Among the as yet small body of prose and verse identified as metamodern by the...academy, or, less commonly, self-identified as such by its authors, certain gestures recur, the ambition of which we have already discussed, and the sometimes unpredictable effects of which are considered in more detail below. These gestures include, not exhaustively, the misappropriation of dissolved, partial, or entire texts to an author other than their "real" one; the unannounced commingling of found and original language, and, thus, what has been termed "uncreative" writing with the creative; the "remixing" of existing texts by literary artists in a way that both binds the author to the four-dimensional reality of another while providing a visible if yet uncomfortable space for a subjugated form of original authorship to emerge; the elision of tone entirely, rendering indiscernible if not the subject position than at least the corresponding ideology of an author; the achievement of textual immanence not through consideration of the word-as-such but, rather, realities-as-such, for instance where text operates as self-referential, meta-textual performative speech (in an elementary and uninteresting usage, were the first sentence of a short story to be simply, "First sentence."); the pastiche or tightly constrained realignment of texts written by authors still living, the better to ventriloquize and position dialogically various extant realities, rather than shaping those already terminated into identifiably single-author, four-dimensional tracts; reappropriation, without alteration, of partial or entire texts in a fashion, for instance through imaginative titling or other author-individuated framing devices, that repurposes these texts as discretely self-expressive or politically committed; a logorrhea of earnest declaration, the accumulation of which beyond all convention produces a gradual degeneration of affect and semantics; improbable affects, such as unmitigated enthusiasm, whose sincerity is rendered inscrutable as and when they are applied to content presumptively beyond reproach as truthful or earnest; texts whose titles so clearly and stridently contradict any ensuing content as to make close reading of the whole near or entirely fruitless; fully immersive authorial personas so unwavering and of such endurance it becomes impossible to discern author from persona; faithful transcripts of individuated real-time data-streams, often captured in virtual environments, whose affect, tone, and ambition necessarily wend through disparate stages in a simulacrum of an Internet browser with multiple tabs open simultaneously; prose or poetry of persona in which the identity of the persona remains deliberately and even ominously ambiguous or inconsistent; many intersections of the languages of information and art distantly related to the above but not mentioned here; and many other gestures whose superficial effect on the receptive reader is a generative confusion promulgated by several attendant metamodern oscillations.