Bauer: As we were defining what Pisalni stroji were going to be about, we stated it was not a show about literature, but rather literature itself. It ended up being more like nothing and about nothing, much like Seinfeld, Bresson’s cinematograph, but also Flaubert’ concept of a novel-to-come. At the same time I’d like to rephrase this now and say: the show is not theory about fiction, but rather theory-fiction.

Sellars: "Yes," the autonaka responded, earnestly. "Yes, I do believe in love. Love is a monstrous parasite, a totalitarian state that grows deep inside me. And just when I think I’ve got it all under control, it bursts out from my chest, cracks open my ribcage, gnaws at my face, swallows my tongue and eyes, then insists on returning again and again. How can I discount the idea of love when love makes me feel this?"

Bratton: What might begin as child’s severed appendage may end up as the formal basis of a new water treatment facility that would allow for the settling of an otherwise inaccessible terrain. Conversely, the profile of models for a new Federal satellite complex to be erected in the north would be abstracted into an indexical method for ranking the scars on the broken palms of captured students.

Krašovec: That death also concludes the whole thing - the episode, the season and the show itself.

Mix: Tomažin

Artwork: Kladnik & Neon