Walker Art Center

Huang Yong Ping
    Excerpt from “Paintings Made Following a Procedure (Determined by Me) and Yet Unrelated to Me (Nonexpressive)” (1985)

    I made a roulette wheel equipped with bearings and divided it into eight fan-shaped sections.

    I then drew eight sections on a canvas that potentially corresponded to those on the roulette wheel.

    I numbered every pigment available in the studio: green (coating paint): 1; emerald green (mixture of colored powder and resin): 2; sienna (mixture of colored powder and resin): 3; green (ink): 4; red (mixture of colored powder and resin): 5; black (mixture of colored powder and resin): 6; red (mixture of colored powder and resin): 7; medium yellow (mixture of colored powder and resin): 8; black (ink): 9; ultramarine (mixture of colored powder and resin): 10; fire engine red (ink): 11; light yellow (coating paint): 12; black (nitrocellulose lacquer): 13; blue (oil paint): 14; white (oil paint): 15; yellow (ink): 16; red (acrylic paint): 17; used brush cleaner: 18; used brush cleaner: 19; dark blue (acrylic paint): 20; red ocher (ink): 21; orange-yellow (acrylic paint): 22; white (ink): 23; white (coating paint): 24; white (mixture of colored powder and resin): 25.

    The numbers of these pigments were all assigned in a random way.

    Then I made twenty-five dice, each with a number that corresponded to a pigment: (pigment 1)—(die 1)

    I used the roulette wheel to decide how to develop the composition on the canvas.

    And I chose the numbered pigment by tossing dice.

    In all, I turned the roulette wheel sixty-four times to complete the composition and thus resolved the problem of when to stop working on a painting (that is, to finish). The number sixty-four was decided entirely by me; there was nothing absolute about it.

    Using this random method to solve the problem of choosing colors, developing the composition, and determining the final look of a work of art allowed me to deal exclusively with numbers, which are nonvisual and nonaesthetic, and thus enabled me to get away from the deliberate (or nondeliberate) control of the laws of form. In other words, it was possible to get away from personal preferences for certain colors and compositions, to regard all pigments as being one and the same—regardless of the different colors, warm or cold, oil or water-based—and to consider all compositions as good, that is, to make no distinction between good and bad compositions. Both color and composition thus lost their meaning.

    Chance led me to the following orders:
    9—13—18—20: X
    black (ink)—black (nitrocellulose lacquer)—used brush cleaner—green (acrylic paint): Y

    When I thought about X, I didn’t see any contradictions in the order of these numbers, nor did I ever think about whether it was good or bad or have any preferences.

    When I thought about Y, however, I started wondering whether it was really necessary to put black on top of black; whether it would be difficult to add a water-based paint on top of an oil-based one; whether an oil-based nitrocellulose paint being smeared onto normal ink would cause cracking, blistering, and peeling of the paint; or whether it was not going to be unsightly to paint the green color onto the dirty used brush cleaner.

    Thinking about Y resulted in a painting process full of psychological obstacles; in contrast, thinking about X allowed me to use a particular red without considering it as that particular red and to paint without seeing it as painting.

    The numbers randomly appointed by the roulette wheel when it stopped spinning would dictate the potential composition of the canvas. They also led me to overlap coats of paint in the bottom right section of the canvas:
    1—2—3—4: order of spinning
    8—8—8—7: numbers on the roulette wheel
    8—8—8—7: corresponding numbers on the canvas

    As the embodiment of the laws of form, the composition completely loses its harmony, variation, void, and unity. The aesthetic consciousness a person normally has when working on a painting is reduced to such a great extent that painting is now considered a natural thing to be carried out.

    Excerpt from “An Essay on Art Starting from Emptiness” (1987)

    Is it possible for a person to take photos he himself won’t like looking at? In other words, how can you gauge, or prove, that this is really something you like? Perhaps what you believe you don’t like is in reality what you want to see the most. Lying is possible; all genuine attitudes are demonstrated in the form of lies or overtly claimed as being false—I exhibit things I don’t like.

    Whatever I am writing here is pure chance; therefore, art is a matter of chance. A work of art is something that happens by chance. Rather than saying that a work of art is trying to communicate, it would be better to say that it is afraid of communication; that’s right, when it’s not communication, it is definitely not communication. If a work of art ever has an intention behind it, it must be that it wants and doesn’t want, it doesn’t want and wants, it wants to have an intention but in the end has no intention at all.

