The applicability, the suitability of writing, that is to say, the special quality in the essence of technology, free of the constraints affecting ‘industry’ jobs, and me carrying capitalist objects, is collected from commercial exhibitions. On Earth, what we achieve is determined, in large part, by what we seemingly step upon. For our work to be published, that opportunity enters, and then can pass without insight. I can neither describe the object using a traditional entry form, even if that entry form has great power, hence the need for variations on the created work. A novel is music, music is a novel, the novel is cinema, etc. New media should have an industrial flavour, never submitting to the author’s personality. We own phrases, transparent, and incandescent forms. I am here on the screen, tap it, you can move me, and if you do tap it I will eventually converge, constantly engage, telepathically like a written story, clarifying the anti-plot in quasi real-time. Jules Verne and Leonardo Da Vinci predicted and drew possibilities of extension, inventions without form or borders, endless mind structures, and just because they were unachievable during their lifetime, it doesn’t mean that similar constructs during ours should be dismissed as unachievable. There is no outside the writer - in any author fictions, and I often respond that only in totality, in writing, can we spy in the outer world. Anyone who drives and dribbles within creativity, should have no assertions of personal value, nor of grabbing an audience, the only thing is to contribute to the space of possible visualizations, however these written contributions must be “scanned” or articulated via publishing. We require digital multimedia as much as we need grubby marks on paper, both are extremely valuable. Language, if stories are to be believed, are often suggested branches of beauty, beauty that will make its way to you through directed thinking, a necessary telepathic tool to be placed upon all personality types. Each of us who writes is the characters, and we are as we should be, immersed in a room of cell membranes, a wardrobe of corporeal bodies to the extent that there are dominant archetypes, or information architects, who impress the clients with all broad and simplified ideas. Criticisms of telepathic figures dealing with 'designers' is like herding mythical cats, all polemical contradictions between the ideal and the reality, a state of flux, this leads to grace itself, the humane lines are created and based on the characteristics of a process documented in novel form, or a book work of art exposed from the data source. Let every data source be performed in every medium. Who cares if it took you 10 years to write, it will now be dispensed in 10,000,000 forms. Literature these days shouldn’t be modelled, planned, pie-charted against familiar dramatic forms, or plotlines, or fully formed characters; everything should liquefy into extroverted sensations, or anti-novel auxiliary functions. I'm suggesting that thinking and feeling in literature, I believe, should be about intuitive-thinking. Writers as teleports, mystical tasks, here they come to me in that way, assuming mental visualisations, historical and alike, not some inspired romantic theories of intellectual property. Adept disciples of memory lack vision or courage, they pay close attention to what occurred in only a surface, and first stage read through. Designers or design teams are unlikely data collection stations, the public takes a memory and deposits it into a dead library, solid Moorish patterns in a written piece of work. Inhibitions, a weakness or failure to adapt various winding words, enchanted looking initials and calligraphy, or hieroglyphics drawn by nowhere miasma and highly textured scenes. The artist is only given multimedia experience, and so they should be. The visualization, one’s primary telepathic gifts, one’s maximum value, a required freedom that states aesthetics for a piece of prose writing, will become our focus in an improved position, making us line up fruitful dialogue, desirous subtext, bright blue antennas, words that cut away the relationship between personality and books. Oracular images can form strengths, and consequently my job, my job not as paid employment, but my job as detective agency, my job as lyrical effects, my job as the dominant mode of Vatic personality and expression. Sibylline technological effects or gifts will attract us to themselves, as well as being forced directly from the body. Larger visual contextual plot and character do not make second-sighted images level to the quiet eye of an inner view. It’s impossible, perhaps only with various software platforms, but these needs to be invent firstly. DO guiding, conscious, sudden recordings, make extroverted intuition, War & Peace, principles that are inherently artistic. YES…


Shane Jesse Christmass is an Australian author. He edits the journal Queen Vic Knives. He’s also a member of the band Mattress Grave. He also firmly believes that the future of the word, the novel, will be in synthetic telepathy. His writing is archived at Lupara Publishing.