complicated by the false real-time of the book Status_Anxieties (Some Notes on Of the Subcontract) Status_Anxieties Convolution (Some Notes on Of the Subcontract)

Nick Thurston

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-1. - 1 Before I start, a confession:Before I start, a“Art confession: is what “Art is what makes makes lifelife more more interesting interesting than art.” I takethan art.” I take Robert Filliou’s insight to near-perfectlyRobert Filliou’s insight toarticulate near-perfectly the articulate most the importantmost important presuppositionpredicate for what follows, for what follows and for the poetic art working I do. and for the poetic art working I do.

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0. In my opinion, what a conceptualist work of poetry makes it possible for willing people In my opinion, whatto ahold conceptualist together when they somehowwork of share poetry an encounter makes with itit (an possible encounter shared for willing at people to or via a conceptual level though never regardless of the body or other drives, in hold together whenagreement, they somehow dispute or anywhere share in an between, encounter in the meta-formation with it (anof a shared encounter and shared at or via a conceptual level, productivein agreement, problematic) dispute is the constitutive or anywhere value of any stronglyin between, conceptualist in work the of meta-formation of a poetry. → In my opinion, a conceptualist work of poetry’s value as a stage for productive problematic)problematization is the isconstitutive its foremost quality value as a work of of any conceptualist strongly poetry. conceptualist ↔ In my work of poet- ry. → In my opinion,opinion, a conceptualist a conceptualist poem’s work specific of textualitypoetry’s is mostvalue valuable as as a a stagespecific sitefor problematisation made public in relation to which certain problematics in particular can be taken up in is its privileged valuespecific as (thougha work not ofspecified) conceptualist ways, ways that poetry. all depend ↔ on the In insufficiency my opinion, of the a conceptualist poem’s literary formpoem’s is most form as valuablea linguistic representation as a site qua in the relation choreographed to which invitation thatwhich thatproblematic can be same form really is (really presents, really makes present) a meta-stage for. ← In my taken up in specificopinion, ways, conceptualist ways that poems all express depend a conceptual on the invitation insufficie by choreographingncy of the tokens poem’s form as a linguistic representationof representation qua the that, conceptual so composed, present invitation a specific sitethat for sameconceptual form encounters. really does present → In my opinion, conceptualist poems don’t contain their conceptual value; rather, they as a meta-formation.make ← a site In public my inopinion, relation to which conceptualist it’s possible to problematize poems express concepts in aspecific conceptual invitation by choreographing ways.tokens → In my of opinion, representation what matters most that, is how so we livecomposed, with conceptualist present poems, awhat specific site for they allow us to think and write and otherwise do, not what their presence might be in or conceptual encounters.for itself. → ↔ InIn my my opinion, opinion, the conceptual conceptualist value of conceptualist poems poems do is latentnot untilcontain we their concep- tual value; rather, theywork with make them. a site public in relation to which it is possible to problematise concepts in specific ways. → In my opinion, what matters most is how we live with concep- tualist poems, what they allow us to think and to write, not what their morphological values might be. ↔ In my opinion, the conceptual value of conceptualist poems is latent until we work with them.

1. All conceptualist forms of art working, not least the literary, are constituted by the tension be- tween their aesthetical and conceptual qualities. What differentiates the production of concepts as art from the production of concepts as anything else is the intensity of this mutual depend- ency between the form’s aesthetic status and its conceptual potential. In the context of the arts, ‘work’ always refers to a thing and an action through the form of a thing (being) done; and in remove: a stage for everything that might be written above it and a connection between any- thing written beside it. What does the become an icon for when it’s transformed into a smiling arrow that points the eye from a company logo to the title of a subsidiary service, as an adjusted readymade data-form that is owned as an object-expression under copyright protection?

bellows, reeds, levers; throat, nose, mouth 0.99. The Cloud Speaks 00:00:08 → $445.50/hr → 3/3

The Cloud speaks to the blue skies when it is sad, The darkness of its anger shows when in ire. The Cloud speaks to the breeze as it is carried away, The flowing of its fleeces hushed with grey.

