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Kenji Siratori's Blood Electric like the most cryptogenic avant-garde texts retrieves new data and processes of text-composing from the abyss of writing but unlike the other engineers of such texts whose economy of their writings is secured within the organic body of speculative articulations or the critico-manic´s verbigerations about the Text itself; it, intentionally, enciphers (hollows out) a new artificial wiremesh on and through which the text is non-wovenly rendered; this space, by the means of its chemistry and composition, at the same time wastes away all theoretical pseudo-fluxes or narrations which are recorded (conserved and accumulated) into the text as the immediate consequences (architectural symptoms) of the Text as textum or an inter-weaving process of informational fibers; and implicates a new workspace potential for the rise of the new communicative lines, compositions and complexities or according to Nick Land, "mess, toxic waste, genre disorder" and not difficulties [1]:

(a) What is Text (texere: to weave)?

Blood Electric (this Guinea Pig series of technology) has a bold answer for this used stinking question: why should I think of a text as a textum (an ever-weaving space)? Isn't a woven text more suitable to be the material of my pants?

For becoming an "involuntary host" (Stelarc) for the fluid compositions of communicative lines, Blood Electric installs its entire textual-evaporation process on a deliberately artificial non-woven text or more precisely a non-woven workspace.