If Only I Could Fashion It.

What you want is [I]ts absence. [21]

[EFF]ACE [19]

The psychology of damage. [14]

Amphimixis [46]

Shameful. [3]

Please be aware of these risks. [19]

As you forge links in this chain. [13]

"The entire current 'psychological' situation is characterized by this short-circuit." [14]

Cathexis [45]

Regardless of what is believed. [9]

A consuming fire. [29]

What you will never know. [48]

Stained glass. [24]

An inventory of imagined stock. [34]

(is) lack of recourse [47]

Options within options. [59]

An infinity of strings, harps without angels. [9]

I am not responsible. I am not responsible. I am not responsible. I am not responsible. [61]

A brief moment when all seems possible. [47]

A castle of sand. [2]

The book that you write, to discover. [52]

A parallel, yet uneven, processing. [48]

The cliché that you call your soul. [63]

My spine is broken. [1]

The Book of Sand. [2]

The book the bacteria write in your bones. [8]

Let thine own self be true. [54]

A miraculous event. [43]

As the book reads you, its discrete parts connect, linking to produce some variant poem. [60]

What you want from the book is for it to describe, in the physical fact of its pages, or the conceptual framework of its digital code, a world in which there is order, movement along familiar axes. [55]

Breaking the bounds of one universe, recoiling from its physics, to shunt the things of this world into another. [59]

The fugue of All. Its unyielding tone. [64]

But are mistaken. [1]

The Book of Glass. [21]

[F]ACE [31]

An aesthetics in which the audience is perceived as enemy. [4]

The human and the machine as symbiotic, cyborg. [35]

The cyborg as fiction, not science. [13]

"Neither the book nor the sand has any beginning or end." [57]

Those who process the poem, efficiently, but without effect. [54]

It is not just a game. [42]

Sewing sheet metal over your eyes. [63]

My ribs are splayed open like wings. [64]

You turn the page. [1]

The Book of Fire. [17]

The machine we believe will never think. [26]

"the machine is poetry" [50]

The poem is not written by machines. [36]

(while in secret new machines produce new needs) [11]

Tesseract [12]

An apparent change in the direction of the poem, caused by a change in the observational position of the reader. [51]

The poem is not written by the author. [52]

Minds more powerful than rooms of computers. [62]

The architecture of your memory. [40]

You continue, and break down. [27]

The water [49]

The living metal, the riven flesh. [35]

The cyborg as perfection. [62]

The possibility of parallel functions. [50]

It is the root, the cause of machines. [17]

The machine that, thinking, chooses suicide. [37]

The [ ] is the machine. [49]

If only I knew what you wanted. [29]

What you know does not matter, even if you knew. [45]

What you want is [I]ts presence. [44]

Symbols, inked on paper, and what you read in the ink is your reflection. [63]


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This online application automatically generates rule-abiding nonlinear readings of Ex Machina, as originally written by Jonathan Ball, whose first print edition was published by BookThug in 02009.

This literary stress-test assists in performing a qualitative analysis under the following hypothesis: nonlinear constructions of Ex Machina are semantically and poetically inferior to the first linear construction. The methodology is adjustable due to lack of instruction in the original text, but the current simulation available is limited due to media porting instability. (In this case, a textuality deficiency with regards to physical media.)

The equivalent null-hypothesis would therefore state that rule-abiding nonlinear structures would make an equal or greater amount of sense as a linear reading of the original manuscript.