I have first reproduced the original text in its entirety on the computer, recreating precisely all the typographical characteristics of Un Coup de dés (such as the design, the layout, the typeface, etc), reproducing exactly the topographical placement of the text on the space of the original pages. Once the text has undergone this mimetic operation, I transfer the forgery over to the graphic editor, where the text then mutates three-dimensionally through a series of processes based upon the program's own algorithmic computations. This algorithm transforms each individual letter into
dendrites of signification that extrude off the shell of the page, like non-Euclidean stalagmites into a transcendent, dimensional continuum of textual space. While the entirety of the text experiences this kind of crystalline metamorphosis, the words and letters (along with their dimensional significations within the content of the poem) remain unscathed, preserved, since erasure technically does not occur – only a form of textual transcendence from one spatial plane to another. In this respect, my translation can exemplify a kind of dynamic, spatial equivalence that reproduces the non-Euclidean kernels of meaning found within Mallarmé's text, while simultaneously transporting this structural lattice of meaning into a higher, planar ascension. To me, each of these pictures almost suggests a kind of miniature "Big Bang" burst of frozen sound, photographed a few moments after the gravitational waves propagate through space...

Eric Zboya in the AFTERWARD