JULIETA ARANDA Tools for Infinite Monkeys (Open Machine) Octubre 16 - Noviembre 26, 2014 October 16 - November 26, 2014
Julieta Aranda received a BFA in filmmaking from the School of Visual Arts (2001) and an MFA from Columbia University (2006), both in New York. Her explorations span installation, video, and print media, with a special interest in the creation and manipulation of artistic exchange and the subversion of traditional notions of commerce through art making. Central to Aranda s practice are her involvement with circulation mechanisms and the idea of a poetics of circulation ; her interest on science-fiction, space travel and zones of friction; the possibility of a politicized subjectivity through the perception and use of time, and the notion of power over the imaginary. As a co-director of the online platform e-flux together with Anton Vidokle, Julieta Aranda has developed the projects Time/Bank, Pawnshop, and e-flux video rental, all of which started in the e-flux storefront in New York, and have travelled to many venues worldwide. In addition to the Guggenheim Museum, Aranda's work has been exhibited internationally, in venues such as the 8th Berlin Biennale (2014), Witte de With (2013 and 2010), Museo d Arte Contemporanea Villa Croce, Genova (2013), ArtPostions, Miami Basel (2012), MACRO Roma (2012) Documenta 13 (2012), N.B.K. (2012), Gwangju Biennial (2012), Venice Biennial (2011), Istanbul Biennial (2011), Portikus, Frankfurt (2011), New Museum NY (2010), Kunstverein Arnsberg (2010), MOCA Miami (2009), Museum of Contemporary Art, Chicago (2007), 2nd Moscow Biennial (2007) MUSAC, Spain (2010 and 2006), and VII Havanna Biennial; amongst many others. Julieta Aranda CV 1975 Born in Mexico City, Mexico Lives and works in Berlin and New York. Education 2006 MFA Columbia University Schol of the Arts, NY 2001 BFA, School of Visual Arts, NY (Filmmaking) Selected solo exhibitions 2014 If a body meet a body Galería OMR, Mexico City Tools for Infinite Monkeys (open machine) Ignacio Liprandi Art Contemporáneo, Buenos Aires Video Art at Midnight #56 Babylon Kino, Berlin Notes for a time/bank Vdrome (online) Untitled NuMu, Guatemala 2013 The knot is not (the rope) ABC (Art Berlin Contemporary), Berlin If a body meet a body Museo Villa Croce, Genova, Italy Where there is smoke. FPAC, Palermo, Italy Γσ Goethe-Institut Library, New York 2012 I wanted to give it to someone else ArtPositions, ArtBasel Miami I wanted to give it to someone else MACRO, Rome Between Timid and Timbuktu Marilia Razuk Gallery, São Paulo, Brasil Time/Bank documenta 13, Kassel, Germany e-flux video rental (with Anton Vidokle) Moderna Galerija, Ljubljana, Slovenia Multifamiliar N.B.K, Berlin Time/Bank Stella Foundation, Moscow Time/Bank STUK, Leuven, Belgium 2011 E-flux video rental Moderna Galerija, Ljubljana, Slovenia Broken English Performa, New York City Necessarily my memory is vague (I do get my dates mixed sometimes) ArtBo, Bogotá, Colombia Time/Food Living as Form: Creative Time, New York Pawnshop Thessaloniki Biennial, Greece You had no ninth of May! Venice Biennial, Latin American Pavilion Time/Bank (collaboration with Anton Vidokle) Portikus, Frankfurt (cat.) Kopfbau (collaboration with Anton Vidokle) ArtBasel, Hall 1 Between Timid and Timbuktu Galeri Niklas Belenius, Stockholm In Search of Lost Time El 52 / Galería OMR, Mexico City The tale of the tiger is longer than the tiger s tail ZonaMACO, Mexico City
