is an artist’s manifesto written between 1995 and 1996 and distributed at the Literaturnoye Kafe, 18 Nevsky Prospect, St Petersburg Russia and the Institute of Contemporary Arts (ICA), The Mall, London UK.

It represents the culmination of the artist's experimentation with the manifesto form after (1909) by Filippo Marinetti (1876-1944), (1918) by Tristan Tzara (1896-1963), (1924) by Breton (1896-1966) and the writings of French philosopher Henri Bergson (1859-1941) on intuition.

deals with four areas of artistic concern: and Although brief, it is a meticulous, structured review of the expressive means available to any artist whose work is to be founded on language. It's difficult, then, to overstate the formative importance of this work.

The text opens with meditations on inaction. points to the early and profound influence of Gertrude Stein. (The manifesto opens with Stein's epigram 'A Really Good Saint Does Nothing'.)

On the subject of language, the text asserts that raising the artist’s own early concerns about the limits of the expressive power of words.

The text investigates the idea of the deceptiveness of language and proposes a vigorously restricted use of language in an attempt to ameliorate its inherent faults. These observations lay the foundations for Firrell's later deployment of language which is reduced, direct, and declarative to the point of baldness.

reaches its climax in a series of statements that point to a new, heightened form of lucidity. The unifying character of these statements is that they can be said to be self-supporting. They suggest the artist was trying, however tentatively, to locate a firm footing for textual experiementation.

For example, is undeniably true, constituting a ‘cast-iron sentence’, a linguistic element that is, in the artist's view, irrefutably sound; something on which it’s possible to build freed of language's inherent faults and, therefore, with complete confidence. "I felt it must be possible to describe the limits within which all language must operate and so designate a clearly defined space for my own experimentation."

This was the underlying purpose of the manifesto: to create a secure and clearly defined space in which experimentation with language in public space could take place without fear.

Copies of were boxed up and dispatched to St Petersburg accompanied by a handwritten note from Russian concert pianist Yekaterina Lebedeva.

Two decades later, Lebedeva, visiting St Petersburg and the Literaturnoye Kafe, enquired about the fate of the little manifesto; it had been displayed as requested and, within a week, the entire edition had been taken away by the cafe’s patrons as was hoped/intended.