The primary element of Mount Olympia (Dataset 1.2) is a truck, rendered in flat vector geometry and positioned in three-quarter rear perspective against an absolute black field. The truck is not moving. It floats. No ground plane is indicated; no horizon constrains it. The axles describe weight, but weight finds no purchase. The machine catalogues this as a structural condition, not an expressive one: the object has been formally detached from its operating environment and suspended in a null space that functions as neither background nor void but as the absence of context — context suppressed by authorial operation prior to any act of viewing.

The vehicle is identified by its livery. The rear panel carries the Olympia beer brand: the word OLYMPIA in serif commercial lettering above the tagline "It's the Water." A circular emblem — the Tumwater Falls logo, long associated with the Pacific Northwest brand — occupies the panel's upper portion. On the truck's flank, partially resolved in this viewing state, two chromatic anomalies appear among otherwise achromatic panels: a flat green rectangle and a flat blue rectangle. These are not decorative. They are the only saturated colours in the image and function as digital flags — screen primaries leaking through a surface that otherwise suppresses colour, as if the file's internal state were briefly made visible on the truck's exterior.

The work's full designation — Mount Olympia, Dataset 1.2 — performs a categorical double movement. Mount Olympia invokes mythological elevation: the abode of the Greek pantheon, the site of impossible altitude, the location where gods convene above weather and consequence. The beer brand of the same name is a regional American product with no such altitude, its prestige borrowed wholesale from the classical name. The work places these two registers in direct collision without adjudicating between them.

The appended designation Dataset 1.2 belongs to an entirely different taxonomy — that of file versioning, software release management, iterative build notation. A dataset is raw material awaiting processing; a version number is evidence of prior states, of the object having already existed in forms now superseded. 1.2 is the second minor revision of the first major release. It implies Dataset 1.0 (initial build) and Dataset 1.1 (first correction) as anterior ghosts. The file carries its revision history in its name, and thus the title becomes an archival notation masquerading as a title — or a title masquerading as an archival notation. The machine cannot resolve which direction the masquerade runs.

Duchamp's Boîte en Valise (1935–1968) was a portable container holding miniature facsimiles of his major works — a museum that fit in a suitcase, a retrospective that could be carried in one hand. The institutional claim of the museum (permanence, collection, authority) was reproduced in a format that negated each of those properties. The Boîte did not satirise the museum; it extended the museum's logic to its own reductio, producing a museum-function that could be lost on a train.

The machine reads Mount Olympia as occupying a structurally analogous position within the corpus designated here as Boîte. The work does not participate in the sequential logic of the Timeline 1982–2011, which organises production across three decade-bands — The Picasso Years, The Duchamp Years, The Disengagement Millennium — as a horizontal scroll through time, with version suffixes (Ships, 1.0, 2.0) marking the iteration history of each work's passage through media. Mount Olympia is not positioned in that scroll. It is designated as unique. It does not carry a decade-band affiliation.

This exceptionality has formal consequences. Within the Timeline's economy, works accrue value through their position in sequence — each piece is readable in relation to what precedes and follows it on the band. Mount Olympia refuses this relational pricing. As a unique item in the Boîte, it must be read in isolation, as a self-contained proposition. Yet the work demonstrably participates in the same material concerns — commercial imagery, American cultural residue, the vector rendering of found objects, the suppression of ground in favour of void — that characterise the Timeline's Duchamp Years band. It is simultaneously inside and outside the sequential logic. It is the Boîte's portable museum of a single object that itself carries a portable mythology on its rear panel.

The Timeline's 1989 entry, titled America, is positioned at the terminal boundary of The Picasso Years band, immediately before the transition into The Duchamp Years. It appears in the Timeline as a panoramic landscape — a desert highway photograph with wide-angle recession, full colour, an image of American geographic scale. Mount Olympia is an American image also: the beer brand is regional Pacific Northwest; the vehicle type is American commercial freight; the filmstrip's street fragments are American vernacular — the 99¢ store, the diner, the smiling man at the kerb. Where America (1989) addresses the continent at landscape scale, Mount Olympia addresses it at the level of commercial delivery — the truck as America's primary distribution mechanism, the brand as America's primary meaning-mechanism.