2010 Time/Store (collaboration with Anton Vidokle) e-flux, New York Time/Bank (collaboration with Anton Vidokle) 6 th Liverpool Biennial If you tell the story well, it will not have been a comedy - Kunstverein Arnsberg, Germany e-flux video rental (with Anton Vidokle) - Fondazione Giuliani, Rome, Italy All the Memory of the world (we can remember it for you) - New Museum, New York, USA 2009 There will be time, Interval exhibition series, Solomon R. Guggenheim, New York, USA Publick Occurrences Both Forreign and Domestick. 1/9 unosunove, Rome, Italy Tools for Infinite Monkeys, Polygraphic Triennal, San Juan, Puerto Rico (curated by Jens Hoffman) Tools for Infinite Monkeys Slovenia Graphic Triennial, Ljubliana, Slovenia 2008 Publick Occurrences, both Forreign and Domestick... - Galerie Michael Janssen, Berlin, Germany Tools for Infinite Monkeys - Fruit & Flower deli, New York, USA e-flux video rental (with Anton Vidokle) -Festival de Performance, Cali, Colombia There has been a miscalculation - Solo presentation at Volta Art Fair, Basel, Switzerland e-flux video rental (with Anton Vidokle) - Fundação Gubenkian / Maumaus, Lisbon, Portugal You Had No 9th of May! (on the wrong end of time) - Sala Díaz, Austin, Texas, USA 2007 e-flux video rental (with Anton Vidokle) - 9th Lyon Biennial, Lyon, France e-flux video rental (with Anton Vidokle) - Centre Culturel Suisse de Paris, Paris, France Pawnshop - e-flux, (collaboration with A. Vidokle and L. Linden), New York, USA Present Future - Artissima, Tourin, Italy There has been a miscalculation - Ersta Konsthall, Stockholm, Sweden e-flux video rental (with Anton Vidokle) - Carpenter Center at Harvard, Boston, USA 2006 e-flux video rental (with Anton Vidokle) - Arthouse, Austin, Texas, USA e-flux video rental (with Anton Vidokle) - 1st Biennial of Architecture and Landscape, Canary Islands e-flux video rental (with Anton Vidokle) - PIST, Istanbul, Turkey e-flux video rental (with Anton Vidokle) - Mucsarnok Kunsthalle, Budapest e-flux video rental (with Anton Vidokle) - Extra-City, Antwerp 2005 e-flux video rental (with Anton Vidokle) - Portikus, Frankfurt, Germany e-flux video rental (with Anton Vidokle) - INSA Art Space, Seoul Art Foundation, Korea e-flux video rental (with Anton Vidokle) - Moore Space, Miami, USA e-flux video rental (with Anton Vidokle) - Manifesta Foundation, Amsterdam,The Netherlands e-flux video rental (with Anton Vidokle) - KW Institute for Contemporary Art, Berlin, Germany 2004 e-flux video rental (with Anton Vidokle) - e-flux, New York, USA 2000 Safety Instructions, VII Havana Biennial, Havana Cuba - (Catalogue) 1999 Springs of Action, La Panaderia, Mexico City, Mexico Medidas de Emergencia, La Panaderia, Mexico City, Selected group exhibitions 2014 The Reluctant Narrator Museu Coleção Berardo, Lisbon, Portugal Islands off the Shore of Asia Spring Para/Site, Hong Kong In we trust: Art and Money CMA (Colombus Museum of art), Ohio, USA Couplings Taylor Macklin, Zürich, Switzerland 8 Berlin Biennale Berlin Secret Codes Galeria Luisa Strina, São Paulo, Brazil 7,000,000,000 Espai d'art contemporani de Castelló, Spain Ökonomie Der Aufmerksamkeit Kunsthalle Wien (Museumsquartier), Vienna
BICI (1a Cartagena Biennale) Cartagena, Colombia Ir para Volver (12 Biennale of Cuenca) Cuenca, Ecuador 2013 AKTZ Kraupa-Tuscany Gallery, Berlin 1:1 Moderna Galerija, Ljubljana, Slovenia The Past is Present MOCAD, (Museum of Contemporary Art) Detroit, USA Toward a promise of inquiry Witte de With Center for Contemporary Art, Rotterdam The Possibility of an Island Import Projects, Berlin Una Posibilidad De Escape Para Asaltar El Estudio De La Realidad Y Volver A Grabar El Universo Espai d'art contemporani de Castelló, Castellon de la Plana, Spain Draft Urbanism, Biennial of the Americas Denver, Colorado, USA AB, a project by Gabriele De Santis Nomas Foundation, Rome, Italy The Spirit of Utopia Whitechapel Art Gallery, London, England Money After Money Eye of Gyre, Tokyo 2012 Unsaid/Spoken Selections from the Ella Fontanal Cisneros and CIFO collections, Miami, FL El mañana ya estuvo aquí Museo Rufino Tamayo, Mexico City, Mexico No glot c lom fliday Shanghai Biennial (postcard project) Predicting Memories Vienna Art Week, Vienna 9th Gwangju Biennial South Korea Searching for the Fountain Moderna Museet, Stockholm Not Me: Subject to Change 2012 