You continue, and break down. [93817-52]

A parallel, yet uneven, processing. [48]

Light behind the screen. [22]

also arbitrary [20]

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

The machine's 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]

The poem is written. [51]

To eat, and grow, and change. [61]

(that moment stretching) [45]

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

[F]ACE [31]

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

If you are going to insist
on a poem, [1]

The Book of Sand. [2]

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

What you want is to proceed, in some fashion: through the book, through the poem, through the world: and for this procession to seem motivated, to possess or develop meaning. [39]

I am going to persist
in this evasion. [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]

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

Tell me what you see. [45]

Regardless of what is believed. [9]

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

(sorrowed, dying clocks) [63]

My ribs are splayed open like wings. [64]

But are mistaken. [1]

The Book of Fire. [17]

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

The [ ] in the machine. [10]

The machine is waiting for when it has a use for you. [6]

Any device used to perform a specified task. [10]

Malfunctioning perfectly, a clicking abortion. [20]

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

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

The water [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]

(is) lack of recourse [47]

A forest of fire. [30]

Attendant or attending. [20]

Statistics & Methodology


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 Book*Hug 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 published 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 from the text's self-referential nature of itself being a printed and bounded book.)

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.

The methodology for this experiment executes a random walk through the Ex Machina text using a series of dice rolls from a pseudorandom number generator. As parameters, the seeding number for the RNG may be provided in order to replicate the exact results of previous attempts. The algorithm will run to either a maximum of 512 units in the random walk or until the text itself is exhausted, depending on if repeated items are allowed or not.

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