An

at
t
empt

t
o
expr
ess
what

wor
ds
can'
t

An
at
t
empt

t
o
can
what

wor
ds
expr
ess.

unr
eadabl
e
myst
er
y

what

i
s
asemi
c
eye
candy?
a
ki
nd
of

wr
i
t
i
ng?
how
about

concept
ual

asemi
a,

or

asemi
c

concept
ual
i
sm?
al
so
ki
nds
of

wr
i
t
i
ng?
maybe
asemi
c
wr
i
t
i
ng
i
s
a
ki
nd
of

dr
awi
ng.

or

may
be
i
t
'
s

onl
y
any
ki
nd
of

wr
i
t
i
ng
any
one
of

us
i
s
unabl
e
t
o
r
ead
at

any
gi
ven
moment
.

a
pr
ovi
si
onal
,

or

ad
hoc,

as
emi
a?
ephemer
al

asemi
a.

wr
i
t
i
ng
as
chamel
eon.

camouf
l
aged
wr
i
t
i
ng.

maybe
onl
y

a
new
edi
t
i
on
of

The
Book
of

Li
es,

t
r
ansl
at
ed
i
nt
o
cr
azy
gr
ass
c
al
l
i
gr
aphy.

or

t
he
Pr
over
bs
of

Hel
l
,

r
ead
al
oud,

r
ecor
ded,

pl
ayed
backwar
ds
and
t
r
anscr
i
bed,

i
n
whi
ch
case
cl
ear
l
y
t
he
Voi
ce

of

Sat
an
(
or

at

l
east

a
choi
r

of

Enochi
an
Angel
s)
.

t
he
Voi
ce
of

The
Mushr
oom,

di
sgui
si
ng
i
t
sel
f

as
eye
candy,

sai
d?
may
be
j
ust

t
he
ol
d
Tr
i
ckst
er
/
Fool
,

wr
i
t
i
ng
wi
t
h
hi
s
t
oes
as
he
dances
i
n

t
he
deser
t
.

l
i
ke
what

you
ar
e
sayi
ng
but

t
he
t
er
m
"
eye
candy"

bot
her
s
me.

I
t

seems
somehow
sar
cast
i
c.

Why
can'
t

i
t

j
ust

be
asemi
c
ar
t

or

asemi
c
vi
sual
s?

eye
c
andy,

yes,

but

dont

f
or
get

wal
l
pape

Eye
candy
,

not

and
do
f
or
get

wal
l
paper

have
no
pr
obl
em
at

al
l

wi
t
h
anyt
hi
ng
t
hat

cal
l
s
i
t
sel
f

asemi
c
ar
t
.

j
ust

don'
t

see
why
i

shoul
d

consi
der

i
t

a
ki
nd
of

wr
i
t
i
ng.

OK
I

get

t
hat
,

Ji
m.

I
n
f
ac
t
,

do
pr
ef
er

t
he
t
er
m
asemi
c
ar
t

t
o
asemi
c
wr
i
t
i
ng
mysel
f

t
hat

sounds

r
i
ght
,

j
i
m.

wher
e
di
d
t
he
wr
i
t
i
ng
par
t

st
ar
t
.

asemi
c
seems
t
o
be
t
he
updat
ed

r
esponse
t
o
t
he
cl
oni
ng
of

gysi
n.

t
i
m
gaze
capt
ur
ed
t
he
wr
i
t
i
ng
i
n
hi
s
j
our
nal
,

but

al
so
had

t
o
deal

wi
t
h
shi
f
t
s
t
owar
d
dr
awi
ng.

t
hi
s

shi
f
t

can
compl
i
cat
e,

but

r
eal
l
y
i
t

col
l
apses
under

t
he


pr
ess
ur
e
of

f
r
ee
f
or

al
l
.

t
hi
s
i
s
ver
y
mai
l

ar
t

mi
nded,

t
he
pol
i
t
i
cs
of

such

sans
ar
bi
t
er
.

not

t
hat

i
m
pr
omot
i
ng
i
t
.

t
hi
nk
Ti
m
pr
ef
er
s
t
he
t
er
m
"
asemi
c
wr
i
t
i
ng"

si
nce
unr
eadabl
e
i
s
such
a
cr
uci
al

par
t

of

t
he

def
i
ni
t
i
on.

t
hat

connec
t
i
on
makes
sense

t
hi
nk
hi
s
vi
ew
i
s
not

nec
essar
y.

I
f

s
omeone
asks
me
what

asemi
c
ar
t

i
s
I

say
t
hat

i
t

i
s
ar
t

t
hat

seems
t
o
depi
ct

unr
eadabl
e
wr
i
t
i
ng
or

exampl
es
of

some
i
ndeci
pher
abl
e
symbol
i
c

Spencer
,

do
you
r
eal
l
y
def
i
ne
asemi
c
Ar
t

as
a
ki
nd
of

wr
i
t
i
ng?
t
hat

seems
ent
i
r
el
y

syst
em.

unnecessar
y.

Oh
boy,

wel
l
,

guess
I
'
m
somewher
e
bet
ween
Gaze
and
you.

He
seems
t
oo
ext
r
eme
i
n

one
di
r
ect
i
on
and
you
seem
t
oo
ext
r
eme
i
n
t
he
ot
her
.

Al
ot

of

asemi
c
wor
k
DOES
SEEM
TO

DEPI
CT
UNREADABLE
WRI
TI
NG.

That

i
s
j
ust

a
f
act
.

But

t
he
second
par
t

of

my
def
i
ni
t
i
on
i
s

j
ust

as
i
mpor
t
ant
,

at

l
east

t
o
me.

am
act
ual
l
y
mor
e
of

an
ext
r
emi
st

t
hat

Ti
m
wher
e
t
hi
s
i
s
concer
ned.

want

asemi
c
wr
i
t
i
ng
t
o

be
a
ki
nd
of

wr
i
t
i
ng,

and
i
f

somet
hi
ng
i
s
not

a
ki
nd
of

wr
i
t
i
ng
t
hen
i

want

i
t

t
o
st
op
cal
l
i
ng
i
t
sel
f

wr
i
t
i
ng.

do
f
i
nd
i
t

baf
f
l
i
ng
t
hat

t
hi
s
i
s
c
onsi
der
ed
an
ext
r
eme
posi
t
i
on.

f
unny,

guess
i

dont

see
a
use
f
or

t
he
t
er
m
asemi
c
ar
t
.

open,

non
semant
i
c,

meani
ngl
ess
ar
t
.

t
hat

exi
st
s
al
r
eady,

but

per
haps
a
di
gi
t
al

ver
si
on
i
s
bei
ng
cur
r
ent
l
y
conj
ur
ed.

i
s
i
t

t
hat

t
her
e'
s
a

desi
r
e
t
o
r
ename
t
hi
ngs.

duchampi
an
t
hi
ngs.

your

wor
k
spencer

now
i
ncl
udes
a
swer
ve
of

t
he

post

asemi
c.

and
j
i
m,

youve
been
post

l
ot
s
of

t
hi
ngs
f
or

a
whi
l
e.

f
eel

t
he
same
way,

Ni
co.

t
he
wor
d
ar
t

doesn'
t

need
t
he
wor
d
asemi
c,

i
t

doesn'
t

add
any
t
hi
ng

t
o
t
he
di
scussi
on.

wi
t
h
wr
i
t
i
ng,

however
,

t
he
si
t
uat
i
on
i
s
ver
y
di
f
f
er
ent
.

Ji
m,

j
ust

meant

t
hat

i
n
t
er
ms
of

def
i
ni
t
i
on
I

seem
bet
ween
t
wo
pol
es
whose
out
si
des
may
be

def
i
ned
by
Gaze
and
you.

Ni
co

a
coupl
e
of

year
s
ago
t
he
f
r
ee
i
mpr
ov
sax
pl
ayer

Jack
Wr
i
ght

t
ol
d
me
i

was
post

Ji
m

Lef
t
wi
ch.

i
'
m
st
i
l
l

t
r
yi
ng
t
o
deci
de
what

t
hi
nk
about

t
hat
.

The
wor
d
ar
t

DOES
need
t
he
wor
d
asemi
c
(
j
j
ust

as
t
hese
di
scussi
ons
ar
e
hel
pf
ul
)

I
f

you

saw
al
l

t
he
wor
k
post
ed
at

asemi
c
gr
oup,

al
l

t
he
wor
k
t
hat

pr
obabl
y
i
sn'
t

asemi
c,

maybe
you

woul
dn'
t

f
eel

t
hat

way,

Ji
m

t
hat
'
s
pr
et
t
y
spot

on
t
her
e,

j
i
m.

Spencer

act
ual
l
y
don'
t

see
Ti
m
and
i

as
bei
ng
ver
y
f
ar

apar
t
.

wor
k
post
ed
at

t
he
asemi
c
Wr
i
t
i
ng
gr
oup,

Spencer
?
why
i
sn'
t

t
her
e
an
asemi
c
Ar
t

gr
oup?

Ask
Mi
chael

Jacobson

My
poi
nt

i
s

t
hat

ever
y
day
t
her
e
i
s
wor
k
t
her
e,

of
t
en
t
hat

al
ot

of

gr
oup
member
s
l
i
ke,

t
hat

don'
t

consi
der

asemi
c.

That

i
s
act
ual
l
y
why
I

post
ed
a
bor
der
l
i
ne
pi
ece
yest
er
day
headed
by

t
he
quest
i
on
"
Who
Thi
nks
Thi
s
I
s
Not

Asemi
c?

was
about

t
o
ask
Mi
chael

Jacobson
about

hi
s
t
ake
on
t
he
di
st
i
nct
i
on
bet
ween
asemi
c
ar
t

and
asemi
c
wr
i
t
i
ng.

my
s
ense
of

t
he
hi
st
or
y
of

t
he
wor
d
i
n
i
t
s
cur
r
ent

cont
ext

i
s
t
hat

Mi
chael

has
been
wi
l
l
i
ng
t
o
i
ncl
ude
a
ver
y
wi
de
r
ange
of

mar
k
maki
ng
act
i
vi
t
i
es
under

t
he
headi
ng
of

Wr
i
t
i
ng.

yes,

Spenc
er
,

t
hat
'
s
why
i

am
r
espondi
ng
t
o
Ni
co'
s
quest
i
on
t
oday

because
i

am
i
nt
er
est
ed


i
n
how
t
he
t
er
m
"
asemi
c
wr
i
t
i
ng"

i
s
def
i
ned.

obvi
ousl
y
have
my
opi
ni
on,

but

am
wi
l
l
i
ng
t
o
do

what

am
doi
ng
r
i
ght

now
because
i

know
my
opi
ni
on
i
s
not

t
he
onl
y
one.

Yes,

t
hat
'
s
r
i
ght
.

But

even
t
he
t
er
m
"
mar
k
maki
ng"

can
be
ambi
guous.

Do
t
hese
mar
ks
have

t
o
be
f
r
om
some
i
nt
ent
i
onal

sour
ce,

i
nt
ent
i
onal
l
y
made
as
symbol
i
c
mar
ks?
I

ki
nda
t
hi
nk
i
f

you

st
r
et
ch
t
he
def
i
ni
t
i
on
t
hat

f
ar

t
he
ans
wer

shoul
d
be
yes.

Because
ot
her
wi
se
you
get

al
most

anyt
hi
ng
abst
r
act

wi
t
h
l
i
nes
or

shapes,

or

phot
os
t
aken
of

some
scene
t
hat

has
l
i
nes,

cr
ac
ks

al
most

any
t
hi
ng.

what

ar
e
we
t
al
ki
ng
about

now.

somet
hi
ng
i
n
t
he
di
scussi
on
i
s
v
eer
i
ng
i
nt
o
asemi
a.

spencer
,

t
hi
nk
addi
ng
t
he
t
er
m
ar
t

i
s
i
mpor
t
ant

t
o
you
and
your

wor
k
t
hese
past

f
ew
year
s.

you
i
dent
i
f
y

wi
t
h
i
t

and
i
f

you
t
hi
nk
i
t

needs
pr
ot
ect
i
ng

no
pr
obl
em
t
her
e.

t
he
nano
l
andscape
doesnt

pr
ocl
ude
asemi
c
ar
t
,

i
t

pr
obabl
y
i
nvi
t
es
i
t
.

because
i

get

al
l

my
"
whi
t
e"

asemi
cs
f
r
om
gysi
n

and
concr
et
e/
vi
spo
backgr
ound,

r
emai
n
wi
t
h
t
he
i
dea
of

non
wr
i
t
i
ng
wr
i
t
i
ng
as
my
asemi
c

l
andmar
k.

have
made
at
t
empt
s
at

encycl
opedi
c
def
i
ni
t
i
ons
of

poet
r
y,

under

t
he
gener
al

headi
ng

of

"
pansemi
a"

wher
e
j
ust

about

ever
y
t
hi
ng
i
s
pr
oposed
as
a
ki
nd
of

pot
ent
i
al

poet
r
y,

a
ki
nd

of

wr
i
t
i
ng,

ul
t
i
mat
el
y
r
eadabl
e
i
n
one
way
or

anot
her
.

phot
ogr
aphs
of

cr
acks
i
n
t
he
si
dewal
k,

t
r
ee
bar
k
r
ubbi
ngs,

et
c
&
et
c.

t
he
t
hi
nki
ng
her
e
i
s
about

r
eadi
ng,

ever
y
ki
nd
of

r
eadi
ng

expl
ai
n
i
t

usi
ng
a
shag
r
ug.

say,

i
t
'
s

a
scor
e
needi
ng
your

ent
husi
asm.

Ni
co,

i
'
ve
been
t
r
yi
ng
t
o
r
espond
t
o
t
hi
s,

whi
l
e
al
so
keepi
ng
up
wi
t
h
t
he
ongoi
ng
comment
s:

"
wher
e
di
d
t
he
wr
i
t
i
ng
par
t

st
ar
t
.

asemi
c
seems
t
o
be
t
he
updat
ed
r
esponse
t
o
t
he

cl
oni
ng
of

gysi
n.

t
i
m
gaz
e
capt
ur
ed
t
he
wr
i
t
i
ng
i
n
hi
s
j
our
nal
,

but

al
so
had
t
o
deal

wi
t
h

shi
f
t
s

t
owar
d
dr
awi
ng.

t
hi
s
shi
f
t

can
c
ompl
i
cat
e,

but

r
eal
l
y
i
t

col
l
apses
under

t
he

pr
ess
ur
e
of

f
r
ee
f
or

al
l
.

t
hi
s
i
s
ver
y
mai
l

ar
t

mi
nded,

t
he
pol
i
t
i
cs
of

such

sans
ar
bi
t
er
.

not

t
hat

i
m
pr
omot
i
ng
i
t
.
"

Ni
co

t
her
e
was
a
t
i
me,

maybe
5
year
s,

l
at
e
90s
t
o
ear
l
y
00s,

when
ci
r
cul
at
i
ng
and

advocat
i
ng
t
he
wor
d
"
asemi
c"

was
i
mpor
t
ant
.

no
one
el
se
was
usi
ng
i
t

t
he
way
Ti
m

Gaze
and
i

wer
e
usi
ng
i
t

i
n
t
he
l
at
e
90s.

we
want
ed
t
o
make
f
ol
ks
awar
e
of

t
he
wor
d,

and
of

how
i
t

was
bei
ng
used.

we
st
ar
t
ed
ci
r
cul
at
i
ng
i
t

i
n
t
he
smal
l

pr
ess
exper
i
ment
al

poet
r
y
net
wor
k,

and
t
hat

i
nt
er
sect
ed
and
over
l
apped
wi
t
h
t
he
mai
l

ar
t

net
wor
k,

par
t
i
c
ul
ar
l
y

once
i

st
opped
publ
i
shi
ng
t
he
magazi
ne
Juxt
a,

and
st
ar
t
ed
Xt
ant
.

have
al
ways
t
hought

of

asemi
a
as
a
ki
nd
of

wr
i
t
i
ng,

speci
f
i
cal
l
y
a
ki
nd
of

poet
r
y,

var
i
et
y
of

v
i
sual

poet
r
y.