CIFO Grants & Commissions Program Exhibition, Miami, FL Ñew York AMA Art Museum of the Americas, Washington DC Blind Cut Marlborough Chelsea Gallery, New York City 2011 Performa 11 Biennial of new visual art performance, US Between forever and never IILA, Istituto Italo-Latino Americano Pavillon, Italy Animal Kingdom Schinkel Pavillon, Berlin, Germany Checklist Exhibition on print, presented in the 31st issue of Mousse magazine. (pg 119 ) Live Wire Shedhalle Zürich, Switzerland Incheon Women Biennial Incheon, Korea Istanbul Biennial Istanbul, Turkey Based in Berlin Berlin There was an old woman who Schinkel Pavilion, Berlin There, I fixed it Stroom den Haag, The Netherlands Weltraum / Space: About a Dream Kunsthalle Wien Speculative Futures Bloomberg Art Space, New York City 2010 Chartreuse Jeune Casa Tabarelli, Bolzano Bigminis CAPC, Musée d art contemporain de Bordeaux CGEM: Apuntes sobre la emancipación MUSAC, León, Spain. (publication only) Take Me To Your Leader! The Great Escape Into Space The Museum of Contemporary Art / Museet for samtidskunst, Oslo These gifts must always move Sutton Gallery, Fitzroy, Australia Avenue of the Americas LentSpace, Lower Manhattan Cultural Council, New York Held up by Columns Renwick Gallery, New York Not a Place, an Outlook Governor s Island, NY Morality Act VI: Remember Humanity Witte de With, Rotterdam, The Netherlands Model Kits (Modelos para armar) MUSAC, Leon, Spain Gabinete Blanco La Colección Jumex, Mexico City 2009 Convention, Museum of Contemporary Art (MoCA), Miami Fax, Drawing Center, New York Paper Exhibition, Artists Space, New York Impakt festival, Academiegalerie, Utrecht, Netherlands Autres Mesures, Centre Photographique de la île de France (CPIF) Geography and Myth, Bard College, New York Escultura Social: A New Generation of Art from Mexico City, Nasher Museum, Duke University
Cargo, Autocenter, Berlin 28th Biennial of Graphic Arts, Ljubljana Biennial of Graphic Arts, Ljubljana Auszeit, Kunstverein Arnsberg, Germany Narcotica at Schalter - Basel, Galerie im Regierungsviertel, Berlin Central Nervous System No.2, Galerie im Regierungsviertel, Berlin Art Cologne 2009, Cologne, Germany Video Pyramid, On from here Final exhibition at Guild & Greyshkul, Guild & Greyshkul, New York The Forgotten Bar Project, Peter Bergman, Stockholm 2008 Sudden White, Royal College, London YES, A R Contemporary,, Milan The Forgotten Bar Project, Studio Maffei, Milan The Salon of the Revolution, 29th Youth Salon, The House of Artists, Zagreb, Croatia L Argent, Le Plateau (Frac île de France) Paris, France One of these things is not like the other things, Galleria 1/9 unosunove, Rome The Future as Disruption, The Kitchen, NY The Forgotten Bar Project, Galerie im Regierungsviertel, Berlin The End Was Yesterday Part II, Kunstraum Innsbruck, Austria. Escultura Social: A New Generation of Art from Mexico City, Museo Alameda, San Antonio, Texas The Hypnotic Show, Silverman Gallery, San Francisco. The Moonlight Show, Art Brussels The End Was Yesterday, Galerie im Regierungsviertel, Berlin The End Was Yesterday, Autocenter, Berlin. Transmediale.08 Conspire Berlin unitednationsplazamexicodf, Mexico City 2007 Escultura Social: A New Generation of Art from Mexico City, Museum of Contemporary Art, Chicago (Cat.) In Defense of Ardor Bellwether Gallery, New York Vilnius is Burning Fondazione Sandretto Re Rebaudengo, Torino, Italy. USA: American Video Art at the beginning of the 3rd Millenium 2nd Moscow Biennale (Catalogue) The Last Piece by John Fare, GB Agency, Paris The FM Ferry, Experiment Staten Island Ferry, New York System Error, Palazzo delle Papesse, Siena, Italy (Catalogue) 2006 Dictionary of War, Muffathalle, Munich, Germany Dirty Words, Galería Pedro Cera, Lisboa, Portugal Columbia MFA Thesis exhibiton, New York (Publication) Trial Ballons, MUSAC Museo de Arte Contemporaneo de Castilla y Leon, Castilla, Spain (Catalogue) Utopia Station, Shelby Cullom Davis Center for Historical Studies, Princeton University, New Jersey Proximamente, Museo de Arte Contemporaneo Carrillo Gil, Mexico City One-Day Celebration, (Collaborating on Pierre Huyghe s project) Musee de l Art Moderne de la Ville de Paris Peace Tower, Whitney Biennial (Collaborating on Rirkrit Tiravanija s project), New York Slow Burn, Gallery Edward Miterrand, Geneva, Switzerland An image bank for everyday revolutionary life, REDCAT, Los Angeles Re-shuffle, Art in General, New York (Publication) 2005 Co-dependent, The Living Room, Miami Fl EVR catalogue, Publication release, e-flux projects, New York City Arts&LEISURE, Publication release, Art In General, New York City Version 6.0, Version Magazine, Espace Paul Ricard, Paris France Cardinal Points, PS 122, New York City IX Baltic Triennial, Contemporary Art Center (CAC), Vilnius, Lithuania (Catalogue). IX Baltic Triennial, 33 1/2, Institute of Contemporary Art (ICA), London, England Curated by Francesca Grassi, Greengrassi, London, England. Espejos invertidos, Instituto Cultural de México en Washington, USA (Catalogue) Methapase, Wallach Gallery, Columbia University, New York City Panoply,Naiman Gallery, Columbia University, New York City Utopia Station, World Social Forum, Porto Alegre, Brazil
2004 The 7 sins, with Anton Vidokle, Moderna Galerija, Museum of Modern Art, Ljubljana, Slovenia (Catalogue) Past Perfect, Kantor Gallery, New York City Post_Marx, rethinking utopian society, with Anton Vidokle, Galería Animal, Santiago de Chile Video Marathon, Art in General, New York Creación en movimiento, Centro Nacional de las Artes, México D.F. (Catalogue) Localismos, with Anton Vidokle México DF, Centro Histórico ev+a, Imagine Limerick, with Anton Vidokle, Limerick, Ireland (Catalogue) 2003 Systematic repertoire of quick reference for students and professionals, with definitions according to the actual world, Canaia, Mexico City, Mexico Without You I m Nothing, with Anton Vidokle, Platform Garanti, Istanbul, Turkey Now Playing, D amelio Terras Gallery, New York, USA 2002 Overkill, Heerebaeckerei-Kultur, Berlin, Germany (Catalogue) 2000 Outer Limits International Film And Video Series, Artists Space, New York, USA 1999 Safety Instructions, Visual Arts Gallery, New York, USA New Filmmakers 2000, Aldrich Museum Of Contemporary Art, Connecticut, USA Grants, residencies, and acknowledgements 2013 Civitella Ranieri Residence Program 2012 CIFO production / acquisition Grant Miami, USA Novaspace, Zero Gravity Flight Program Bordeaux (France), Berlin (Germany) MACRO residence program Rome, Italy 2009 Jumex book production grant 2007 International Residence Recollets Paris, France IASPIS International Studio Program 2007 Stockholm, Sweden Collections MUSAC Museo de Arte Contemporaneo de Castilla Y Leon Solomon R. Guggenheim Museum, New York ZMK, Center for Art and Media (Karlsruhe, Germany) Jean-Marie Formigé (Geneva, Switzerland) Rolf A. & Venck Hoff (Oslo, Norway) Speranza Carletti (Milano, Italy) Gregory Papadimitriou (Athens, Greece) Julia Muggenburg (London, England) Victor Rodriguez (NY, USA) Barbara Koerver (Berlin, Germany) Mariano Pichler (Milan, Italy) Peter Zimmerman (Köln, Germany) Colección Fundación Jumex (México) Fondazione Giuliani (Rome, Italy) Colección Coppel (México City) Museo Amparo (Puebla, México) Ignacio Liprandi (Argentina) Niklas Belenius (Stockholm, Sweden)
Vista de exhibición / Exhibition view
Tools for infinite Monkeys, 2012 Vinilo / Vinyl applique Dimensiones variables / Variable dimensions Edición / Edition: 5 + 1 AP
The Human Authorship Requirement, 2014 Impresión giclée sobre papel Fiba Glass, 2 páginas A4 de texto (modificaciones de derechos de autor), montadas sobre foamboard Giclée print on Fiba Glass paper, 2 A4 pages of text (copyright ammendments) mounted on foamboard Sin marco / Unframed: 40 x 26.6 cm / 15.7 x 10.4 in
