SINKING ISLANDS

This publication was edited and printed on the occasion of the exhibition Sinking Islands (LABOR, Mexico City, July 14th - August 31st, 2012).

THE SUNKEN WORLD AND THE DESIRE FOR THE SHORE Vincent Normand

Sinking islands. Like the unseen part of the buildings made of fictions that form the airborne continents on which we stand. Like that day when reading happened without spelling or writing without singingthat day when text slipped inside the body of things. The Oceanic Feeling (bits of Man) This text consists of notes jotted down while preparing the Sinking Islands exhibit. It does not aim to explain the show, but rather, it seeks to fold-out its figures in the space of writing, as does this entire publication. Both the writing of this text and the editing of this publication are no more and no less than the work of the exhibition itself. The motif of the island, be it deserted or inhabited, is not original in and of itself. An island is an isolated punctuation on a map, a confined topographical object defined by its borders. One could even reduce its definition to its coordinates, to a hasty drawing of a circle, or, zooming in further, to the creases of its contours. By pushing the resolution to the perceptive limits of the human, representing an island could resemble the task of the Empires cartographers in Jorge Luis Borgess Del rigor en la ciencia (On Exactitude in Science, 1946), who were so precise that only a map as large as the empire itself would suffice to condense their science. If we followed these cartographers in their enterprise, while exceeding its logic and granting the map a resolution that goes beyond the abilities of the human eye, mapping an island would mean to produce a map that is much larger than the island appears to our naked eye. The map of the island would begin to spread out and cover the ocean, reaching the shores of continents from which tectonic shifts had torn it. Finally, the map would envelop the world itself. From embedded microscopes to aligned telescopes, the representation of the island would enfold the universe, breaking down whatever the island could have incarnated of the outside, leaving its isolation behind to become the biggest possible thing. Pinpointing an island seems to placate our measuring drives and mapping anxieties. Better yet, in the discourses related to the production of knowledge today, the lexicon of the archipelago or the semantic field of the island form a topos: not a place, but rather a commonplace. Islands are not the result of disorientation, but rather a landmark for thoughtthe locus of an orientation techniquea repository transformed into the reassuring promise of a lighthouse. In fact, the concept of island lends itself to all sorts of applications that simultaneously verify its coherence and elasticity. Conceptually contained in its precise boundaries, the island would constitute a remedy against the anxiety stemming from abrupt changes in scale and measurement that coexist in the world in which we float: a liquefied world, the total world of an epidemic of things. Perhaps even the insular figure (and what it suggests of a possibility of a faraway land) serves as consolationa consolation that our thought does not only use to sober itself up, but to condition its form as much as its economy, as it was with Utopia once upon a time. The islands popularity today is not unrelated to its significance at the time of Utopia, in the instances of the first oceanic crossings and Great Discoveries, when the world solidified into the shape of a globe centered around Man, and looped its own tune around itself, halfway between the music of the spheres and the chants from faraway islands. The island was already becoming the vertiginous vanishing point that tore modernity between two antithetical forces, one centripetal and unitary, penetrated by its own hegemony; and the other centrifugal and lacerated by the categories of modern science, prey to the vertigo and constantly worried about its own splintering, its loss. Nothing is new in the insular hypothesis. As a modern vanishing point, it has been so well worked in by discourse that it has been integrated as the template of the post-historical condition, the favorite figure of contemporary disjointed Man. The island has become the model of humans in

pieces torn between their fictional identities and contradictory desires of being both exclusively and simultaneously a large eye, only a mouth, an endless belly, a huge ear. This splintered human asks what object he would bring to a deserted island. What object on an island would escape the condition of he who imports it? What object would come to resolve the internal fragmentation of its depositor? Surely none since the island plays the role of a contemporary fable revealing to its readers their desire to become fragments: fractions fighting to cement their own limitsbodies evolving in the amniotic bath we should call world. Since then, the injunction linked to the representation of this contemporary insular condition is the following: to give an image to this world, we should find a dry place, find mother Earth, the truth of sources and the unitary feeling of origins. We would have to navigate the intervals amongst the pieces of broken Man and piece them together into a identifiable portrait so that discourse could comfortably nest in its interstices. Heaps of pieces of Man pile up everyday in large vessels specially designed for this purpose: the Museum is one of them. In the same way, representing this broken body that is the island would force us to assume the progression of signification as if it were a current. It would lead us to circulate amongst things while throwing ourselves to the onslaught of the oceans of signs that form the dividing lines between what is outside us (the separate) and what belongs to us (the unseparate), endlessly enduring the deadlocks, molding the contour of bays, braving the reefs and avoiding monsters. Until perhaps, at the end of the voyage and when lists have been exhausted, the infinite auscultation of intervals reveals itself as it is: a simple enterprise of filling. The filling of the submarine abysses, slowly stocking up with our pieces; the piling of a large heap of debris, the accumulation of shipwrecks and ghost ships at the bottom of our memories. In other words: insularity as a topographical figure of opposition between the separate and the unseparate poses the problem of the dramaturgy of the interval that is automatically attached to it. This dramaturgy takes the shape of a desire for the shore imposing all representations and all discourses (even overtly critical ones) a cascade of questions. How to tie? How to weave together these fragments? How to talk of dispersion? How to walk amongst the scattering of our pieces to give them an identity? Finally, how does one ensure narrationthe storytelling of this progression? The question that moves us here is much more literal. It takes insularity at face value. It does not look at the figure of the island from the point of view of a traveler or a potential shipwreck, and even less from that of an ethnographer, a topographer or an archivist, but rather from that of the absolute isolation of the island itself. We are not dealing with the agreed-upon opposition between island and continent, nor with the well-identified dreams of autonomy and emancipation that such an opposition implies. Neither is it a question of the relation between the object island and the fables that inhabit it. On the contrary, it is a question of the possibility of an unrelation between things and the sum of texts, words and knowledge that are related to them. Conceiving another coastal zone where things are not defined by the knowledge they accumulate or produceby their identity, by their relationship to a species or even by their broken ties to a lost continentbut rather by their radical solitude. Things alone in the world. Things that do not add strata of signs to the giant palimpsest of the world, but that mark it with cuts as straight as a razorblade. In the end, we are dealing with another emancipation, undividable into stories: the one that surges forth from the radical unrelation between things and categories of discourse and language that we invented in order to speak of them and make them speak. The matter at hand is: things that resist discourse, things that cut our tongues, and for which we have no wordsthings whose only spectator is savage.

