She sits
**************A big dirty metallic table, she’s dead,
her most beautiful body,
naked and cold in the sharp light

Translucent pyramids.
The city rests, drawn, through the lines, signs, and gazes. Here.
Me [1]. Now. Its power lies in this flux dynamic.

**************she looks toward the holy and deaf mother-of-pearl glass
the most beautiful body,
hers and only hers, shines everywhere.

And brings her peace.
From her body, thousands of wires start toward the thousands of screens everywhere. Only her smile
comes back. Iustina is protected, only her, anytime, anywhere. Who wouldn’t give her entire life for this?


Jamming: Your online identity is built upon the content of your posts on social media. These, together with the other interactions you have online, make up your personal data. Starting here, the button on the bottom of the navigation page will help you, by simply clicking it, to redefine yourself. A simple click and the button will select certain activities in your place. By using it, you’ll be able to mask and reconstitute your image by changing the algorithms that recognize you. For more information, read below!

1st Text: “The author is part of the structure of the work. While our modern culture is concerned with the legalities of ownership and appropriation, historically, discourse was an action, not a property. The concept of an author is socially constructed and exists only in relationship to the text. […] There is not one authorial voice in the text but many as others interpret the discourse from multiple perspectives and add, delete, and otherwise modify the meme to reflect these myriad interpretations.”

2nd Text: “Traditional ideas about identity have been tied to the notion of authenticity that such virtual experiences actively subvert. When each player can create many characters and participate in many games, the self is not only decentered but multiplied without limit.”

3rd Text: “In this view, the self is not even contained in the body, but can also be realized through relationship with technology. Notions of presence and absence are based in the idea of the body as a center of control and being, but technology is revising this paradigm.”

Epode:            “To you, the ones who were before me, or come after me,
**************I’m giving you this space!”


Rules for using this space:

1. Thou shalt have no other spaces before me.
2. Thou shalt not make unto thee any graven image. Thou shalt not worship other spaces.
3. Thou shalt not take the name of this space in vain.
4. Thou shalt work tirelessly for this space, in all the days spent here.
5. Renounce thy father and thy mother, for you only belong to this space. No one outside it can have you.
6. Thou shalt kill the trespassers, lest they worship this space.
7. Thou shalt fornicate! Fornication will take away your inner desert. Build on me!
8. Thou shalt steal from outside and bring all riches here. Thou shalt prosper and breed in my name, merciless, boundless, moral-less! Everything you like you should store here, don’t leave anything out.
9. Thou shalt lie in every moment of your presence here. Shout to them: Everything is mine!
10. Thou shalt covet the goods that are not yours. Only through them you can make me bigger.

Breaking the above laws will be punished by the maximum sentence, except for the individuals who will pay in its integrity within five days the sum listed in the contract attached to the legislative packet.


About the sense of ownership

All these laws that you were taught today you must guard, so you can live and multiply, and inherit this space. For I am the one who shields you from the surrounding desert. Listen to me!

“Thou shalt not add anything to what has been ordered.” Not one word added or subtracted thou tongue shall utter.

This space shall smother from you any other spaces, little by little: “One can’t lose them quickly, for the land will go bare and the wild animals will breed against you.”

For I am the earth into which you pass to be shepherded, a country with mountains and valleys and waters from the Heaven’s rain.

I will chase away all the other spaces in front of you and you’ll own greater and stronger spaces than you.

But heed my word, thou shall eat only blood, because the blood carries life and you will eat life together with the flesh.

And thou shalt eat the fruit of your womb, the flesh of your sons and daughters, if you desire this space. Your men will not share with anyone the flesh of their children, which they’ll keep only for themselves. Your women will watch with merciless eyes their men and sons and daughters.

And they will not relinquish the newborn who was born through their thighs and the children they gave birth to, because they will eat them in secret during the siege and the famine begotten in my name. Thou shalt survive me!



One of the fundamental duties of the State is to streak the space that it owns or use the smooth spaces as means of communication at the service of the streaked space.

This book presents in a succinct way the general principles of a job well done, regardless of the field in which the human activities take place. The author insists on the fact that the t(a/o)[u/n](a)tology she systematically presents is a generalization of the principles of economic science, that the t(a/o)[u/n](a)tology is a meta-theory of the economy. Considering the fact that economic science concerns itself, among other things, with optimizing the connections between different specific activities, one could propose the following hierarchy: the t(a/o)[u/n](a)tology generalizes the optimizing principles of the economy, and in turn, this gives directions to optimize the “technical” activities in their widest meaning.  