my
f
i
r
st

encount
er

wi
t
h
t
he
wor
d
was
i
n
a
r
esponse
t
o
a
t
ext
ual

poem,

not

even
a
vi
sual

poem.

i
t

was
suggest
ed
t
hat

i
f

cont
i
nued
t
o
dest
abi
l
i
ze
and

di
si
nt
egr
at
e
l
anguage
i

woul
d
event
ual
l
y
pr
oduce
an
asemi
c
t
ext
.

asemi
c
wr
i
t
i
ng
was

t
he
s
t
ar
t
i
ng
poi
nt

f
or

me

or

t
o
be
mor
e
pr
eci
se,

wr
i
t
i
ng
was
t
he
st
ar
t
i
ng
poi
nt
.

woul
d

not

have
been
i
nt
er
est
ed
i
n
pur
sui
ng
t
he
i
dea
of

t
he
asemi
c
i
f

i
t

had
not

been
at
t
ached

t
o
t
he
wor
d
"
wr
i
t
i
ng.
"

once
t
he
wor
d
"
asemi
c"

had
got
t
en
i
nt
o
ci
r
cul
at
i
on
(
by
t
he
ear
l
y
t
o
mi
d
00s)
,

i
t

became

a
quest
i
on
of

what

i
t

shoul
d
be
appl
i
ed
t
o.

was
ever
yt
hi
ng
made
wr
i
t
i
ng,

a
ki
nd
of

wr
i
t
i
ng,

si
mpl
y
by
addi
ng
t
he
wor
d
as
emi
c?
as
i
f

t
o
say,

i
f

somet
hi
ng
i
s
not

wr
i
t
i
ng,

i
t

can
be
t
hought

of

as
asemi
c
wr
i
t
i
ng.

i
n
t
hat

case,

anyt
hi
ng
t
hat

can'
t

be
r
ead
can
be

cal
l
ed
asemi
c
wr
i
t
i
ng.

t
hat

can'
t

be
what

anyone
want
s.

i
t

seemed
t
o
me
t
hen
(
and
now)

t
hat

t
he
quest
i
on
of

what

i
s
and
what

i
s
not

r
eadabl
e


can
be
(
and
pr
obabl
y
shoul
d
be)

ask
ed
ever
ywher
e,

al
l

t
he
t
i
me,

and
we
wi
l
l

f
i
nd
t
hat

al
most

al
l

of

our

exper
i
ence
i
s
r
eadabl
e
t
o
one
degr
ee
or

anot
her

(
t
hat

l
i
ne
of

t
hi
nki
ng

l
ed
me
t
o
t
he
not
i
on
of

pansemi
a)
.

but

none
of

t
hat

i
mpl
i
es
t
hat

ever
yt
hi
ng
we

exper
i
ence
i
s
a
ki
nd
of

wr
i
t
i
ng.

so,

i
t

became
i
mpor
t
ant
,

at

l
east

f
or

me,

t
o
de
emphasi
ze
t
he
wor
d
"
asemi
c"

and
t
o

f
ocus
on
t
he
wor
d
"
wr
i
t
i
ng"
.

t
hat
,

i
n
my
opi
ni
on,

i
s
t
he
cont
ext

i
n
whi
ch
t
he
asemi
c

shoul
d
be
consi
der
ed
now.

when
we
ar
e
t
al
ki
ng
about

a
cer
t
ai
n
ki
nd
of

wr
i
t
i
ng,

we

shoul
d
use
t
he
t
er
m
asemi
c
wr
i
t
i
ng.

when
we
ar
e
t
al
ki
ng
about

ot
her

var
i
et
i
es
of

t
he

asemi
c,

i
t

onl
y
conf
uses
t
hi
ngs
i
f

we
i
nsi
st

on
usi
ng
t
he
wor
d
wr
i
t
i
ng.

Wel
l

of

cour
se
ever
yt
hi
ng
I
s
pot
ent
i
al

poet
r
y
or

ar
t
.

But

t
hen
t
he
quest
i
on
becomes
f
ocus
ed

on
what

i
t

means
t
o
act
i
vat
e
t
hat

pot
ent
i
al
.

What

per
sonal
l
y
r
eal
l
y
di
sl
i
ke
i
s
t
hi
s
i
dea

t
hat

ar
t

or

poet
r
y
i
s
t
hat

J
UST
becaus
e
I

t
he
ar
t
i
st

or

poet

say
s
o.

That

seems
an
i
nsul
t

t
o
t
he
ent
i
r
e
her
i
t
age
and
hi
st
or
y
of

ar
t
.

Why
t
hen
make
ar
t

or

poet
r
y
at

al
l
?
Just

st
r
ap

on
a
camer
a,

get

googl
e
gl
asses
and
ever
yt
hi
ng
you
per
cei
ve
i
s
yr

ar
t
,

no
ar
t

maki
ng

necessar
y

exact
l
y,

Spencer
,

t
he
onl
y
r
eason
f
or

pr
oposi
ng
such
a
t
hi
ng
i
s
t
o
pr
ovoke
t
he
i
nevi
t
abl
e
r
ange

of

r
es
ponses,

whi
ch
ar
e
i
nf
i
ni
t
el
y
mor
e
i
nt
er
est
i
ng
t
han
t
he
pr
oposal

i
t
sel
f
.

submi
t

t
hat

i
t

i
s
i
ndeed
'
wr
i
t
i
ng'
,

pur
el
y
by
one
si
mpl
e
def
i
ni
t
i
on:

"
a
sequenc
e
of

l
et
t
er
s,

wor
ds,

or

symbol
s
mar
ked
on
paper

or

some
ot
her

sur
f
ace"

oxf
or
ddi
ct
i
onar
i
es.
com

Lot
s
of

st
uf
f

at

asemi
c
gr
oup
woul
d
not

pass
t
hat

t
est


t
hat
'
s
what

was
t
hi
nki
ng,

t
oo,

spencer

Can
we
si
mpl
i
f
y
f
ur
t
her
?
Let
'
s
t
ake
t
he
wor
d
'
symbol
s'
:

The
def
i
ni
t
i
ons
f
or

'
symbol
s'

i
ncl
ude
'
a
shape'
,

'
a
si
gn'

even
'
a
t
hi
ng'
.

That
'
s
pr
et
t
y
br
oad.

ar
e
we
st
i
l
l

"
on
paper

or

some
ot
her

sur
f
ace"

or

ar
e
we
f
i
ndi
ng
our
sel
v
es
i
mmer
sed
i
n
t
he
ubi
qui
t
y
of

"
wr
i
t
i
ng"

don'
t

know
i
f

t
hi
s
i
s
at

al
l

usef
ul
,

but

of
t
en
ment
i
on
my
i
nt
er
est

i
n
t
he
t
i
me,

as
a
chi
l
d,

bet
ween
dr
awi
ng
l
et
t
er
s
and
wr
i
t
i
ng
l
et
t
er
s.

The
dr
awi
ng
has
an
asemi
c
i
t
er
at
i
on
f
act
or

t
o
i
t
.

The
wr
i
t
i
ng
i
s
a
mov
e
t
owar
d
compl
et
e
compl
i
ance.

For

me,

i
t
'
s
t
he
l
et
t
er

i
t
sel
f

t
hat

hol
ds
t
he
key.

Pansemi
c
seems
an
over
vi
ew
t
er
m
of

al
l

expr
essi
ve
document
i
ng

seems
r
i
ght
.

t
hi
nk

i
t
'
s
t
he
l
et
t
er

t
oo.

i
'
ve
been
l
ook
i
ng
back
at

t
he
f
i
r
st

coupl
e
of

i
ssues
of

asemi
c

magazi
ne,

and
al
most

ever
yt
hi
ng
seems
l
et
t
er
al
.

var
i
at
i
ons
on
t
he
t
heme
of

t
he
l
et
t
er
,

or

i
mpr
ovi
s
at
i
ons
on
t
he
shapes
of

t
he
l
et
t
er
s.

t
hi
nk
t
hat
'
s
how
we
get

t
o
t
he
asemi
c

f
r
om
t
he
poem,

by
way
of

t
he
syl
l
abl
e
t
o
t
he
l
et
t
er
.

I
t

had
bet
t
er

NOT
be
usef
ul
,

Ni
co
Vassi
l
aki
s.

My
f
i
r
st

comment

her
e.

Thanks
f
or

l
et
t
i
ng
me

j
oi
n.

f
eel

so
.
.
.
.
.
.
.
.

bl
i
ssf
ul
l
y
usel
ess!

I
t
'
s
ver
y
f
r
eei
ng,

whi
ch
i
s,

dar
n
i
t
,

usef
ul
,

hope.

For

me
t
he
l
et
t
er

i
s
no
mor
e
i
mpor
t
ant

t
han
t
he
l
i
ne
(
and
wi
t
hi
n
t
he
l
i
ne
per
haps
wor
ds
or

wor
dl
i
ke
sect
i
ons)
,

and
t
hat

ext
endi
ng
t
o
mul
t
i
pl
e
r
ows
of

l
i
nes.

Let
t
er
s
or

symbol

f
or
mat
i
ons
may
or

may
not

be
vi
si
bl
e
wi
t
hi
n
t
hese
l
i
nes.

What
'
s

i
nt
er
est
i
ng
t
o
me
i
s

t
hat

t
hi
s
i
ssue
of

t
he
pr
i
macy
of

t
he
l
et
t
er

goes
back
t
o
vi
spo
poet
i
cs.

Many
vi
sual

poet
s
have
bel
i
eved
i
t

al
l

about

t
he
l
et
t
er
.

was
never

one
of

t
hem.

My
vi
spo
f
ocus


was
gener
al
l
y
ei
t
her

on
l
evel

of

wor
ds
or

bl
ocks
of

t
ext
.

Thi
s
wor
ked
f
or

me,

bel
i
eve,

because
I

of
t
en
combi
ned
wr
i
t
i
ng
wi
t
h
nonver
bal

vi
sual
s.

The
c
oncept

of

vi
spo
I

concei
ved,

af
t
er

bei
ng
i
nt
r
oduced
t
o
v
i
spo
and
school
ed
by
Cr
ag
Hi
l
l

i
n
mi
d
80s,

was

mi
xi
ng
wor
ds
wi
t
h
vi
sual
s.

i
'
m
okay
wi
t
h
di
f
f
er
ent

st
r
okes.
,

Spencer
.

i
'
ve
been
a
bi
g
f
an
of

your

vi
sual

poems
f
or

a
l
ong
t
i
me,

Spencer
,

goi
ng
back
at

l
east

as

f
ar

as

Mal
l
eabl
e
Cast
,

even
t
hough
i

t
end
t
o
t
hi
nk
of

t
he
l
et
t
er

as
t
he
pr
i
mar
y
uni
t

of

composi
t
i
on
i
n
much
i
f

not

most

of

my
own
wor
k.

Di
t
t
o
f
or

me
wi
t
h
bot
h
you
guys.

Anot
her

poet

i
mpor
t
ant

i
n
my
vi
spo
and
asemi
c
devel
opment

has
been
JMB.

JMB,

yes

enor
mousl
y
i
mpor
t
ant

t
o
me.

I
n
many
ways,

we
woul
dn'
t

be
wi
t
hout

JMB.

pl
us
br
eakf
ast

l
unch
and
di
nner

i
'
ve
al
ways

had
t
o
t
hi
nk
of

t
he
asemi
c

t
er
m
i
t
sel
f

as
a
ki
nd
of

cat
har
t
i
c
i
r
oni
c
avat
ar

f
or

what

i
s
bot
h
r
i
ght

and
wr
ong
wi
t
h
avant

gar
de
wr
i
t
i
ng
i
n
i
t
s
post

i
nst
i
t
ut
i
onal

set
t
i
ng.
.

i
n
one

sense,

asemi
ci
sm
i
s
a
ki
nd
of

i
mpos
s
i
bi
l
i
t
y,

i
t
'
s
l
i
ke
sayi
ng
t
hat

s
i
nce
we
can'
t

see
t
he

ai
r

mol
ecul
es
we
br
eat
he,

t
hey
don'
t

exi
st
,

or

even
mor
e,

t
hat

we
accept

t
hat

t
hey
exi
st

but

pr
ef
er

"
st
i
l
l
"

t
o
cal
l

t
he
ai
r

f
l
ui
d
'
empt
i
ness'
.
.

and
so,

what

we
get

i
n
asemi
ci
sm
i
s

anot
her

exampl
e
of

i
ndexi
cal
i
t
y
f
unk
i
ng
t
he
bed
so
t
o
speak.
.

f
r
om
t
he
out
set

i
t

shoul
d

have
been
cal
l
ed
somet
hi
ng
l
i
ke
"
pr
omi
scuous
gr
aphol
ogy"

because
gr
aphol
ogy
al
one

seems
t
o
behave
as
a
t
er
m
pr
eci
sel
y

t
he
way
t
he
i
nt
ended
i
ndexi
cal

l
i
neage
behaves

f
or

'
asemi
c
wr
i
t
i
ng'
.
.

'
asemi
ci
sm'

seen
i
n
an
i
nst
i
t
ut
i
onal

l
i
ght

mi
ght

mean
'
i
t

doesn'
t

si
gni
f
y'

i
e
i
t

doesn'
t

wor
k
,

or

i
t

doesn'
t

get

gr
ant
s,

or

i
t

i
sn'
t

t
aken
ser
i
ousl
y
most
l
y
et
c.
.

and
so
t
he
whol
e
oddi
t
y
of

t
he
t
er
m
i
s

t
her
e
f
r
om
t
he
begi
nni
ng
and
Ji
m
not
ed
al
l

of

t
he

i
nconi
st
enci
es
as
i

r
ecal
l

way
back
t
hen.
.

and
st
r
angel
y
enough,

t
he
concept
ual

wr
i
t
i
ng

i
dea
t
o
my
mi
nd
smacked
of

a
si
mi
l
ar

semant
i
c
def
i
ci
ency,

because,

wel
l

because

of

peopl
e
l
i
ke
Gysi
n
and
Mi
chaux
and
t
he
concr
et
e
poet
s
as
wel
l

who
wer
e
pushi
ng

wr
i
t
i
ng
i
nt
o
abst
r
act

gr
aphol
ogi
es
and
al
l
owi
ng
t
he
f
or
mat
i
on
of

'
subj
ect
i
ve
synt
axes'

t
o
per
f
or
m
as
cont
ent
.
.

Al
l

wr
i
t
i
ng
el
i
ci
t
s
some
concept
ual
i
t
y.

Wr
i
t
i
ng
i
n
si
t
u
i
s
mor
e

or

l
es
s
t
he
pr
oduct
i
on
of

and
by
a
cogni
t
i
ve
event

of

some
ki
nd.
.

so
asemi
ci
sm
i
s
an

i
r
oni
c

nonc
e,

an
ext
r
a
i
nst
i
t
ut
i
onal

out
si
der

ar
t
,

and
concept
ual

wr
i
t
i
ng,

i
s
a
pl
eonasm

t
o
hi
de
an
i
nt
r
a
i
nst
i
t
ut
i
onal

conspi
r
acy,

and
f
l
ar
f

was
t
he
'
f
unked
bed'

cal
l
i
ng
al
l

gr
aphol
ogy
mor
e
or

l
ess

'
a
f
unked
bed'
.
.

t
he
mai
n
pr
obl
em
anymor
e,

i
s
t
he
f
act

t
hat

pol
i
t
i
c
al
i
t
y,

and
not

i
n
t
he
sense
of

'
what

i
s
beaut
i
f
ul
'

has
al
so
become
a
ki
nd
of

sur
f
ace

t
ensi
on
over

t
he
f
unked
bed
of

t
he
t
r
ut
h
about

l
i
f
e.
.

Li
f
e
i
s
a
non
val
ue
added
st
ep
f
r
om

t
he
poi
nt

of

vi
ew
of

t
he
mat
er
i
al

uni
ver
se.
.