The Uncontacted (Written Objects, Inscribed Objects) No single continental has truly seen a separate island. Going to one is measuring the distance that separates the island from the place where we could have tried to spot it, searching for it beyond the horizon. Shipwrecking there amounts to building a symbolic bridge with the continent. Imagine a traveller for whom the island would not be a stake, a castaway calculating his location by measuring how far he is from the place he has come from. The island is an apocryphal motif for him, no more and no less than for us. It is the sum of all calculations, hypotheses and deferred writing seeking to repair the brutal catastrophe of shipwreck. It is the chain of events that will relate it to the lost continent. For the continental, there is only an island in this circumnavigation of contours, to the point that the island finds itself integrated into the same repertory as any object from the continent: the more we exclude the island from the world, the more we make it into something. The better we write its subtraction, the better we inscribe it into the check. The landscape of the Sinking Islands exhibition is informed by contemporary objects panic tendency to integrate their own reverse-angle at the moment the latter is named. The exhibition is informed by the crazed urgency of their symbolic structure, through which critical or subversive enterprisesbe they political, economic, intellectual, or artisticappear, and just as quickly turn into stacks of positive values, agglomerates of supervisibilities devoid of blind spots or projected shadows. What does it mean to pronounce the word art in this compact terrain where objects are never alone? What would be an exhibition of things flat-out alone, requiring the presence of no one? What would be an exhibition made out of objects cut from their referential continent, without language and discourse to save them? The hypothesis of Sinking Islands is that there is nothing to save. That the exhibition is, on the contrary, the place of intensive exacerbation of the space of a debtthat of objects to their statements and statements to their objects. That the exhibition is the space of a trade for every act of knowledge and interpretation. This trade is the process of conversion between that which, from the objects origin, has now irreparably sunken, and what interpretive discourses, text and writing try to retrieve of that origin. Certain readymade thoughts look for salvation. Here, nothing will be reedeemed. The exhibition shapes itself from this debt of our access modes towards that which they attempt to access. The works exhibited are placed upon an abyss that at every moment threatens to subtract them from our understandingan abyss whose edges are held together by their presence. The arrangement of works of the exhibition seeks to break the most evident units by which we think we are able to seize events. The exhibition intends to go down into the thickness of their matter. There, we will be able to isolate slices: a body of sand; blind fish that witness a transaction; a pile-up of animal scruffs (superimposed cuts); a torn atlas that is mended right away by threads that form other geometric sutures; the eschatological story of an apocalypse under a vitrine; an alphabet in pieces that the wall has not contained; sediments in repose, sediments caught during their fall; a cut throat; a cry. Slices with a negative function that could be described as a landslide: from the status of written objects to that of inscribed objects. A written object is a figure that modernity has shaped. It is, for example, a fossil in a 1523 cabinet of curiosities at the time when nascent modern sciences still hesitate on its status: either as the instantaneous result of the graze etched by the divine finger on earth, or as the product of a slow work of geological strata one on top of another. For the eye of the modern amateurwho sees the increasing privilege of writing make something else out of literature, something that has no longer only the vocation to be spoken or sung, but reproduced and constantly rewrittenwhat is read informs what is seen. The modern amateur contemplates an entirely written nature. Language is

deposited in the world. It resides amongst the plants, herbs, stones and animals. Words, syllables and letters link up to express some other discourse, which itself remains secret. Nature is split up and divided by a hermetic truth that carries on its surface the decipherable marks of the word it contains. Thus, the objects exhibited in the cabinet become signs, like the far-away echoes of a lost tongue. After having inventoried this fossil as a thing to be read, after having compiled what was seen and understood from it, and gathered the thick layer of signs placed upon it, the amateur of nascent modernity must now make it speakfind through it the original tongue of its invisible author. Writing propagates there. The reader must make it proliferate, understand its infinite overlap and growth, reveal the network of resemblances and similitudes that connect it to the world. The fossils contours are disguised as myriad of hypothetical significations. One on top of the next one, these hypotheses try to closely marry the least of its crevices, mixing in with certain ones, supplementing others, sometimes even creating new ones. Thus, the amateur of nascent modernity is not only a collector of objects, but also he who writes objects, who produces their division into levels of knowledge, who dresses them as petrifactions of their identities. Considering the fossil as a written object is to attempt to make contact with its signification by multiplying the modes of access as so many discursive strategies. And these do not create things, but rather, their stratification. A written object is a thing saturated by words, or an infinity of reified words: it is not a thing alone, isolated from the world by scientific knowledge, but a thing saturated by identities. The written object is a thing caught in a game of permanent layering, an infinite game of Russian dolls that fights ceaselessly to include that which is outside it as one of its strata. As soon as it is extracted from the world, a written object inflates it. We grew up learning that modernity had collapsed and that the regime of the contemporary was all the access we had left to the writing of things. In fact, this regime seems dominated by a similar order of signification, under the guise of an injunction made to the objects (notably artistic ones) to signify. This order could be described as the neoliberal form of written objects: the condition that aims to encompass the greatest amount of objects possible, and which defines that the value of a thing is equal to the thickness of its stratification. Mechanically, the promise of individual freedom contained in the writing of contemporary objects is offered by their open character. This openness is exposed under the sign of pure singularity. Objects are given in a similar way to interpretations as numerous as there are exegetes. They are never finished or closed, but gaping, since the variability of interpreters affects and transforms them ceaselessly under the changing horizon of expectations. In the order of signification, the presence of objects withdraws behind the present of the relation amongst signs. The contemporary injunction to make relation and to signify extends to the maximum the field of representation and indexes it upon that of writing: representing is therefore writing correlations amongst things for a group of contacts between signs. An inscribed object would be the life of an object prior to modernity and the modes of contact that it invented. It is an object imprinted upon the world, as one calls it in Euclidean geometry, of an angle inscribed in a circle. It is a counter-figure that manifests itself by the empty space that it leaves in the thick interlacing of the world as soon as it is extracted by knowledge. An inscribed object surfaces as the negative of its contour. It comes into sight as the positive shape of the exclusion that its knowledge consists of. In the premodern epistemological regime, the inaugural loss that is manifested by the knowledge of an object is not that of the tongue of a writer that would require to be rebuilt. It is rather that of the radical Outside that formed the object, of the kingdom from which humans are absolutely excluded and whose objects redouble separation by bringing it to its epitome: petrified. As soon as is it extracted from the world, an inscribed object leaves a bottomless hole. A written object is a positive form, fashioned from the outside by the world. An inscribed object is a negative form impressed inside the world. A written object is everything that a transcendental

authority included in the object. An inscribed object is everything from which the object is excluded. A written object is all that is dissolved within the object and that must be unfolded in order to be grasped. An inscribed object is everything into which the object can be reduced and from which we must cut it in order to know it. To know a written object is to add as many strata to the world as the object has contacted identities. To know an inscribed object is to localize the cuts by which the object emancipated itself of its unreachable identities. A written object can be an infinity of objects at the same time. There is but one inscribed object at a time. A written object exists by including all others. An inscribed object exists by excluding all others. A written object demands unboxing. An inscribed object demands unearthing. Such a list of oppositions could be extended indefinitely, until their binary cadence topples over and their fatal consequence materializes before us: we expose a written object; we are exposed to an inscribed object. The works in the Sinking Islands exhibition, as well as the texts and visual essays gathered in this publication, share the premodern configuration of inscribed objects. They function more by impacts than by contacts. Much more than signs, they put in place a repertoire of gestures literally without sources: cuts, lapidations, measures, coverings, blindings, confinements, erosions, falls, rips, inserts, seams, meshing, collages and bindings. Sinking Islands is configured by untied gestures and words without referents: a space of fictional bodies exceeding every ordering of bodies, of their place, their identity, their function. This excess consists in undoing the adjustment of bodies to their meanings. This excess invites the exhibition to resist the dissolution of its objects in language, in order for these to imprint a straight cut in it: as a tentative to reinscribe the objects in the world. This irreducibility of things vis--vis their meaning is nothing more than an unrelation: a rapport between what is present and what is absent, between that which rises and that which sinks. These sinking islands are the blades that fall into the sedimented accumulation of things. To reinscribe those objects in the world is to pull them out of their identities, take them out of ourselves to dress them as differences inscribed into the world. Thus, Sinking Islands proposes a desert-like form pieces brought together for no one. Texts addressed to no man. An exhibition without spectators. Such an exhibition seeks to establish the works capacity to represent without us, and our capacity to exclude ourselves from what we perceive. It intends to resist the endless storytelling of the stratification of things in order to cut its layering and seize that which it is possible to find of the world in the object. Nevertheless, the exhibition does not therefore suppose that interpretation is uselesson the contrary: it simply poses that interpretation reveals to the interpreter that representations have no need of him or her in order to represent. Becoming Savage (the Gift of Debt) The problem with any exhibition is its existence as a device for the real and spectacular domestication of representations and bodies. Ultimately, a domesticated spectator is a person perfectly furnished with a crowd of identified objects. In other words, domestication takes place when the person who demands a meaning from things is sent back to the description of their signification, when the person who seeks meaning outside of us is thrown back to what takes place amongst us. Sinking Islands uses an obvious, yet also difficult, resource of representation: its capacity to interrogate how we are linked to an image by the very means that separate us from it. The purpose is not making a list, identifying the pace and moment of appearance, re-establishing a genealogical

