“The tape, because it describes, and in a way, encyclopedia-like, unrelatives, a partial universe of image states and sound analogs, is a perpetual text unto itself. An attempt on my part to inscribe a particular (anything) upon this, then is to miss the point. The tape, freed from history, yet with an insatiable taste for it, produces a state of mind in which art can exist. I have in mind, in the continuing work on it (projected at about 10 hours total, the tape will be structured in sections as Part One), the necessity of the tape holding an equal amount of potential meaning for any viewer. Because of this desire, I am finding that the tape is ‘like' art; produces, captures thought, engages particulars, yet must, in itself, not be thought of as art. This leaves the work free to always remain in a state of potential, and for the art to be ‘released' from the viewer.

“Considering this ground, which is but one way to analyze this tape, I think about certain formulations. First, the atmosphere of the mind encountered; chemical reaction can take place only when the combustible substance (tape) is perfectly free to combine with its partner. So, certainly, I insist on the word ‘potential.' But what it is that constitutes this perfect atmosphere is not art, nor education, but an ability to let particulars (especially word-object continuities) slide as they will, and that the engagement in releasing of instantaneous particularities is to this atmosphere something like photosynthesis in the biological atmosphere. Secondly, if that to which the work aspires is not art, but the means of producing a ground for it, I am at a loss for a word, and that gap resembles the tape."