A group show in a warehouse in Hoxton. A number of artists, and a diverse range of work: sculptures, paintings, photographs, performance and video. You've made an appointment to see the show. When you arrive, the building is open but the exhibition appears to be closed. Or maybe the show is over, and the works are waiting to be taken away?
Google 'The Blue Conceptualists'. Some hits bear Gander's imprint: the references to works by fake artists on real websites; the YouTube clip 'In Search of Mary'; the homepage of the Kimberling gallery. Other links seem distinct from the work, but are drawn into it: the lyrics to the hit 'To Build a Home', which includes the title of a work by Mary Aurory, 'There is a tree as old as me', alongside heartfelt interpretations of the song's meaning; the equally authentically awkward website by a mathematician called Kimberling.
I can't write to Spencer. He'll start looking at postmarks and figuring things out. But listen, you have to convince him somehow to stop.
I know he's putting them where I can see them. Sometimes I think he must be watching me, following me. I never see him but it's like he's everywhere now. And it's not right, Murray. It's not good for him, and I hate it. Please, tell him to stop.
And he'll say no, he has to apologise. But he doesn't. He has. I've understood. But whether or not he's sorry is almost nothing of it, you know. It's not just about him: his regret, his sorrow. Tell him if I wanted to find him, I'd find him. Tell him he's not hard to find. Tell him women aren't a puzzle to be solved.
4.2 On the other hand, the conventional idea about induction/interpretation/investigation is pretty much this: you have a finite set of random known elements (clues, inductive base) and an infinite structured set of unknown elements (story). The latter's structure is what allows you to figure out the infinite set in all of its details, motives, characters, based only on a small part of it.
You know that in a locked room, anything can happen: art, apparition, assassination. Edgar Allen Poe's story, The Murders in the Rue Morgue, initiated the locked-room mystery, a genre of apparently impossible crime. How did the killer get in and then out again? Along with the detective, you become a scientist of hypothetical ingress and egress.
You are ignorant about what is in a locked room, and also curious, perhaps dangerously so. It will not make you happy to learn what is behind the locked door in Bluebeard's castle.