The poem is not only a verbal reality: it is also an act. The poet says and, in saying, does. This doing is first of all a doing to oneself: poetry is not only self-knowledge, but also self-creation. The reader, in turn, repeats the poet's experience of self-creation and thus poetry is embodied in history. At the bottom of this idea, the ancient belief in the power of words still survives: poetry thought and lived as a magical operation, destined to transmute reality. PAZ, Octavio. Os Filhos do Barro: do Romantismo à Vanguarda. São Paulo: Cosac Naify, 2013, p.68-9.

To dissappear between ticked boxes, to fail at forms, to throttle the predictability of auto-play: we need to examine the act of naming and the role it plays in reifying gender as it is produced, packed , and delivered.
To become an error is to surrender to becoming unknown, unrecognizable, unnamed
Finding a word to describe something is the beginning of controlling it

This is their potential:
They bring new movement into static space

The presence of an error offline as an unrecognizeable body reveals the cracks in a seemingly glossy narrative about the fixity of gender binary

From Neil Postman’s lecture Seven Questions for any new technology:

1. What is the problem that this new technology solves?
2. Whose problem is it?
3. What new problems do we create by solving this problem?
4. Which people and institutions will be most impacted by a technological solution?
5. What changes in language occur as the result of technological change?
6. Which shifts in economic and political power might result when this technology is adopted?
7. What alternative (and unintended) uses might be made of this technology?