S is for Infinite, 2012 Libro impreso de tapa dura / Hardcover printed book 27.94 x 21.59 cm / 11 x 8.5 in Edición / Edition: infinito / infinite
A Time Without Events, 2008 1 espejo con S de vinilo aplicada, 1 vidrio espejado con S de vinilo aplicada 1 mirror with silver S vinyl appliqué and 1 one-way mirror with silver S vinyl appliqué 240 x 90 cm c/u, distancia variable entre los espejos 94.4 x 35.4 in (each), variable distance between mirrors Edición / Edition: 3 + 1AP
Monkey Protocol Suite, 2008 Archivo PDF (5 páginas, escritas por los monos) que se imprimen infinitamente PDF file (5 pages, written by the monkeys) to be printed endlessly Requerimientos de la obra: computadora e impresora a elección, tinta negra, papel blanco para imprimir Requirements for the piece: computer & printer of free choice, black ink, white printing paper Edición / Edition: 3
Vista de exhibición / Exhibition view
Tools for infinite monkeys, 2012 Máquina de escribir modificada, cuerda de sisal, lápices chinos masticados Modified typewriter, sisal twine, chewed Chinese pencils 36 x 14.5 x 33 cm / 14.1 x 5.7 x 12.9 in Edición / Edition: Unique / Única
A level of intention, 2012 Cinco serigrafías enmarcadas / Five framed silk-screened pages 80 x 60 cm c/u / 31.4 x 23.6 in each (sin enmarcar / unframed) Edición / Edition: 5 + 1 AP Disponible / Available: 2/5, 3/5, 4/5, 5/5
Has it happened already?, 2012 Serigrafía sobre espejo / Silk-screen on mirror 80 x 60 x 0.5 cm / 31.4 x 23.6 x 0.19 in Edición / Edition: 10 Disponible / Available: desde / from 3/10 a / to 10/10)
How do you count your monkeys?, 2012 Banderines hechos a mano (papel, cuerda de sisal, gomaespuma, plástico, piedras), pieza de yeso Hand-made bunting (paper, sisal twine, foam, plastic, rocks), plaster sculpture Dimensiones variables / Variable dimensions Edición / Edition: 3 + 1 AP You could ask the same question about spiders, 2012 Grabación de arena cayendo dentro de un reloj de arena, modificado digitalmente Digitally manipulated recording of sand falling through hourglass Audio digital / Digital audio file Edición / Edition: 3
Julieta Aranda Tools for Infinite Monkeys (open machine) Octubre 16 - Noviembre 26, 2014 Jonathan Swift: Media docena de monos provistos con máquinas de escribir producirían, en unas cuantas eternidades, todos los libros en el British Museum Jorge Luis Borges: Estrictamente hablando, un solo mono inmortal sería suficiente Los monos (Elmo, Gum, Heather, Holly, Mistletoe & Rowan): sssssssssssssssssssssssssssssssssssssssssssssssssssss ssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss ssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss ssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss ssssssssssssssssssssssssssssssssssssss El Teorema del mono infinito establece que un grupo infinito de monos inmortales, acomodando letras al azar por una cantidad infinita de tiempo, casi seguramente eventualmente producirían un texto dado, por ejemplo las obras completas de William Shakespeare. En este contexto casi seguramente es un término matemático con un significado preciso, y el mono no es en realidad un mono, sino una metáfora de un dispositivo abstracto que produce al azar una secuencia de letras ad infinitum. La probabilidad de un mono tecleando sin errores exactamente el contenido de un libro es tan pequeña, que las posibilidades de que ocurra durante un período de tiempo de una magnitud similar a la edad del universo son extremadamente bajas, pero no nulas. Variantes del teorema incluyen múltiples y hasta infinitos mecanógrafos, y el texto en cuestión varía desde una biblioteca entera hasta una sola oración. La historia de estas afirmaciones se remonta a Acerca de la generación y la corrupción de Aristóteles y De natura deorum de Cícero, pasando por Blaise Pascal y Jonathan Swift, hasta las iteraciones modernas, que hacen uso de las icónicas