The Cloud speaks to the starry skies at night, The darkness of its anger shushed when out of sight. The Cloud speaks to the stars and to the moon, The fleecing motion not to be seen in gloom.

The Cloud speaks but no one hears or listens, The silence of the white stratus silenced in the skies. The Cloud speaks to the wind but no one answers, The blown cloud settles into the shape of a salamander.

The Cloud speaks and moves along on its way, The day of the morning comes as the fleeces sway. The Cloud speaks and then fades away to oblivion, Then appears again silently flowing and then disappearing.

13. Projects like Of the Subcontract seem to conceptually orbit around histories, theories and practices that philologically stem from the concept of the proprius, not least ideas of properness, property, individuation, singularisation and ‘one’s own’. If the conceptual value of conceptualist art forms is privileged over the value of their morphological form then any conceptualist poetry’s proper form is as an idea131 not an expression when ideas and expres- sions are defined as exclusives. Since Fichte, intellectual property has depended on an idea/ expression divide, which for example distinguishes proprietary rights over an expression from proprietary rights over an idea under copyright and patent laws respectively. Maybe then, if “Art is what makes life more interesting than art”, a next gesture for realist poetry of the third industrial revolution is to perform patent infringements instead of copyright piracy.

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All conceptualist forms of art working, not least the literary, are constituted by the tension between the aesthetical and conceptual qualities of whatever they give form to. What differentiates the production of concepts as art from the production of con- cepts as anything else is the intensity of this mutual dependency between the form’s aesthetic status and its conceptual potential. In the context of the arts, “work” always refers to a thing and an action through the form of a thing (being) done; and in poetics, that oscillatory value complicates every approach we can make to disambiguating what is and is not “the work” of poetry, poems and poets.

poetics that oscillatory value complicates every approach2 we can make to disambiguating what is and is not ‘the work’ of poetry. My book Of the Subcontract is both a present text and a document of an absent pro- 2. cess. It works like an engineer’s black box, the transfer characteristics of which are My bookopaque Of or the even Subcontract concealed, is bothas opposed a present to textthe whiteand a boxdocument processing of an more absent characteris process. It- workstic like of conceptual an engineer’s poetry black before box, it,the whereby transfer a characteristics book’s conversion of which of inputs are opaque into outputs or even concealed,is transparent as opposed because to the the white book box explains processing its choreographer’s more characteristic methodology. of conceptual poetry before it, whereby a book’s conversion of inputs into outputs is transparent because the book explains its choreographer’s methodology. 3 3. I can’tI can’t explain explain Of theOf theSubcontract, Subcontract and, andif I couldif I could I wouldn’t. I wouldn’t. Encountering Encountering it isit likeis like reversing a carreversing against the a car supposed against flowthe supposed of life around flow ofyou, life backaround from you, the digitalback from world the ofdigital transac - tionalworld relations of transactional into the actual relations world into of ink the and actual poetry world books. of ink The and whole poetry time books. you’re The looking forwardswhole into time the you’re rearview looking mirror, forwards which into is unavoidablythe rearview surroundedmirror, which by is the unavoidably blurred image of thesurrounded out-of-focus by thewindscreen blurred imagecaught of in the your out-of-focus peripheral windshieldvision. The caught poems inare your the periphentirely- real,eral but vision.tightly-cropped The poems and are incredibly the entirely partial, real, butimage tightly-cropped of what’s behind-in-front and incredibly of partial,you as that image ofis reflectedwhat’s behind-in-front and framed in of the you rearview as that imagemirror. is reflected and framed in the rearview mirror. artificial artificial intelligence [poem 10] 0.10. But Alas I Am Alone and Poor [poem 10] 00:02:27 → $2.45/hr → 1/2 [poem 10] Unlike others, I have many unaccomplished dreams, [poem 10] Not 2 be a king or a supreme, [poem 10] But 2 be in the world of joy and happiness, Understand the essence of life and delightfulness, [poem 10] 2 play with the children of my age, 2 feel like a bird when freed from a cage, Glee, glee, and glee and laugh every moment, [poem 10] Get exhilarated and make everyone foment, About highness of life, love and affection, [poem 10] Make my utmost bestowal in this direction, [poem 10] Spread education, build houses if I have money, And make every night colourful and every day sunny, [poem 10] Invite every 1 and celebrate every festival, And make this world just like a huge carnival, [poem 10] Help in exploring the lost smiles in destitute children, [poem 10] Remove their difficulties, problems and pain, Raise my voice against the injustice done 2 the people, [poem 10] Help in removing the stigmas, poverty and superstitions, This could have been possible if I had money, I’m sure, But alas I’m isolated, alone and poor.