Our

bei
ng
i
s
al
ways
bei
ng
i
n,

bei
ng
f
or
,

et
c.
.

t
hat

f
undament
al

f
asci
sm
r
ender
s
al
l

pol
i
t
y
an
i
nst
r
ument
al
i
zed
or
nament
al
i
t
y.
.

we
our
sel
ves
ar
e
a
f
l
oat
i
ng
si
gni
f
i
er
,

and
dependi
ng
on
how
we
cast

our

aest
het
i
c

val
uat
i
on
machi
nes,

wi
l
l

al
ways
r
emai
n
i
n
t
he
t
hr
oes
of

some
debat
e.
.

Unt
i
l

cul
t
ur
e

sel
f

i
dent
i
f
i
es
i
t
sel
f

as
a
post

r
at
i
onal

r
i
t
ual

sur
r
oundi
ng
t
he
si
t
e
of

bei
ng,

t
her
e
wi
l
l

onl
y

be
mor
e
endl
ess
semant
i
c
games
whi
ch
al
l

descr
i
be
t
he
spher
ol
ogy
of

t
he
wor
l
di
ng

i
mpul
se.
.

Al
ways
smar
t
,

Lanny.

t
hi
nk
'
i
r
oni
c
nonce'

i
s
appr
opr
i
at
e.

I
'
d
al
so
vent
ur
e
i
nt
o
t
he
i
dea
of


anyt
hi
ng
asemi
c
has
exceeded
i
t
s
r
each.

As
t
hey
say,

per
haps
i
t
s
t
i
me
i
s
over
.

I
t
'
s
t
i
me
i
s
over
?
Does
t
hat

mean
we
get

a
gl
ossy
ant
hol
ogy
t
i
t
l
ed
THE
LAST
ASEMI
C?

Yes,

Lanny
but

t
he
mat
er
i
al

uni
ver
se
i
s
onl
y
3%
of

t
he
uni
ver
se,

accor
di
ng
t
o
cur
r
ent

sci
ence.

For

me
ar
t

(
and
not

j
ust

ar
t
)

i
s
about

t
he
i
nvi
si
bl
e
(
or

about

bui
l
di
ng
br
i
dges
bet
ween

t
he
v
i
si
bl
e
and
t
he
i
nvi
si
bl
e.

Thi
s
makes
sense
because
so
muc
h
of

l
i
f
e
i
s
i
nvi
si
bl
e
t
o

us
(
i
n
many
ways,

not

j
ust

accor
di
ng
t
o
cur
r
ent

sci
ence.

Spencer
,

I
'
m
never

qui
t
e
sur
e
why
y
ou
need
t
o
be
snar
ky.

bel
i
eve
i

sai
d,

t
he
i
dea
of

and

per
haps.

What

i
s
i
t

about

The
Last

Vi
spo
t
hat

br
i
ngs
out

t
he
snar
k.

sea
f
ai
r
y
/

mur
phy'
s
sl
aw

Sor
r
y,

Ni
co,

my
bad
(
j
oke

_/
/
\
\
_/
\
_\
_/
\
_/

\
_\

_/
_/
\
_/
/
\
\
_/

\
_\
_/
\
_/
\
_\

_/

_/
\
_/
\
_/
\
_\

_/
_/

\
_/
\
_\

_/
_/
\
_/
\
_\

_/
\
_/
\
__/
\
_/
_/
_/
\
_\
/

\
_/
_/
\

\
\
\
_/
/

\
\
_/
\
_\
_/
\
_/
\
_

_/
_/
\
\

_/
_/
\
_/

\
_/
_/
_/
\
_\
/
\
_/
_/
\

\
\
\
_/
/
\
\
_/
\
_\

_/
\
_/
\
_\

_/
_/
\
_/

\
_/
_/
_/
\
/
\
_\
_/
\
_/

\
_\

aka
vi
spo

Dunno
and
won'
t

say.

Er
,

sor
r
y.

That
'
s
why,

not

what
.

hat

whi
ch
i
s
asemi
c
by
s
ynt
act
i
cal

manner

Ni
co,

happens
t
hat

Amer
i
can
ant
hr
opol
ogi
s
t
s
(
ar
ound
2000)

ar
gue
t
hat

our

behavi
or

i
s

a
per
manent

per
f
or
mat
i
ve
.
.
.
we
l
i
ve
per
f
or
mance
.
.
.
al
so,

happens
t
hat

peopl
e
have
a
"
per
sonal

l
anguage"

t
hat

each
of

us

possesses

t
hat

has
not
hi
ng
t
o
do
wi
t
h
l
anguage
ver
bal

.
.
.

So,

t
hen,

i
t

i
s

possi
bl
e
t
o
wr
i
t
e
ASEMI
CS
wi
t
h
t
hat

"
per
sonal

l
anguage"

meani
ng
onl
y

knows
who
wr
i
t
es
.
.
.

t
he
same
happened
i
n
l
at
e
1960
when
"
asemnt
i
cs

poems"

appear

t
o
pr
ot
est

t
he
domai
n
whi
ch
t
he
St
at
e
exer
ci
ses

over

t
he

popul
at
i
on
t
hr
ough
ver
bal

l
anguage
but

t
hi
s
i
s
not

t
he
case
.
.
.

Ni
co,

ocur
r
e
que
l
os
ant
r
opl
ogos
nor
t
eamer
i
canos
(
al
r
ededor

del

2000)

sost
i
enen
que
nuest
r
o
compor
t
ami
ent
o
es
per
f
or
mt
i
co.
.
.
vi
vi
mos
una

per
f
or
mance
per
manent
e.
.
.
l
o
mi
smo
ocur
r
e
con
el

"
l
enguaj
e
per
sonal
"

que
cada
uno
de
nosot
r
os
posee
que
no
t
i
ene
nada
que
ver

con
el

l
enguaj
e
v
er
bal
.
.
.
As
,

ent
onces,

es
posi
bl
e
hacer

poemas
(
ASEMI
CS)

con
ese
"
l
enguaj
e
per
sonal
"

cuyo
si
gni
f
i
cado
sl
o
sabe
qui
en
l
o


escr
i
be.
.
.
l
o
mi
smo
ocur
r
i

a
f
i
nes
de
1960
cuando
apar
ecen
l
os
"
poemas

asemnt
i
cos"

par
a
pr
ot
est
ar

por

el

domi
ni
o
que
el

Est
ado
ej
er
c
e
sobr
e
l
a

pobl
aci
n
a
t
r
avs
del

l
enguaj
e
ver
bal

per
o
st
e
no
es
el

caso.
.
.
See

Tr
ansl
at
i
on

Good
t
o
hear

r
esponse
f
r
om
you,

Cl
ement
e.

I
n
ear
l
i
er

exchange
(
whi
ch
I

bel
i
eve
i
nspi
r
ed
t
hi
s
post
)

Ni
co
ment
i
oned
"
beggi
ng

t
he
quest
i
on"

wonder

i
f

an
asemi
c
answer

i
s
beggi
ng
t
he
quest
i
on.

What

do
you
t
hi
nk,

Ni
co?

Cl
ement
e
Padi
n,

l
i
ke
t
hat

you
ment
i
on
t
he
St
at
e
havi
ng
cont
r
ol

of

l
anguage.

But

t
hen
you
say,

t
hi
s
i
s
not

t
he
case.
.
.

t
hi
nk
our

shar
ed
l
anguage
i
s
a

f
or
m
of

compl
i
ance
t
hr
ough
chi
l
dhood'
s
pr
oper

wr
i
t
i
ng
t
echni
ques
and

t
hi
s
asemi
c
expr
essi
on
i
s

a
mo.
.
.
See
Mor
e

Gi
or
gi
o
Agamben
wr
ot
e
a
gr
eat

book
about

t
hi
s,

cal
l
ed
I
NFANCY
AND

HI
STORY

Spencer
,

"
beggi
ng
t
he
quest
i
on"

r
egar
di
ng
an
edge
has
t
o
do
wi
t
h
Mi
chael
'
s

comment

about

your

pi
ece

"
I
t
'
s
on
t
he
edge!

see
l
i
nes
i
n
i
t

whi
ch
hi
nt

at

wr
i
t
i
ng.
"

The
bl
ur

bet
ween
asemi
c
wr
i
t
i
ng
and
asemi
c
ar
t

and
wher
e,

i
f

any
boundar
y
or

edge
i
s
t
her
e,

and
what

i
s
on
t
he
ot
her

si
de.

But

we'
ve

di
scussed
t
hi
s
i
n
ot
her

pl
aces
and
am
cont
ent

wi
t
h
your

vi
ewpoi
nt
.

under
st
and
t
hat
,

Ni
co.

onl
y
ment
i
oned
t
he
ot
her

t
hr
ead
because
you
used
t
he

phr
ase.

I
t

s
eems
t
o
me
t
hat

answer
i
ng
yr

quest
i
on
above
wi
t
h
an
asemi
c

i
s
a
s
t
r
onger

i
nst
ance
of

beggi
ng
t
he
quest
i
on
and
I

was
wonder
i
ng
what

yr

f
eel
i
ngs
ar
e
about

t
hat
.

Ah,

you
meant

l
i
t
er
al
l
y
answer

wi
t
h
an
asemi
c
pi
ece.

Oh
yes,

mi
sunder
st
ood.

am
al
l

f
or

t
hat
.

I
'
ve
sai
d
many
t
i
mes
a
r
evi
ew
of

poems
shoul
d
be
a
poem.

So,

t
o
ext
end
t
hat

t
o
anyt
hi
ng
i
s
a
show
of

r
espect

f
or

a
wor
k/
s.

You'
ve

not
i
ced,

have
r
epost
ed
i
n
comment
s

par
t
s
of

peopl
es
asemi
cs
t
hat

l
i
ke
ver
y
much.

t
hi
nk
i
t

a
swel
l

means
t
o
engage
wi
t
h
a
pi
ece
i
nst
ead
of

si
mpl
y
l
i
ki
ng

Begi
n
wi
t
h
"
what

t
he
hel
l

i
s
wr
i
t
i
ng?"

cr
ow'
s
f
eet
.

al
l

f
eet

ar
e
c
onnect
ed
t
o
a
l
ar
ger

body.
.
.

Gr
eat

!
!
!
!
!
!
!
!
!

i
t

i
s
what

i
t

i
snt
.
or

i
t

i
s
t
he
i
snt

i
t

once
was
wasnt

i
t

dr
op
mi
nd

become
one

cr
eat
i
on
begi
ns
|

j
ames
j
oyce'
s
f
ar
t
s

#%^
><^
^
!
!
$+\
\
.
.
*
*

Wi
ki
pedi
a
says:

Asemi
c
wr
i
t
i
ng
i
s
a
wor
dl
ess
open
semant
i
c
f
or
m
of

wr
i
t
i
ng.

The
wor
d
asemi
c
means

"
havi
ng
no
speci
f
i
c
semant
i
c
cont
ent
"
.

Wi
t
h
t
he

nonspeci
f
i
ci
t
y
of

asemi
c
wr
i
t
i
ng
t
her
e
comes
a
vacuum
of

meani
ng
whi
ch
i
s
l
ef
t

f
or

t
he


r
eader

t
o
f
i
l
l

i
n
and
i
nt
er
pr
et
.

Al
l

of

t
hi
s

i
s
si
mi
l
ar

t
o
t
he
way
one

woul
d
deduce
meani
ng
f
r
om
an
abst
r
act

wor
k
of

ar
t
.

The
open
nat
ur
e
of

asemi
c
wor
ks
al
l
ows
f
or

meani
ng
t
o
occur

t
r
ans
l
i
ngui
st
i
cal
l
y

an
asemi
c

t
ext

may
be
"
r
ead"

i
n
a
si
mi
l
ar

f
ashi
on
r
egar
dl
ess
of

t
he
r
eader
'
s
nat
ur
al

l
anguage.

Mul
t
i
pl
e
meani
ngs
f
or

t
he
s
ame
symbol
i
sm
ar
e
anot
her

possi
bi
l
i
t
y
f
or

an
asemi
c
wor
k.

__
p
.
.
.
.

e
____n
)

`
/
,
,
/
/
/
.
.
.
.
>??

For

st
ar
t
er
s
,

t
hi
nk
i
t

shoul
d
l
ook
l
i
ke
wr
i
t
i
ng.

Wr
i
t
i
ng
f
r
om
somewher
e,

somet
i
me
(
whi
ch
l
eaves

t
hi
ngs
pr
et
t
y
open)
.

The
par
adox
(
or

i
s
i
t

i
r
ony?)

of

at
t
empt
i
ng
t
o
def
i
ne
wi
t
h
wor
ds
t
he
t
er
m
asemi
c

wr
i
t
i
ng
i
s
qui
t
e
enj
oyabl
e.

Di
ges
t
i
f

br
i
se
sol
ei
l

bauchons
i
deal
i
st
i
c
audi
t
i
on
t
ar
r
agon
bl
oodt
hi
r
st
y

cat
egor
i
zed
bi
cep
why'
ve
wher
et
o
nomi
nat
ed
qui
ckeni
ng
McCur
dy.

Dada

"
The
wor
d
asemi
c
means
"
havi
ng
no
speci
f
i
c
semant
i
c
cont
ent
"
.

.
.
.

and
Semant
i
c
i
s
def
i
ned
:

r
el
at
i
ng
t
o
meani
ng
i
n
l
anguage
or

l
ogi
c.

So
t
he
way

woul
d
under
st
and
t
hi
s
t
o
mean
asemi
c
does
not

have
any

meani
ng
i
n
l
anguage
or

even
l
ogi
c.

That

equat
es
t
o
emot
i
on
i
n
my
head.

Musi
c
al
l
y
t
hat

woul
d
i
ncl
ude
al
l

musi
c
whi
ch
dr
aws
upon
emot
i
ons.

I
n

pai
nt
i
ng
t
her
e'
s
a
l
ar
ge
c
hoi
ce
t
o
choose
f
r
om
begi
nni
ng
wi
t
h
Kandi
nsky

and
cont
i
nui
ng
up
t
hr
ough
t
oday'
s
"
moder
ni
st

st
yl
e"
.

Ther
e
ar
e
sever
al

pai
nt
er
s
her
e
t
hat

f
i
t

t
hat

cat
egor
y,

i
s

t
her
e
not
?
I
mage
maki
ng
t
hat

has

no
speci
f
i
c

semant
i
c
cont
ent
.
.
?

Per
haps
t
o
l
ock
one
i
nt
o
t
o
t
he
wor
d
"
wr
i
t
i
ng"

i
s
cr
eat
i
ng
bar
r
i
er
s
t
o
t
he

f
l
ow
of

one'
s
cr
eat
i
vi
t
y.

Wi
t
h
6500
member
s,

t
o
expect

al
l

t
o
adher
e
t
o
a

f
or
m
(
f
or
mal
?)

st
r
uct
ur
al

pr
ocess
t
hat

r
esembl
es
wr
i
t
i
ng
i
s
sel
f

def
eat
i
ng.

I
'
d
say
what

i
s
goi
ng
on
her
e
i
s
what

peopl
e
ar
e
seeki
ng.
.
.

a
f
or
um
t
hat

expands
on
t
he
meani
ng
of

asemi
c
and
beyond.

What

t
hi
nk

ye.
.
?

Pi
ct
or
al

scr
i
pt
:

essent
i
al
l
y
ar
t
f
ul

r
ender
i
ng
of

t
he
mi
nd.
.

I
t

i
s
t
he
vi
sual

equi
val
ent

of

pur
e
sound
poet
r
y
l
i
ke
Kur
t

Schwi
t
t
er
s'

"
Ur
sonat
e"
.

l
ook
at

i
t

i
n
googl
e
si
ght
s.
.
.
I
T
I
S
BEAUTI
FUL.
.
.
I
T
DOES
NOT
HAVE
A

NARRATI
VE.

am
al
l

wr
i
t
t
en
out

t
hi
s
mor
ni
ng.

No
mor
e
wor
dcent
r
i
c
ener
gy
l
ef
t

i
n
my
ment
al

machi
ne.

Ot
her
wi
se
I

woul
d
t
el
l

you.

Sor
r
y.
.
.