order, or creating the history of this vertiginous infinity of strata of temporary meanings that things in the world have amassed. It is not about scratching at the levels of writing so that the truth may appear, but to make them move so that another figure may compose and decompose there. It is about grasping the figure born of such a move, of this operation of trembling that tears us from established truths and separates us from the identity of objects. A figure whose existence cannot be affiliated to an origin by anything. A figure that does not keep the memory of anything else but the succession of technical operations that further it from its primal appearance. A figure voided of any stake of traceability. A figure that ceases to constitute itself by the addition of referents, but rather invents itself in the moment of their exclusion. The identity of such a figure, which we would reconstitute if we wanted to erect it as natural history, is extenuated in the exhibitions challenge to the gaze. Sinking Islands does not invite the spectator to seize the sum of writings that the object has incorporated. It rather invites the spectator to seize the object as the remaining inscription of the radical Outside from which its exhibition has separated. This is the spectral face that the works impress upon the landscape of the exhibition: a state of free play born of a free appearance of things, the vertigo of a gap, of a disjoined conjunction that defines an emancipated space and temporality. The exhibition happens between what we hear and what we do not hear in the words coming from a same mouth; between what we see and do not see in the visibilities assigned by discourses. The paradox of a curious mutism that takes over overtalkative bodies, or the blindness that strikes those that do not see a thing that has no place being seen. Objects turn their backs to understanding. We no longer know what shape they have, they are devoid of defined contours, on the verge of disappearance. Gestures hang on to nothing, like a series of bulging apparitions that nonetheless depend on no identifiable presence. Something like the production of the flash of a mystery, whose search for its origin remains vain; the conquest of a memory without reminiscences that privileges archeological exploration to historical illustration. The exhibitions objects delineate an edge to the present of their experience. This margin separates us from that which we are no longer: it defines the value of that which cannot be given back. This exhibition does not seek out the traces of its costly birth; it does not look to expose its origin as a fragmented fable to be deciphered. On the contrary, it intends to expose the symbolic debt that comes up as soon as a thing disappears under the presentation of the form that renders this thing tangible. This debt is the attachment to the part of things that in its solitude can never be reduced to anything else. It is the political meaning of an inscribed object as we wish to affirm it here. Sinking Islands records the movements, torsions, exclusions and rips that were necessary to place ourselves as the equal subjects of a knowledge rather than as the equivalent spectators of its production. We could imagine this situation as an inverted house of mirrors, where the reflections of our trajectories would not multiply anything more than entries and exits, precluding us from mapping them entirely. This situation would prevent our discourses and our modes of access from hovering over that which they speak of, thus constituting them as objects from afar. In return, this situation would allow these discourses and modes of access to function as questions addressed to us, we who make use of themin short, as elements of a critique of the present. In this configuration, to interpret could be the activity of a subject undoing itself, becoming other, ceaselessly allowing the unpredictable, the unknown and the unassimilable to surface. Interpretation is not then composition, but decomposition. It is not the domestication of an identity constantly defeated by the epidemic of things, but anonymity without a cure or antidote. Interpretation no longer results from the apparition of a series of significations sedimented in an identity, but rather, arises from the disappearance of a coded face, replaced by a body becoming savage. It is the display of the inner consciousness of the separation between objects and their identities, the introduction of the most discreet and formidable savagerythat of indeterminacy into the mechanisms of domestication. Sinking Islands, which is at the same time this publication

and the exhibition, seeks to produce such an indetermination, with text and image, and by breaking their perceptive synthesis. It produces separate textual and visual elements and establishes a game of coincidences and reattachments that invite us to a slow descent into the machine of truth. The exhibition is made up exclusively of splinters without anything splintering. In the end, it is about showing how interpretation does not belong to us specifically but traverses the body of the exhibition itself. The exhibition lets us witness the concrete operations, efforts, violence, negotiations and inventions through which meaning changes and sediments outside of us. Sinking Islands intends to make heard, under the illusory availability of the world to language, the screeches and rumblings through which the exhibitions objects are inscribed, without truce, outside the realm of understanding. Take an island. Make an exhibition out of it. Take the exhibition. Make an island out of it. In the process, the island became an eye. One need only take off the veil that is the lid. Yet one must know how to unveil without revealinglet the island sink: fall, as a story that has no place and as a place that has no story. This indetermination of our situations doesnt stop sinking, pressing and inscribing a corner between us and us. We are separated from ourselves by the open aspect of our situation. There are no more objects that allow themselves to be observed, but interrupted gazes. There are no stories. There have never been any stories. There are only situations. Their ultraviolet part awaits extraction.

CROCHET MODELS OF HYPERBOLIC SPACE The Institute for Figuring From: Margaret Wertheim, A Field Guide of Hyperbolic Space. An Exploration of the Intersection of Higher Geometry and Feminine Handicraft, The Institute for Figuring, 2007.

THE STONING INTRODUCTION TO A MORPHOLOGY OF UNREASON Fabien Giraud

i - on situations of withdrawal of exhaustion of indifference of collapse of quantities ii - on forms of nothingness of movement of tension of contradiction of growth iii - on unreason of the inert of the limit of the monstrous

i - on situations

indifferent matter. Everything had progressively become porous, pierced with multiple holes of vexations. He had found nothing. His space was an ever-narrowing field of possibilities. His failure could only be the result of inappropriate resolution, improper focus of mind, urgency of sight. He hated himself for his incapacity to know that what he was looking for might be not even be there. Of things in front of him he could only perceive what encountered his sight. All objects had a backside to them. All things inevitably plunged into shadows. Shadows sank deeper into darkness. So much was hidden from him. He could feel the call and the promise of all those hidden places. It was in their direction and in the hope of finding something other than what was plainly given to him that he oriented his movements and carried his actions. An object for him was as much made of what it gave to his perception than of what it withdrew from it. Every object in order to appear had to imply some sort of obstruction. Nothing could ever appear in its full presence and incarnation. Things had a volume because he could walk around them to unveil their parts. Things had a weight because he could lift them to uncover what lay underneath. It was all these hidden places and their possible beholdings that made surfaces bend, they were what carved holes into things, and shaped forms into objects. They were what made his world fold into a space. And if this space had a dimension it was only through the possibility that something that was kept away from him could be revealed into the plain of his vision. And of such a vision, to which he had given the common name of perception, he now knew that it was in fact simply some kind of tension toward what these places could possibly have to offer. If such a tension was driven by a force, it was that of the possible as such. The possible for him had nothing to do with the eventuality of a vague future, it was the condition of perception itself. It was the very structure of his engagement with the world. But now that he had exhausted all spaces of the house and uncovered all things in his frenetic search for relief, now that he had followed and explored the path of all possibilities to the point of their ultimate extinction and had come progressively to accept the horrific fact that nothing nowhere was potentially to be found, it was as if all of that which gave their circularity to things, all of that which smoothed objects and distributed relations, all of that which created the infinite gradience and shades of his real, all were suddenly withdrawn from the scene.

