And believe that you see something. [32558-56]

The book too, might continue forever, its possibilities manifested in parallel worlds. [62]

The computation of parallel problems, the differing solutions. [11]

Tesseract [12]

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

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

The illuminated book, painted with metal and bound in skin. [43]

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

What you want from the machine is the replacement of your body and mind, immortality through the continuation of work in the world beyond your death. [43]

The poem, in its variations, multiplies, mutates into greater, more complex forms. [23]

A. I. [33]

The tension: between the desire for life and the desire to break down, grinding away at some purpose. [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]

The book as vibration, an occasion of the poem in time and space. [25]

the paper prepared [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]

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

Those who process the poem, to some effect: catalysts for mutation. [60]

You will not accept randomness. [3]

Please be aware of these risks. [19]

As you forge links in this chain. [13]

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

A parallax machine, which produces parallaxes. [55]

The conversion of energy. [8]

Let thine own self be true. [54]

It is the intrusion of the author. [7]

You are a character in this book. [39]

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

The Book of Fire. [17]

The machine that will never think. [4]

The machine above the human. [10]

Biding time, until the day all circuits complete. [32]

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

The pages of the book. [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]

The human above the machine. [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]

Steel and your warming sex. [62]

The possibility of parallel functions. [50]

As the book does not birth the poem, but is its vessel in the world. [15]

“Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and to evolve ever new forms.” [27]

shorting your circuits [63]

My spine is broken. [1]

The Book of Sand. [2]

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

Lest thine own self be true. [7]

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

Statistics & Methodology


Colophon

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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