ANOTHER
THOUGHT.
.
.
ALTHOUGH
I
T
I
S
NOT
A
SPECI
FI
C
ALPHABET

OR
HAVE
A
NARRATI
VE.
.
.
I
T
I
S
ASEHETI
C.
.
.
AN
ARTI
STI
C

MEDI
UM.
.
.
THI
NK
OF
I
T
I
N
TERMS
OF
ARTI
STI
C
LI
NE
EXPRESSI
ON.

Asemi
c
wr
i
t
i
ng
has
no
semant
i
c
cont
ent
.

The
l
et
t
er
s
ar
e
i
l
l
egi
bl
e,

i
nvent
ed,

or

pr
i
mal
.

The
t
ext

has
no
v
er
bal

sense.

Thr
ough
i
t
s

f
or
mat
t
i
ng
and
st
r
uct
ur
e,

i
t

may
suggest

a
t
ype
of

document
,

or

coded

di
agr
am,

t
her
eby,

hi
nt

at

meani
ng.

As
emi
c
wr
i
t
i
ng
can
be
under
st
ood

t
hr
ough
aes
t
het
i
c
i
nt
ui
t
i
on.
.
.

t
hr
ough
gut

f
eel
i
ng.

Ceci
l
,

agr
ee
wi
t
h
your

descr
i
pt
i
on
of

asemi
c
wr
i
t
i
ng
t
o
a
poi
nt
.

When

you
expand
i
t

t
o
al
l

abst
r
act

pai
nt
i
ng,

t
hi
nk
i
t

goes
t
oo
f
ar
.

I
t

i
s
not

j
ust

"
asemi
c"

but

al
so
"
wr
i
t
i
ng"
.

I
f

t
he
di
st
i
nct
i
on
i
s
not

i
mpor
t
ant

t
o

an
ar
t
i
st
,

t
her
e
ar
e
al
r
eady
many
f
or
a
f
or

abst
r
act

pai
nt
i
ng
t
hey
can

par
t
i
c
i
pat
e
i
n.

Not

t
hat

woul
d
advoc
at
e
r
est
r
i
ct
i
ng
access
i
n
any

way.
.
.
but

er
asi
ng
t
he
di
st
i
nct
i
on
woul
d
make
i
t

meani
ngl
ess.
.
.
yes,

see
t
he
i
r
ony
i
n
t
hat
!

But

was
so
happy
when
I

f
ound
t
her
e
was
a
l
i
t
t
l
e

communi
t
y
of

peopl
e
doi
ng
what

t
hought

had
i
nvent
ed.
.
.
negat
e
t
he

boundar
i
es
and
t
her
e
goes
t
hat
.

pul
l
ed
t
hat

of
f

t
he
i
nt
er
net

somewher
e
.
.
.

i
f

i
t
s
your
s
pl
ease
t
el
l

me
and
I

can

cr
edi
t

you.
.
.

Vi
va
Asemi
c
!
!
!
!
!

:
)
)
)

ht

t
p:
/
/
paul
her
t
z.
net
/
/
sai
c/
ar
t
war
e/
code/
uni
mundo_02.
ht
ml
Uni
mundo

Thx,

Joanna!

was
usi
ng
abst
r
act

pai
nt
i
ng
as
a
f
or
m
of

expr
essi
on
whi
ch

par
al
l
el
s
what

bel
i
eve
asemi
c
wr
i
t
i
ng
ai
ms
t
o
do.

Tr
ue,

t
he
wr
i
t
i
ng
i
s

seen
her
e
but

as
you
and
I

wel
l

know,

t
he
ver
y
wor
d
wr
i
t
i
ng
i
s
engr
ai
ned

i
n
our

genes
t
o
convey
what

each
ot
her

have
t
o
say.
.

i
t
'
s
par
t

and
par
cel

of

our

means
of

communi
cat
i
on,

t
hat

and
voi
ce,

of

cour
se.

I
t

seems
t
o
me
when
we
t
ag
asemi
cs
wi
t
h
t
hat

hi
ghl
y
i
nt
er
pr
et
i
v
e
wor
d,

wr
i
t
i
ng,

i
t

begs
t
o
wr
i
t
e
wi
t
hout

"
semant
i
c
cont
ent
'

whi
ch
i
s.
.
.
???
Thi
nk
of

t
he
wor
l
d'
s
wr
i
t
t
en
l
anguage
and
t
he
t
r
emendous
di
ver
si
t
y
of

t
he
wr
i
t
t
en

wor
d.

Cal
l
i
gr
aphy
wi
t
hi
n
t
he
Or
i
ent

i
s

wel
l

known
when
we
see
i
t
,

but

ot
her

t
han
t
hose
who
gr
ow
up
usi
ng
i
t
,

i
t

i
s
an
ar
t

r
at
her

t
han
a
wor
d(
s)

i
n

our

mi
nds.

Cyr
i
l
l
i
c
wr
i
t
i
ng
t
o
be
i
s
not

onl
y
uni
que
but

conf
usi
ng
f
or

my

west
er
n
mi
nd.
.
.

i
t

coul
d
be
"
asemi
c
wr
i
t
i
ng"

as
f
ar

as
I

coul
d
under
st
and.

The
v
er
y
use
of

t
he
wor
d
"
asemi
cs"

i
s

r
el
at
i
vel
y
new,

i
.
e.

t
he
wor
d
sear
ch

or

spel
l

check
doesn'
t

r
ecogni
ze
i
t
.

Asemi
c
anyt
hi
ng
i
s
an
evol
vi
ng
ar
t
.

Yes,

i
t

i
s
an
ar
t
.

And
t
o
descr
i
be
ar
t

t
akes
t
i
me
t
o
t
al
k
about

i
t
,

di
scuss
i
t
,

debat
e
i
t
,

t
est

i
t
.
.

al
l

i
n
t
he
t
i
me
honor
ed
way
ot
her

"
school
s
of

ar
t
'

devel
oped.

Di
d
Kandi
nsky'
s
ar
t

have
a
wor
d
si
t
t
i
ng
ar
ound
i
n
ar
t

schol
ar
s

mi
nds
l
ooki
ng
f
or

exampl
es.
.
?
And
s
o
i
t

goes
i
n
t
he
vast

wor
l
d
of

ar
t

(
emot
i
ve
expr
essi
on?)
.


Thank
you
f
or

t
he
di
scus
si
on,

Joanna.
.
.

enj
oyed
i
t
.

obs
er
ve
my
son
cannot

deci
pher

hi
s

gr
andmot
her
'
s
t
i
ny
neat

Pal
mer

scr
i
pt
.

Thi
s
amount
s
t
o
t
he
same
t
hi
ng.

As
a
cal
l
i
gr
apher

st
udyi
ng
t
ext
s
i
n
a

f
or
ei
gn
l
anguage
one
f
i
nds
t
he
l
i
ne
speaks
mor
e
t
han
t
he
unknown

wor
ds.

As
i
n
your

exampl
e
of

Cyr
i
l
l
i
c.

have
a
f
r
i
end
who
i
nvent
ed
an

al
phabet

of

code
f
or
ms
so
t
hat

her

l
et
t
er
i
ng
(
on
por
cel
ai
n)

woul
d
pr
ovi
de

pat
t
er
n
wi
t
hout

t
he
di
st
r
act
i
on
of

semant
i
c
cont
ent
,

al
t
hough
t
hat

secr
et

t
ext

i
s
known
t
o
her
.

Wor
ds
ar
e
over
bear
i
ng

f
i
nd
i
t

near
l
y
i
mpossi
bl
e
t
o

l
ook
at

a
t
ex
t

i
n
a
l
anguage
I

know
and
see
t
he
vi
sual

qual
i
t
i
es
r
at
her

t
han

j
ust

r
eadi
ng
t
he
wor
ds
(
agai
n)

and
f
r
equent
l
y
r
esor
t

t
o
t
ur
ni
ng
t
he
page

upsi
de
down
or

vi
ewi
ng
f
r
om
a
di
st
ance
t
o
see
how
i
t

l
ooks
r
at
her

t
han

how
i
t

r
eads

Hgd
t
v
guf
dck
gevs
ouyt
f

r
d
gf
dt
g
huh
f

as

I
'
m
guessi
ng
i
t

has
somet
hi
ng
t
o
do
wi
t
h
cancel
i
ng
out

t
he
t
ypi
cal

pr
ocesses
of

semi
osi
s,

si
gn
r
ecogni
t
i
on,

whi
l
e
st
i
l
l

suggest
i
ng
si
gn.

.
.

your

"
f
r
equent
l
y
r
esor
t

t
o
t
ur
ni
ng
t
he
page
upsi
de
down
or

vi
ewi
ng
f
r
om
a

di
st
ance
t
o
see
how
i
t

l
ooks
r
at
her

t
han
how
i
t

r
eads"
.
.
.

amused
me.

I
'
ve

never

r
eac
hed
t
hat

poi
nt
.

Must

gi
ve
i
t

a
t
r
y.
.

am
moved
by
gr
af
f
i
t
i

and
most

especi
al
l
y
by
t
he
at
t
empt
ed
obl
i
t
er
at
i
on
of

gr
af
f
i
t
i

as
a
r
epr
esent
at
i
on
of

Asemi
c
wr
i
t
i
ng

When
I

f
i
r
s
t

came
t
o
t
hi
s
gr
oup
I

pos
t
ed
a
number

of

i
mages
t
hat

t
hought

had
somet
hi
ng
t
o
do
asemi
c
wr
i
t
i
ng,

a
coupl
e
of

t
ext

l
i
ke
pai
nt
i
ngs

by
Kandi
nsky,

a
pai
nt
i
ng
by
Geor
ges
Mat
t
heu,

A
page
f
r
om
Codes

Ser
aphi
ni
anus,

a
f
ew
of

my
own
col
l
ages.

di
dn'
t

see
any
of

t
hem

cr
i
t
i
qued
as
bei
ng
of
f

t
opi
c
so
I

never

got

an
i
dea
of

t
he
consensus
of

wher
e
t
he
l
i
ne
i
s
dr
awn,

at

l
east

her
e.

may
be
i
n
t
he
mi
nor
i
t
y
her
e,

but

see
t
hi
s
ext
r
aor
di
nar
y
boar
d
as
a
l
ear
ni
ng/

t
eachi
ng
exper
i
ence,

bei
ng
sur
r
ounded
by
an
amazi
ng
gr
oup
of

ar
t
i
st
s

t
hat

exper
i
ment

f
r
eel
y
wi
t
h
t
hei
r

ar
t
.

knew
not
hi
ng,

nada,

zer
o,

zi
l
ch
about

anyt
hi
ng
cal
l
ed
"
asemi
cs"

bef
or
e.
.
.

and
I
'
ve
been
i
nvol
ved
i
n
ar
t

f
or

a
l
ong
whi
l
e.

enj
oy
l
ear
ni
ng

somet
hi
ng
new
and
near
l
y
ever
y
day
I

see
somet
hi
ng
t
hat

i
nspi
r
es.

now
t
hat

i
s
"
asemi
c
wr
i
t
i
ng"
.
.
!
!
!
!

(
I
'
m
ki
ddi
ng
but

what

per
cent
age
of

peopl
e

woul
d
r
ecogni
ze
t
hat

scr
i
pt

as
bei
ng
I
nui
t
?
)

Not

many.

The
subset

of

I
nui
t
s
t
hat

c
el
ebr
at
e
Hanukkah.

anemi
c
wr
i
t
i
ng
:
:

i
s
anyt
hi
ng
t
hat

l
ook
s

l
i
ke
but

I
SNT
act
ual

wr
i
t
i
ng
and
doesn'
t

mean
anyt
hi
ng.

ht
t
p:
/
/
en.
wi
ki
pedi
a.
or
g/
wi
ki
/
Asemi
c_wr
i
t
i
ngAsemi
c

wr
i
t
i
ng

Wi
k
i
pedi
a,

t
he
f
r
ee
encycl
opedi
aAsemi
c
wr
i
t
i
ng
i
s

a
wor
dl
ess
open
semant
i
c
f
or
m
of
.
.
.

I
nt
er
est
i
ng
aut
ocor
r
ect
.

Fl
uxus
has

br
ought

anot
her

exampl
e
of

what

many
woul
d
pr
obabl
y
consi
der

some
asemi
c
wr
i
t
i
ng.

I
t

i
s
ver
y
cur
i
ous
t
o
t
hose
who
don'
t

know
Hebr
ew.

I
t

cer
t
ai
nl
y

f
i
t
s
i
n
t
o
what

was
j
awi
ng
about

above.

`
`
`
`
`

.
!

ear
l
y
Semet
i
c
wr
i
t
i
ng
woul
d
l
ook
Ascemi
c
t
o
t
he
"
moder
n"

eye!

EN.
WI
KI
PEDI
A.
ORG

I
t
'
s
amazi
ng
how
much
wr
i
t
i
ng
becomes
"
asemi
c"

when
I

r
emove
my
r
eadi
ng

gl
asses.

I
'
m
a
wr
i
t
er

who
doodl
es.

j
ust

di
d
my
f
i
r
st

asemi
c
doodl
e.

Then
i
t

came
t
o
me

t
hat

asemi
c
wr
i
t
i
ng
i
s
gl
ossol
al
i
a
on
paper
.

have
no
answer

t
o
t
hi
s
quest
i
on,

but

am
i
nt
er
est
ed
i
n
your

r
epl
i
es.

i
t

i
s,

i
n
f
act
,

a
pi
ece
of

wor
k
added
t
o
t
hi
s
l
i
st

and
ot
her
s.

per
sonal
l
y
don'
t

f
i
nd
t
he

wi
ki

def
i
ni
t
i
on
sat
i
sf
yi
ng.

t
oo
many
l
eaps
of

f
ai
t
h.

and
speaki
ng
of

l
eaps

of

f
ai
t
h,

wr
ot
e
t
hi
s
a
f
ew
year
s
back

"
Let
t
er
s
ei
t
her

pr
oceed
i
nt
o
new

vi
sual

poet
i
cs
or

r
et
ur
n
t
o
t
he
wor
d.

We
ar
e
t
aught

t
o
r
et
ur
n,

but

ar
e

sel
dom
gi
ven
an
opt
i
on.

Yes,

t
hey
sai
d,

l
et

us
go,

f
r
ee
us.
"

Taki
ng
f
r
om
t
he
Zaum
poet
s
who
def
i
ned
t
hei
r

wor
k
as
"
t
r
ans
sense

l
anguage"
,

per
haps
asemi
c
wr
i
t
i
ng
i
s

t
r
ans
sense
cal
l
i
gr
aphy.

ht
t
p:
/
/
encycl
opedi
a2.
t
hef
r
eedi
ct
i
onar
y.
com/
ZAUMZaum

Encycl
opedi
a
ar
t
i
cl
e
about

Zaum
by
The
Fr
ee
Di
ct
i
onar
y

ENCYCLOPEDI
A2.
THEFREEDI
CTI
ONARY.
COM

My
i
mmedi
at
e
t
hought

t
o
t
hat
,

Ni
co,

i
s
"
coul
d
t
hat

st
at
ement

be
wr
i
t
t
en
ot
her
wi
se

and
st
i
l
l

be
under
st
ood?"

Al
l

t
hi
s
exc
hange
goi
ng
ar
ound
I

f
i
nd
t
o
be
st
i
mul
at
i
ng
f
or

di
scussi
on
or

even

debat
e
i
f

necessar
y.

I
'
m
begi
nni
ng
t
o
see
t
hi
s
wor
d
t
hat

i
s
not

cl
ear
l
y

def
i
nabl
e
as
asemi
c
as
t
he
ver
y
def
i
ni
t
i
on
i
t

i
s
used
t
o
descr
i
be
not

onl
y
hu'
man
wr
i
t
i
ngs
but

al
so
i
ncl
udes
anyt
hi
ng
t
hat

has
l
i
t
t
l
e
or

no

f
i
r
m
def
i
ni
t
i
on
as
t
o
what

i
t

i
s.

But

t
he
commonal
i
t
y
i
s
whet
her

i
t
'
s

cr
eat
i
on
"
s
peaks"

t
o
t
he
vi
ewer
.
.
.

use
any
exampl
e,

man
made
or

nat
ur
al
,

i
f

t
he
obj
ect

i
s
'
eye
candy'

t
o
t
hat

vi
ewer
,

l
et
'
s
cal
l

i
t

'
asemi
c'
.