of withdrawal

As he looked through the window and saw the dark patches of the trees outside, he tried to remember when the night could have had set on this part of the country. The abnormally fast rate of his heart should have been a worry, he thought, only had he not been so preoccupied with the terrifying possibility that there might not be anything left to put in himself. Torn plastic bags, rolled subway tickets and used tissues filled with scum were the remnants of his feast. He knew all too well of those moments when the temporal excitement of his mind was reversing itself, giving room to the strange and impersonal sensation of withdrawal. All junkies had their play at this game. They knew how to ride the crest of these moments when things in their brain would begin to shatter and the sphere of what until then they had called joy would start to deflate. He used metaphors to describe this moment. The crest was the stable state between sea tides. The temporal point of stillness when rising currents invert their flows. Of such appeasing moments he knew that they served only as a respite to the dreadful movement of descent that would follow. Soon enough, in its downward movement the water withdrawing from the shore would leave behind a darker tone in the sand. And its long hours of decline would only come to an end when the damp landscape ridged its complete desolation. Such a withdrawal was never a comfortable feeling. Its slow movement of decrease was proportionally linked to the subtle but atrocious rise of anxiety and craving. It was as if everything in and around him were taken in a continuous movement of drying. The irreversible expansion of a drought that gained all surfaces and textures. Some kind of negative force wringing his chemically soaked reality to an ever more deserted and terminally arid state. Having wrecked his head upon the shore of this infinitely dried up landscape, he knew like all people of his kind that there was never a full fatality to this movement. And that every low tide had a point of stabilization beyond which it could not fall. There was a ground limit to the worst and all movements of withdrawal would eventually hit a plateau upon which things would settle. The horizon of such a benevolent ground acted as some kind of grip in his fall. Only this time, in this particular configuration of the night, he could feel that something had shifted in the regularity of tidal movements. No logic seemed to hold to the dramatic downward movement of his mood. It seemed as if there was no lower point to be ridged, no limit to the dynamics of uncovering. And that from now on he could only follow the slow and fatal slope of an infinite gradient toward the worst.

of indifference

of exhaustion

He had done everything in his power to delay this movement. He had looked everywhere for something which could appease his craving and bring the depressing logic of withdrawal to an end. No dignity could ever hold the supreme mechanism of such a craving. He had scratched the surface of tables in search of remnants, licked all plastic wrappers and unfolded every fragment of stuff. He had progressively exhausted the entire house. He had segmented the space into parts, covered all possible areas with an infinitely fine grid of mental attention. Every section of this geometry was potentially a trap for his mind, every groove of wood or fold of cloth could hide what he was looking for. All trajectories of thoughts inevitably crashed onto creases of

A world without possibilities was for him a perception without structure. Nothing could ensure the transition between objects anymore, no movements could justify the smooth distribution of distances and scales. It was a general flattening of all plains and depths, the leveling of all geometry. It was as if everything had been drenched in a cruel sun of noon. All surfaces hit with such strength of light that the whole scene was blackened by it. He could now feel the fully contingent nature of all qualities of his world. No shapes, colors or textures of what he once called a perception could resist the general desertification he was going through. All of that which he had taken for granted, from which he even had the pretention to speak of a knowledge of the world, was flushed out all the same in the inevitable down path of despair and desolation. There was no privileged access to a realm of things outside of himself, no stable ground upon which to unfold the normality of an experience, no such things as proper qualities of his world but in fact a full dependency on a fluctuating configuration of chemicals, a fully temporal and contingent distribution of electrical charges in the damp matter of his brain.

As far as he could remember he knew of Sunday afternoons with their peculiar gradience of sun on a suburban pavement. Infinite shades of boredom colored the subtle differences of time passing through the day. Waiting and feeling had been the sole markers of his times. And if things were to come to an end at this very moment and his heart for some strange reason that he could not yet understand would fall off its beat and drive him to the terminal point of extinction, such markers would vanish with him. What produced an overwhelming dread in him was not even the eventuality of such a fatal event but rather the plain and dull fact that things would continue to go on outside of whatever experience he could have had of it. The absence of boredom would not stop the fall of particles of light onto the concrete. The lack of name to the day would not alter its passing. There was a radical and supreme Indifference of the world to his existence. No expectation or sensation of any human kind could now hold back the magnificent rise of its deaf and mute presence around and onto him. He had had a very limited existence.

war by Austrian merchants were in fact the most powerful Trojan horse one could ever think of. In mens every waking moments before the 16th century the brain functioned under a regular and constant firing away of neurons. Adenosine is the name now given to the energical product of such an intensive movement. Until then, the level of adenosine in the nervous system was naturally monitored through dedicated receptors. Acting as some kind of physiological defense of the brain to counter its possible overfunction, they launched sleep or states of lower activities when a certain degree of intensity was reached. When caffeine was first introduced in the Austrian brains of 1529, it acted as a perfect impersonator of adenosine. Its main action was to lure the receptors of the brain by sending a misleading signal in the regulation system of nervous activities. The caffeine molecule with its particular shape and chemical composition binded perfectly to the receptors and clogged any information flow of adenosine to the nervous system. The brains regulatory function thus inhibited by coffee allowed it to unleash unknown and radically new cerebral forces. The exponential expansion of dopamine in the brain is one of the main effects of such colonization of minds by Ottomans. Until then, dopamine had been present in the brain as a major function in reward-driven processes of any animal cerebral activity. It acted as a regulator of thoughts, movements and attention. Its limited and controlled release in the brain accompanied any process of learning. Its small regulated doses reinforced mens thrive for pleasure and constant expectation of the new. Coffee came as a bomb in the brain of the 16th century. It burst out in the stable processes of dopamine secretion and irrigation of neurons. By inhibiting adenosine, it created some kind of closure of the brain onto itself, rendering it partially numb to its own energetical production; it unleashed a wave of dopamine overflow bathing each and every individual brain in a new and excessive state of excitement. As the deflagration of coffee expanded through Europe during the 17th and 18th centuries, its physiological effects were accompanied by the progressive expansion of new social structures yet unknown to men. The bursting out of coffee houses all around Europe served as nods of information and relays of cerebral excitement. Replacing light beers and wine which served as common beverages of those times when water was not a healthy option, coffee brought new alertness and stimulation to the conversations. Communities of intellectuals progressively formed and bloomed around the dark substance of the new liquid technology. It was under these mental conditions that the project of reason of the Enlightenment emerged and spread its word around Europe. It was through such a new apparatus of intellectual exchange that the 18th century launched its exploration of terrestrial forces. Coal had come from 300 million years ago, when the infinitely vast and dense forest covering all wetland areas of the earth had been progressively buried in the damp soil through repetitive annual cycles of floods. The slow accumulation of its layers and the gradual movements of sedimentation had plunged the dead vegetation in an ever increasing state of pressure and rise of temperature thus transforming all remnants of forests into massive carbonized black stuff laying under the earth. It was to extract such matter from deep under ground that some men at the beginning of the 18th century invented the steam engine. The steam engine came from coffee percolators as military devices to keep soldiers away from alcohol. They were first introduced to the Bavarian army of the 18th century, enabling a very practical and fast production of a stimulant for men before battles. The percolator architecture was as simple as one could wish in such contexts. It was a pot with two compartments on top of each other linked vertically by a thin hollow tube perforated at its upper end. Water was placed in the lower chamber of the pot and ground coffee in its upper part, each chamber separated by a fine grid serving as a filter. As water exposed to the heat of the cove came to its boiling point, it evaporated in the tube and expelled its steam in the upper chamber. The rapidly cooling steam on top ridging a temperature of 96c, turned into drops of water and dripped down into the ground coffee below, thus releasing its aromatic oils into the compartment underneath.