    The fact that I exhibit a work of art I dislike has nothing much to do with the public. Therefore, we must oppose all kinds of forms: that of Buddhism, of book shops, of hairdressing salons, of exhibitions, of gallery shows, and so on—that is, all forms that can straightforwardly be given a name. You need only go out onto the street and take a look around. To destroy form, you must first break the necessary bond between the name and the thing the name refers to. The fact that a person instantly says “cup” when he sees a cup proves how stereotyped the form of a cup has become, just like Buddhists we see who always go around in big groups. If you are not immediately able to come up with the term cup when you see one, because the object you see doesn’t look at all like a cup, then this cup has rid itself of its form. Anything capable of escaping from its form is worthy of celebration. The fact that man lives in this world is something worthy of celebration, because it is extraordinary to have the form of a human body, which appears to be breaking away from a form, although it ultimately falls back into a form.

    There are no trees, flowers, or grass here, so we cannot think right; thinking right relies entirely on getting away from being haunted by form and meaning, in the same way that the existence of independent events in nature doesn’t rely on the probability of number. You shouldn’t take reading an essay of this kind too seriously, and yet you cannot be frivolous about it either. If you don’t feel like reading it, or are incapable of understanding it even after trying hard to read it, just skim through it and ignore it. Chance means that things are independent from one another; the sun’s existence is an independent thing, whereas language is not. In language there are appearances and therefore also disappearances; in the wake of disappearance there must then be appearance. The nonnecessity of independent things often results in an unnatural separation between man’s brain and his eyes, because it is also the art of man that enables the brain and eyes to be combined together. We point to an apple and teach children to say “apple.” Eyes make language learning become possible; it is impossible for man’s brain to think in one way while his eyes see in another way. I do something I dislike; in other words, what I do is not mine. If something I have created isn’t independent of me, it cannot be called a “creation.” Thus, a creation of mine is something independent of me, but so are other people’s creations; therefore, other people’s creations are my creations. This kind of syllogism cannot “stand up,” but then why can we not “lie down”? When a person calls his creation “his,” it is no longer his creation. Anything independent of me is my creation. Whatever you write is wrong, because a person must make things as if they were being made by somebody else; a person cannot at the same time be independent of the things he makes. One person and another person are both independent facts, however, and drawing lots and casting dice produce the chance of independent things; in the same way, a blind man and a person with his eyes covered also produce this kind of chance. This is why the world is so close to me, so as to produce the necessary logic of interrelationship. Why do eyes make people confused, rather than help them understand? Consequently, the question of taking photos of something that the photographer himself dislikes is meaningless. Yet we must persist in doing meaningless things, just as the eyes and the brain are the “buyer” and the “seller” at the same time. It is possible for a person to sell something back to himself that belonged to him in the first place. It is impossible for the eyes to deceive the brain, however, just as it is impossible for the brain to refuse to believe the eyes. The world for other people is bigger than it is for me. Writing meaningfully or, even more so, writing one thousand words in one go is difficult, especially if you also want them to be grammatically correct. It is easy to write ten thousand words meaninglessly, however, as long as there are people who are willing to read them. The meaningless world is much bigger than the meaningful world—this is as much nonsense as saying that other people’s worlds are bigger than mine. When other people change my intention, they make it impure but at the same time also expand it. If reasoning means dialectical logic, then it has no reason. All independent things are impure for me and have no reason. Creation or the concept of creation must constantly be “dried up.” When it’s not about creating something or anything about creation, creation will become something that belongs to others instead of to me. This concept will then be lost or be mixed up with irrelevant things.

    In this essay it’s difficult to recognize what is written by me and what has been taken from other people’s books. Apparently, I oppose having my own thoughts, because my so-called self is in reality a kind of “other.” I no longer care about whether I have independent opinions; whether I successfully plagiarize, without leaving any trace; whether I clearly express my ideas; or whether I agree with the ideas I mentioned earlier in this essay.

