The artifacts I create are unusual in the sense that they are ‘transpsygenic’. Explaining what this means isn’t simple, but it’s a bit like a puzzle. All of culture is transpygenic to some degree, language especially, but in ways that trap us in the overlays that are produced by these activities and ‘traditions’. There are other modes of transpsygenesis… that lead not into the overlays or their produce… but into the orders from where those derive. And those orders are, themselves, intelligent. I produce puzzles that … under the right circumstances ‘point at’ or ‘lead toward’ these other orders from whence our real or possible intelligence derive.

Because we should be living (with our minds) up there. Not down here.

Most of the people will see the surface structure of the puzzle (often a negative structure), and decide if they like it or not, if they understand it or not, and so on. 85% of viewers probably fall into this category. They will react with liking, argument, criticism, and so on.

10% however, will realize that there is something peculiar about the structure of these little blocks of text. Something… that they suggest without … advertising. A kind of ‘hidden opposite’ of the negative surface structure. These people will begin to try to simulate the position from where the puzzle was seen and formed. They will begin to develop an active, second-order, authorial relationship with the artifact. The value they receive will be directly proportional to the creative attention and concern with which they relate with the idea, the schema, the perspective, specific language choices, and so on. For these people, the artifact is only secondarily interesting… and it doesn’t matter at all who wrote it, whether they agree with, or not. They will use it as a vector of novelty and produce something otherwise nearly impossible to obtain: intelligence.

The remaining 5% will simply contact me. They can produce these too. In one domain or another. And they are usually surprised to discover that there is anyone else on Earth who has the slightest idea what is going on and can do this. Much like I am when they show up. If they show up.

I write for everyone, and for myself. But my art is oriented toward intriguing the 85% so that a few of them migrate to the 10%, and work with those so that they will either — of their own initiative or with others — find their way to the 5%. The ironic thing is that I am doing this with the 85% of myself, while I am doing this. For the 10%, and, in hope of getting to the 5. In more and new ways each time I come to the page (yet is is not precisely me that comes to the page).

And we shall go beyond.