of collapse

A building collapsed when a particular pressure applied on its structure overpassed the threshold of its point of resilience. A roof crumbled when an unevenly distributed force pushed down on its surface and its supporting beams. As one of those eventually bent and broke it consequently weakened the entire network of horizontal structures that were linked to it. It propagated a weakening wave around itself in the overall structure of the roof to the inevitable point where it could not hold the downward pull of the whole anymore. As the entire roof fell down it carried along its lateral supports and landing underneath it added its own weight to the floor provoking the same logic of rupture. There was an exponential law in the dynamics of collapse. Every collapse was an accumulation of weaknesses. Once a thing fell, it triggered a constant path of acceleration in ruptures, a fatal slope of destructive addition. A collapse as he knew it was always only partial. There was always a point when it hit a structure strong enough to integrate it in its tension, always a step beyond which it could not fall down any further. The earth itself served such a function. It opposed its thickness and constitution to the full collapse of all buildings. A full collapse could only happen in the rupture of the ground itself, when the weakening wave got so strong that it carried along with it the very necessity for all things to hold. He saw the possibility of such an ungrounding of his world in the eventuality of his own thought withdrawing from the scene. The sole act of thinking about his situation was the only stable property he could still claim for himself in the overwhelming flow of indifferent matter. He saw the eventuality of this final collapse as a complete deflation of what he had called a subjective sphere: an evisceration of all internality in the possibility of a full and supreme Indifference of his very own thought to what he was thinking.

of quantities

He was the last sentinel of a battle fought by men long before him. A fight that everyone had thought winning when Suleiman the Magnificent withdrew his army from the siege of Vienna in 1529. Of such an episode, history had made the marker for the decline of the Ottoman Empire and the end of its project of expansion. He now knew that things had actually been otherwise and that in their retreat the Ottomans had left yet another powerful force of destructive expansion. As they fled the city, the abandoned bags of coffee claimed as spoils of

Looping on itself, the cycle repeated to the point of water exhaustion and its full transformation into the precious aromatized dark liquid. The invention of the first steam engines was done by introducing a piston in the percolator. The upper chamber was converted into a gliding component that could go up and down vertically. The tube between the two compartments was removed thus temporarily blocking the instantaneous evaporation of water. As the steam filled the lower chamber, it would press against the bottom of the upper component thus making it slide upward. Small perforations introduced at the top of the cylinder facilitated the expulsion of pressured steam at the end of its vertical course. Once the steam and its force was liberated at the top, the upper compartments own weight pulled it back to its lowest level thus making it ready for a new cycle to begin. The adjunction of a vertical rod to the gliding component made it ready to use as a linear engine for pulling or pushing connected elements. It was such a simple movement that came to be used in the extraction of coal throughout the mines of Europe. The major problem of such a system was that the machine itself relied on the very coal it was extracting. To function properly the fire underneath the engine had to be kept vivid and strong by a constant input of massive amounts of coal freshly extracted from the ground. The poor rendering of the linear machine and its constant appetite for energy necessitated the instantaneous use of almost all extracted resources for its own purpose. Such a correlation between the force and its very condition tied the premises of the steam industry to some kind of autistic energical loop. It was only through the introduction of a new component to the engine that such a technology became viable and launched its true expansion throughout the world. Near the end of the 18th century, the rod was replaced by a crankshaft attached to a wheel thus enabling the linear movements of the piston to be translated into circular motion. Before its introduction, the piston was moved in the cylinder by the sole force of steam and gravity. As another rod was attached to the new wheel it allowed the continuous control of a drawer enabling to direct the flow of steam from one compartment to the other thus greatly accelerating its movement and its strength. It was the introduction of such a double effect and its counterflow circulation that allowed the full emancipation of steam and its accelerating conquest of ever deeper grounds into the earth. The Enlightenment was the product of a convergence between two closed circuits of energical overload. Brain excess of rewards and steam emancipation had triggered a chain reaction that nothing or no one could ever dare to stop in its exponential rise. it had launched the race for the full-blown devastation of all terrestrial entities: the digging out of all matter under the principle of reasonthe ever-growing acceleration of the uncovering of all things onto the scene of the rational. He had known of the Enlightenment as a project of civilization where mans will, authority and use of reason were reclaimed as the sole conditions for its autonomy and freedom. It was an era defined as a general stepping out of man from the realm of falsity of beliefs and imprisonment by obscure sovereignties. It was a coming of age, a new maturity where the present was turned into an ever growing field of progress toward the better. What he now realized was that such a project of affirmation had been done under the condition of a new alliance with the dead. It had been achieved through the explosion of dried-up vegetables and their chemicals in the wet flesh of mans brain, it had been triggered through the ever-expanding mineral cavities under his very own feet. Such a purpose had required all organic entities in the vicinity of humans, all animals, all plants to be turned into the inorganic fuel needed for this new rational conquest of the world. It was a project of expulsion of all interiority with the scalpel of reason. An inoculation of gods from the new shell of a bright subjectivity. Reason itself was as much the goal of such an enterprise as the very core function of its deadly movement. The new science, which had emerged under the conditions of this alliance, was an

attempt at ripping away all qualities of the world. It postulated that no knowledge should rely on the priority of the human access to his world, that all perceptions or sensations on which we had based our wisdom were in fact the simple products of a temporary confusion of mans mind. Coming out of the haze of these obscure times into the new light of reason, it wished to unbind an ever more desertic and cold landscape where humans as such had no place. It was a realm of pure quantities: of extensive spaces and statistical times. Deaths world. Reason was a thanatropic loop that took everything and everyone in its fatal course. An irresistible compulsion of the organic to disintegrate into the inorganic: a constant thrive of men for dissolving into the pure quantifiable space of the inert outside themselves. He knew of leaf insects from some Indonesian islands as perfect examples of such a dynamics of self-necrosis. These phylliums, as they were called, were so precise in their ability to take the exact appearance of the object they thrived for, that, in some cases, they could even confuse themselves with it and end up in a fatal situation of desperate autophagy. By the perfect mimicry of their own food they diluted any boundary between an interiorized subject and the externality of their object of predation. They erased all spatial differences necessary for survival and engaged in a fatal movement of auto-cannibalism. He saw the completion of such a devouring act in the possibility for men to invert themselves in an outside they had previously kept so carefully apart from themselves. This inversion was for him the logical outcome of a full assimilation of the dead with the living: the final blur of any specific territory of organic and inorganic matter through a full reversal of all beings in the undifferentiation of forms. He was the heir of such a movement: the last standing figure of an army of junkies fueled with dead matter. He regarded his own situation as an ultimate instant of intimacy with the devastation of its flood. This was the final collapse he had secretly wished for himself. The endpoint of a long process of erosion. The extinction of all possible claims for priority over the realm of indifferent matter. That very night, he laid out the basis for a methodology of despair. Such a method had to be built upon the only certainty that remained available to his grasp: that there were forms around him, that there were forms in him, that he himself was a form among them. His goal was none other than trying to find a model capable of standing the ultimate collapse of his world. To renegotiate a place for reason in the overwhelming erosion of all. It would be an experiment in thinking: not thinking from the growth or the hope of change but on the contrary, in a full embrace of an implacable rise of the worst. It was a Dark Enlightenment, an engagement with a purely speculative act that could integrate in its movement its own terminally adverse drive toward destruction.