    The sixty-four entries on the small disk of the big roulette wheel:
    1. make a typewriter
    2. reduce according to the rules of perspective
    3. heat a coin by placing it inside a book
    4. falling water drops
    5. apply projective geometry to a cube
    6. page 86
    7. restore the surface level
    8. translate from one language to another
    9. by quiet brown appear self
    10. encounter
    11. I enough am setting out
    12. concerning the directions of a signposted road
    13. confusion between the front and the back
    14. wallpaper
    15. art banner
    16. sulfate
    17. fat is not a good heat conductor
    18. revamp a musical instrument
    19. do a drawing of perspective
    20. cover with feathers
    21. hand is over inhaling round breath
    22. infiltration device
    23. the part that sticks out in the middle
    24. token
    25. painting in the shadows
    26. object used for the first time
    27. try again (this time doesn’t count)
    28. open the first thing you come across (it is possible to open everything)
    29. words in the newspaper, paper on the floor
    30. set joints (elbow, ankle, wrist) in plaster
    31. malnutrition
    32. scattering of powderlike things
    33. drop to the lowest level
    34. monthly reading of the electricity meter
    35. whatever happens, I simply cannot help laughing
    36. extract fat (deep layer)
    37. place a mark on a tree
    38. blossoming and withering of flowers
    39. special hook and surgery
    40. rope made of straw
    41. disrupt gravity
    42. work with your head down
    43. surface of a porous sprayer
    44. be in compliance with new classicism
    45. hairy-surfaced object
    46. action on the beach
    47. viscous matter
    48. skin peeling
    49. swaying of mechanical object
    50. sit on the floor
    51. septic substance
    52. the tap is not turned off tightly
    53. design a type of bridge
    54. rigid appearance
    55. do compulsively
    56. hide
    57. open the window, and the window with the curtain hanging down
    58. write on the blackboard with a piece of chalk
    59. watch things from above and from below
    60. flatly ironed surface
    61. 5, 12, 19, 26, 3, 10, 17
    62. sear fabrics
    63. write a sentence, erase it, then write another sentence and erase it again
    64. (356–430)