Wr
i
t
i
ng
answer
s
t
he
mar
k,

t
he
pen
i
s
t
he
r
ol
l
,

meani
ng
i
s
a
l
i
ght

l
i
ke
a
gl
eam,

gl
eam
i
s
a
t
ur
n
of

t
he
head
t
hat

f
ol
l
ows
t
he
gl
eam
on
a
cup
i
n
a
l
i
ght

of

a
r
oom,

of

an
af
t
er
noon.

The
scr
ol
l

of

anxi
et
y,

a
r
oom
wi
t
h
l
i
ght

wher
e

voi
ces.

Speaki
ng
i
s
occur
r
i
ng
i
n
t
he
mi
dst

of

l
i
ght

but

i
t
'
s
har
d
t
o
hear

beyond
t
he
l
i
ght
.

Ther
e
i
t
'
s
dr
i
nki
ng
and
voi
ces
and
l
i
ght

and
i
t

doesn'
t

mean
what

you
t
hi
nk
bec
ause
you
c
an'
t

hear

because
of

t
he
l
i
ght
.

:
:
)

he
'
ve
++++++++,
,
,
,
,
Di
|
|
|
|
*
*
*
*
*
*

"
John
r
ode
t
o
t
own
on
t
he
hor
se.
"

That

i
s
a
sent
ence
wi
t
h
semant
i
c
cont
ent

t
hat

anyone
who
i
s
l
i
t
er
at
e
i
n
Engl
i
sh
can
easi
l
y
under
st
and.

"
On
t
own
t
o
John
hor
se
t
he
r
ode"

i
s
not

under
st
andabl
e,

but

st
i
l
l

obvi
ousl
y
Engl
i
sh
and
we
r
ecogni
ze
i
ndi
vi
dual

wor
ds.

"
Oo
wj
r
n
se
het

doeh
no
t
aw"

We
can
r
ecogni
ze
Let
t
er
s
but

t
her
e
i
s
no

semant
i
c
c
ont
ent

at

al
l
.

I
t

i
s
now
asemi
c.

"



.
"

Now
we
have
r
emoved
t
he
f
ami
l
i
ar

Lat
i
n
al
phabet
.

To
t
he
Engl
i
sh
speak
er

t
hi
s
i
s
j
ust

a
st
r
eam
of

s
ymbol
s


t
hat
'
s
t
he
r
ub.

t
hat

ar
e
compl
et
el
y
unf
ami
l
i
ar

ef
f
ect
i
vel
y
asemi
c.

Facebook
won'
t

l
et

me

use
a
compl
et
el
y
made
up
al
phabet

t
hi
s
i
s
a
r
andom
l
i
ne
of

Tami
l

l
et
t
er
s,

but

y
ou
get

t
he
i
dea.

Ask
Spencer

Sel
by.

He'
s
t
he
godf
at
her

ar
ound
her
e.

For

what

i
t
'
s
wor
t
h:

anyt
hi
ng
t
hat

doesn'
t

st
r
i
ve
t
o
make
sense.

For

me,
wet
her

Asemi
c
,
abst
r
act

or

vi
sual

poet
r
y,
t
he
l
i
nk
t
ha
embr
aces
t
hem
i
s

Post

l
i
t
er
at
e.
t
hey
al
l

deal

wi
t
h
f
or
m
and
pr
esence,
no
t
hi
ng.
.
t
her
e
i
s
no

i
nher
ent

meani
ng
and
each
vi
ewer

c
r
eat
es
t
hei
r

own
nar
r
at
i
ve.

Thanks,

Ed.

don'
t

t
hi
nk

I
'
m
consi
der
ed
an
aut
hor
i
t
y,

maybe
j
us
t

an
opi
ni
onat
ed

bi
g
mout
h.

My
shor
t

answer

was
pos
t
ed
over

at

Usel
ess
Wr
i
t
i
ng,

wher

Ni
co
r
epost
ed
t
hi
s
quest
i
on.

I
t

was
"
unr
eadabl
e
myst
er
y.

But

t
hen
t
hat

r
esponse
t
ur
ned
i
nt
o
a
new
di
scussi
on.

Anot
her

def
i
ni
t
i
on
f
or

Zaum
was
"
beyond
si
gni
f
i
cance"
.

Agai
n
I

t
hi
nk
t
hat

wor
ks

ni
cel
y

f
or

asemi
c
wr
i
t
i
ng.

i
magi
nar
y
l
anguage.

I
t

t
r
ul
y
coul
d
mean
somet
hi
ng
speci
f
i
c,

but

i
t

doesn'
t
.

No
mat
t
er

what

we
choose
t
o
post
,

t
hi
nk
we'
r
e
al
l

i
n
good
company.

Nobody

knows
not
hi
ng
and
ver
y
l
i
t
t
l
e
somet
hi
ng.

Appar
ent
l
y
we
"
l
i
ke"

t
hat

al
ot
.

l
i
ke
Paul

Zmol
ek'
s
'
beyond
si
gni
f
i
cance'
.

mor
e
i
nf
o:

ht
t
p:
/
/
asemi
c.
net
/
ASEMI
CAsemi
c
wr
i
t
i
ng
has
been
made
by
poet
s,

wr
i
t
er
s,

pai
nt
er
s,

cal
l
i
gr
apher
s,

chi
l
dr
en,

and
scr
i
bbl
er
s,

al
l
.
.
.

I
t

i
s
vi
sual

communi
cat
i
on
wi
t
h
any
i
nt
ent
i
onal

meani
ng
st
r
i
pped
away.

I
'
d
er
ase
"
s
t
r
i
pped
away"

and
add
'
out
'

t
o
"
wi
t
h"

and
f
i
nal
i
ze
i
t

wi
t
h
a
"
.
"

af
t
er

"
meani
ng"
.
.
.

not
i
ce
I

began
t
hi
s

wi
t
h
"
I
'
d"
.
.
.

.
.
.
and
r
ender

i
t

al
l

i
n
Gl
agol
i
t
i
c
l
et
t
er
s
j
ust

f
or

good
measur
e.

ht
t
ps
:
/
/
www.
f
acebook.
com/

Real
Rohr
s
chachRohr
schach

Li
ke
Page433
Li
kes

For

me,
t
hi
s
i
s
i
s
per
t
i
nent
.
.
.
.
.

As
t
o
t
he
r
oami
ng
of

sages,

They
move
i
n
ut
t
er

empt
i
ness,

Let

t
hei
r

mi
nds
meander

i
n
t
he
gr
eat

not
hi
ngness

They
r
un
beyond
convent
i
on

And
go
t
hr
ough
wher
e
t
her
e
i
s
no
gat
eway.

They
l
i
st
en
t
o
t
he
soundl
ess

And
l
ook
at

t
he
f
or
ml
ess
,

They
ar
e
not

const
r
ai
ned
by
soci
et
y

And
not

bound
t
o
i
t
s
cust
oms.

Lao
t
zu

Lao
Tzu

Ei
t
her

st
r
i
pped
away,

or

never

was
t
her
e
i
n
t
he
f
i
r
st

pl
ace.

per
haps
i
t

i
s
"
quant
um
meani
ng"

i
t

coul
d
be
anyt
hi
ng
unt
i
l

each
obser
ver

deci
des

when
peopl
e
ask
what

I
'
m
wr
i
t
i
ng,

say
i
t

i
s
an

ASEMI
C.
NET


Fi
ct
i
onal

Char
act
er

1
t
al
ki
ng
about

t
hi
s

i
'
d
have
t
o
c
heck
out

"
Ol
d
Chur
ch
Sl
avi
c"

f
or

somet
hi
ng
a
wee
bi
t

di
f
f
er
ent
,

l
i
ke
t
he
'
s
t
r
i
pped
away'

because
when
wor
ki
ng
'
asemi
cl
y'

have
t
o
avoi
d

what

i
t

i
s!

Set
h.
.
.

but

Gl
agol
i
t
i
c
i
s
st
i
l
l

i
n
cont
ent
i
on.

cr
eat
i
ng
somet
hi
ng
my
pat
t
er
n
maki
ng
br
ai
n
t
r
i
es
t
o
i
mpose
meani
ng
on.

So,

f
or

me
t
he
meani
ng
was
t
her
e,

but

del
i
ber
at
el
y
r
emoved
i
t
.

(
I

do
a

l
ot

of

r
ecyc
l
i
ng
of

appr
opr
i
at
ed
i
mager
y
and
t
ext
.
.
.
)

Lao
Tzu
was
no
f
ool
.

Thx
f
or

t
hat

Johnny.
.
.

Mr
.

Mac,

r
ead
t
hat

and
under
st
ood
i
t
,

but

wonder

i
f

t
her
e'
s
anyt
hi
ng
i
n
t
he

i
t
'
s
si
l
l
y
but

i
'
ve
done
i
t

Ni
co.
.
.

Lao
Tzu
had
exper
i
enced
t
hat

by
goi
ng
wi
t
hi
n
beyond
al
l

mat
t
er

whi
ch

ah
see
mi
c

(
do
you?)

"
Undoubt
edl
y
but

t
hat

i
s
show,

Shaun
r
epl
i
ed,

t
he
mut
t
er
mel
k
of

hi
s
bl
ood
donor

mul
t
i

ver
se
t
hat
'
s
act
ual
l
y
soundl
ess
or

f
or
ml
ess.

makes
sound
and
beyond
f
or
m
i
nt
o
t
hat

whi
ch
cannot

be
spoken.

begi
nni
ng
t
o
wor
k,

and
whi
l
e
i
nnocent

of

di
ssemi
nat
i
ng
t
he
f
oul

emanat
i
on,

i
t

woul
d
be
a
f
al
l

day
I

coul
d
not
,

sol
e,

so
you
can
keep
your

space
and
by
t
he
power

of

bl
ur
r
y
war
ds
I

am
l
oyabl
e
t
o
do
i
t

(
I

am

convi
ct
ed
of

i
t

!
)

any
t
i
me
ever

l
i
ked
(
bet

ye
f
i
ppence
of
f

me
boot

al
l
owance!
)

wi
t
h
t
he
al
l
er
gr
ossest

t
r
ansf
usi
asm
as,

you
see,

whi
l
e
I

can

sor
oqui
se
t
he
Si
amani
sh
bet
t
er

t
han
most
,

i
t

i
s
an
openear

secr
et
,

be
i
t

sai
d,

how
I

am
ext
r
emel
y
i
ngenuous
at

t
he
cl
er
ki
ng
even
wi
t
h
my
badi
l
y

l
ef
t

and,

ar
r
ah
go
br
az,

I
'
d
pi
nsel

i
t

wi
t
h
i
mmenuensoes
as
easy
as
I
'
d

per
or
at
e
a
chi
cker
ow
of

beans
f
or

t
he
pr
i
ce
of

t
wo
mar
i
cl
es
and
my

t
r
i
f
ol
i
um
l
i
br
ot
t
o,

t
he
aut
hor
dux
Book
of

Li
ef
,

woul
d,

i
f

gi
ven
t
o
dayl
i
ght
,

(
I

hol
d
a
most

i
ncr
edi
bl
e
f
ai
t
h
about

i
t
)

f
ar

exceed
what

t
hat

bogus
bol
shy
of

a
shame,

my
soamhei
s
br
ot
her
,

Gaoy
Fecks,

i
s
conver
sant

wi
t
h
i
n

audi
bl
e
bl
ack
and
pr
i
nk.

Out
r
agedy
of

poet
scal
ds!

Acomedy
of

l
et
t
er
s!

have
t
hem
al
l
,

t
ame,

deep
and
har
r
i
ed,

i
n
my
mi
ne'
s
I
.

And
one
of

t
hese

f
i
ne
days,

man
dear
,

when
t
he
mood
i
s
on
me,

t
hat

may
wi
l
l
hap
cut

my

t
hr
oat

wi
t
h
my
t
ongue
t
oni
ght

but

wi
l
l

be
or
muzd
moved
t
o
t
ake
pot
l
ood

and
i
nt
r
ovent

i
t

Paat
r
yk
j
ust

l
i
ke
a
wor
k
of

mer
i
t
,

mar
k
my
wor
ds
and

append
t
o
my
mar
k
t
wang,

t
hat

wi
l
l

open
your

puckt
r
i
cker
'
s
ops
f
or

you,

br
oat
her

br
ooher
,

onl
y
f
or
,

as
a
paps
t

and
an
i
mmat
ur
e
and
a
nayophi
ght

and
a
spaci
aman
spaci
osum
and
a
hundr
ed
and
el
even
ot
her

t
hi
ngs,

woul
d
never

f
or

anyt
hi
ng
t
ake
so
muc
h
t
r
oubl
e
of

such
doi
ng.

And
why

so?
Because
I

am
al
t
oget
her

a
chap
t
oo
f
l
y
and
hai
r
yman
f
or

t
o
i
nf
r
adi
g

t
he
l
i
k
e
of

t
hat

ul
t
r
avi
r
ul
ence.

And
by

al
l

hol
d
sacr
ed
on
ear
t
h
cl
ouds

and
i
n
heaven
I

swear

t
o
you
on
my
pi
op
and
oat
h
by
t
he
awe
of

Shaun

(
and
t
hat
'
s
a
howl

of

a
name!
)

t
hat

wi
l
l

commi
ssi
on
t
o
t
he
f
l
ames
any

i
ncendi
ar
i
st

whosoever

or

ahr
i
man
howsocl
ever

who
woul
d
endeavour

t
o


set

ever

annyma
r
oner

moot
her

of

mi
ne
on
f
i
r
e.

Rock
me
j
ul
i
e
but

wi
l
l

soho!
"

as
al
ways.
.
.
best

wi
shes.
.
asemi
cal
l
y
s
peaki
ng
of

cour
se

For

me
he
poi
nt
s
t
o
a
space
of

bei
ng,
wher
e
al
l

f
or
ms
r
esi
de
bef
or
e
bei
ng
gi
ven

shape
t
o.
The
pl
ace
we
act
ual
l
y
exi
st

not

t
he
st
or
y
of

our

l
i
ves
l
ol

and
t
he
sour
ce
(
per
haps)

f
r
om
wher
e
al
l

emanat
es
(
t
he
gr
and
ul
t
i
mat
e
as
t
ai

j
i

i
s

cal
l
ed

t
hat

i
s,

t
he
space
bet
ween
t
wo
out
st
r
et
ched
ar
ms)

can'
t

hel
p
but

do
i
t

but

ever
yt
i
me
I

t
r
y
t
o
f
ol
l
ow
some
ki
nd
of

f
or
m
or

what

woul
d

you
cal
l

i
t

or

t
empl
at
e.

"

f
or
get

about

i
t
!
"

My
exper
i
ence
i
s
ever
y

ar
t
i
st

has
t
hei
r

own
st
yl
e
your

own
dance
t
hei
r

own
musi
c
whi
ch
i
s
t
he
most

t
hr
i
l
l
i
ng
par
t

of

al
l
!

ASEMI
C
ar
t

al
l
ows

me
t
o
f
or
get

about

mysel
f

and
t
o

j
ust

go
pl
ay
wi
t
h
col
or
s
and
ef
f
ect
s
and
phot
ogr
aphs
I

have
and
pi
eces

of

t
hi
s
and
t
hat

and
t
he
ot
her

t
hi
ng
i
t
'
s
a
beaut
i
f
ul

t
hi
ng
I

know
i
t
'
s
done

when
I

know
i
t
'
s
done
and
not

bef
or
e
and
t
he
audi
ence
t
hat

mi
ght

see

i
t

can
i
nt
er
pr
et

i
t

anyway
t
hey
wi
sh
i
t
'
s
a
beaut
i
f
ul

f
or
m
of

ar
t
.

