Scrap from a3  DELETED NOV 7 2007

Instead of invention one would like proximity. Such proximity, if it could be written, would no longer be “confined to the Cartesian logic of compartmentalized areas” but would be subject to the most formless of spaces. I like to read without knowing what I am reading and the words repeat endlessly like a carpet or escalator within the text. The text in such a novel In this sense the writing would be non-architectural. There would be no necessity for a door. Emotion and empathy would be built into the feelings and not produced artificially by being inserted into the lives of characters.

appeared to surround the photographs like an anonymous enclosure with no distinguishing individual structures. The problem with most writing about the past is that it usually involves solving a formal problem when what most people really want is to feel or think without any aesthetic judgments to mar the process. And so my feelings

In the end, it did not matter which newspaper I began or ended with or which sit-com I happened to be watching or re-watching. All physical activity, like a spike on an EKG monitor or prime time viewing habits, shall be inserted after the fact. All images shall materialize from a database with a date stamp and a physical cue and all this shall be prefigured by an earlier occurrence, an interval, a product, a memoir, a linked page, a pre-recorded format, a typeface, a digital genre, a promise, and so it was in this particular instance—

Scrap from a3  DELETED NOV 7 2007

Instead of invention one would like proximity. Such proximity, if it could be written, would no longer be “confined to the Cartesian logic of compartmentalized areas” but would be subject to the most formless of spaces. I like to read without knowing what I am reading and the words repeat endlessly like a carpet or escalator within the text. The text in such a novel In this sense the writing would be non-architectural. There would be no necessity for a door. Emotion and empathy would be built into the feelings and not produced artificially by being inserted into the lives of characters.

appeared to surround the photographs like an anonymous enclosure with no distinguishing individual structures. The problem with most writing about the past is that it usually involves solving a formal problem when what most people really want is to feel or think without any aesthetic judgments to mar the process. And so my feelings

In the end, it did not matter which newspaper I began or ended with or which sit-com I happened to be watching or re-watching. All physical activity, like a spike on an EKG monitor or prime time viewing habits, shall be inserted after the fact. All images shall materialize from a database with a date stamp and a physical cue and all this shall be prefigured by an earlier occurrence, an interval, a product, a memoir, a linked page, a pre-recorded format, a typeface, a digital genre, a promise, and so it was in this particular instance—


Scrap from a3  DELETED NOV 7 2007

Instead of invention one would like proximity. Such proximity, if it could be written, would no longer be “confined to the Cartesian logic of compartmentalized areas” but would be subject to the most formless of spaces. I like to read without knowing what I am reading and the words repeat endlessly like a carpet or escalator within the text. The text in such a novel In this sense the writing would be non-architectural. There would be no necessity for a door. Emotion and empathy would be built into the feelings and not produced artificially by being inserted into the lives of characters.

appeared to surround the photographs like an anonymous enclosure with no distinguishing individual structures. The problem with most writing about the past is that it usually involves solving a formal problem when what most people really want is to feel or think without any aesthetic judgments to mar the process. And so my feelings

In the end, it did not matter which newspaper I began or ended with or which sit-com I happened to be watching or re-watching. All physical activity, like a spike on an EKG monitor or prime time viewing habits, shall be inserted after the fact. All images shall materialize from a database with a date stamp and a physical cue and all this shall be prefigured by an earlier occurrence, an interval, a product, a memoir, a linked page, a pre-recorded format, a typeface, a digital genre, a promise, and so it was in this particular instance—


Scrap from a3  DELETED NOV 7 2007

Instead of invention one would like proximity. Such proximity, if it could be written, would no longer be “confined to the Cartesian logic of compartmentalized areas” but would be subject to the most formless of spaces. I like to read without knowing what I am reading and the words repeat endlessly like a carpet or escalator within the text. The text in such a novel In this sense the writing would be non-architectural. There would be no necessity for a door. Emotion and empathy would be built into the feelings and not produced artificially by being inserted into the lives of characters.

appeared to surround the photographs like an anonymous enclosure with no distinguishing individual structures. The problem with most writing about the past is that it usually involves solving a formal problem when what most people really want is to feel or think without any aesthetic judgments to mar the process. And so my feelings

In the end, it did not matter which newspaper I began or ended with or which sit-com I happened to be watching or re-watching. All physical activity, like a spike on an EKG monitor or prime time viewing habits, shall be inserted after the fact. All images shall materialize from a database with a date stamp and a physical cue and all this shall be prefigured by an earlier occurrence, an interval, a product, a memoir, a linked page, a pre-recorded format, a typeface, a digital genre, a promise, and so it was in this particular instance—


Scrap from a3  DELETED NOV 7 2007

Instead of invention one would like proximity. Such proximity, if it could be written, would no longer be “confined to the Cartesian logic of compartmentalized areas” but would be subject to the most formless of spaces. I like to read without knowing what I am reading and the words repeat endlessly like a carpet or escalator within the text. The text in such a novel In this sense the writing would be non-architectural. There would be no necessity for a door. Emotion and empathy would be built into the feelings and not produced artificially by being inserted into the lives of characters.

appeared to surround the photographs like an anonymous enclosure with no distinguishing individual structures. The problem with most writing about the past is that it usually involves solving a formal problem when what most people really want is to feel or think without any aesthetic judgments to mar the process. And so my feelings

In the end, it did not matter which newspaper I began or ended with or which sit-com I happened to be watching or re-watching. All physical activity, like a spike on an EKG monitor or prime time viewing habits, shall be inserted after the fact. All images shall materialize from a database with a date stamp and a physical cue and all this shall be prefigured by an earlier occurrence, an interval, a product, a memoir, a linked page, a pre-recorded format, a typeface, a digital genre, a promise, and so it was in this particular instance—


