(is) Lack Of Recourse

Options exist to disguise the lack of options. [42]

Sewing sheet metal over your eyes. [63]

My spine is broken. [1]

The Book of Sand. [2]

The book that you read, seeking something. [60]

What you want from the world is for it to exist beyond your death, to provide context. [25]

the words [22]

also arbitrary [20]

What you feared, what you now long for. [30]

Attendant or attending. [20]

The machine that you beg to be God. [6]

Any device to which the word is applied. [27]

The water [49]

The living metal, the riven flesh. [35]

The cyborg as travesty. [40]

You continue, and break down. [27]

that you need to live [16]

They are broken and repaired. [13]

"[T]here is no a priori improbability in the descent of conscious (and more than conscious) machines from those which now exist, except that which is suggested by the apparent absence of anything like a reproductive system in the mechanical kingdom. This absence however is only apparent, as I shall presently show." [15]

"Physiologically, man in the normal use of technology [...] is perpetually modified by it and in turn finds ever new ways of modifying his technology." [34]

(is) lack of recourse [47]

A forest of fire. [30]

reproduces. [36]

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

Tesseract [12]

If the book is in your eye, you are also the book. [31]

An ethics in which the artist is perceived as enemy. [39]

I am going to persist
in this evasion. [13]

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

Those who process the poem, to some effect: catalysts for mutation. [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]

And believe that you see something. [47]

Options exist. [3]

Do not operate without. [14]

Amphimixis [46]

The impo(r)t(a/e)nce of interchangeable parts. [47]

Options within options. [59]

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

"god is our ceo" [24]

Ten words and three numbers. [14]

"inanimate things existed before living ones" [49]

If only I could fashion it. [45]

What you want is meaning, a difference between [I]ts presence and [I]ts absence. [24]

An inventory of imagined stock. [34]

(ii) knowing i, twinned, with opposing goals [44]

Tell me what you see. [45]

What you want is that, present or absent, [I]ts status is certain. [3]

Please be aware of these risks. [19]

The capacity to punish. [42]

Order as arbitrary. [47]

A castle of sand. [2]

The book for which they burn you. [35]

The cyborg as an overestimation of the importance the machines place in humanity. [11]

Tesseract [62]

The architecture of your memory. [40]

The poem continues: [28]

But in fact it is the garden that moves. [38]

Or, perhaps motion is an illusion, as in the case of the book that reads you at its leisure. [7]

What you forgot, that which now saves you. [16]

As you turn the pages,

paths cleave, encountering your immobile form. [28]

In the garden of forking paths, you appear always to move forward. [4]

Reconsider your position. [17]

The machine we believe will never think. [26]

"the machine is poetry" [50]

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

The machine that will never think. [4]

The human above the machine. [40]

The machine continues, and breaks down. [32]

The work of art in the age of mechanical reduction. [62]

The possibility of parallel functions. [50]

Clothing the Word in flesh, so that it might finally die. [63]

My ribs are splayed open like wings. [64]

You turn the page. [1]

The Book of Fire. [17]

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

The [ ] is the machine. [49]

If only I knew what you wanted. [29]

What you will never know. [48]

The cliché that you call your soul. [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.