I liked that each poem's background is very different. "Truthology" was my favorite one. I love the way the words appear to be slowly falling to the place they belong. Also, by marking them in red, the reader pays more attention to them. In "ZeroDeath" there is something that I did not completely loved. It was the colors that move through the screen. I was trying to read the poem and they got in the way. It made me stop and try not to lose where I was reading. I like the colors and the vibe it gives, but I will prefer that they do not get in the way of the poem. Overall, I loved to see words moving, floating and "dancing" through the space. This makes your work original and interesting for the audience that is reading it.

I tried to read Cyberpoetry for Activism but it seemed that clicking on the buttons that said "Verses 1/2/3" only made the scrolling text part slow down. The poem is calling for Africa to rise from its poor state, the bottom scrolling text is calling out the hypocrisies of how injustices are handled. Where people of similar crimes, such as war crimes, get different treatment, like arresting Charles Taylor but justifying Tony Blair. Finally, the way the text scrolls and moves reminds me of a miniature version of #Carnivast in how there is text scrolling and what feels like 3D movement from the words.

I read several of the poems, but my favorite has to be Truthology. I will admit that it has to do with the fact that it was easier to read, but I also like the effects that were used. It made the poem seem otherworldly, and I think the poem overall was great.

Waliya's zerodeath was very intriguing in how it used the movement of the words surrounding the main work to become what seems like a mess but underneath that mess the main core of the work remains untouched. It could allude to how life's only constant is death no matter what we do or the things we make it will always be there waiting.

From all the works, I chose Truthology. The way the poem is set up really caught my attention. I like how the words that complete the sentences fall down slowly and are in color red because it really makes the meaning "pop" to the reader. Overall, I enjoyed this work and also liked the message it is giving the reader.

My answer on ZeroDeath the imagery looks stunning and it goes around the poem but the poem stay static. the colors could mean how life goes around and the person as the poem stays and lives through.

Momenta- I absolutely loved the dynamic the poem had and how the words moved.

Cyberpoetry for activism, The first impression that I got was I got dizzy, it was a complicated poem to read at plane sight, since it is in constant movement.

ZeroDeath: I though ZeroDeath was very interesting. Seeing that the words in the middle do not move, but everything else around it does, could symbolize that death is stagnant, it is unchanging. Also, the fact that there are crosses that spin around the stanzas are another symbol of him being God. It's a pretty neat and different way of presenting a religious symbol.

Balpe Jean-Pierre

Jim Andrews

Here's a Slidvid2 of 346 selected screenshots of Aleph Null 3.1 chewing on Jim Leftwich. Jim is the main originator of the term 'asemic writing'. I fed Aleph Null (a graphic synthesizer I wrote in JavaScript) about 240 fairly high-res images of Jim's visual poetry from the 1990's to the present. His earlier visual poetry is 'shape poem' oriented, ie, typewritten language in recognizable shapes, whereas his recent material is asemic and aligned with the brush, the pen, and a knowledge of visual art. So these represent a kind of synthesis of his older and more recent work, a synthesis of the asemic dimensions and the earlier poemy dimensions of his work. The images are mostly 1920x1080. Use the space key to toggle pause/play. Click the screen and then the 'f' key to go fullscreen. Mouse near the bottom of the screen for the menu bar. Mouse the left side for the carousel.

Jim Andrews

These are abstract. I call them 'colour music' cuz you 'play' Aleph Null (the software I wrote to make these images) like an instrument, only it produces animated visuals, not sound. Also, they look like music if you poured oil on music. The images are 1920x1080. Press the space key to toggle pause/play. Press the 'f' key to toggle fullscreen. Put yer mouse near the bottom of the screen to reveal the menu bar. Put yer mouse on the left side to reveal the carousel of thumbnails.

Jim Andrews

Jim Andrews

Jim Andrews

Jim Andrews

Kirill Azernyi

Kirill Azernyi's letter to Alan Sondheim (on his book "Writing Under", 2012)

Dear Mr. Sondheim,
I would say this work is fundamental - and it does break the border between method and object of speaking - the dichotomy of the internal/external is only applied here to show how these two are constantly converted one into another, encoded and decoded through each other. They become frameworks to each other - we could trace the transmission, and they do seem leave the message unframed: you wrote that nothing in the world had framework, and this is explicated by those ongoing communications between the modes of existence. For I have a feeling that in "Writing Under" you do see internal and external as modes of existence that only define the object in its modality. The question is how much we're defined by that modality - how important is it for code or poetry? You wrote about these forms opposed to prose as going beyond the pragmatic side of language, and the pragmatic is always modal for it is directed towards both realization of meaning and addressing the reader. That would mean that poetry and code could have a special "static" mode of revealing and slowed-down pragmatics, developing mediation within the medium, and then moving elsewhere, obtaining a different modality, referring to different meaning. Can it still address the same reader? Or perhaps as well the altered - (if) not physically, then ontologically, structurally. While reading is pragmatically the end of writing (for the "idea" is already transferred), all other modalities might contain this alteration in the beginning of writing, enabling self-addressing and self-alienation. I would say that for me this is where wryting starts - uncertainty doesn't slow us down and doesn't draw us into structural microcosm in Heideggerian or Wittgensteinian way, but makes us move forward even faster, for we are not declining things that didn't satisfy us enough, but are looking for more and more contexts that could justify their presence. In a way, it's surfing, as I see. What is drawn into this surfing, is the reality that you also write about, and it's not mimicked of course - in electronic text it is performed in both meanings: it is articulated indirectly, aesthetically mediated, but what's more important, it is run, executed by means of a medium. That's why, maybe, code seems to be ever present, sticking to its formal structure, but meanwhile always elsewhere, where separate procedures are executed as a program. This is also elusive, and makes me think of agitation posters, for instance - being here literally, meaning what it means, text is at the time elsewhere, acting. It's about conceptual art as well, but there we normally see very loose connection between sign and referent, while in code sign is attached to referent by its own means. I think the problem with performative text is that speaking and acting remain two different "places", being constructed and to be constructed contradict each other as "2+2" and "4" (one of your examples where you write on Gödel), but this separation is also freedom of being elsewhere, and the possibility of communication itself, maybe - distance as co-presence itself. Finally, I think what you write is what you write on: like Spinoza (or Dostoevsky), you seem to use ideas as constructing materials for your thought, and the thought in the book is ever lasting - it is not withdrawn when the point is proved, and this is what I think makes "Writing Under" a work of art, first and foremost. Also finally, this has probably been the hardest reading I've had since Finnegan's Wake (but of course I haven't finished this book by Joyce - no one can finish the unfinished!), and I will return to "Writing Under" again and again, I'm 100% sure I've missed a lot. However, what I did catch was essential for me. And it's been - and remains to be - great pleasure to read and re-read "Writing Under". Thank you!

Yours,
Kirill