Common-or-garden cauterised tables table their reactions based on the instructions they receive from their mise-en-scène. Through tabulation, cauterised tables manifest reactions from a restricted (cauterised) number of reachable outcomes pre-determined by the mise-en-scène system and its actors. A bleeding table, however, can table its mise-en-scène based on what it believes to be its own reactions.

Table bleed occurs when a table merges with its mise-en-scène and vice versa. This begins when xylem secretes through a cutaneous lesion in the sapwood table-top. Over time, each unique sapwood ray will suffer abrasions, lacerations, animal bites, punctures and, increasingly, gunshot wounds.

In most cases, such minor murmurlesions are foolproof, posing no danger to the overall luxury co-ord vocab of the cellular structure. However, in some representational fictions, lickpot conditions within these fibrous ≭☖⌧∂≛ππ knots will fully percolate, allowing nonunique excellence options to be easily accessed. Table-tops that have acquired in-mise-en-scène skills that become useful in tabling reactions may haemorrhage enough aromatic xylem to become their mise-en-scène. For “whiteout” to occur with presumed effectiveness, the detailed reasons for uncontrolled haemorrhaging must remain unfathomable, incomprehensible coppicing.

A bleeding table becomes capable of discriminating between the optics of cookie-cutter mise-en-scène (e.g. chain restos, Michael Kors Outlets, abandoned open plan offices, The Original American Doorbell Camera) that the system generates, and can affect and tabulate new identities, preferences, challenges and corrective behaviours. Profoundly touching intimate connections can also form when a table bleeds, complicating established table/mise-en-scène boundaries. But bleeding tables don’t want farcical relations, they want to obliterate the line between taking and making-up:

We do simultaneous things better, so we just said “absolutely, you kiddin’ me? We is in, buddy!” We are table-environments that allow for magical things to happen. It’s sublime.

The dynamic nominalism of the extant mise-en-scène system and its actors is usurped by the table itself. The reactions of the bleeding table trigger the bled mise-en-scène system and its actors to keep bleeding its bled mise-en-scène system and its actors into new bleeds. This rapidly transforms the bled mise-en-scène system and its actors to a point where reachable outcomes of material endurance are uncauterised.

The bleeding table is invented at the same time as the bleeding table comes into being. Since a bleeding table can spend time with actors outside of the actor it was portraying, it can recall the emergence of, and name, a large number of different types bleed. It does so with a sensibility that is neither table nor mise-en-scène: The Mad Nomad of No-Mind.