máquinas de escribir. A principios del siglo XX, Émile Borel y Arthur Eddington usaron el teorema para ilustrar las escalas de tiempo implícitas en los fundamentos de la mecánica estadística. Hace algunos años, un grupo de científicos en Inglaterra dio una computadora a seis macacos Sulawesi (Elmo, Gum, Heather, Holly, Mistletoe and Rowan), para probar el teorema. Lo que ocurrió fue que los monos destruyeron la computadora en un par de semanas, pero durante ese tiempo también lograron producir 5 páginas de texto, que consistían en gran parte de la letra S. En principio, los monos han producido un texto infinito, aunque tenga sólo cinco páginas de extensión. Y quiero creer que ese texto no es cuantificable, ya que acarrea el peso de siglos de imaginar a monos como escribas, recolectando la historia escrita como no escrita, contenida tanto en las bibliotecas del pasado como en las bibliotecas del futuro. Este texto no cuantificable registra en su ilegible repetición todas las narrativas críticas e históricas, que correctamente alineadas se vuelven legibles, y de otra forma permanecen irreconocibles, una acumulación de potencial latente.
Julieta Aranda Tools for Infinite Monkeys (open machine) October 16 - November 26, 2014 Jonathan Swift: "A half-dozen monkeys provided with typewriters would, in a few eternities, produce all the books in the British Museum." Jorge Luis Borges: "Strictly speaking, one immortal monkey would suffice." The monkeys (Elmo, Gum, Heather, Holly, Mistletoe & Rowan): sssssssssssssssssssssssssssssssssssssssssssssssssssss ssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss ssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss ssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssssss ssssssssssssssssssssssssssssssssssssss The Infinite Monkey Theorem states that an infinite group of immortal monkeys, arranging letters at random for an infinite amount of time, will almost surely produce eventually a given text, such as the complete works of William Shakespeare. In this context, almost surely is a mathematical term with a precise meaning, and the monkey is not an actual monkey, but a metaphor for an abstract device that produces a random sequence of letters ad infinitum. The probability of a monkey exactly typing without mistakes the contents of a book is so tiny, that the chance of it occurring during a period of time of the order of the age of the universe is extremely low, but not zero. Variants of the theorem include multiple and even infinite typists, and the target text vary between an entire library and a single sentence. The history of these statements can be traced back to Aristotle s On Generation and Corruption and Cicero s De natura deorum, through Blaise Pascal and Jonathan Swift, and finally to the modern iterations, that make use of the iconic typewriters. In the early 20th century, Émile Borel and Arthur Eddington used the theorem to illustrate the timescales implicit in the foundations of statistical mechanics. Some years ago, some scientists in England furnished 6 Sulawesi crested macaques (Elmo, Gum, Heather, Holly, Mistletoe and Rowan) with a computer, to try and prove the theorem. What happened afterwards is that the monkeys effectively destroyed the computer in a couple of weeks, but during that time they managed to produce 5 pages of text, consisting largely of the letter S. In principle, the output of the monkeys is an infinite text, even though it is only 5 pages long. And I want to believe that this text is non-quantifiable, as it carries all the weight of centuries of imagining monkeys as scribes, collecting history both written and unwritten, library backward and library forward. This non-quantifiable text registers in its illegible repetition all the critical historical narratives, that when properly aligned become readable, and otherwise remain unrecognizable, dormant potentiality.