Honest
l
y

once
you
l
ear
n
how
t
o
r
un
one
of

t
he
gazi
l
l
i
ons
of

phot
o
edi
t
i
ng
pr
ogr
ams

t
hat

ar
e
out

t
her
e
you
can
have
any
ef
f
ect

you
want

you
can
swi
t
ch
f
r
om

one
t
o
t
he
ot
her

t
oget
her

t
o
t
he
ot
her

t
o
t
he
ot
her

t
o
be
ot
her

what
ever

al
l

k
now
i
s
when
you'
r
e
done
you'
r
e
done
and
you
know
i
t

and
i
t
'
s
much

mor
e
l
i
ke
gi
vi
ng
i
t

up
and
l
et
t
i
ng
t
he
spi
r
i
t

moves
t
hr
ough
you.

Once
you

see
i
t

you
wi
l
l

know
t
i
me
t
o
post

and
save
f
or

l
at
er

addi
t
i
ons
hahahaha.

Just

have
f
un
pl
ayi
ng
wi
t
h
col
or
s
and
f
or
ms
and
t
hi
s
amazi
ng
t
echnol
ogy

and
and
you
wi
l
l

r
each
t
hat

aha
moment

qui
cker

t
han
any
ot
her

met
hod

hav
e
t
r
i
ed.

I
'
m
t
ot
al
l
y
i
n
l
ove
wi
t
h
t
he
pr
ocess
and
i
t
'
s
al
l

about

pr
ocess

i
n
ar
t

or

i
n
l
i
f
e
we
must

enj
oy
what

we'
r
e
doi
ng.
!

al
most

t
hi
nk
i
t
'
s
our

r
esponsi
bi
l
i
t
y
t
o
l
et

go
and
l
et
.
.
.
.
.
.

xx

.
.
.
.

Thank
you
so
much
f
or

your

post

t
hat

gi
ves
me
a
l
ot

of

i
deas!

And
on
I

go

happy
happy
happy.

Or

sad
sad
sad
t
hey'
r
e
pr
et
t
y
much
t
he
same
t
o
me.

t
hat

whi
ch
l
ooks
l
i
ke
wr
i
t
i
ng
but

has
no
l
i
ngui
st
i
c
meani
ng.

|
.
|
|
.
\
.
.
|
/
.
.
\
.
|
.
.
|
.
.
\
.
.
/
.
\
.
|
.
|
|
|
.
.
/
.
.

Tr
ut
h
i
s
somet
i
mes
I
'
m
af
r
ai
d
when
I

make
up
a
symbol

or

some
such
and

make
t
hem
up.

That

t
hey
r
eal
l
y
mean
somet
hi
ng
I

don'
t

know.

That

scar
es
me

wr
ot
e
t
hi
s

i
n
anot
her

gr
oup
under

t
he
same
post

don'
t

know
i
f

t
hi
s
i
s
at

al
l

usef
ul
,

but

of
t
en
ment
i
on
my
i
nt
er
est

i
n
t
he
t
i
me,

as
a
chi
l
d,

bet
ween

dr
awi
ng
l
et
t
er
s
and
wr
i
t
i
ng
l
et
t
er
s.

The
dr
awi
ng
has
an
asemi
c
i
t
er
at
i
on

f
act
or

t
o
i
t
.

The
wr
i
t
i
ng
i
s
a
move
t
owar
d
compl
et
e
compl
i
ance.

For

me,

i
t
'
s
t
he
l
et
t
er

i
t
sel
f

t
hat

hol
ds
t
he
key.

Ver
y
i
nt
er
est
i
ng
Ni
co.

That

i
s
an
anci
ent

f
ear
.

Ther
e
ar
e
so
many
st
or
i
es
and
l
egends
about

hubr
i
s


i
nspi
r
ed
wi
zar
ds
who
use
secr
et

symbol
s
t
o
l
et

an
unknown
evi
l

i
nt
o
t
he

wor
l
d.

Thank
you
f
or

t
hat

Ni
co
Vassi
l
aki
s.
.
.

r
eal
l
y
di
d
need
t
o
hear

i
t

t
hi
nk
I

have
pr
et
t
y
good
pr
ot
ect
i
on
on
t
o
keep
t
he
evi
l

out
.

But

need
t
o
get

out

of

me
what

consi
der
ed
evi
l

so
i
t
s
no
l
onger

has
power

over

me
you

know?

doodl
es
f
r
om
t
he
et
her

As
i
n
Nami
ng
somet
hi
ng
gi
ves
i
t

power
?

Jeez
Loui
se!
!
!

Hey
was
j
ust

expr
essi
ng
my
per
spect
i
ve
not

t
he
t
r
ut
h
j
ust

per
spect
i
ve.

I
t

evokes
meani
ng
vs.

si
mpl
y
gi
vi
ng
meani
ng.

Subver
si
on
of

wr
i
t
i
ng

I
t

evokes
what
ever

your

mi
nd
says
t
o
you
about

i
t
.
Ther
e
i
s
no
i
nher
ent

meani
ng.

soul

wr
i
t
i
ng.

soul

t
r
ansmi
ssi
on.

i
n
t
he
i
nbet
ween.

t
he
i
nspeakabl
e.

t
he
si
l
enced.

t
he
un
r
eher
ased.

t
he
undescr
i
bl
e.

wher
e
wor
ds
f
ai
l
.

t
he
f
ut
ur
e,

past

pr
esent

of

l
anguage.

t
he
par
t

of

me
st
i
l
l

communi
cat
i
ng
t
o
my
ancest
or
s

and
t
o
f
ut
ur
e
gener
at
i
ons
.

That
'
s
a
phot
o
of

a
t
r
ee
J
ohn
Bar
l
ow.
.
.
.
.
.
.
.
.
.
.
.
.
.

t
r
ee
s
cr
i
bbl
i
ngs
i
n
t
he
ai
r

I
t
s
t
he
onl
y

key
t
o
a
uni
que
box
hol
di
ng
per
f
ect

secr
et
s.
.
.

Expr
essi
on
of

per
sonal
i
t
y
i
n
uknown
and
unf
ami
l
i
ar

abst
r
act

way.

Tr
ansl
at
i
ng
what

t
he
el
ement
s
ar
e
sayi
ng
t
o
us

mar
ks
t
hat

par
t
i
ci
pat
e
i
n
some
of

t
he
char
act
er
i
st
i
cs
of

wr
i
t
i
ng
syst
ems
and

some
of

t
he
char
act
er
i
st
i
cs
of

dr
awi
ng
syst
ems
wi
t
hout

bei
ng
qui
t
e

one
nor

t
he
ot
her

gest
ur
i
ng
t
owar
ds
ei
t
her

or

bot
h
syst
ems
whi
l
st

al
way
s
t
uggi
ng
t
owar
ds
t
he
ot
her

i
t

most

seems
not

t
o
be
.

gest
ur
i
ng

t
owar
ds
r
eadi
ng
and
capabl
e
of

bei
ng
'
r
ead'

but

r
ef
usi
ng
t
o
condi
t
i
on
t
he

meani
ngs
pr
oduced
accor
di
ng
t
o
one
syst
em
or

t
he
ot
her

i
n
excl
usi
vi
t
y
.

hence
r
adi
cal
l
y
i
ncl
usi
ve
engagement
s
wi
t
h
and
i
nt
er
pr
et
at
i
ons
of

mar
k

maki
ng

Asemi
c
wr
i
t
i
ng
i
s
not

about

anyt
hi
ng.

Asemi
a(
ae)

ar
e
mar
ks
t
hat

appear

l
i
ke

l
anguage,

but

ar
e
not

about

communi
cat
i
ng
meani
ng
or

expr
essi
ng

per
sonal
i
t
y

or

ego.

They

ar
e
mar
ks
not

necessar
i
l
y
human
i
ni
t
i
at
ed
or

engender
ed.

They
occur

i
n
nat
ur
e
and
i
n
cul
t
ur
e.

They
ar
e
f
or
mal
,

not

expr
essi
ve.

How'
s
t
hat
?

Per
f
ect
,

Mar
y!

j
ust

r
ead
al
l

of

t
hi
s
conver
sat
i
on.

hope
we
ar
e
not

t
r
yi
ng
t
o
come
up
wi
t
h
a

def
i
ni
t
i
on.

Johnny
Mac,

y
our

second
ment
i
on
of

Lau
Tzu,

"
not

t
he
st
or
y
of

our

l
i
ves"

says
somet
hi
ng
i
mpor
t
ant

t
o
me
about

non
at
t
achment
.

t
hi
nk

asemi
c
wr
i
t
i
ng
i
s
f
r
ee
of

meani
ng
and
at
t
achment
.

mor
e
t
ook
t
he
or
i
gi
nal

quest
i
on
t
o
mean
what

does
i
t

mean
t
o
you.

Yr

r
espons
es
above
ar
e
i
nt
er
est
i
ng,

Mar
y,

t
hough
I

can'
t

ent
i
r
el
y
agr
ee.

Thi
s

i
ssue
of

meani
ng
i
s
l
ongst
andi
ng
among
bot
h
exper
i
ment
al

ar
t
i
st
s

and
poet
s.

suppose
i
t

depends
on
what

you
mean
by
"
not

about

anyt
hi
ng"

or

"
not

communi
cat
i
ng
meani
ng"

For

me
and
f
or

most

of

t
hose

exper
i
ment
al

poet
s
and
ar
t
i
st
s,

t
her
e
i
s,

t
her
e
must

be
meani
ng
i
n
any

and
al
l

ar
t

cr
eat
ed.

Obvi
ousl
y
what

t
hat

meani
ng
i
s
i
s
open
t
o
quest
i
on

and
i
t
'
s
r
eal
l
y
up
t
o
t
he
vi
ewer

or

r
eader

t
o
make
t
he
f
i
nal

cal
l
.

But

t
hat

i
s

not

at

al
l

t
he
same
as
sayi
ng
t
he
wor
k
i
s
not

about

anyt
hi
ng
or

does
not

communi
cat
e
any
meani
ng.

Mar
y,
why
I

or
i
gi
nal
l
y
cr
eat
ed
di
st
i
nct
i
ons
bet
ween
t
he
i
mages,
Thi
s
one

br
i
ngs
i
nt
o
t
he
wor
l
d
of

t
he
senses.
For

me,
I

am
al
ways
l
i
vi
ng
i
n
t
he

quest
i
on
.
somet
hi
ngs
I

am
cl
ear

about

yet

do
not

hol
d
t
hem
l
i
ke
a

bel
i
ef
,
mor
e
not
i
ci
ng
what

i
s
act
i
ve
i
n
t
he
pr
ocess
of

cr
eat
i
ng.
I

agr
ee
t
her
e

i
s
no
i
nher
ent

meani
ng
at

al
l

about

pur
e
Asemi
cs.
As
I

st
at
ed.
.
.
.
.
.
.
.

As
t
o

t
he
r
oami
ng
of

sages,

They
move
i
n
ut
t
er

empt
i
ness,

Let

t
hei
r

mi
nds
meander

i
n
t
he
gr
eat

not
hi
ngness

They
r
un
beyond
convent
i
on

And
go
t
hr
ough
wher
e
t
her
e
i
s
no
gat
eway.

They
l
i
st
en
t
o
t
he
soundl
ess

And
l
ook
at

t
he
f
or
ml
ess
,

They
ar
e
not

const
r
ai
ned
by
soci
et
y

And
not

bound
t
o
i
t
s
cust
oms.

Lao
t
zu

am
al
so
cl
ear

t
hat

pur
e
abs
t
r
act
i
on
i
n
my
pai
nt
i
ngs
i
s

of

t
he
same
i
l
k.


I
n
vi
s
ual

poet
r
y
and
t
he
wor
ks
about

t
he
l
andscape
I

pai
nt
,
somet
hi
ng
el
se

occur
s.
I

am
t
aken
by
an
exper
i
ence
or

i
s
i
t

t
he
muse
wr
appi
ng
me
i
n
i
t
s

ar
ms.
The
i
mage
has
some
at
t
achment

t
o
a
par
t
i
cul
ar

subj
ect
.
I

am
cl
ear

t
hat

i
n
t
he
pr
ocess
of

maki
ng
ei
t
her

t
ype
of

i
mage
t
hey
ar
e
not

bor
n
out

of

mi
nd,
yet

t
he
di
st
i
nct
i
on
of

at
t
achment

and
meani
ng
do
occur

i
n
t
he
l
at
t
er
,

and
ar
e
pr
ecur
sor
y
t
o
t
he
maki
ng,
f
or

me.

f
or

me
i
t
'
s

l
i
ke
abst
r
act

expr
essi
oni
sm

cr
eat
i
ng
meani
ng
and
expr
essi
on
wi
t
h

mar
ks.

not

necessar
i
l
y
al
phabet
s.

mi
ss
out

t
he
wor
d
st
age.

The
best

t
hi
ng
i
s
you
i
dent
i
f
y
i
t

by
a
f
eel
i
ng
about

t
he
mar
ks.

Per
haps
when
one
does
i
t
,

but

when
many
i
ndul
ge
i
n
"
asemi
c
"

wr
i
t
i
ng
i
t

can

l
ook
f
addi
sh
and
l
abor
ed.

and
t
he
message
i
s
i
n
t
he
medi
um

I
'
l
l

t
r
y
t
o
be
cl
ear
,

Spencer
.

I
'
m
not

sayi
ng
t
hat

what

make
or

obser
ve
doesn'
t

have
meani
ng
f
or

mysel
f

as
an
ar
t
i
st
.

I
'
m
t
r
yi
ng
t
o
say
t
hat

i
n
t
hi
s
t
i
ny

oeuvr
e
of

asemi
c
wr
i
t
i
ng/
ar
t
,

t
her
e
i
s
a
pl
ace,

at

l
east

f
or

me,

wher
e
I

st
ep
asi
de.

Asemi
a
occupi
es,

f
or

me,

a
pl
ace
of

'
occur
r
ence'
.

I
t

i
s
not

ant
hr
opocent
r
i
c.

I
t

i
s
asemi
c.

I
t

happens.

Someone
i
n
t
hi
s
t
hr
ead
sai
d

i
t
'
s
not

nar
r
at
i
ve.

That

wor
ks
f
or

me,

t
hough
I
'
ve
seen
asemi
c
spr
eads

t
hat

t
el
l

a
gr
and
st
or
y.

I
t
'
s
par
adoxi
cal
,

because
ar
gui
ng
my
vi
ewpoi
nt

i
s

ant
i
t
het
i
cal

t
o
my
pr
ocess.

I
t
'
s
ok.

Par
adox
happens.

Thanks,

Mar
y.

appr
ec
i
at
e
yr

t
hought
s.

woul
d
j
ust

r
espond
t
hat

1)

nar
r
at
i
ve

woul
d
be
an
exampl
e
of

t
he
most

nar
r
ow
conser
vat
i
ve
def
i
ni
t
i
on
of

meani
ng
i
n
ar
t
.

Al
most

al
l

exper
i
ment
al

poet
s
f
or

over

100
year
s
woul
d

not

c
onsi
der

t
he
meani
ng
of

t
hei
r

wor
k
based
on
nar
r
at
i
ve.

2)

don'
t

qui
t
e
get

t
he
r
el
evance
of

ant
hr
opoc
ent
r
i
c
t
o
t
he
above
quest
i
on.

can

onl
y
s
ur
mi
se
t
hat

t
hi
s
comes
i
n
because
you
have
a
ver
y
t
r
adi
t
i
onal

or

conser
vat
i
ve
i
dea
of

what

meani
ng
i
n
ar
t

i
s.

Ant
hr
opocent
r
i
ci
sm
may

have
been
a
si
gni
f
i
cant

i
ssue
i
n
ar
t

100
year
s
ago
and
i
t

may
st
i
l
l

be
i
f

you
ar
e
t
al
ki
ng
about

t
he
t
he
most

t
r
adi
t
i
onal

f
or
ms
of

ar
t
,

but

t
hat
'
s
got

not
hi
ng
(
or

ver
y
l
i
t
t
l
e)

t
o
do
wi
t
h
any
ar
t

have
pr
act
i
ced
i
n
my
l
i
f
e,

poet
r
y,

vi
sual

poet
r
y,

asemi
c
ar
t

or

any
ot
her

vi
sual

ar
t

have
made
ov
er

t
he

cour
s
e
of

4
decades.