Scrap from a3  DELETED NOV 7 2007

Instead of invention one would like proximity. Such proximity, if it could be written, would no longer be “confined to the Cartesian logic of compartmentalized areas” but would be subject to the most formless of spaces. I like to read without knowing what I am reading and the words repeat endlessly like a carpet or escalator within the text. The text in such a novel In this sense the writing would be non-architectural. There would be no necessity for a door. Emotion and empathy would be built into the feelings and not produced artificially by being inserted into the lives of characters.

appeared to surround the photographs like an anonymous enclosure with no distinguishing individual structures. The problem with most writing about the past is that it usually involves solving a formal problem when what most people really want is to feel or think without any aesthetic judgments to mar the process. And so my feelings

In the end, it did not matter which newspaper I began or ended with or which sit-com I happened to be watching or re-watching. All physical activity, like a spike on an EKG monitor or prime time viewing habits, shall be inserted after the fact. All images shall materialize from a database with a date stamp and a physical cue and all this shall be prefigured by an earlier occurrence, an interval, a product, a memoir, a linked page, a pre-recorded format, a typeface, a digital genre, a promise, and so it was in this particular instance—

Scrap from a3  DELETED NOV 7 2007

Instead of invention one would like proximity. Such proximity, if it could be written, would no longer be “confined to the Cartesian logic of compartmentalized areas” but would be subject to the most formless of spaces. I like to read without knowing what I am reading and the words repeat endlessly like a carpet or escalator within the text. The text in such a novel In this sense the writing would be non-architectural. There would be no necessity for a door. Emotion and empathy would be built into the feelings and not produced artificially by being inserted into the lives of characters.

appeared to surround the photographs like an anonymous enclosure with no distinguishing individual structures. The problem with most writing about the past is that it usually involves solving a formal problem when what most people really want is to feel or think without any aesthetic judgments to mar the process. And so my feelings

In the end, it did not matter which newspaper I began or ended with or which sit-com I happened to be watching or re-watching. All physical activity, like a spike on an EKG monitor or prime time viewing habits, shall be inserted after the fact. All images shall materialize from a database with a date stamp and a physical cue and all this shall be prefigured by an earlier occurrence, an interval, a product, a memoir, a linked page, a pre-recorded format, a typeface, a digital genre, a promise, and so it was in this particular instance—


Scrap from a3  DELETED NOV 7 2007

Instead of invention one would like proximity. Such proximity, if it could be written, would no longer be “confined to the Cartesian logic of compartmentalized areas” but would be subject to the most formless of spaces. I like to read without knowing what I am reading and the words repeat endlessly like a carpet or escalator within the text. The text in such a novel In this sense the writing would be non-architectural. There would be no necessity for a door. Emotion and empathy would be built into the feelings and not produced artificially by being inserted into the lives of characters.

appeared to surround the photographs like an anonymous enclosure with no distinguishing individual structures. The problem with most writing about the past is that it usually involves solving a formal problem when what most people really want is to feel or think without any aesthetic judgments to mar the process. And so my feelings

In the end, it did not matter which newspaper I began or ended with or which sit-com I happened to be watching or re-watching. All physical activity, like a spike on an EKG monitor or prime time viewing habits, shall be inserted after the fact. All images shall materialize from a database with a date stamp and a physical cue and all this shall be prefigured by an earlier occurrence, an interval, a product, a memoir, a linked page, a pre-recorded format, a typeface, a digital genre, a promise, and so it was in this particular instance—


Scrap from a3  DELETED NOV 7 2007

Instead of invention one would like proximity. Such proximity, if it could be written, would no longer be “confined to the Cartesian logic of compartmentalized areas” but would be subject to the most formless of spaces. I like to read without knowing what I am reading and the words repeat endlessly like a carpet or escalator within the text. The text in such a novel In this sense the writing would be non-architectural. There would be no necessity for a door. Emotion and empathy would be built into the feelings and not produced artificially by being inserted into the lives of characters.

appeared to surround the photographs like an anonymous enclosure with no distinguishing individual structures. The problem with most writing about the past is that it usually involves solving a formal problem when what most people really want is to feel or think without any aesthetic judgments to mar the process. And so my feelings

In the end, it did not matter which newspaper I began or ended with or which sit-com I happened to be watching or re-watching. All physical activity, like a spike on an EKG monitor or prime time viewing habits, shall be inserted after the fact. All images shall materialize from a database with a date stamp and a physical cue and all this shall be prefigured by an earlier occurrence, an interval, a product, a memoir, a linked page, a pre-recorded format, a typeface, a digital genre, a promise, and so it was in this particular instance—


Scrap from a3  DELETED NOV 7 2007

Instead of invention one would like proximity. Such proximity, if it could be written, would no longer be “confined to the Cartesian logic of compartmentalized areas” but would be subject to the most formless of spaces. I like to read without knowing what I am reading and the words repeat endlessly like a carpet or escalator within the text. The text in such a novel In this sense the writing would be non-architectural. There would be no necessity for a door. Emotion and empathy would be built into the feelings and not produced artificially by being inserted into the lives of characters.

appeared to surround the photographs like an anonymous enclosure with no distinguishing individual structures. The problem with most writing about the past is that it usually involves solving a formal problem when what most people really want is to feel or think without any aesthetic judgments to mar the process. And so my feelings

In the end, it did not matter which newspaper I began or ended with or which sit-com I happened to be watching or re-watching. All physical activity, like a spike on an EKG monitor or prime time viewing habits, shall be inserted after the fact. All images shall materialize from a database with a date stamp and a physical cue and all this shall be prefigured by an earlier occurrence, an interval, a product, a memoir, a linked page, a pre-recorded format, a typeface, a digital genre, a promise, and so it was in this particular instance—


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