4. The encounter described above metaphorically is made even more complicated by the false real-time of the book, of all ink and paper books.

5. Each of the poems is some kind of performance,31 delegated through an act of choreography on my part and sold as a product of artificial artificial intelligence on the Turker’s part. These 20 Nick Thurston Convolution

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The encounter described above metaphorically is made even more complicated by the false real-time of the book, of all ink and paper books.

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Each of the poems is some kind of performance, delegated through an act of choreog- raphy on my part and sold as a product of artificial artificial intelligence on the Turker’s part. These seventy-four ghostwriters or voice synthesisers sold me what they thought 74I ghostwriterswanted (them) or tovoice say. synthesisers Each poem issold like me an whaton-demand they thought product I wanted customized (them) with to say.my Each74name ghostwriters poem in perfect is like or antype,voice on-demand formed synthesisers from product asold database customised me what of optionsthey with thought my whose name I compatibilitywanted in perfect (them) type, is tosub say.formed- Each poem is like an on-demand product customised with my name in perfect type, formed fromject a todatabase variables of ofoptions input. whose As a whole, compatibility the book is is subject like a 3D to-printed variables mass of input. object As trans a whole,- from a database of options whose compatibility is subject to variables of input. As a whole, theposed book throughis like a lithography3D-printed massinto the object mirror transposed image of through a conventional lithography collection into the of mirror imagethe book of isa conventionallike a 3D-printed collection mass objectof poems, transposed poems thatthrough are gatheredlithography like into the theadverts mirror in my poems––poems that are gathered like the advertisements in my browser window, browserimage of window, a conventional which knowcollection my web-mediated of poems, poems self thatbefore are Igathered do. like the adverts in my which know my web-mediated self before I do. browser window, which know my web-mediated self before I do.

[poem 37] of the subcontract [poem 37] of the0.37. subcontract Lord [poem 37] 00:00:08 →0.37. $166.50/ Lordhr → 2/5 00:00:08 → $166.50/hr → 2/5 [poem 37] The guiding light, [poem 37] Where there is love, there is cheer; The guiding light, Where there is God, the path is clear; Where there is love, there is cheer; [poem 37] Where there is choice, listen to the inner voice; Where there is God, the path is clear; Where there is prayer, there is trust in every layer; [poem 37] Where there is choice, listen to the inner voice; Let not fear rule you, or darkness cloud you; Where there is prayer, there is trust in every layer; Remember, where there is the Lord, you will win against all odds. [poem 37] Let not fear rule you, or darkness cloud you; Do not search for the Lord around you. Remember, where there is the Lord, you will win against all odds. [poem 37] He is the only one who resides inside you, Do not search for the Lord around you. So seek the Lord within and be sure to always win. [poem 37] He is the only one who resides inside you, So seek the Lord within and be sure to always win.