ii - on forms

of nothingness

He knew there was nothing such as a form in itself. A form could only exist in relation to other forms. In order to come about in the world, a form needed some kind of minimal difference that made it emerge relatively to something else than itself. What he needed, was not even the difference between this or that thing, and their possible variations in length, volume or weight, but a difference in the intensive properties of matter itself. Intensive differences are differences that do not depend on the shape of something but rather work properly as the condition to all shapes. They are, for example, variations in air pressure producing the shape of clouds or changes in temperature driving currents in the ocean. They can never be considered in and of themselves but as the result of a circulation flow from one thing to another. They are differences in degrees not in kinds. Considered from the total despair of his condition, this thought of an initial intensive difference at the basis of all form processes was already way too much to start with. His own desolate situation was all he had to build the premise of his model. Thus, it had to start from the general result of collapse and entropy that he had been experiencing. The full-blown negativity of his condition was all he could work with to build his model. He had only one certainty: that all things in his world were driven toward their lowest point of energy. That everything was always pulled downward through some kind of leveling of all differences. He knew of such fatal movement as the second law of thermodynamics. Such a law stated that, through time, any differences in a closed system were inevitably brought to their point of equilibrium, and thus to null intensity. There was a very common example for this law. A demonstration in which a tank of air was split in half by a wall with two different temperatures respectively: the one on the right having a higher temperature than the one on the left. If everything remained as it was, and each compartment was considered individually and not in comparison to each other, there was a situation of zero intensive difference. But if the wall between the compartments was taken down, the hot air on the right would have tended to flow toward the cooler air on the left quickly spreading its difference to the point of equilibrium and thus to zero intensity once again. He knew of two historical interpretations of this experiment. One was by the thermodynamists of the 19th century who were obsessed with the idea of an equilibrium output of the system. The other came from vitalist philosophers who, on the contrary, stressed the differentiation process and the production that came out of it. In both cases equilibrium or differentiation the law was always interpreted from the misplaced point of view of mens optimism. On one hand, equilibrium was a dynamics of reconciliation of differences, a peace process between heterogeneous and antagonistic intensities, on the other, differentiation was the pure and creative drive of nature toward the new, some kind of general benevolent force at work in all processes. Considered from his situation, there were three main issues with such interpretations. The first obvious one was in the very placement of the observer of the law. Leveling or differentiating intensities supposed an original dialectics in the struggle of two entities either way. In order for such a dialectics to unfold, the situation had to be considered from the outside of its movements. It relied precisely on a fixed and given position of the observant as situated externally to the apparatus. It took for granted an original spatial triangulation between two acting elements inside the tank and a third unaltered term exterior to its borders.

The second problem with the law was of a temporal nature. Disjunction or synthesis between the two halves of the tank could only be guaranteed by a partial vision of the process through time. It postulated that there were three distinct sequences in the experiment: the process of differentiation itself and the two stable states before and after this process. Such still phases were not considered as proper sequences in a cycle in and of themselves but always in reference to the middle phase acting as their sole determination. They were discriminated in favor of the middle phase. Finally, both interpretations of the law seemed to rely heavily on the moral and subjective bias of the commentators. Spatially or temporally, the importance given to the differentiating phase at the cost of any other states of matter seemed to further stress the discriminating preference in the readings of natural facts. It seemed as if all discourses were focused on the reassuring a priori presence of the two as a given condition for forces of novelty or reconciliation. It seemed as if the law had been infused with the anthropocentrism of its viewers: a constant effort to safeguard the positivity of nature to the realm of their existence and its supposed becoming. From his own position of despair and infinite subjective collapse, he knew that there were no such things as benevolent creative or pacifying forces. And that a true and precise reading of the law should exclude any attempt in favor of the pathetic self-esteem of human concerns. On the contrary, it should embrace the possibility of a radical Indifference of the laws to our becomings and the domesticated idea of our wellbeing. Indeed, if there was a production of the system, it was only the result of a particular tension between two states trying to cancel their differences. And the movement resulting from it, a pure and simple constant thrive of matter for annihilation. Such a sobering position was the very condition prior to any rational and effective model for thinking into forms. No interpretations of the law had yet truly taken into account the individual inner state of the tanks before and after the process. Too concerned with the duality of elements and the possibilities it carried they had underestimated the importance of the radical indifferentiation phase prior to any movement. From his own experience of moral withdrawal, where nothing could guarantee the presence of such an exteriority anymore, where no overview could ensure the promise of an outside to the situation, all thoughts should start within the implacable confinement of a compartment in the tank. As such, an entity with no differentiation cannot be considered as a form, since it is in relation with nothing else than itself. Complete absence of differences, total equality of all intensities and deadly stability excluded it naturally from the realm of processes and forms. The starting point of his model was therefore properly nothing . Nothingness was not some kind of rhetorical figure or some abstract and empty term for him, but the only valid word he knew to describe a situation as experienced from its inside of null intensities. The only practical term he could think of for addressing the true nature of Indifference. How does one start thinking about forms from nothingness? How can one build a model that could enable to think growth and development from the very groundless? How does one introduce difference in the sovereign indifferentiation of the situation? He knew that such an operation was the very condition for anyone or anything claiming to be able to survive the night. There was a major constraint to the foundation of his model: he had to start not with two entities nor with one but with a full rounded zero. To bring difference into the situation he could not introduce another element because there was none. No other entity could be called to rescue the basic conditions for processes and forms inside his situation. He had to build a purely abstract apparatus fully inherent to the situation. A model precise enough in its construction, that, starting from his initial position of nothingness could progressively allow him to crawl back to the level of forms and processes.

To unbind forms from nothingness itself, in place of air, plastic compartments, or tanks he could only use the figments of logic that remained available to him. The basic elements for such a logical action had to start with the simple designation of the situation of nothingness itself. 1 - Nothingness was by definition the absence of all forms. All he had to mention its presence was a sign: . There was no necessity for this sign to be the way it was. It could have been a rock, a groan in the night, a piece of bread all the same. What mattered really was the act of designation itself as the minimal movement he allowed in the situation. It was to be considered as the only marker for something which otherwise could not be spoken of as an element of this world. 2 - What mattered to him in the precise formulation of the second law was the initial condition of closure of a system it postulated at its basis. Any situation of closure drew a borderline between what it enclosed and what it left outside of itself. It integrated as much as it excluded. For him, such a closure was the very condition of as a circumscribed absence. It was the form of nothingness as such, the thin delimitation without which it could not unfold its lack. The name of such a form was: [] 3 - It was the very definition of a closure to imply an outside to it. This outside could not be defined as something proper but could only be designated in reference to what it was not. In this case it was neither nothingness nor the form of nothingness, but the negation of both: [] With these three elements only, and their pure and abstract correlation, he had the foundation of an entirely practical model built without calling to anything else than nothingness itself and its sign of designation. What was most important to him at this point was that there was no possible outside of this model. It was a model in which, if any element came to miss or be removed from its minimal logic, everything would crumble back to nothingness as such and thus, instantaneously, to its own form and pre-conditional exterior. It was a self-standing model, a pure loop of nothingness holding onto itself, and therefore, the most simple and stable of all logical structures he could have come up with. This situation was one of pure tautology in which every term in the proposition could only be true, where no external term could ever be accepted as a possible negation or difference to its claim. How could movement be generated from such a closed circuit? How could the tautology of nothingness unbind from itself and trigger the necessary movement for the generation of processes and forms?

