Shklovskij's formulations negate or cancel out the existence/possibility of a "real" perception: variously, by (1) the familiar Formalist denial of a link between literature and life, connoting their status as non-communicating vessels, (2) always, as if compulsively, referring to a real experience in terms of empty, dead, and automatized repetition and recognition, and (3) implicitly locating real perception at an unspecifiable temporally anterior and spatially other place, at a mythic "first time" of naïve experience, the loss of which to automatization is to be restored by aesthetic perceptual fullness.