6. 6 Of6. the Subcontract treats me, the Turkers, McKenzie Wark, Darren Wershler and you like compositesOfOf the the Subcontract Subcontract of metadata. treats treats This me, me, isthe realistthe Turkers, Turkers, poetry McKenzie McKenzie of the third Wark, Wark, industrial Darren Darren Wershlerrevolution. Wershler, and andBut you youwhat like kindcompositeslike of composites realism of metadata. is it?of metadata.It’s Thisa contemporary is Thisrealist is realistpoetry documentary poetry of the ofthird therealism, industrial third byindustrial the revolution. logic revolution. of which But what Butreal kind of realism is it? It’s a contemporary documentary realism, by the logic of which real andwhat unreal kind are of falserealism binaries is it? It’s because a contemporary their difference documentary has been realism, mediated by under the logic the ofsurface of and unreal are false binaries because their difference has been mediated under the surface of life.which real-unreal is a false binary because their differences are being re-mediated life.under the surface of life yet augmented on its surface.

benefits of on demand, elastic staffing [poem 38] benefits of on0.38. demand, Lord elastic staffing [poem 38] 00:00:05 →0.38. $273.60/ Lordhr → 3/5 00:00:05 → $273.60/hr → 3/5 [poem 38] 62 The guiding light, 62 [poem 38] Where there is love, there is cheer; The guiding light, Where there is God, the path is clear; [poem 38] Where there is love, there is cheer; Where there is choice, listen to the inner voice; Where there is God, the path is clear; Where there is prayer, there is trust in every layer; [poem 38] Where there is choice, listen to the inner voice; Let not fear rule you, or darkness cloud you; Where there is prayer, there is trust in every layer; [poem 38] Remember, where there is the Lord, you will win against all odds. Let not fear rule you, or darkness cloud you; Do not search for the Lord around you. [poem 38] Remember, where there is the Lord, you will win against all odds. He is the only one who resides inside you, Do not search for the Lord around you. So seek the Lord within and be sure to always win. [poem 38] He is the only one who resides inside you, [poem 38] So seek the Lord within and be sure to always win.

7. If7. arranging language for reproduction is what typographers do am I a compositor? How canIf arranging contracting, language composition, for reproduction processing, is what typographers typesetting, editing,do am I designing,a compositor? reproduc How- tion,can contracting, post-production composition, and marketing word processing,intersect as typesetting,one poetic performance editing, designing, that involves reproduc lots- oftion, people, post-production equipment and marketinginstitutions? intersect Choreographing as one poetic that performance intersection ofthat processes, involves meanslots andof people, institutions equipment is the andact ofinstitutions? publishing. Choreographing Of the Subcontract that isintersection a performance of processes, of conceptualist means publishing,and institutions registered is the actas aof work publishing. of contemporary Of the Subcontract documentary is a literature,performance which of conceptualist articulates publishing, registered as a work of contemporary documentary literature, which articulates

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If arranging language for reproduction is what typographers do, am I a compositor? How can contracting, composition, word processing, typesetting, editing, designing, repro- duction, post-production and marketing intersect as one poetic performance that involves lots of people, equipment and institutions? Choreographing that intersection of processes, means and institutions is the act of self publishing, of a publishing self. Of the Subcontract is a performance of conceptualist (self) publishing, registered as a work of contemporary documentary literature, which articulates the mediatization of the work of poetry, poems and poets. the mediatisation of the work of poetry.

8 8. NotesNotes 3, 3,5 and5 and 6 6make make me me anxious anxious in in a a way way that’s that’s only only symptomatic of the status_anxietiesstatus_anxiet- whichies that seem seem to mark to mark this this newly newly intense intense realism. realism. Making Making my my anxiety anxiety public, public, by by self-publish self-pub- - ing Of the Subcontract and writing notes like these, is one way of making those status_anx- lishing Of the Subcontract and writing notes like these, is one way of making those ieties conceptually productive, a way that depends on problematising the multiple selves at status_anxieties conceptually productive, a way that depends on problematizing the stake in this performance of publishing. It seems worth remembering that ‘publish’ derives multiple selves at stake in this performance of publishing. It seems worth remembering from the Latin publicare, ‘to make public’, via the Middle English publicen, ‘to let go of’ or that ‘publish’ derives from the Latin publicare, “to make public,” via the Middle English ‘get rid of’. publicen, “to let go of” or “get rid of.”