[]

[]

of movement

His own version of the experiment comprised these three minimal elements arranged as follows: in place of the tank, there was [] as the form and condition of inside the tank. Outside of the tank, there was [] as all that was neither nor []. Movement was only to be conceived as a possible product of the pure differentiation between [] and []. As in the experiment, and under the holding condition of the second law, if the wall between these two entities were to be taken down, there would be an instantaneous flow of the whole toward . As the situation of unfolded it obviously comprised the two elements of its own condition and thus [] and [] would be automatically and logically rebuilt. From nothingness to nothingness, a temporary reconfiguration of its terms would have caused movement in the situation. Thus, movement as such was never the result of an external force but the unfolding of the inner logic of nothingness in relation to itself, the pure consequence of its sheer tautological movement.

He knew of many examples of such closed dynamic systems fueled by nothingness. He thought that there was a finite amount of matter under the earth and that all the shapes around him were the product of some kind of ripples in this massive order of the world. That this mass seemed still or moving, solid or gaseous did not matter to him. Everything was. And the flow of incandescent matter under the terrestrial crust was only a force that, like him, had a petty existence and a short-sighted mind. What he had learned to call a force through people of his kind was nothing more than the product of a temporary difference in the inner logic of nothingness. He knew that no movement came from the outside because there was none. And if something seemed to move inside what his imagination only allowed him to think as the largest entity in the finite mass of matter, it had to come from such minimal differences produced out of the pure negative drive of matter toward nothingness. And if in all the hot stuff that filled the earth there was indeed no force but a constant movement of entities trying to cancel each other, and if instead of [] and [], a variation in the amount of silica made such or such lump more viscous than another, then, the more liquid seemed inevitably to find its way through the more dense neighboring matter, which, because of its mass was drawn inversely toward the depths of the earth. And swirling around the thicker chunks, it pushed them from below to invert their course yet again in a cyclic movement ending in a continuous accumulation of pressure under the roof of what, in reverse, was a ground for him. The lithosphere under the southern Pacific Ocean was the product of such negativity. As the thick magma aggregated on its inner layer, it cooled down to the point of solidification. The variations in thickness of this newly formed crust made it vulnerable to the excess of pressure coming from the molten stones underneath. The accumulated pressure on its inner surface ripped apart the ground and liberated the pressurized lava. The excess of matter extended horizontally towards the east where it met the Southern American plate. By an average rate of 2 cm a year it pushed the plate in the zone of subduction of the lower Andes folding and further rippling the cooled matter into mountains of horrific heights. From a chunk of silica under the earth crust to the glaciers of the Peruvian Andes, there was only one constant movement an ongoing chain of intensive differences trying to cancel each other. Of all of those massive ripples in the inert ground, of all the rocks, the soils or the crystals of salt there was only a pure and continuous line of escape of nothingness trying to reabsorb into itself. [] []

skinned material. Each of them concentrated the pollen in a circle whose shape and dimension corresponded to the circumference of their own body. In its activity the bee produced the heat that in return made the pollen melt and become keener to transformation. As each circle of pollen grew, it met at its border the circles of other bees repeating the same act. And as a circle pressed against another it pushed the molten material to minimize its surface thus creating the hexagonal structure most fascinating for men.

There was no mystery to this process. No benevolent god or some inner intelligence of the bee had brought about the periodic and perfectly regular geometry of the hive. Excluding any notion of a subject from which the process originated, it had to be seen rather as an example of a self-generated form in direct consequences of the law of nothingness.

Such logic in the emergence of forms out of minimization of surface tension was not reducible to a particularity of the beehive but should be considered more wildly as a basic property of all morphological processes. Bubbles in water were not produced out of the compartmented actions of bees in the sluggish liquid of pollen but through the regular interior pressure applied by a gas on its inner surface. Much as the differences in silica distribution formed temporary movements in the magmatic pool, gas spheres in water were the product of irregularities in the liquid mass. Subtle differences in electrical charges at the molecular level forced some parts of the liquid to more pressure than others. As in the circulation of lava, the general tendency of molecules toward a leveling of all differences made them spread through space in the most reduction-efficient way. As a result, the spherical aspect of all bubbles was due to the fact that similar molecules of gas exert an equal outer force on their surroundings. Such an evenly distributed limit of forces between gas molecules and water molecules constituted the temporary surface of a bubble in water. The thin film separating its inner gas with its water environment was the temporary product of equilibrium in surface tension. When such a sphere ridged the surface of water and entered in contact with the new molecules of the outside, it suddenly broke its equilibrium and instantaneously burst into the air. If instead of pure water and gas, soap was added to the situation, it served as a perfect amplifier to understand such phenomena of generation of forms out the general drive of matter toward nothingness. The particularity of soap was that it contained a certain molecule called a surfactant, which gathered at the surface of water and greatly reduced its surface tension. The main characteristics of such molecules was that they had some kind of split identity: parts of them were soluble in water, other parts were not. As a result of such a particular interaction with water, these molecules had the natural tendency to lay themselves on the surface of the bubble in water creating a thick molecular coating on it. As with the molten pollen of the beehive, such a thin film responded to the general tendency

of tension

If forms were only the temporary product of the movement of nothingness onto itself, if all matter was continuously following its thrive for annihilation in its tautological loop, how was it that there were even things that stood in front of him and persisted to confront him with their presence? How was it that such a universal logic toward nothingness did not resolve itself entirely in the cancelation of all forms? The only minimal reason he could conceive of for such a massive production was to be found in the physics of surfaces and tensions. In his middle-class imagination he knew of bees and soap bubbles as broadcasted examples of such a tensile logic. Bees came in swarms loaded with pollen in their abdomen. They pushed down the pollen with their legs onto the surface of a tree or some equivalent rough

of surfaces to find their lower point of energy. It followed a regular, entropic logic of reduction, spreading and stacking its molecules in the most economical way possible. As a result of the effect of the surfactant in the soap, when a bubble ridged the surface of water and made contact with the outside it did not burst out into the air but rather kept its perfectly spherical shape unaltered. There was a double movement at work in the process : as the thin layer of coated soap tended naturally to shrink and reduce its spread, the pressure of gas trapped inside the sphere opposed simultaneously this movement of shrinkage by trying to expand outward. Such a form was the temporary product of two negative movements; the conjunction of two singular but opposite thrives toward nothingness. At this point and through such a minimal example he knew he had a partial answer to his initial problem of the persistence of forms. All forms could be considered in some way or another as the tension between colliding movements of negations. All forms stood accidentally at the meeting point of intensities trying to cancel each other. Mountains, livers, plastic bottles, cigarette butts all erected as the convergence zone of contradictory vectors aiming toward zero. He tried to make sense of such forms in terms of his logical apparatus. Transcribing such actions in nature into the pure and desertified abstraction of his model revealed an entire new level of complexity to be solved.

