Michael Rerick
language data

Far from this “uncreative” literature being nihilistic, begrudging acceptance—or even an outright rejection—of a presumed “technological enslavement,” it is a writing imbued with celebration, its eyes ablaze with enthusiasm for the future, embracing this moment as one pregnant with possibility. – Kenneth Goldsmith, Uncreative Writing.

case # 1


case, hypothesis, site, set, algorithmic set, set chart, conclusion, discussion, problems


angular night light play on the river
triggers commuter time dilation
as reflections cause a need for origin
and order in the disordered city with
memory ghosts clichéd onto the river
pooling fresh bridge reflection sets
in noisy commuter move time


An eastbound Red, Blue, or Green Max line night train commuting home. From the Steel Bridge, a Southern view of the Willamette River. A commuter witnesses abstract street light ripple over black river water moving like angles in Jason’s paintings1.


Willamette river water train trestle height
plastic window twin ornamental lights
convention center green slow movement 45 degree sight
esplanade chop bright commuter tire
cloud cover moon peek
ripples body body quiet
white Euclidian triangles dashes and animated black smears brick building voices
small bumps and shakes staying light

algorithmic set:

Willamette {port city builder, murky comfort, steady power, land history}

river {gazed, shore forest ghost mirror, commuter liquid}

water {fluid cutaway layers below between and above saturating raining and drowning animal plant and air}

train {comes, whistles, roars, grumbles, tumbles, leaves}

trestle {engineered erector tool set tussle, haunted by metal wheel screech}

height {taunting necessary fear vantage}

plastic {transparent or opaque shells, carriages, woven world fabric}

window {thin two-way image barrier, two-way gawking claim}

twin {affectionate/disownment, use and time alterations, simulacrum to simulacrum}

ornamental {steel brick iron and wood leafwork, pinned to a wall, cotton flourish}

lights {call and answer, pinpoint bath, jagged field names, geometric arrangements, sweeping and focused claims}

convention {drinking specialty potions, secret covenants, circular architecture speak}

center {a fading mathematic foggy totem point spiraling toward sleep and waking crunched to neutron objet petit a dialectic asymmetric release}

green {lawns, yards, back from the desert airport drive smell, vibrations}

slow {to memorize, purposeful aimlessness, as a picture}

movement {quick light on water imprints, wingtip metal taps in an OHSU parking garage, house to house}

45 degree {turned, twisting, angling, arms, adjusting, sighted, turning}

sight {green glass light towers, cedar river, ENTER sign}

esplanade {painted with street lights, summer bike ride drunk with friends purpose, romanticized or contemplative river gazing}

chop {white river divots, name waving, night bits}

bright {with a hangover, dancing in the dark river, smoking like Pollock}

commuter {leaning, phoning, staring, counting, slouching, passing}

tire {time lapse broken into static paintings on the dimpled river}

cloud {lurch, chamber, cumulative obscurant plastered to the river, melancholia}

cover {cells, blood, bone, skin, clothes, car, trestle, cloud, bubble, star}

moon {receded approachable mirror, lit un-consoling confidant, impossible planet}

peek {of reach memoriam, guilty eye peeps}

ripples {time in the same geometric spot, finger blanket friction, a look and smile}

body {cut and examined from the landscape, kicking dust on the moon, similar different and mysterious, nerve full}

body {scattered day support column}

quiet {creak, dialectic person-city simulacra, passage}

white {problem, ½ b*h, Mike threw the bike…, reflected in plastic}

Euclidian {desk doodle graffiti, arc maps, unmeasured urban intersection envelopes, vagrant trails}

triangles {black white shivering off the wall and brick elevator across exhaust and tire wear over concrete barriers into the undulating river}

dashes {open dialectic moment filled with connotative seers and {art}

animated {glimmer, terrible beauty, desire}

black {coded column, relief, grid in plastic}

smears {marks defining having been}

brick {engraved noir names, urethane wheel buzz, downtown red square blocks, sooty rain wear}

building {Jason’s warehouse brick storage studio}

voices {tired over the phone, emoji, covertly describing others, crowing}

small {envelope for the foot on the train diminutive to the river}

bumps {ghost jolts, triangular white river light, fricative clatter, sheet smooths, window clap}

and {no no Jason…, trestle crawl, nerd linguistic rebel “&,” staying shape, carrying bags, quiet high school Shakespeare prologue, Mike threw the bike…, walking, love’s plastic face reflection}

shakes {a quake ready city, volcano plaques, river light, in thin clothes}

staying {vibrations, rent, light}

light {driven through clouds across water, into the river…}

set chart:


The aged with developing industrial complex, river bulwarks, train trestle, train, brick storage buildings, cracked and patched roads, iron lighting, and commuters passing through the work-support complex intersect and express a figurative river light reflection. Childhood Ross Island Bridge bike rides and highrise development anxiety circumscribe the city-possessive viewer into a tired and mundane work commute and art palimpsest.

the Max window peeks
Jason’s black and white
river intimate triangles

The psyche needs the dull work living to work more dull work moment to break through a radical thought intersection of personal history in a slow movement across the train trestle to connect the city complex and the viewer’s ghosts to a jouissance anxiety where art interpretive avenues open. Locomotion within the complex excites the moment that will pass with a revelation of time frames as captured in a painting that lasts and projects onto the river. Beyond commerce, art emerges and enlarges on the cityscape as triumph, though the viewer knows the revelation is particular to the viewer and will pass. Yet, psychologically, this is a necessary moment occurring in other possible ways for other commuters as the intersection of train, night, moon, streetlight, river, city, work, home, and passing converge.

the tired city’s
tines grumble
commerce and


Commuter language data nodes emerge from water and personal reflection surfaces.

Northwest set constraints based on wet urban landscapes highlight flannel in-group associations, individual brick and train nostalgia, and plastic global capitalism pressured into a night lit complex moment.

Use-value data indicates a singular aesthetic experience generalized as river memory.

Grey geometry paints inhabitant, participant, observer, contributor, specialist, narcissist, philanthropist, angel of history, lover, loved, and class identity across a commuter window.

“And” travels in an applejack hat, black rimmed glasses, brown corduroy coat, white pocketed tee shirt, blue cotton pants, and Payless work boots carrying a chest strap bag containing water and empty Tupperware.

Weekly rag rants and craft cults swarm the commuter objet petit a river gem landscape.


A river painting perforates the commuter haunted by dialectics sloshing with dimpled Hegelian light actors. Belief confirmation, as water as a star, speaks to brick memories. Particular lamplight and bridge creak mask work truth with commuting. The river ghosts the train.