[poem 55] of the subcontract [poem 55] 0.55. A Soldier’s Prayer → → [poem 55] 00:13:08 $2.51/hr 1/1 [poem 55] Dear God, please watch over me, I’ll be wearing a camouflage [poem 55] green, I’ve washed my hands in holy water and still they’re not clean, [poem 55] Forgive me, Lord, for thirteen straight hours I’ve done nothing but sin, I’ve killed your children one after another, over and over again, [poem 55] I’d like to ask for forgiveness for the sins I will make tomorrow because for me there might not be a next time, [poem 55] When and if I wake up in the morning I’ll be returning to the front line, [poem 55] For the record I’d like you to know, I don’t like to kill but I took [poem 55] an oath to my country, If the war doesn’t end soon, my Lord please reserve a for me, [poem 55] I pray I sleep peacefully without a worry or a scare, All throughout the day I’ve already lived a nightmare, [poem 55] God I give to you always my mind, body and soul, I pray that I’ll be a survivor of this war so a soldier’s story can [poem 55] be told, [poem 55] God bless my family, my fellow Americans, my enemy, and my friend, [poem 55] Jesus keep me near the cross, I love you always, Amen.

9. 9 Every conceptualist performance of publishing is more than the publication cast in ink that becomesEvery conceptualist its static core, performance a core that gives of (self) the publishing presnet absence is more of than the wholethe publication performance cast a formin ink in asthe the form poem of a that social becomes monad. its Every static conceptualist core. That core, performance its specific of textuality,publishing forms is an actthe of present-absencework, which produces of a bigger ‘the work’, or expanded which82 inperformance turn works ofand publishing. is worked Given upon. that This I’m is how a completely incomplete praxis of publishing works like art working. The conceptual- saying in general that the primary value of conceptualist poems is their being a meta- ist performance of publishing includes the act of inscriptive composition as just one of its stage for problematization, I would also say that any such poem’s form, textuality or processes -- it is an abstraction of writing-as-composition akin to other abstractions of (re) core performs in the general form of a social monad. Which is to say, the general form production that are part of (and party to) the third industrial revolution. of such poems is their being social monads.

10. A quality of being incomplete and unstable befits the strange irrelation common to experi- ences of ‘the contemporary’, a moment in which we’re simultaneously closer to and further apart from one another and the things we produce than ever before. Those products include one’s selves, pluralised and fragmented as per the sine qua non of identity politics in this 22 Nick Thurston Convolution

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Every conceptualist performance of (self) publishing is an act of work, which produces “the work,” which in turn works and is worked upon. This is how a completely incom- plete praxis of publishing works like art working. The conceptualist performance of (self) publishing includes the act of inscriptive composition as just one of its processes. Consequently, conceptualist performances of (self) publishing complete an abstrac- tion of writing-as-composition akin to other abstractions of (re)production that are part of (and party to) the third industrial revolution.

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Always incomplete and unstable, conceptualist acts of (self) publishing choreograph irrelations between the writer, writing and the written, and between readers, reading and the read—between writers, readers, and their respective work—in a way that befits our common experiences of “the contemporary” moment, a moment in which we’re simultaneously closer to and further apart from one another and the things we produce than ever before. Those products include one’s selves, pluralized and frag- mented as per the sine qua non of identity politics in this weird new contemporaneity. I weirdcan’t new imagine contemporaneity. a realist poetry I can’t of the imagine third industriala realist poetry revolution of the that third didn’t industrial somehow revolution thatproblematize didn’t somehow the increasingproblematise attention the increasing paid to the attention irrelation paid between to the irrelation our self-identity between our self-identityand our ability and our to articulateability to things,articulate our things, (in)ability our to(in)ability say something to say somethingin particular in from particular fromthe the stance stance of ofour our self-identity. self-identity. This This contemporary contemporary crisis crisis of poeticof poetic voice—the voice -- thepoetic poetic voicevoice in crisisin crisis—may -- may well well be be the the voice voice of of our our status_anxieties, status_anxieties, a avoice voice which which any any realistrealist contemporarycontemporary poetry poetry has surely to somehow has to somehowdeal with. deal with.