    The 384 entries on the big disk of the big roulette wheel:
    1. drink water in great quantity
    2. sorcery numbers: 3, 5, 9
    3. oil or a dilution that is difficult to solidify
    4. penetrate (solid state)
    5. margarine
    6. send a telegram
    7. mirror with landscapes
    8. motionless in appearance
    9. in a regular way
    10. enter or supervise corner fresh
    11. design toiletlike equipment—antifunctional
    12. spare box
    13. smear cream on a furry surface
    14. dirty a cup
    15. object shaped like a new moon
    16. kite-shaped sign
    17. soft tube that lacks authenticity
    18. with a sloping surface
    19. T-shaped square
    20. book with stripes
    21. oxytocin
    22. cut out 386 10-by-3-centimeter paper strips
    23. blue-colored food
    24. make gloves or high rain boots out of plaster
    25. rows that fall down because of intense vibrations
    26. curtains
    27. imitation of fabric pads
    28. feline behavior
    29. the way we hang clothes
    30. ever-growing pressure, pressure apparatus
    31. make photocopies, sign names
    32. between two telephone booths
    33. something that has wings sprouting next to its mouth
    34. object without identification marks
    35. paper crumpled into a ball
    36. degreasing apparatus
    37. table leg
    38. make some bowl-shaped objects out of cement, to contain water
    39. have sunstroke or vertigo
    40. column twisted into a spiral shape
    41. revamp an umbrella
    42. tackle block
    43. something floating on the surface as if swimming
    44. sediment
    45. something that is almost unrelated to a hand
    46. determine a sound with limits / sounds that determine the limits*
    47. damp methods
    48. pose in flying gestures
    49. half-profile
    50. upside-down letters
    51. a tube with two functions simultaneously competing with each other
    52. a kind of stored-up heat or energy
    53. reproduce a fly swatter
    54. hoarse singing
    55. unreliable crossing out and correction
    56. ways of opening the door
    57. visceral model
    58. make something while lying down
    59. genealogical diagram
    60. weigh something
    61. liquid that solidifies quickly
    62. reproduce a cushion
    63. tool for opening things
    64. make anatomical models
    65. squeeze path new brief let
    66. have difficulty in distinguishing the left from the right
    67. rope with knots
    68. nullify ( )
    69. look at the mirror while leaning your back against it
    70. check the drawer
    71. close and open an envelope
    72. cover a wall with wallpaper
    73. clothing made of plaster
    74. design curly hairstyles
    75. tumble dryer
    76. turn on the television and take black-and-white photos
    77. toilet consciousness
    78. on the top of ( )
    79. make wet
    80. have many suggestive doors and covers
    81. a paradoxical script
    82. be placed on the coat rack
    83. scaffolding
    84. saying all objective numbers is uninteresting
    85. a type of soft food
    86. add hot liquid to the boiler
    87. something that is soft and produces smoke
    88. 1–1000
    89. processing, process the tool
    90. interruption of burning
    91. rectal consciousness
    92. open out a cardboard box
    93. autonomic sympathetic nerve dysfunction
    94. stamp and train ticket
    95. name indicator
    96. pillow (in cotton)
    97. the inside and outside of the bag are glued together
    98. box equipped with a lamp that is plugged into the mains
    99. definition of the negative sign
    100. smashing machine
    101. conceptual device
    102. squeeze
    103. lack of internal relationship
    104. bad-tempered object
    105. it is three meters higher outside the room
    106. apparatus for holding things
    107. make a painting on the floor
    108. page 21 of the exhibition catalogue
    109. recording or rerecording from a tape
    110. sofa with an uneven surface
    111. through the mirror
    112. a spiral form that winds in and out
    113. transform Picasso’s Guernica
    114. make a hole in something hollow
    115. something made of paper
    116. sensitive cushion
    117. buy a pair of socks as colorful as possible
    118. stop doing
    119. put plaster powder with water into beehive coals
    120. a humidity meter marked with standard values on it
    121. an activity that goes backward and then comes back
    122. canned things
    123. insert and pull out a straw
    124. objects made of felt
    125. man replaces machine power
    126. make a fake object
    127. a bound-up soft object
    128. globe
    129. measure the volume of the brain
    130. open out the inside in the same way as cleaning a pig’s stomach
    131. leather
    132. make a fan or an umbrella according to the history of their production
    133. tear out pages 87 and 100 from one hundred books
    134. a voting ceremony
    135. go outdoors
    136. photography paper with instant exposure
    137. fermenting substance
    138. brain like an intestine
    139. something with a mark on it
    140. ways that make others as relaxed as possible
    141. squeeze out red-colored things / things that, when squeezed, produce a red substance*
    142. food that swells up in water
    143. objects that don’t need to be handled with care
    144. red gradually changing to orange
    145. evident errors
    146. cave dwellers
    147. egg white—go moldy or moldy things
    148. incubator
    149. keep some books in the refrigerator
    150. make something when it is raining
    151. wax and vinegar
    152. tailor a piece of clothing using a painted canvas
    153. the reverse side, the inside of gloves
    154. margin notes on encyclopedia entries
    155. study the floor plan
    156. appear/dew
    157. place the fan facing up to resist gravity
    158. become white with sunburn
    159. pedestrians on the street (1)
    160. ( ) and the real name
    161. some folded paper strips
    162. make materials for painting
    163. lunch hour
    164. read books in a box
    165. a type of condensed liquid
    166. how much time does it take to concentrate sunlight to burn a box of matches?
    167. carry mint-smelling strips of paper
    168. go on the street and watch each person who passes by
    169. the drainage system is out of control
    170. “no entry” sign
    171. dry with blotting paper
    172. at the four corners of the house
    173. make something using blue ink
    174. pack unknown things as a gift
    175. smoke pipes
    176. enlargement of an ID card
    177. soft Venetian blinds
    178. fruit display
    179. read a book or a text from a geological viewpoint
    180. luminosity of a skylight
    181. space glasses
    182. sand, earth, water
    183. enlargement of the study on the bones of the thorax and vertebra
    184. an irregular manner
    185. watch things and hands on the desk through a magnifying glass (magnified x5)
    186. embryo-shaped
    187. reproduce
    188. gearbox
    189. watch when it is raining
    190. Chinese medicine prescription and Western medicine prescription
    191. black painting
    192. remain shut in a room for three days
    193. do a portrait on the surface of a mirror
    194. point of convergence
