precisely that…complete with all its parts perfect

The formal divisions of a proposition

Proculs writes: Every problem and every theorem, which is complete with all its parts perfect, purports to contain in itself all of the following elements: enunciation, setting-out, definition or specification, construction or machinery, proof, conclusion.

Readers will notice that most propositions conclude, “Therefore, etc., Q.E.D.”

Q.E.D. stands for the Latin quod erat demonstrandum, that which was to have been demonstrated…. However, the meaning of the Greek is slightly different: a better translation would be, “precisely what was required to be proved.”

Euclid. Euclid’s Elements. Thomas L. Heath, trans. Dana Densmore, ed. Santa Fe, New Mexico: Green Lion Press, 2010. xxiii-xxiv.

reading to become writing

… To be able to do something quick and then be incredibly slow; that we shouldn’t be all on the same timeline churning out products. I would argue for scenarios that allow for reading to become writing or listening to become talking or looking to become making and for scenarios where there are multi-temporal approaches to engage with the social and what rhythm you want to give to those exchanges. These are the things I find most enjoyable about dealing with art.

Korman, Sam. “BOMBLOG: BOMB GLOBAL: Jan Verwoert by Sam Korman.” BOMB Magazine: Home Page. N.p., 14 May 2012. Web. 23 May 2012. .

are similarly at your own disposal

I also remember once during a conversation with Vito Acconci, I asked him about interdisciplinarity in the early ‘70s. And he said that it wasn’t that big of an ideological agenda, it just was a result of poets like him hanging out with visual artists and dancers and choreographers. When you suddenly realize that the tools that the others are using are similarly at your own disposal. So, I would also agree that some of these grass roots are examples of good models, at the same time, when you look at some of these crucial moments in recent art history, you could make a case that very often it was because different people not just started talking to each other, but started listening to each other. I would suggest that as an exemplary scenario for reading becoming writing or listening becoming speaking. I also believe that somehow the conditions of time are crucial.

Korman, Sam. “BOMBLOG: BOMB GLOBAL: Jan Verwoert by Sam Korman.” BOMB Magazine: Home Page. N.p., 14 May 2012. Web. 23 May 2012. .

in my own (little) way I am always aware

As to the poet/artist dichotomy question, I think of myself as being both, and I imagine that my “artist’s books” are really more like books than most publications which fall within that genre. In my own (little) way I am always aware of literature, and it seems to me that artists like Jenny Holzer (for example) would be much better if they were more aware of the literary tradition of the short sentence, text, or whatever; they are clearly ignorant of the aphorism and its related forms. I have to say that I am very modest about my own capacities, but with that reservation, I do think that I have a certain awareness of both art and literature as traditions, whereas people do tend to be aware of one or the other.

Finlay, Ian Hamilton. The Present Order: Writings on the work of Ian Hamilton Finlay. Murray, Caitlin and Tim Johnson, eds. Marfa, Texas: Marfa Book Company, 2010. 65.

to see imaginary forms and figures

Therefore, and in a certain measure, philosophers are painters; poets are painters and philosophers; painters are philosophers and poets. He who is not a poet and a painter is no philosopher. We say rightly that to understand is to see imaginary forms and figures; and understanding is fancy, at least it is not deprived of fancy. He is no painter who is not in some degree a poet and thinker, and there can be no poet without a certain measure of thought and representation.

Giordano Bruno

Frith, Isabel, Life of Giordano Bruno the Nolan, ed. Prof Mauriz Carriere. Boston: Ticknor, 1887), 16.

Higgins, Dick. Horizons, The Poetics and Theory of the Intermedia. Carbondale, Illinois: Southern Illinois University Press, 1984. 31. with the footnote, “What Ms. Frith has done is to assemble a montage here of the passages from [Giordano Bruno, Jordani Bruni Nolani Opere Latine Conscripta, 3 vols. in 8 pts. 1891: Bad Cannstatt b. Stuttgart, Friedrich Frommann Verlag, 1962) vol. 1, pt. 3, 87-318, esp. 197-99.

changed through his reading eyes

Once upon a time there was a reader.