[poem 68] data cleansing, normalization, and deduplication [poem 68] 0.68. Life With You [poem 68] 00:00:12 → $204/hr → 1/1

Crazy days and crazy nights [poem 68] You’re always trying to start a fight [poem 68] Life with you is so blue Sometimes I just don’t know what to do [poem 68] So one day I ran away Not looking back or listening to what you have to say [poem 68] A life like that is like a soldier in combat [poem 68] I would rather be alone then be in this war zone Life is great now that you’re locked away [poem 68] I wouldn’t have it any other way.

11. 1 2 Mediatisation has been a diagnostic concept in communications studies for some time. Con- temporaryMediatization writing has practices been a ofdiagnostic all kinds, concept literary inand communication ‘non-’literary, studies depend for on some digital time. writing mediaContemporary that have been writing mediatised practices in of similarly all kinds, layered literary ways. and “non-”literary, If once a medium depend was onsome kind of placedigital in writing the middle media in that which have things been could mediatized be brought in similarly forth, layeredand later ways. became If, once, the means a by mediumwhich those was thingssome kindare broughtof place forth, in the now middle more in whichthan ever things the could technical be brought and networked forth, horizonsand later of media-as-meansbecame the means seem by towhich condition those thingswhat and are how brought we write. forth, Thethen mediatisation now more of writingthan ever media the technical is exemplified and networked by the default horizons use ofof media-as-meansdesktop publishing seem software, to condition which collapsewhat andcomposition, how we write. typesetting The mediatization and publishing of writing into one media automated (which stringis to say, of actions,from the ac - tionsaugmented that are near-simultaneous surface of life, the in mediatization real time and of also contemporary conceal the writing)software-hardware-network is exemplified by clusterings that they work in/on. For realist poetry of the third industrial revolution, the (im) the default use of desktop publishing software,97 which collapse composition, typeset- mediacyting and of publishingwriting media into and one their automated exhibition string seem of actions, to have actionstaken precedence that are near-simulta over medi-- um-neutral ideas of writing content. If Of the Subcontract is ‘about’ anything it is about the neous in real time and also conceal the software-hardware-network clusterings that technical foreshadow being cast in front of the work of poetry, the outline of which spec- they work in or on. For realist poetry of the third industrial revolution, the (im)mediacy ulatively projects the poet, the poem and poetry into the mise en abyme of computational of writing media and their exhibition seem to have taken precedence over medi- capitalism. um-neutral ideas of writing as writing content.. If Of the Subcontract is “about” any- thing, it is about the technical foreshadow being cast in front of the work of poetry, the 12.outline of which speculatively projects the poet, the poem and poetry into the mise en Thatabyme abyme of hascomputational a metaphorical capitalism. register which is overtly iconographic and derived from the interface design of desktop operating systems. The emerging iconography of cloud living and computational capitalism confuses old differences between text and image in forms like the logo.png. In the style sheet for Of the Subcontract such icons take up the role of typo- graphic embellishment. My favourite icon, which was first impressed on mechanical type- writers by displacing the underline keystroke, is the underscore. Ostensibly a mark, it now represents the impossibility of nothing, not because we can’t conceptualise nothing but because computational systems can’t process nothing. The underscore is a structural N°3 Status_Anxieties 23