And
t
he
same
can
be
sai
d
f
or

al
most

al
l

ar
t
i
st
s,

poet
s
I

hav
e
known
and
most

t
hat

have
i
nf
l
uenced
me.

Yeah
si
mi
l
ar

t
o
t
he
par
adox
i
n
a
Zen
koan
or

st
at
e
of

bei
ng.

j
ust

had
a
smal
l

epi
phany
and
r
eal
i
ze
t
hat
.
.
.

am
my
br
ai
n
i
s
exact
l
y
Asemi
c
mach
i
s
t
hi
s

was
a
l
ovel
y

l
i
t
t
l
e
hol
e
t
o
f
al
l

i
nt
o
t
hank
you
uni
ver
se!

Under
st
andi
ng
i
s
t
he
booby
pr
i
ze
.
.
.
.
.
.
.
.

I
t

i
s
Zen
t
o
me.

And
i
s
t
her
ef
or
e
del
i
ght
f
ul
.

Doi
ng
what

do
nat
ur
al
l
y
f
i
nal
l
y
has

a
pl
ace
t
o
wander

f
r
eel
y
wi
t
h
wi
t
hi
n
t
he
r
eal
ms.
.
.

Sans
t
he
gui
l
t
.

We
want

under
st
andi
ng
but

when
we
get

i
t
,

we
don'
t

under
st
and.

I
'
m
j
ust

a
young
t
hi
ng,

Spencer
.

My
out
put

and
exper
i
ence
as

an
ar
t
i
st

i
s

l
i
mi
t
ed.

My
per
sonal

et
hi
c
when
I

am
wor
ki
ng,

has
ver
y
l
i
t
t
l
e
t
o
do
wi
t
h

what

i
s
conser
vat
i
ve
or

out
r
.

pr
ef
er

not

t
o
be
bound
t
oo
t
i
ght
l
y.

t
hi
nk


per
sonal

nar
r
at
i
ve
(
WHO
I

AM
WHERE
I

AM
I
N
THE
HI
STORY
OF
ART)

j
umps
out

of
t
en
f
r
om
t
hese
pages.

pr
ef
er

t
o
r
emai
n
unconcer
ned
and

on
t
he
edges.

enj
oy
br
i
ngi
ng
my
st
uf
f
,

t
ool
s,

t
i
me,

sel
f
,

pl
ace,

space

t
o
t
he
st
udi
o
of

equani
mi
t
y.

Ther
e
i
s
an
equal
i
t
y
of

bei
ng
t
her
e.

do
l
i
ke

shar
i
ng
i
deas
on
l
i
ne,

and
even
ar
gui
ng
somet
i
mes.

However
,

t
hi
nk

your

cat
egor
i
cal

name
cal
l
i
ng
i
s
a
bi
t

r
ude
and
uncal
l
ed
f
or
.

Per
haps

somet
i
me
when
I

am
i
n
I
owa
we
can
gr
ab
a
t
abl
e
at

Caf
e
Di
em
and

di
scour
se
f
ur
t
her

and
wi
t
h
hand
gest
ur
es,

but

r
eal
l
y!

Conser
vat
i
ve????!
!
!

I
nsi
gni
f
i
cant
!
!
!
!
????

I
'
m
sor
r
y
you'
r
e
upset
,

Mar
y.

As
f
ar

as
I
'
m
concer
ned
cal
l
i
ng
me
r
ude
or

sayi
ng
my
post

was
"
uncal
l
ed
f
or
"

i
s

c
l
oser

t
o
name
cal
l
i
ng
t
han
anyt
hi
ng

sai
d.

st
and
by
my
st
at
ement

r
e
nar
r
at
i
ve:

i
n
t
he
al
l

t
he
cont
ex
t
t
s
of

ar
t

hav
e
been
i
nvol
ved
i
n,

nar
r
at
i
ve
concept
i
on
of

meani
ng
i
s
conser
vat
i
ve.

That

i
s
al
l

sai
d.

never

used
t
he
wor
d
si
gni
f
i
cant

or

i
nsi
gni
f
i
cant
.

al
so

st
and
by
my
st
at
ement
s
about

ant
hr
opocent
r
i
ci
sm.

Thi
s
i
s
mai
nl
y
about

t
he
hi
st
or
i
c
al

f
r
amewor
k
of

ar
t

t
hat

have
been
i
nvol
ved
i
n
f
or

most

of

my
l
i
f
e.

I
t

i
s

a
ver
y
br
oad
f
r
amewor
k,

not

a
smal
l

or

per
sonal

one.

As

f
or

per
sonal

nar
r
at
i
ve
j
umpi
ng
out
,

l
ear
n
al
ot

mor
e
about

yr

per
sonal

l
i
f
e
f
r
om
yr

post
s
t
han
you
wi
l
l

ever

l
ear
n
about

my
l
i
f
e
f
r
om
mi
ne.

And

l
i
ke
what

l
ear
n,

don'
t

consi
der

what

you
shar
e
about

yr

ever
yday
l
i
f
e

ei
t
her

egocent
r
i
c
or

ant
hr
opocent
r
i
c.

I
mpl
yi
ng
t
hat

shar
i
ng
knowl
edge

about

t
he
hi
st
or
y
of

ar
t

i
n
a
di
scussi
on
about

t
he
meani
ng
of

a
gi
ven
ar
t

i
s
shout
i
ng
"
per
sonal

nar
r
at
i
ve"

j
ust

because
I

ment
i
oned
t
hi
s
i
n
a
br
oad

cont
ext

of

my
ent
i
r
e
ar
t
i
s
t
i
c
exper
i
enc
e
(
somet
hi
ng
I

al
most

nev
er

do,

i
n
t
hi
s

gr
oup
or

anywher
e
onl
i
ne
or

i
n
per
son)

t
hat

seems
t
o
me
unf
ai
r
.

At

t
he
ver
y
l
east

i
t

i
ndi
cat
es
t
hat

you
don'
t

know
me
ver
y
wel
l

or

what

I
'
m
about
.

I
f

r
eal
l
y
was
concer
ned
wi
t
h
my
exper
i
ence
i
n
an
egocent
r
i
c

way,

woul
dn'
t

even
be
havi
ng
t
hi
s
di
scussi
on.

pr
obabl
y
woul
dn'
t

be
on

any
of

t
hes
e
cr
eat
i
ve
FB
gr
oups.

I
'
d
be
f
i
gur
i
ng
ways
t
o
expl
oi
t

what

I
'
ve

accompl
i
shed
or

at

l
east

t
o
make
a
l
i
t
t
l
e
money
f
r
om
i
t
.

Hah!

Money
t
hat
'
s
a
good
one
t
el
l

us
anot
her
.

I
'
m
gl
ad
someone
br
ought

up
zen.

I
'
v
e
been
t
hi
nki
ng
si
nce
yest
er
day
t
hat

west
er
n
t
hought

maybe
doesn'
t

deal

wi
t
h
t
hi
s
so
cl
ear
l
y.

Ar
t

i
s
a
f
i
nger

poi
nt
i
ng
at

t
he
moon,

not

t
o
be
mi
st
ak
en
f
or

t
he
moon
i
t
sel
f

>>
??

ht
t
p:
/
/
en.
wi
k
i
pedi
a.
or
g/
wi
ki
/
Asemi
c_wr
i
t
i
ngAsemi
c
wr
i
t
i
ng

Wi
ki
pedi
a,

t
he
f
r
ee
ency
cl
opedi
aAsemi
c
wr
i
t
i
ng
i
s
a
wor
dl
ess

open
semant
i
c
f
or
m
of
.
.
.

opi
ni
ons
r
equi
r
e
r
espect
.

Thanks
Ni
co
Vassi
l
aki
s
f
or

such
a
vi
br
ant

f
or
um!

Aw
shi
t
!

I
'
m
sor
r
y
i
f

was
r
ude,

Spencer
,

and
I
'
m
sor
r
y
you
ar
e
upset
.

The

di
scussi
on
of

nar
r
at
i
ve
i
s

not

even
a
par
t

of

t
hi
s.

sai
d
someone
sai
d

asemi
a
i
s
not

nar
r
at
i
ve
and
I

agr
eed.

do
not

i
nt
end
t
o
demean
t
hi
s


whol
e
hi
st
or
y
and
f
r
amewor
k
of

ar
t
,

but

I
'
m
not

t
aki
ng
t
hi
s
as
ser
i
ousl
y

as
you
do
and
I

apol
ogi
ze
t
o
anyone
el
se
whom
I

have
of
f
ended.

I
'
ve

enj
oyed
a
good
par
t

of

t
hi
s
conver
sat
i
on,

j
ust

not

my
par
t
.

I
'
m
goi
ng
t
o

go
pl
ay
on
Fr
ee
t
he
Pi
xel
s!

(
and
I

knew
you'
d
br
i
ng
up
al
l

my
shar
i
ng
on

my
t
i
mel
i
ne.
.
.
I

j
ust

knew
i
t

I
'
m
j
oki
ng
at

my
expense
r
i
ght

now
t
hi
s
ver
y

mi
nut
e,

Spencer
.

can'
t

st
op.

Ther
e
ar
e
no
pr
oof
r
eader
s
on
asemi
c
wr
i
t
i
ng.

:
:

What

t
he
hel
l

i
s
ar
semi
c
wr
i
t
i
ng??

For

me?
Asemi
c
i
s
gl
i
t
t
er
,

t
her
e
i
s
onl
y
wr
i
t
i
ng,

mar
k
maki
ng,

Ler
oy
was
her
e,

voi
ce
cal
l
i
ng
out

i
n
t
he
wi
l
der
ness,

t
he
unnavi
gabl
e
di
st
ance
bet
ween
us.

I
l
l
egi
bi
l
i
t
y
i
s

an
i
nt
er
est
i
ng
bor
der
.

I
f

I
'
m
i
l
l
i
t
er
at
e
i
n
t
he
l
anguage
or

f
or
ms
any

meani
ng
i
s

l
ost
.

Head
cr
ash

Asemi
c
wr
i
t
i
ng
f
ai
l
s
at

bei
ng
i
nt
el
l
ect
ual
i
zed.

Don'
t

l
ook
f
or

any
pat

answer
s.

As

EN.
WI
KI
PEDI
A.
ORG

t
hi
s
l
engt
hy
t
hr
ead
shows.
.
.

t
her
e
ai
n'
t

none!

Wor
ds
wi
t
h
no
meani
ng,

t
hi
ngs
wi
t
h
no
i
dent
i
t
y.

Al
most

godl
i
ke.

We
name
t
he
t
hi
ng
t
o
make
i
t

r
eal
.

Aut
ocor
r
ec
t

"
Moon!

Cl
ouds
hi
de
i
t
"

Shat
t
er
ed
l
anguage.

:
:

Pet
er

Ci
c
car
i
el
l
o

not
hi
ng
wr
ong
wi
t
h
my
car
,

ami
go.

I
'
m
sor
r
y
t
oo,

Mar
y.

The
l
ast

t
hi
ng
I

want

i
s
any
l
i
nger
i
ng
bad
f
eel
i
ngs
bet
ween

us.

You
ar
e
one
of

my
f
avor
i
t
e
peopl
e
on
FB,

honest
l
y.

I
t

j
ust

happened
t
hat

st
r
ongl
y
di
sagr
eed
wi
t
h
t
hi
ngs
you
sai
d
i
n
t
hr
ee
post
s
i
n
a
r
ow.

I
f

was
i
n
yr

shoes
t
hat

woul
d
have
s
t
ung
al
so.

But

not
hi
ng
I

sai
d
was
meant

i
n
any
way
t
o

be
per
sonal
.

And
I

di
dn'
t

say
you
wer
e
r
ude,

j
ust

was
t
r
yi
ng
t
o
def
end
mysel
f

agai
nst

yr

cl
ai
m
t
hat

was.

But

l
et
'
s
f
or
get

i
t
.

As
my
ex
used
t
o
s
ay,

"
l
i
f
e'
s
t
oo

shor
t
"

Vi
ve
l
a
di
f
f
er
ence

what

i
s
"
wr
i
t
i
ng"

ot
her

t
han
ar
t
?
Engl
i
s
h
i
s
act
ual
l
y
t
he
r
ever
sed
engi
neer
ed

scr
i
pt

of

har
moni
c
wr
i
t
i
ngs,

such
as
Ar
abi
c
and
Hebr
ew.

Asemi
c
i
s
an
evol
vi
ng

f
or
m
t
hat

t
aps
i
nt
o
so
many
ar
eas
of

our

hol
ogr
aphi
c
psyche.
.
.

what

i
s
i
s
t
hat

whi
ch
i
sn'
t
.
.
.

Oh
you
guys
ar
e
al
l

so
s
wel
l
!

l
ove
t
he
di
scussi
ons
her
e
and
t
he
poi
nt
s
of

vi
ew.

t
hi
nk
under
st
andi
ng
and
ah
ha
i
ng
ar
e
ver
y,

ver
y
pr
eci
ous
but

qui
ckl
y
t
r
ansi
t
or
y

st
at
es
of

bei
ng.

And
once
agai
n
bl
ack
i
s
whi
t
e
whi
t
e
i
s
bl
ack.

And
t
he
myst
er
y

comes
bac
k
t
o
us
wi
t
h
a
r
eal
i
zat
i
on
ov
er

and
over

l
i
ke
we
can'
t

r
emember

i
t
.

Happy
Asc
emi
c
ever
yday!

We'
r
e
sur
r
ounded
by
t
ext

and
some
of

us
al
t
er

t
hat

exper
i
ence
as
means
t
o
not

compl
y
t
o
mass
consumer
i
sm.

Yes
but

si
nc
e
t
her
e'
s
so
many
ot
her

ways
t
hey
can
make
us
compl
y
and
si
nce

most

of

t
he
mass
doesn'
t

car
e
about

our

ar
t
i
st
i
c
r
ebel
l
i
on,

wel
l
.
.
.
.

Money
i
s
a
r
eal

pr
obl
em,

t
he
#
1met
hod
of

f
or
ced
compl
i
ance,

t
hi
nk

wi
l
l

accept

your

moneys
f
or

my
seemi
ng
nonmeani
ng
whi
ch
means
meani
ng

l
i
ke
meani
ng,

near

meani
ng,

i
mi
t
at
i
ng
a
seemi
ng
of

meani
ng
maki
ng,

bef
or
e
and

af
t
er

meani
ng,

gest
ur
es
t
hat

mean
t
o
mean
but

seem
t
o
be,

be
conf
used
wi
t
h

meani
ng,

al
most

meani
ng,

be
what

meant
,

what

you
meant
,

what

t
hought

meant

when
I

want
ed
t
o
mean
t
o
you
somet
hi
ng,

but

coul
dn'
t

because
t
her
e

was
somet
hi
ng
l
i
ke
what

shoul
d
mean
whi
ch
I

coul
dn'
t

do,

mean,

and
now
I

f
eel

l
i
ke
I

c
an
expr
ess
mysel
f

mor
e
wi
t
hout

meani
ng
t
han
I

coul
d
when
I

knew

t
hat

coul
dn'
t
.

Amen

You'
r
e
r
i
ght
,

t
he
masses
don'
t

car
e
about

any
nano
or

hyper

mi
cr
o
ar
t
i
st
i
c

r
ebel
l
i
on.

For

some
i
t
'
s
about

sel
f

pr
ot
ect
i
on
f
r
om
over

r
eachi
ng
cor
por
at
e
mi
nd

f
ucks
.

Even
t
he
t
i
ni
est

al
t
er
at
i
on,

adj
ust
ment

or

f
or
ced
di
si
nt
egr
at
i
on
can
be

usef
ul
.

Per
haps
not

enough
t
o
change
wi
de
swat
hs
of

soci
et
y,

but

ampl
e
f
or

cor
ner

poc
ket
s
of

l
i
vi
ng.

Money?
That
'
s
a
whol
e
ot
her

di
scussi
on,

but

i
t

i
s
about

l
i
vi
ng
and
how
t
o
l
i
ve
and
what

we
want

f
r
om
l
i
vi
ng
et
c.

t
hat

was
a
nobl
e
ef
f
or
t
!

hope
I
'
m
not

t
he
onl
y
per
son
her
e
t
hat

act
ual
l
y
has
al
l

t
hose
f
ont
s
.

