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Kairos (Ancient Greek: καιρός) is an Ancient Greek word meaning the right, critical, or opportune moment. The ancient Greeks had two words for time: chronos (χρόνος) and kairos. The former refers to chronological or sequential time, while the latter signifies a proper or opportune time for action. While chronos is quantitative, kairos has a qualitative, permanent nature. Kairos also means weather in Modern Greek. The plural, καιροί (kairoi (Ancient and Modern Greek)) means the times. Kairos is a term, idea, and practice that has been applied in several fields including classical rhetoric, modern rhetoric, digital media, Christian theology, and science.

An autopen or signing machine is a device used for the automatic signing of a signature or autograph. Many celebrities, politicians and public figures receive hundreds of letters a day, many of which request a personal reply; this leads to a situation in which either the individual must artificially reproduce their signature or heavily limit the number of recipients who receive a personal response. Given the exact verisimilitude to the real hand signature, the use of the autopen allows for a small degree of wishful thinking and plausible deniability as to whether a famous autograph is real or reproduced, thus increasing the perception of the personal value of the signature by the lay recipient. However, known or suspected autopen signatures are also vastly less valuable as philographic collectibles; legitimate hand-signed documents from individuals known to also use an autopen usually require verification and provenance to be considered valid.

The early autopens used a plastic matrix of the original signature which is a channel cut into an engraved plate in the shape of a wheel. A stylus driven by an electric motor followed the x and y axis of a profile or shape engraved in the plate (which is why it is called a matrix). The stylus is mechanically connected to an arm which can hold almost any common writing instrument, so the favourite pen and ink can be used to suggest authenticity. The Autopen signature is made with even pressure (and indentation in the paper), which is how these machines are distinguishable from original handwriting where the pressure varies.

Modern day autopens use a signature smart card or USB flash drive to store signatures and phrases instead of the plastic matrices. In addition, certain models can replicate entire pages of writing once a custom font has been created in a user's handwriting.

Asemic writing is a wordless open semantic form of writing. The word asemic means "having no specific semantic content", or "without the smallest unit of meaning". With the non-specificity of asemic writing there comes a vacuum of meaning, which is left for the reader to fill in and interpret. All of this is similar to the way one would deduce meaning from an abstract work of art. Where asemic writing distinguishes itself among traditions of abstract art is in the asemic author's use of gestural constraint, and the retention of physical characteristics of writing such as lines and symbols. Asemic writing is a hybrid art form that fuses text and image into a unity, and then sets it free to arbitrary subjective interpretations. It may be compared to free writing or writing for its own sake, instead of writing to produce verbal context. The open nature of asemic works allows for meaning to occur across linguistic understanding; an asemic text may be "read" in a similar fashion regardless of the reader's natural language. Multiple meanings for the same symbolism are another possibility for an asemic work, that is, asemic writing can be polysemantic or have zero meaning, infinite meanings, or its meaning can evolve over time. Asemic works leave for the reader to decide how to translate and explore an asemic text; in this sense, the reader becomes co-creator of the asemic work.

In 1997, visual poets Tim Gaze and Jim Leftwich first applied the word asemic to name their quasi-calligraphic writing gestures. They then began to distribute them to poetry magazines both online and in print. The authors explored sub-verbal and sub-letteral forms of writing, and textual asemia as a creative option and as an intentional practice. Since the late 1990s, asemic writing has blossomed into a worldwide literary/art movement. It has especially grown in the early part of the 21st century, though there is an acknowledgement of a long and complex history, which precedes the activities of the current asemic movement, especially with regards to abstract calligraphy, wordless writing, and verbal writing damaged beyond the point of legibility. Jim Leftwich has recently stated that an asemic condition of an asemic work is an impossible goal, and that it is not possible to create an art/literary work entirely without meaning. He has begun to use the term "pansemic" too. He also explained (in 2020): "The term 'pansemia' didn't replace the term 'asemia' in my thinking (nor did 'pansemic' replace 'asemic'); it merely assisted me in expanding my understanding of the theory and practice of asemic writing". Others such as author Travis Jeppesen have found the term asemic to be problematic because "it seems to infer writing with no meaning."

A pencil ( ) is a writing or drawing implement with a solid pigment core in a protective casing that reduces the risk of core breakage, and keeps it from marking the user's hand.

Pencils create marks by physical abrasion, leaving a trail of solid core material that adheres to a sheet of paper or other surface. They are distinct from pens, which dispense liquid or gel ink onto the marked surface.

Most pencil cores are made of graphite powder mixed with a clay binder. Graphite pencils (traditionally known as "lead pencils") produce grey or black marks that are easily erased, but otherwise resistant to moisture, most chemicals, ultraviolet radiation and natural aging. Other types of pencil cores, such as those of charcoal, are mainly used for drawing and sketching. Coloured pencils are sometimes used by teachers or editors to correct submitted texts, but are typically regarded as art supplies, especially those with cores made from wax-based binders that tend to smear when erasers are applied to them. Grease pencils have a softer, oily core that can leave marks on smooth surfaces such as glass or porcelain.

The most common pencil casing is thin wood, usually hexagonal in section but sometimes cylindrical or triangular, permanently bonded to the core. Casings may be of other materials, such as plastic or paper. To use the pencil, the casing must be carved or peeled off to expose the working end of the core as a sharp point. Mechanical pencils have more elaborate casings which are not bonded to the core; instead, they support separate, mobile pigment cores that can be extended or retracted (usually through the casing's tip) as needed. These casings can be reloaded with new cores (usually graphite) as the previous ones are exhausted.