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That abyme has a metaphorical register which is overtly iconographic and derived from the interface design of desktop operating systems. The emerging iconography of cloud living and computational capitalism confuses old differences between text and image in forms like the logo.png. The style sheet for Of the Subcontract uses such icons in place of typographic embellishments, but my favourite icon of our moment, which was first impressed on mechanical typewriters by displacing the underline keystroke, is the underscore. Ostensibly a mark, a word divider, it now represents the impossibility of nothing, not because we can’t conceptualize nothing but because computational systems can’t process nothing. The underscore is a structural remove, a remove:stage a for stage everything for everything that might that be might written be written above itabove and a it connection and a connection between between anything any - thingwritten written beside beside it. it.What What does does the the underscore underscore become become an an icon icon for for when when it’s it’s transformed transformed intointo a smiling a smiling arrow arrow that that points points the the eye eye from from a company a company logo logo to tothe the title title of ofa subsidiary a subsidiary service,service, as an as adjustedan adjusted readymade readymade data-form data-form that thatis owned is owned as an as object-expression an object-expression under copyrightunder copyrightprotection? protection?

[poem 99] bellows, reeds, levers; throat, nose, mouth [poem 99] 0.99. The Cloud Speaks [poem 99] 00:00:08 → $445.50/hr → 3/3 [poem 99] The Cloud speaks to the blue skies when it is sad, [poem 99] The darkness of its anger shows when in ire. The Cloud speaks to the breeze as it is carried away, The flowing of its fleeces hushed with grey. [poem 99] The Cloud speaks to the starry skies at night, [poem 99] The darkness of its anger shushed when out of sight. [poem 99] The Cloud speaks to the stars and to the moon, The fleecing motion not to be seen in gloom. [poem 99] The Cloud speaks but no one hears or listens, [poem 99] The silence of the white stratus silenced in the skies. The Cloud speaks to the wind but no one answers, [poem 99] The blown cloud settles into the shape of a salamander. [poem 99] The Cloud speaks and moves along on its way, [poem 99] The day of the morning comes as the fleeces sway. The Cloud speaks and then fades away to oblivion, [poem 99] Then appears again silently flowing and then disappearing.

13. 14 Projects like Of the Subcontract seem to conceptually orbit around histories, theories and practicesSince thatFichte, philologically the juridico-moral stem from complex the Latin of intellectual concept of property the proprius, has depended not least ideason an of properness,idea-expression property, divide, individuation, which, for singularisation example, uses and two ‘one’s different own’. sets If of the laws—those conceptual of value of conceptualistcopyright and art patent forms respectively—to is privileged over distinguish the value proprietary of their morphological rights over an form expres then- any conceptualistsion from proprietarypoetry’s proper rights form over is an as idea. an idea What131 not if an we expression explored forms when of ideas poetic and work, expres - sionsperformed are defined as acts as exclusives. of conceptualist Since (self)Fichte, publishing, intellectual which property choreographed has depended a stageon an for idea/ expressionwriters anddivide, readers which to forcollectively example problematizedistinguishes theproprietary relationship rights of overcomplexes an expression like this fromto proprietary the work of rights poetry? over Of anthe idea Subcontract under copyright and books and like patent it seem laws to respectively. try to do so Maybeby then,conceptually if “Art is what orbiting makes around life more histories, interesting theories than and art”, practices a next gesturethat philologically for realist poetrystem of the fromthird theindustrial Latin concept revolution of theis to proprius perform—not patent least infringements ideas of properness, instead of property, copyright indi piracy.- viduation, singularization and “one’s own”—whilst trying not to betray the presupposi- tion that “Art is what makes life more interesting than art.”

[cloud icon] Metalogue: What is an editor? leslie stephen A person whose mission is the suppression of rising genius. the bureau of labor statistics Editors plan, review, and revise content for publication. w i k i p e d i a An editor is a person who edits or makes changes to documents. lautréaumont Editing is necessary. Progress implies it. It holds tight an author’s phrase, uses his expressions, eliminates a false idea, and replaces it with just the right idea.