Problematising the opposition Hegel makes in his Introductory Lectures on Aesthetics between art and science, an opposition which is of course not just Hegel’s, this paper attempts to theorise the aesthetics of non-fiction. From considering Wittgenstein and Peirce’s views on the logic and aesthetics of being, it turns to consider its author’s own writing practice. For I am producing all this, and sending it out into the world in this fashion, as part of my literature search for The 14th Floor, an experimental novel. And this article is actually a letter to my supervisor. Conceived literally as a science experiment, The 14th Floor, and the resultant prac report I will produce about the process of its writing, will aim to undermine something of the illusory divide between art and science, fiction and non-fiction, novelty and knowledge. The article also constitutes a consideration of how we might use the new doctorates in creative arts to stage collisions between traditional knowledges and contemporary creative practices, and so generate the new. I plant a series of autobiographical disruptions into the above, in the form of descriptions of Moscow in late Soviet perestroika, where I lived and first learnt that life blows up, sometimes. And that realities, facts and fictions, follow in its wake.