But her narrative is interspersed with references to her live writing, of her being there at the site, and as such returns the viewer (or reader) to the problem of non-diegesis; the artist's desire to have us with her and looking at what she produces. She says, at the beginning of the downloadable book, which is in itself a committed, time-consuming and so alienated form of reading (you have to print out the pdf, cut it up and assemble it following the artist's instructions),
'I decide that I will copy the recording and leave it for you so you can copy the file onto your desktop if you think you might want it later, or ignore it if it isn't what you are interested in. I would know that you would know, it was there for you anyway.'
The work in its multiform manifestations is on the one hand a small compression of the histories of non-narrative, specular thinking in which artists have attempted to divert or compound the time and space of mediated experience, and on the other a personal commitment to her viewer, suggesting friendship, equality, lateral relations.
