The cyborg as an overestimation of the importance the machines place in humanity. [4407-60]

You will not accept randomness. [3]

Acknowledge the potential for failure. [18]

Concurrent Read Concurrent Write [11]

Tesseract [18]

Exclusive Read Exclusive Write [1]

The Book of Glass. [21]

[EFF]ACE [19]

The capacity to punish. [42]

Order as arbitrary. [47]

A castle of sand. [2]

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

What you want from your poetry is for it to describe a world in which there is security, if only the security of its end. [56]

What you hold here aspires towards zero, a point on a shivering, looped line. [63]

My spine is broken. [1]

The Book of Sand. [2]

The book for which they burn you. [35]

The cyborg as science, not fiction. [27]

The water [49]

If only I knew what you wanted. [29]

What you will never know. [48]

Stained glass. [24]

Ten words and three numbers. [14]

Apomixis [23]

A. I. [33]

The friction: working, the machine breaks down. [20]

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

Attendant or attending. [20]

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

Something torn apart, into separate parts. [5]

Read the instruction and decode it. [13]

The illusion of cause and effect: from above, a line; from beyond, a collapsed point. [12]

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

Like a virus moving inside your skull. [45]

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

Do not operate without. [14]

Amphimixis [46]

[ ]. [44]

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

My ribs are splayed open like wings. [64]

And believe that you see something. [47]

Options within options. [59]

Parallel vibrations, in dissimilar universes. [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 Fire. [17]

The machine we believe will never think. [26]

“the machine is poetry” [50]

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

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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