Not to say that the process assumes anything of "greater" or "lesser" importance, though: it's just more graphic information. Take the surrealists, for example, or a work by Cage. For me, there's a great value in doing this with literature. There's a certain form of dependence; process and product inform each other, depend on each other. I consider myself a writer who doesn't write with a style, almost. I begin with tension, with a vibe, a character.

Identity is gradual, cumulative; because there is no need for it to manifest itself, it shows itself intermittently, the way a star hints at the pulse of its being by means of its flickering light. But at what moment in this oscillation is our true self manifested? In the darkness or the twinkle?

We can speak of politics, ethics, and in this way, speak about the world. But at the same time, it's always in a way that is totally nebulous and abstracted, this way of thinking about reality. And that's why I write the way I do - it's an almost immortal way to show dependence on the biological, the political, the moral parts of us. I say immortal because we now have to find new formats, new eloquences, and resolve within ourselves this "constructed" life, a life that is incomplete, imperfect.

The walk is like a matrix, like a diffuse, vague happening. It's like - imagine a play, a work of theatre, that is totally vague, almost devoid of details that consists in one person going on a walk. And as a consequence, there is a necessary tension between the determinacy and indeterminacy, the definite and the indefinite, of possibility.

I find that, for me, it is this concept of borrowed or built life, life on loan, that gets me writing. It's similar to speaking about literature. I like it, and then I don't like it. It has such an inherent vein of pretention, because you're not speaking about real things. There's a literary pretentiousness made of speaking and spending so much time on unreal persons. And it seems, now, impossible to create an unpretentious, totally organic character.

Not to say that the process assumes anything of "greater" or "lesser" importance, though: it's just more graphic information. Take the surrealists, for example, or a work by Cage. For me, there's a great value in doing this with literature. There's a certain form of dependence; process and product inform each other, depend on each other. I consider myself a writer who doesn't write with a style, almost. I begin with tension, with a vibe, a character.

In the early days of the Internet, the word "navigation" had this ingrained in it. There really was a sensation of the cyber-flâneur, as you really would have no idea where you would end up. You would end up on pages that had nothing to do with what you wanted, experiences that were totally unanticipated. You had to connect the dots, connect the parcels of your experience. It was totally open to randomness.