    195. something shiny and polished with wax
    196. antipathic words
    197. two objects stuck tightly together
    198. something that has lost its color
    199. cracks
    200. written words
    201. cut a long stick short (arbitrarily)
    202. copy a calendar painting
    203. timetable
    204. work of art that lacks air
    205. descriptions of acromegaly
    206. something that has seven parts
    207. medical record
    208. tear clothes to pieces
    209. crumple a piece of paper, then spread it out and flatten it
    210. split something into two halves
    211. break a bowl
    212. place hand under a glass sheet and photograph it
    213. illustration: fig. 34, fig. 59
    214. underwater audiovisual equipment
    215. inner turmoil
    216. water collects in the hole
    217. an incident without premonitory signs
    218. book of anatomy—muscles and nervous systems
    219. contraction of time, or time without flexibility
    220. atlas
    221. all sorts of viscous things
    222. handbook with an adhesive cover
    223. transform day-by-day calendar
    224. made of soap bubbles
    225. start from the left—short vertical stroke—long vertical stroke
    226. the outcome of a few things
    227. maps in Vermeer’s paintings
    228. tube-shaped
    229. a roll of self-portraits (twelve shots with arbitrary exposure, distance, and speed)
    230. at 18 to 29 centimeters above the ground
    231. artificial flowers
    232. used water
    233. cotton, yeast, soil, and dust
    234. signal post and statue
    235. bestow letters of indulgence
    236. why do you kill me?
    237. thoughts in the back of the mind
    238. sound generator
    239. heat-treated surface / treat the surface with heat*
    240. build a device that contains carbon dioxide / device that produces carbon dioxide*
    241. burn a round hole (3 cm in diameter)
    242. drawer
    243. inflammable matter
    244. preamplifier
    245. fiberfill
    246. pyramid-shaped
    247. walk 100 meters to the left, then come back to the right and walk 40 meters, return
    248. life-size model
    249. painterly patterns on the skin
    250. cover an object with another object
    251. do it one more time
    252. toilet cover
    253. emptiness
    254. “amphibious” operation
    255. transform a drilling machine
    256. up does not say I am by that whole
    257. live sculpture shines red
    258. walk to and fro in a room
    259. you have your own ways
    261. vertical surface of the wall
    262. food changes quality
    263. sleep
    264. half-revealed columns or similar things
    265. search for fault lines
    266. perspective analysis of Velázquez’s paintings
    267. toolbox
    268. with dust settling on it
    269. containing honey
    270. exposure meter–like objects
    271. light passes through straw paper and extremely thin transparent paper
    272. do more than three things at the same time
    273. come and go in seven days
    274. aerial bird trap
    275. pedestrians who go down vertically from the window (2)
    276. fire extinguisher
    277. gaseous state
    278. uneasy lawsuit
    279. be put in a muddy pond
    280. descend the staircase
    281. lower the standard
    282. sensation of numbness
    283. badly ventilated house
    284. leftover pencils, candles, and cigarettes
    285. something that is left over
    286. open-air operation
    287. temporal shoulder belt
    288. stimulus
    289. be very sparing
    290. stop on the wall
    291. avoid the highway
    292. pigment or lotion of vegetable origin with strong dyeing qualities
    293. spoon-shaped behavior
    294. place Scotch tape on the spots
    295. the wind is strong
    296. boneless piano
    297. water softener
    298. bury ( ) in the ground
    299. incident that occurs when in use
    300. take place twice a year
    301. reveal the part that is out of the ground
    302. three strikes and you are out
    303. out of order
    304. inject anesthetic
    305. the outer part is not coated or covered
    306. open space
    307. something that gives off a smell
    308. one-fourth
    309. hotbed
    310. unclear and illegible handwriting
    311. explain by figures, pictures
    312. anonymous
    313. cut ( ) into thin slices
    314. weather forecast
    315. trapdoor in floor or ceiling
    316. a serious sprain
    317. the steps of the staircase are misshapen
    318. earth, water, fire, wind
    319. in the circle is a polygon
    320. burning-hot work of art
    321. anyone who needs figurative art or idolatry art, please prepare a mirror for himself
    322. net material
    323. page 2, line 4
    324. there is something or an annotation on the back
    325. billows of smoke don’t have distinctly contoured shadows
    326. unpractical airscrew
    327. draw a world map on a sphere
    328. mistaken delivery
    329. the price is too high
    330. peeled skin
    331. grasses and trees are the four limbs of the landscape
    332. proceed carefully and slowly
    333. make with the weakest energy
    334. unplug ( )
    335. shave off a beard
    336. make ( ) come to life again
    337. four times a day
    338. five objects in a set
    339. pitch spreading
    340. come up close to the margins like one does in printing
    341. someone who sells by force
    342. extend toward the exterior
    343. lights out—power cut
    344. badge cast with the portrait of a saint
    345. ineffective treatment
    346. misuse entry 251
    347. spread ( ) on the bed
    348. choose between entries 21 and 32 arbitrarily
    349. the interior is not dry
    350. image densitometer (for mucous membrane)
    351. the volume of a glass of water
    352. speed up an order
    353. dye ( )
    354. brief introduction to the random method
    355. all sorts of solutions thought about with 190 percent
    356. new opinions obtained from 1900 to 1935
    357. the light is too bright
    358. portray in three dimensions
    359. with the corner of the room as the center and a diameter of three meters, draw an arc on the floor and wall
    360. paint the left side white and the right blue
    361. wet clothes (moldy)
    362. dizzy
    363. make a detailed coordinate
    364. out of order, use another box
    365. the floor is very slippery
    366. X-ray photograph
    367. the left side and the right side of the scales are in balance
    368. the catalogue being against the light, look at it from the other side
    369. light wind magnitude 5
    370. glue together an art history book
    371. functional upset of the insecticide stick
    372. bicycle seat (leather)
    373. ornamental column–like emblem
    374. sweet flavor, bitter flavor, acrid flavor
    375. a big tree is divided into left and right halves in a book
    376. to proceed following an art ceremony
    377. confront the wall on both right and left sides / confront obstacles everywhere*
    378. walking things and cooked things
    379. perform all sorts of movements freely like a tongue (the organ of the tongue)
    380. fat is a kind of gaseous state
    381. things with blended flavors
    382. made using foodstuffs as materials
    383. a kind of price and meaning that constantly floats and varies
    384. the face and the hands