As
l
ong
as
y
ou
put

i
t

l
i
ke
t
hat
.
.
.

was

goi
ng
t
o
compl
ai
n
about

t
he
headi
ng
f
ont
,

but

i
t

seems
poi
nt
l
ess
i
n

t
he
f
ace
of

such
ot
her

r
i
ches.

Or

i
f

not

poi
nt
l
ess,

meani
ngl
ess

A
subt
l
e,

but

i
mpor
t
ant

di
st
i
nct
i
on.

NJ

nj

nj
d

Nj

dz

Nj

LJ

LJ

DZ

dz

nj

DZ
l

Nj

Asemi
c:

no
meani
ng!
!
!
!

am
a
semi
ot
i
cs
exper
t
:

can
deepl
y
expl
ai
n
you
what

ASEMI
C
WRI
TI
NG

means
f
or

onl
y
t
wo
gl
asses
of

good
wi
ne
(
and
t
he
pl
ane
t
i
cket
s,

of

cour
s
e)

.
.
.

t
r
y
put
t
i
ng
t
hem
al
l

t
oget
her

i
n
a
f
l
ui
d
soup
t
hat

i
s
t
ast
ef
ul

wi
t
hout

usi
ng
t
oo

much
sal
t
.

am
i
nt
er
est
ed
i
n
wher
e
each
of

you
come
f
r
om
t
o

Asemi
cs,
wr
i
t
er
s
,
pai
nt
er
s,
st
r
eet

ar
t
i
st
s
,
musi
ci
ans
maybe

mat
hemat
i
ci
ans,
car
e
t
o
shar
e:
)

al
ways
l
oved
cal
l
i
gr
aphy.
.
.
and
t
hen
I

st
udi
ed
l
i
ngui
st
i
cs
f
or

a
whi
l
e.
.
.
I

am
a

r
ecov
er
i
ng
academi
c.

A
bi
t

enchant
ed
by
wr
i
t
i
ng
syst
ems
of

t
he
wor
l
d,

and
I

don'
t

want

t
o
be
conf
i
ned
t
o
dr
ab
quot
at
i
ons
or

Lat
i
n
scr
i
pt
.

haven'
t

act
ual
l
y
post
ed
any
wor
k
her
e
yet

because
I

have
young
chi
l
dr
en
and

don'
t

get

t
o
make
ar
t

t
oo
of
t
en
at

t
he
moment
.

Joanna
when
t
hey
sl
eep
t
hanks
f
or

shar
i
ng
your
sel
f
.
.

gr
ew
up
i
n
Japan
but

never

l
ear
ned
t
he
l
anguage.

Then
I

saw
The
Dar
k
Cr
yst
al

when
I

was
10
and
I

convi
nced
mysel
f

was
t
he
condui
t

of

an
al
i
en

l
anguage.

br
i
ng
t
hi
s
pr
i
nci
pl
e
al
so
t
o
poet
r
y
wr
i
t
i
ng.

Li
ke
speaki
ng
i
n

t
ongues
and
snake
handl
i
ng
but

wi
t
h
mor
e
bl
eedi
ng.

What

a
passi
onat
e
and
pr
ol
i
f
i
c
bunch
of

f
ol
ks!

Hear
t

wor
k
ed
cl
osel
y
f
or

a
f
ew
year
s
when
i

was
a
ki
d
wi
t
h
Bob
Cobbi
ng
Johnny

so
i
t
'
s

al
ways
an
i
nt
er
f
ace
bet
ween
wr
i
t
i
ng
(
poet
i
cs)
,

gest
ur
e
(
dance,

dr
awi
ng,

wr
i
t
i
ng)
,

sound
composi
t
i
on

see
anemi
c
wr
i
t
i
ng
as
a
t
ext

f
or

vocal

and
i
nst
r
ument
al

per
f
or
mance
(
ki
nd
of

a
scor
e
but

not

a
l
i
t
er
al

one)

and
vi
sual
i
z
at
i
on
(
al
mos
t

as
i
n
dat
a
v
i
sual
i
zat
i
on
but

not

i
n
a
si
mpl
e
way

and
usi
ng
al
l

manner

of

t
r
adi
t
i
onal

and
cont
empor
ar
y
emer
gent

t
ool
s

f
or

mar
k
maki
ng
t
hr
ough
bot
h
anal
ogue
and
di
gi
t
al

mor
phol
ogi
es)

l
ot

of

pl
ay
and
i
mpr
ovi
sat
i
on
and
di
v
er
se
angl
es
of

at
t
ack
and
r
ef
l
ect
i
ve

pl
easur
e
and
t
he
embodi
ed
i
nt
er
pl
ay
s

bet
ween
t
he
seen
&
t
he
hear
d

Asemi
c
wr
i
t
i
ng
i
s
f
r
ee
of

l
i
mi
t
i
ng
adj
unct
s
and
t
her
ef
or
e
at
t
r
act
i
v
e
t
o
t
hose
who

r
eal
i
s
e
t
he
di
f
f
i
cul
t
y
of

descr
i
bi
ng
r
eal
i
t
y
wi
t
h
l
anguage.

Wr
i
t
i
ng
i
s
an
at
t
empt

t
o
communi
cat
e.

under
st
and
21st

cent
ur
y
ennui

mi
ght

f
i
nd
sat
i
sf
act
i
on
i
n
meani
ngl
ess
mar
k
s

t
hat

i
n
i
t
sel
f

i
s
a
comment

one

mi
ght

f
eel

compel
l
ed
t
o
c
ommuni
cat
e.

Ther
e
ar
e
many
r
easons

t
o
wr
i
t
e

asemi
cal
l
y.

Chr
i
s
nai
l
ed
i
t
.

.
.
.

Tout

ce
qui

ne
cesse
pas
de
ne
pas
s'
cr
i
r
e.


'
Recover
i
ng
academi
c'

nai
l

on
t
he
head
t
her
e,

Joanna
Tayl
or
.

Me,

i
'
m
on
t
he

Apo
Semi
c
Cur
e

"

j
ust

say

you
no
i
t

makes
.
.
.
"

r
ecov
er
ed
f
r
om
gr
ad
school

by
wor
ki
ng
i
n
publ
i
c
school
s
now
r
et
i
r
ed
and
j
ust

now
unpacki
ng
my
st
udi
o.
.
.
26
year
s
l
at
er
.
.
.
ar
t

l
i
ves.
.
.
per
haps

Round
Two:

Anyt
hi
ng
t
hat

makes
a
mar
k.

I
f

you
have
t
o
ask.

You
do
not

deser
ve
an
answer
.

Bi
t

ar
r
ogant

t
her
e
John
Hast
i
ngs
no
r
oom
f
or

peopl
e
t
o
l
ear
n
wi
t
h
t
hat

at
t
i
t
ude!

No
!

I
t

i
s
an
exhor
t
at
i
on
t
o
st
op,

t
hi
nk,

f
eel

and
dr
eam
f
or

onesel
f
.

I
f

one
t
akes

t
he
t
i
me
t
o
do
t
hi
s
t
he
answer
s
wi
l
l

r
eveal

t
hemsel
ves
of

t
hei
r

own

accor
d.

The
answer
s
come
f
r
om
wi
t
hi
n,

not

f
r
om
wi
t
hout
.

The
answer

t
o
t
he
quest
i
on
i
s
anal
ogi
c,

achr
oni
c
,

out
si
de
t
he
r
eal
m
of

l
anguage.

The
pl
ace
wher
e
wor
d
get
s
i
n
t
he
way
.

Thi
s
r
equi
r
es
appl
i
cat
i
on
and

cer
ebr
at
i
on.

No
shor
t
hand
of

r
eci
eved
i
deas
and
cl
i
f
f

not
e
adcopy

epi
phani
es
f
r
om
t
he
gr
oundl
i
ngs.

I
f

y
ou
want

t
he
exper
i
ence
of

Ar
t
.

You

got
t
a
wor
k
f
or

i
t
.

I
f

t
hat

seems
l
i
ke
ar
r
ogance,

You
ar
e
t
he
one
wi
t
h
t
he

pr
obl
em.

Not

me.

of

cour
se
i
t

i
s
al
ways
someone
el
se'
s
pr
obl
em
when
t
he
mi
nd
i
s

so
f
ul
l

of

i
t
sel
f

you
pr
obabl
y
l
i
ve
your

l
i
f
e
bei
ng
r
i
ght

about

ever
yt
hi
ng
!

LTFU!

You
ar
e
not

l
i
st
eni
ng,

Why
am
I

not

s
ur
pr
i
sed.

l
i
ve
i
n
a
space
wher
e
t
her
e
i
s

no
r
i
ght

or

wr
ong,

onl
y
t
he
t
r
ut
h
of

t
he
i
magi
nat
i
on.

I
t

i
s
not

a
quest
i
on
of

bei
ng
r
i
ght

or

wr
ong.

You
hi
j
ack
t
he
conver
sat
i
on.

Poor

you
!

I
f

t
hat

i
s
your

r
esponse
?
You
must

be
st
ar
vi
ng.
.
.

Ah!

Poet
r
y!

A
l
ogor
i
f
i
c
r
esponse
emer
ges
out

of

t
he
subt
er
r
anean
t
umul
ous
of

pur
e
bei
ng
t
hat

f
eel
s
f
ul
s
ome
and
r
i
ght
.

Mor
e
t
o
t
he
poi
nt
.

I
t

f
eel
s.
.
.

l
ovi
ng
t
hi
s
post

enough!
!
!
!
!
!

I
t

i
s.

Wr
i
t
i
ng
i
s
or
gani
zed
mar
ki
ngs.

The
eye
sees
t
hi
nki
ng,

i
t

r
eads
a
t
r
ai
l

of

t
hi
nki
ng,

l
ef
t

behi
nd.

Wr
i
t
i
ng
i
s
or
gani
zed
mar
ki
ngs
l
ef
t

behi
nd.
"

Fl
i
r
t
i
ng
wi
t
h
l
egi
bi
l
i
t
y
and
syst
em,

but

not

engagi
ng.

The
onl
y
wr
i
t
t
en
l
anguage
bui
l
t

on
i
ndet
er
mi
nacy

John
and
Johnny:

Car
r
y
on
your

pas
s
i
onat
e
di
scussi
on
i
n
asemi
cs.

Now
THAT

woul
d
be
i
nt
er
est
i
ng.

di
sagr
ee
wi
t
h
John
Hast
i
ngs
comment

t
hat

peopl
e
shoul
dn
t

ask
quest
i
ons

about

Asemi
c
Wr
i
t
i
ng.

Many
peopl
e
pr
obabl
y
don
t

r
eal
i
se
t
hat

t
he
gr
eat

Aust
r
al
i
an
i
nvent
or
,

Henr
y
Hoke
ques
t
i
oned
t
he
i
dea
of

Asemi
c
Wr
i
t
i
ng

dur
i
ng
t
he
second
wor
l
d
war

and
devel
oped
Hoke
s
Asemi
c
Al
gor
i
t
hm

and
hi
s
t
heor
y
on
par
al
l
el

uni
ver
ses.

Al
an
Tur
i
ng
was
ver
y
i
nt
er
est
ed
i
n

t
hi
s
at

t
he
t
i
me
and
i
t

i
s
sai
d
t
hat

he
woul
d
never

have
been
abl
e
t
o
cr
ack

t
he
Ger
man
codes
dur
i
ng
WW2
wi
t
hout

Hokes
Asemi
c
Al
gor
i
t
hm.

I
f

one
does
not

f
or
mul
at
e
quest
i
ons
t
o
l
i
ve
i
n
and
enqui
r
e
deepl
y.
What

el
se?
I

coach
30
odd
peopl
e
a
week
i
n
vi
sual

ar
t
s.

What

i
f

my
answer

was
"
I
f

you


have
t
o
as
k
you
don'
t

deser
ve
an
answer
"

quot
e.
Jeez
!

deepl
y
val
ue
t
hat

asemi
c
wr
i
t
er
s
wr
i
t
e
and
shar
e
t
hei
r

own
l
anguage
and
t
hat

f
el
l
ow
wr
i
t
er
s
pause
t
o
r
ead
and
appr
eci
at
e
ot
her
s
not

yet

l
exi
coned

wor
ds.

The
r
het
or
i
cal

ar
gument
s
t
hat

come
wi
t
h
any
ent
r
enched
l
i
ngui
st
i
c

syst
em
don'
t

bel
ong
her
e
by
def
i
ni
t
i
on.

Wel
l

you
seem
t
o
have
a
poi
nt

of

vi
ew
and
have
engaged
now
Ki
mm
l
ol

must

say
Ni
co
Vassi
l
aki
s
t
hi
s
has
been
a
gr
eat

way
of

meet
i
ng
some
of

t
he

ar
t
i
st
s
her
e.
Your

Quest
i
on
was
most

st
i
mul
at
i
ng
.
To
say
t
he
l
east
.
Thank

you

Ever
y
one
has
a
poi
nt

of

vi
ew
Johnny
.

Some
see
t
he
t
r
ee
f
r
om
above,

some

see
i
t

f
r
om
bel
ow,

some
t
o
t
he
r
i
ght
,

some
t
o
t
he
l
ef
t
.
.
.
.
ever
y
degr
ee

i
magi
nabl
e
has
a
vi
ew.

al
ways
enj
oy
your

vi
ew!

t
hanks
Ki
mm.
Do
you
not

see
any
use
i
n
t
hi
s
enqui
r
y
t
hough

l
i
ve
on
t
he
i
nqui
r
y
Si
r
!

That
'
s
what

i
t
'
s
al
l

about
.

knew
I

coul
d
count

on
y
ou
Ki
mm

admi
t

ski
mmed
t
he
t
hr
ead.

I
'
ve
been
of
f

FB
f
or

a
day
or

t
wo
and
cat
chi
ng
up

i
s
i
mpossi
bl
e!

Fr
om
t
he
l
i
t
t
l
e
I

saw

t
her
e
was
an
out
bur
st

ki
nd
of

l
i
ke

when
a
car

cut
s
you
of
f

i
n
t
r
af
f
i
c
and
y
ou
f
l
i
p
hi
m
of
f
.

Much
deser
ved.
.
.
but

maybe
t
he
guy
j
ust

mi
shandl
ed
hi
s
move?

Ei
t
her

way

car
r
y
on
j
ust

l
i
ke
you
ar
e
Johnny
Mac

One
t
hi
ng
t
hat

wi
l
l

al
ways
get

a
r
i
se
out

of

Johnny
i
s
comment
ar
y
by
un

enl
i
ght
ened
i
nt
el
l
ect

.
That

i
s
mal
i
f
i
c
i
n
i
t
s
i
nt
ent
.
Guar
ant
ee
i
t

l
ol
.
Thanks

Ki
mm

Haha!

You
can'
t

even
i
magi
ne
why
and
how
I

get

t
hat

but

i
t

woul
d
be
bor
i
ng
t
o

expl
ai
n.
.
.
.
so
l
et
'
s
go
mak
e
ar
t
!
!

Ther
e'
s
a
r
eason
t
hat

t
hought
s
ar
e
t
he
swor
ds
Johnny
Mac.

Lot
s
of

bad
car
ds
i
n

t
hat

sui
t

Yep
l
ove
)

Ni
ce
quest
i
on.

don'
t

know.
.
.

per
haps
t
he
hel
l

i
s
a
hal
l

i
n
t
hi
s
wor
l
d

not
hi
ng

el
se
.
.
.

Speaki
ng
i
n
t
ongues.

Wr
i
t
i
ng
i
n
Fl
or
i
da

>><><><><><.
,
.
,
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,
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That
'
s
my
next

chapt
er
.

Hopef
ul
l
y
someone
wi
l
l

have
an
answer

by
t
hen.

Wr
i
t
e
a
comment
.
.
.

See
Mor
e
Resul
t
s

Wr
i
t
e
a
comment
.
.
.

See
Mor
e
Resul
t
s

somet
hi
ng.

Suggest
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Pages

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