I t started with a grid. Four lines and three rows made twelve slots. That’s dull. But ten numerals left two slots vacant, which nudged the composition slightly off balance.
Arabic numerals are usually either ranged or old style. All the ranged kind are the same height. They work well in tables and with capitals. Old style figures look better with lower case letters. Seven of them go below the baseline or above the midline. That kind made the grid uneven. In addition, the left and bottom margins are slightliy bigger than is customary in a balanced arrangement.
Two lines of text went into the upper vacant slot in the grid. They were aligned at the top to the numerals on either side. The other two lines of text were aligned at the bottom to the numeral next to them.
The color and surface tratment of the numerals suggests beveled brass of the kind that might go on a door in a corridor.
Does this piece have a meaning, a message for the world? Certainly.
The slotted wood screws that might hold the numerals in place are of two kinds, roundheads and flatheads. Two holes are empty, a lament over falling standards of maintenance, absence of craftmanship, and the thermodynamic entropy of the universe.
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