2:50 pm / through a downstairs window a plane (a.) flies from right to left a thin white line while a cloud (b.) also moves from right to left its shape and mass shifting while the bare twigs and stems of a tree (c.) shake in the afternoon breeze. A composition of movements, relative distances and speeds. And within minutes simply the stems remain against pure blue sky. Nothing out of the ordinary. And thus astonishing.

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Flyleaf from I-Formation Book 1 by Anne Gorrick

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Page from the booklet accompanying The Electric Harpsichord (Catherine Christer Hennix). I won't even pretend to explain what this means - best, perhaps, to read it as a form of poetry. And listen to the CD, of course.

"The choosing of a word/might be its use, the only poem."

('The Sun Also Fizzles')

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Image from the essay 'Out in the Field' by Bertrand Denzler and Jean-Luc Guinnoet in the volume Blocks of Consciousness (eds. Brian Marley and Mark Wastell).

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"The computer is usually seen as a solely beneficial invention, which liberates human fantasy and facilitates efficient design work. I wish to express my serious concern in this respect, at least considering the current role of the computer in the design process. Computer imaging tends to flatten our magnificent, multi-sensory, simultaneous and synchronic capacities of imagination by turning the design process into a passive manipulation, a retinal journey. The computer creates a distance between the maker and the object, whereas drawing by hand as well as model-making put the designer into a haptic contact with the object or space. In our imagination, the object is simultaneously held in the hand and inside the head, and the imagined and projected physical image is modelled by our bodies. We are inside and outside of the object at the same time. Creative work calls for a bodily and mental identification, empathy and compassion. ('Introduction', p.12-13)