    Excerpt from “Large Turntable” (1987)

    The Large Turntable consists in studying how works of art are connected or articulated to one another. It shows that, in a continuous span of time—for example, 1987–1988, or October 15–October 21–October 22—despite the continuous flow of time, the contents of the works of art produced by an individual author have no intrinsic link among them and thus represent a state of antitime. Consequently, every work of art is independent of all other works produced either before or after it.

    Of course, independent cases cannot be understood in an absolute way, especially when we are considering whether the works I make are independent of me—that is to say, when we are looking at the relation between the author and his works.

    Why is it that tossing coins, casting dice, spinning the wheel, catching dice or balls, drawing lots, or practicing divination allow for independent cases to occur in action as well as in the result? The way that a coin or a die falls, that the wheel stops at a number, or catching dice or balls as if your eyes were closed all allow the action to be free from the intervention of judgment made by the eyes and the brain. I believe in the limitation of the brain, however, and hence I reflect on the question of “losing oneself.” To reach this point, I suggest two routes: (1) to be created by “others”—that is, others take part in the work in an unplanned and undefined manner; (2) to be created by “me,” restricted works that are the result of limiting the functions of the eyes and the brain. The Dust series belongs to the first category, and the Large Turntable to the second. As for the Large Turntable, in addition to the “antitime” aspect mentioned above, I must further analyze the relationship between the inner and outer disks, the content of these 64 and 384 entries, as well as the ways that the roulette explains questions.

    There is no intrinsic link between the entries on the inner disk and those on the outer disk, other than the fact that two sentences allow for a better understanding or assessment of the context than just one.

    These 64 and 384 entries can be divided into several categories:
    1. Designation of things or technical terms: for example, 14. wallpaper; 16. sulfate; 6. page 86; 22. infiltration equipment; 24. token; 73. clothing made of plaster; 75. tumble dryer; 274. aerial bird trap.

    2. Relatively clear indications or instructions: 1. make a typewriter; 18. revamp a musical instrument; 19. do a drawing of perspective; 27. try again (this time doesn’t count); 28. open the first thing you come across (it is possible to open everything); 58. make something while lying down; 62. reproduce a cushion; 76. turn on the television and take black-and-white photos, etc.

    3. Ambiguous indications or instructions: 13. confusion between the front and the back; 20. cover with feathers; 282. sensation of numbness; 313. cut ( ) into thin slices

    4. Meaningless phrases: 9. by quiet brown appear self; 21. hand is over inhaling round breath; 65. squeeze path new brief let; and so on.

    In approaching a question, these entries can serve as titles, memoranda, concepts, or inspiration; they can be read straightforwardly or backward or be simply incomprehensible. This big roulette wheel provides many possibilities, and the possibilities I have will be greatly different from those others have. However, they still cannot go beyond the world I live in—this is where the limits are.

    Concepts, Influences & Motifs
    House of Oracles