From: Jeffrey Epstein <[email protected]> To: Subject: Re: Date: Mon, 07 Dec 2009 14:21:10 +0000 . I think you might consider focusing on the negative spaces between the hebrew letters much more erotic a bulging shma, or throbbing ka On Mon, Dec 7, 2009 at 8:56 AM, David Gelemter < wrote: Language as a matter of binding forces, words as atoms (or hadrons), sentences as molecules or chains, paragraphs as more complex molecules, has fascinating implications. Of course in language, we'd be talking about recursive molecules as opposed to natural ones. (But "recursive molecule" is interesting in itself; a chain of chains, a crystal of crystals of crystals.) You might imagine that two versions of one sentence w/ the same meaning are two equally-stable conformations of one molecule, 2 separate local minima; but a nonsense- sentence is unstable; & translation would be a chemical transformation. In your canoe-view, moving horizontally from your stream to someone else's is like moving from a mountain brook to the Hudson to the Niagara; your sudden transit sideways to another stream, though it lands you in another texture of time (a parallel time) (& smashes your canoe), puts you at the exact same moment you were at. Time's texture changes, but you don't miss a tick.... Does it bother you that sexuality, once the driving force of art, has been suppressed? Modigliani the last erotic painter; de Kooning a farcial encore; Giacommetti, whose early sadist surrealist pieces turn into a view of women as immovable obstacles (men move; women stand in their way); then, silence (in the establishment), as if beautiful women were no longer the fuel source of all human creativity. (But they always will be.) Scale: attchd painting is 18x24 inches; belongs to Roger Hertog (an Art Saint); works well as an object to look at. But I'm now making a much larger version, approx 4x6 feet; & in a sense, it looks at you. It colors the space it occupies, instead of being a thi