He read everything: world-literature, art works, music, sound, the weather, pictures on the newspaper, the television, real estate ads, his own mirror image, the publicity posters for the circus, and so on. Of course, there were also writers who produced world-literature and artists who made monumental art works, composers who created symphonies lasting an evening, or an opera-trilogy lasting a week. …

But the reader preferred to read.

As he himself claimed, he read to transform his life and used his life as reading matter.

He who reads, he thought, is between himself and that which is read. There isn’t only air there, but an expanse of land where not the inviible, but the visible is the mystery.

He collected fragments of what he read and invented conjuring-tricks with them, so that you seemed to be seeing things which weren’t intended. …

What he read changed through his reading eyes.

Van Weelden, Dirk. “A Different Kind of Never-Never-Land.” F.R. David. 3 (2008): 21.

*The text was originally commissioned by de Appel in 1991 to accompany a solo exhibition of work by Allen Ruppersberg.

to anyone who seeks it with sincere desire and true need

One finds here, very rarely in the low lying areas, more frequently as one goes farther up, a clear and extremely hard stone that is spherical and varies in size—a kind of crystal, but a curved crystal, something extraordinary and unknown on the rest of the planet. Among the French of Port-des-Singes, it is called peradam. Ivan Lapse remains puzzled by the formation and root meaning of this word. It may mean, according to him, “harder than diamond,” and it is; or “father of the diamond,” and they say that the diamond is in fact the product of the degeneration of the peradam by a sort of quartering of the circle or, more precisely, cubing of the sphere. Or again, the word may mean “Adam’s stone,” having some secret and profound connection to the original nature of man. The clarity of this stone is so great and its index of refraction so close to that of air that, despite the crystal’s great density, the unaccustomed eye hardly perceives it. But to anyone who seeks it with sincere desire and true need, it reveals itself by its sudden sparkle, like that of dewdrops. The peradam is the only substance, the only material object whose value is recognized by the guides of Mount Analogue. Therefore, it is the standard of all currency, as gold is for us.

Daumal, René. Mount Analogue: A Tale of Non-Euclidian and Symbolically Authentic Mountaineering Adventures. Woodstock, NY: Overlook Press, 2004. 81–83.

in gratitude to Carl Diehl for the tip

the manipulation of the raw materials of each art

One bond linking poets like Khlebnikov and Kruchenykh (who had studied art in Odessa and Moscow) with artists was their concern with faktura, the manipulation of the raw materials of each art (words, paint, colour, texture, collage, the elements used for constructions) as an inventive and craft-like process delivering not only surface qualities but also meaning. Painting, in post-impressionism and symbolism, had liberated itself from its inherited commitment to imitating the visible world or adapting aspects of it to convey vision on its terms. Soon in painting and sculpture subject-matter would no longer provide even the first immediate sign of meaning.

Lynton, Norbert. Tatlin’s Tower: Monument to Revolution. New Haven:
Yale University Press, 2009. 119.

ideas depend on themselves

built up something by having disturbed something: destruction becomes construction. Action interrupts contemplation, as the means of accepting something among many given alternatives, for accepting nothing becomes chaos. A system became necessary: how else could I in a concentrated way find something of interest which lends itself to continuation? My systems are numerical concepts, which work in terms of progressions and/or reductions akin to musical themes with variations. In my work I try to expand and contract as far as possible between limits known and unknown. Generally, I couldn’t talk about limits I know. I only can say at times I feel closer to them, particularly while doing or after having done some conceptual series…. The most simple means for setting down my ideas and conceptions, numbers and words, are paper and pencil. I like the least pretentious and most humble means, for my ideas depend on themselves and not upon material; it is the very nature of ideas to be non-materialistic. Many variations exist in my work. There is consistent flexibility and changeability, evidencing the relentless flux of events.

Hanne Darboven as quoted in “Artists on Their Art,” Art International 12, no.4 (20 April 1968): 55.


Buy a dictionary. Cross out the words to be crossed out. Sign: Revised and corrected.

Duchamp, Marcel. “Some texts from A L’Infinitif (1912-1920),” Aspen no. 5+6. New York: Roaring Fork Press, 1967. < >