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had a funny kind of very touching and absurd kind of gesture, the displacement of a running water course. In the Arctic we took a huge river, the McKenzie, which is a major highway from the south to the north of the northern land mass, and displaced it by digging little channels so that it came round there, and there was something really fantastic about knowing about it, seeing and hearing it written, and not having any specific...Seeing a piece of his written, as a general idea it's interesting, as a general idea. And then seeing it done in this terribly specific and kind of tiny way was really a very beautiful act, and this work is improvement, but it carries poetry to an extreme that poetry itself can't be carried. 

UM: That's a beautiful thing. It becomes like poetry in action, no. Well then this is something very important that you said. I would like you to try and clarify what you said. When you said that visual art (I don't know whether I paraphrase you correctly) has not...but anyway my concern is right now that I think visual art has taken up other art forms, particularly in terms of happenings. Now happenings are sort of peculiar. In Europe happenings are very popular. For instance Beuys, as you know, does not so much make happenings as actions, as he calls them, and there I would like to talk to you about that. When you descibe the effect of action as you described the Weiner thing, right/ It's almost the same thing, only it wasn't intended as such.

LL: No, because its residue in words is as important as the fact that it was done. But it certainly does acquire another dimension when it is executed in a specific place. What I think is interesting there