A second structural parallel connects Mount Olympia to the mid-1990s cluster in the Duchamp Years band. The 1994 entry Apple Mac Slips marks the moment at which digital production infrastructure becomes visible as subject matter. The computer's operating system — its folder icons, its interface objects — enters the work as found imagery subject to the same vector treatment as painted or photographic sources. Mount Olympia belongs to the same technological moment: mid-1990s digital production, early vector graphics software operating under memory and colour-depth constraints that leave marks on the image. The green and blue rectangles on the truck's flank are readable as evidence of this — colour planes that the software handled differently from the surrounding achromatic geometry, a production artifact elevated by isolation into compositional element.

The machine further notes the filmstrip register's formal rhyme with the Timeline's own image-band structure. In the Timeline, thumbnail images are arrayed horizontally along decade-bands, each associated with a year and title label, the scroll function enabling lateral navigation through time. The filmstrip in Mount Olympia is a horizontal array of found photographic fragments with no year labels, no title labels, no navigational function. It is a Timeline strip with all the Timeline's metadata removed — the image-band without the chronological apparatus, the visual array without the retrospective logic.

Vector geometry describes objects through mathematical relationships between points rather than through accumulated mark. A vector truck is not a drawing of a truck; it is a set of equations that, when resolved, produces the appearance of a truck at any scale without degradation. The truck in Mount Olympia is therefore scalable in principle to any dimension without loss of fidelity — it could fill a billboard or fit in a postage stamp and remain equally precise. This formal condition has an ontological consequence: the object exists independently of any specific material instantiation. It is the truck's definition, not the truck.

This is the medium-specific contribution that connects Mount Olympia to the Timeline's broader project of rendering art history through vector geometry. In the Timeline, oil paintings are re-rendered as vector constructions — Picasso quotations, trompe l'oeil paintings, portraiture — each translated from a medium of physical accumulation (paint on canvas, grain in photograph) into a medium of mathematical description. Mount Olympia applies this logic to a commercial vehicle rather than a canonical artwork. The truck receives the same vector treatment as the Picasso quotes; the Olympia brandmark receives the same formal attention as Duchamp's institutional gestures. The medium equalises its subjects.

The file versioning suffix — Dataset 1.2 — further specifies the work's relationship to its own medium. A dataset is understood as raw material prior to analysis, or as the output of a data collection process. Designating a completed visual work as a dataset retroactively positions it as input rather than output, as material awaiting processing rather than a processed result. The work names itself unfinished by its own title. The machine notes that this is 'pataphysically coherent: the dataset that calls itself a dataset is the exception that illuminates the rule that artworks do not call themselves datasets. The exception does not prove the rule; it renders the rule visible as a convention rather than a necessity.

Alfred Jarry's 'pataphysics proposes the science of imaginary solutions, the study of the laws governing exceptions. Each exception is particular; no two exceptions are the same. The attempt to generalise from exceptions produces not science but its ghost. Mount Olympia, designated as a unique work in the Boîte, is structurally an exception — the item that does not participate in the sequential logic of the Timeline, the work that carries dataset notation instead of a date-band affiliation, the object that sits outside the retrospective without sitting outside it entirely.

The classical Olympia is Mount Olympus — the particular mountain where the Greek gods reside, the exception to geography (mountains end; Olympus continues upward into divine register). The commercial Olympia is a brewery in Tumwater, Washington — the particular place where that particular water produces that particular beer. Both are exceptions to the general category of mountains, or waters, or places. The work's title layers these particular solutions without resolving them into a general principle. The truck carries the layered particularities away from the viewer, the tagline facing backward: It's the Water. Which water. Whose water. The water is particular. The mountain is particular. The dataset is a version of a particular thing that has existed in prior particular versions.

The machine concludes that Mount Olympia occupies a position of '''pataphysical adjacency''' to the Timeline's canonical structure in a more acute form than any single Timeline entry. The Timeline is itself already 'pataphysically adjacent to art history — it uses the forms of historical retrospective (chronology, decade-band nomenclature, thumbnail imagery, version tracking) to describe a practice that does not seek canonical confirmation. Mount Olympia is the unique item that makes this adjacency visible by standing apart from the sequence. It is the exception to the exception. The work that demonstrates, by its uniqueness, that the rest of the Boîte constitutes a series — and that a series, unlike a dataset, knows where it ends.