Any and only the act that doesn’t achieve its purpose, nor makes it possible or easier to achieve it, in other words, that doesn’t get it closer to the purpose, is deemed inefficient. Among inefficient acts there are on the one hand anti-efficient acts that render null or make it difficult to attain the purpose, and on the other hand the acts that aren’t efficient nor anti-efficient but indifferent.

Efficiency and anti-efficiency are gradable; only indifference can’t be graded.

The skeleton of the t(a/o)[u/n](a)tology is built on some rules of the efficient activity such as: the economy of actions, preparing them, tooling, integration, or cooperation. One of the most common ways of achieving an economy of the actions is automation, which consists in replacing the intensive actions with machine actions. That which was done conscientiously and with difficulty is now done without thoughts being concentrated on the action. Such manipulative efficiency can be achieved only through experience.

An action, in order to be efficient, needs to be prepared by making a plan that has to contain a well-defined purpose and cover a timeline as long as possible toward the future. A correct plan has to be especially a finalized one that leads realistically to the desired goal without taking us on the wrong paths.

Tooling is the third rule of an efficient action. By using good quality tools, we often achieve an action of incomparable greater safety and precision then by direct manipulation. With the help of tools, we can create many products with such likeness to one another that they can replace each other.

But about space
****************we can only talk
outside the space;
****************where the field goats roam, light-footed,
****************and the wood locks fan over the earth;

****************where the sun penetrates the grass, leaving it pregnant,
****************and Juliet enjoys herself with minotaurs, gods, and meads.

Double epode: With our gods, full of fruits/Juliet is wasting her life,
****************in the grass, pregnant with sun

****************and trembles when she sees her face/
****************in their large eyes on the horizon
****************in the grass pregnant with sun.

Her body under pleasures, Juliet suddenly meets her eyes:
***********************only Iustina’s eyes [2].

And rushing, a line
****************turning into death/a line of destruction
***********************pure and simple.



[1] Marin: “The portrait is a model in epistemological sense, but it is also what is put in the place of . . .  instead of . . . what is substituted for . . . In portrait the trait, the line drawn, refers us back to the trace, vestige, remainder, or ruin, but also to the drawing that is a design, and, in the final analysis, to the project.”

[2] “The shepherd is the one who keeps watch” over the flock and “will guard the smallest animal from the flock against the danger.” A healthy flock is one that produces quality individuals, able to consume and be consumed.


Iulia Militaru

Iulia Militaru is the editor-in-chief of frACTalia Press and InterRe:ACT magazine. After a few children’s books and her study Metaphoric, Metonymic: A Typology of Poetry, her first poetry collection Marea Pipeadă (The Great Pipe Epic) was published in 2010, receiving two major awards in Romania. Dramadoll, co-authored with Anca Bucur and Cristina Florentina Budar, is part of a larger poetry/graphic art/video/sound project; a part of this video project (Images of the day number 8, directed by Cristina Florentina Budar) was selected for Gesamt 2012 (DISASTER 501: What happened to man?), coordinated by Lars von Trier and directed by Jenle Hallund. Her collection of experimental poetry Confiscarea bestiei (o postcercetare) (The Seizure of the Beast. A Post-research) was published by frACTalia Press in 2016. She has published poems and digital collages in MAINTENANT, A Journal of Contemporary Dada Writing and Art #9, #10, and #11. Her art exhibit “The Path. Filling-in Abstract Forms: Overwriting Barnett Newman” opened in 2016 in Iowa City at Public Space One. In 2016, she was also featured at the third annual Brussels Planetarium Poetry Fest.

Claudia Serea

Claudia Serea’s poems and translations have appeared in Field, New Letters, Prairie Schooner, Gravel, The Malahat Review, carte blanche, Oxford Poetry, Asymptote, RHINO, and elsewhere. She is the author of five poetry collections and four chapbooks, most recently Twoxism, a poetry-photography collaboration with visual artist Maria Haro (8th House Publishing, Canada, 2019) and Nothing Important Happened Today (Broadstone Books, 2016). Serea co-edited and co-translated The Vanishing Point That Whistles, an Anthology of Contemporary Romanian Poetry (Talisman House Publishing, 2011), for which she received a grant from the Romanian Cultural Institute. She also translated from the Romanian Adina Dabija’s award-winning Beautybeast (Northshore Press, Alaska, 2012). Serea is the co-founder and editor of National Translation Month, and she co-hosts the Williams Poetry Readings in Rutherford, NJ.

Copyright (c) Iulia Militaru, 2016. English translation copyright (c) Claudia Serea, 2020.