of contradiction

His starting point had been the tautological situation of nothingness onto itself. Movements and forms had logically been deduced out of the very inner dynamics of this situation. He had come to think of such intensive forms as a pure differential product between the only two terms he could possibly extract from the situation of nothingness itself: [] [] This could be considered as the limited or linear model in his attempt toward the definition of a negative morphology. The problem of this version of the model was that it did not comprise the full consequences of its proper logic. From such an initially restricted view, he had unfolded the condition for the possibility of the emergence of forms into his world as the result of linear tensions between contradictory movements of annihilation. It was this very last point and the problems it brought that called for yet another dimension to his model. Indeed, such tensions seemed to imply the presence of two elements on the scene, which was precisely what he had forbidden himself to accept prior to any development. The main rule to his model being that it had to be self-sufficient and continuously generated out of nothingness as such. How did this contradiction come about? How did such a minimal dialectics emerge from the initial situation of pure tautology? How to think, without any contradiction and in full continuity with the premise of his model, the very possibility of the emergence of contradiction itself? At this point, the problem he was faced with was one of an infinite logical regression. If under the conditions of the second law, any situation of was defined by its very closure as [] then the product situation of [] [] should also be logically comprised in a closure. Such a closure of the product of the initial difference [ [] [] ] naturally implied an outside to itself [ [] [] ] and thus a possible differentiation once again [ [] [] ] [ [] [] ]. Such a product could then in turn logically be comprised in another closure etc. this regressive operation could thus be logically repeated infinitely. There was by definition no

possible conceivable end to this process, but instead a properly infinite succession of situations and closures. This logical abyss ridged a wall when he realized that the very notion of an infinite succession of closures was in pure contradiction with the initial a priori of closure as the basis of his model. The rational integration of the infinite in his restricted model had come to destroy it entirely. To put it otherwise, in less abstract terms, he could go back to the initial apparatus he had used to demonstrate the second law of thermodynamics. As it was clear by now, the condition prior to the demonstration of the law was the very closure of the experimental environment. A sealed tank and two separate compartments had initially served such a purpose. But in reality, he now knew that there was never anything such as a fully closed and autonomous entity. A tank did not stand in a pure void extracted from its environment. It was itself enclosed within the larger entity of a room, the room itself was enclosed in an apartment, the apartment in a house, etc. As such, he could conceive of infinite tanks unfolding in every direction of his world, and his own world comprised in other worlds, and at every step, and every scale, the same implacable logic of outward closure duplicating itself. There was never a final closure. He could never ridge a last tank, which would comprise all of other tanks and bring an end or final closure. Under this new mental configuration the forms he had initially conceived as temporary products out of his restricted model of the tension between nothingness and its closure had no reason to hold anymore since no closure was now to be acceptable as such. In such a model, there was actually no apparent necessity for a form of any kind to resist the infinite regression of this open-ended succession of closures. The logical and fatal outcome of his model should have been the point of leveling of all intensities: a blunt and unthinkable zero. In front of him and under these new conditions, there should in fact be no landscape, no hard stuff, nothing capable of opposing the general movement of logical collapse he had unveiled to himself. What should in fact remain was the pure and sterile circulation of nothingness onto itself. What he needed to bring into his model was the possibility of a resistance to this infinite regression under which nothing could hold. Such a resistance could not to be brought artificially, as some kind of inherent safeguard of the system, but had to be expressed out of its proper infinitely abyssal logic.

of growth

The question of growth was at the core of the extended model he took on to elaborate in response to such a problem. For things to hold, there must have been something, a process of some kind, that made the temporary product of nothingness persist and unfold. Catalysis in its minimal definition was what altered the rate of differentiation of a given entity without itself being altered by it. It was what triggered growth in a particular system without itself undergoing this very growth. When a child blew into a bubble of soapy water and the air expelled from his lungs entered the viscous liquid, triggering the expansion of the perfect sphere, the child himself did not turn into a bubble of red flesh but remained apparently unaltered by the movements of catalysis he had launched in the liquid. A catalyst was therefore constitutively differentiated from the situation it acted upon, and thus, under the precise condition of his model, was not acceptable as such. Indeed, he knew perfectly by now that there could be no such thing as a Grand Catalyst in his universe of despair that no one nowhere was there to blow the final sphere. What he needed rather was a process

powerful enough to unleash once again the possibility of forms inside the infinite realm of differentiation. What he had to find was the potential for matter to generate its own process of growth, a minimal state capable to take on the production of its own catalysis out of the sole movements of nothingness. Such logic required an altogether new conception of growth. It was as if the child had to be put in the bubble itself so that when blowing in it he would actually blow into himself. And as he would expand and his own blow would get naturally stronger, both he and the sphere would in turn get even larger, thus creating an interdependency of growth that would progressively unleash an ever-accelerating expansion of both child and soap bubble into the world. Autocatalysis was the word he knew to define such processes of self-generation of forms. It was best described as a feedback process where an element acting as an agent in a chain of reaction was itself altered by the reaction it had triggered, thus launching in its loop a fully exponential growth of the entire system. The atomic bomb, which exploded at 8:16 am in the sky of Hiroshima on a morning in 1945, responded to the same exact logic. As a block of uranium was shot toward another through the inner shell of the bomb the collision and subsequent fission of atoms unleashed a chain reaction through the newly formed critical mass. As a first atom underwent nuclear fission few of its neutrons were instantly ejected from the reaction. In their escape, neutrons collided and split with other atoms thus triggering a self-sufficient cycle of propagation. In such a process there was no particular evil force that pushed neutrons and atoms to collide, but quite the contrary, a constant movement of dispersion and annihilation of energy that inversely led to ever more collisions and energetical production. Its unleashed horror on the city had to be seen not as something coming from the bomb as such but instead as a purely degenerative process of energy trying to lower itself. Such a phenomenon of a drive toward nothingness resulting in a massive production of energy was all he needed to solve the abyss of contradiction he had found himself to be in. It was a way out to the logical regression he had unveiled on the fringes of his model: the possibility to reconcile the infinite open-ended dynamics of the model with the necessary closure it postulated at its core. The inherent contradiction of his model lay in the co-presence of a process conceived as properly infinite and the initial necessity of closure that such a process required. The result of this logical flaw was that he could conceive of no reason for forms to perdure. The contradictory infinitely open process of differentiation should have made everything resorb in a general state of equilibrium. And beyond the temporary ripple it could have caused in matter, nothingness should have returned to nothingness. The passage from his initial restricted model to an extended one was a shift from a linear to a non-linear conception. It postulated that the model was insuring its own process by continuously self-generating the very conditions prior to its process. It was to be conceived not as a pure tautology anymore but rather as an autocatalysis of nothingness: a process in which the tendency of forms toward indifferentiation was the very fuel of difference. The precise definition of an autocatalysis was a type of reaction in which one or more of the products were the same as one or more of its reactants. It could be stated in a very simple way: if A and B were two different entities engaged in a reaction, then their product C was an entirely new entity resulting from the annihilation of all prior differences. But now, if under certain conditions the product of the difference between A and B resulted in more A, then the reaction was said to ridge its level of autocatalysis. As more A was produced by the difference of A and B, it fed back exponentially the process of their differentiation, and C as a final product of equilibrium was never to be ridged.

This type of reaction involved the production of a constant excess of difference in the system. It implied a movement where the leveling of all differences toward final equilibrium was never attained as such, but on the contrary, was always producing more difference in the process of indifferentiation. If under the conditions of his abstracted model, instead of A and B there was [] and [] as the only conceivable elementary difference extracted out of , then, the product of their difference was never C as a totally new entity but always more of . As the product was logically a part of the reactant [ ] it fed back onto the model thus triggering a state of exponential disequilibrium as the condition for autocatalysis to unfold. Going back one last time to the initial experiment of the second law of thermodynamics he could now contemplate the full extent of his efforts toward systematic thought. Under the pressure of his abstract model the apparatus itself had undergone radical changes. It carried within itself the marks of this logical battle and the different phases it had gone through but remained entirely valid. The first apparatus he had used was one of fixed compartments and solid boundaries for processes to unfold. In the closed environment of the split tank he had shown how movements came out of the leveling of differences and how forms were the product of temporary tension between these differences. The second apparatus was one of infinite expanding boundaries, demonstrating the open-ended production of difference through their annihilation. It was a linear outward succession and adjunction of tanks, a boundless series of an ever-growing model which could not ensure the condition of closure postulated initially by the law anymore. The third and final one, was one of an even stranger nature. It was a non-linear apparatus where the differentiating process between the compartments was feeding back onto itself. It was feeding the properly infinite compartments of the second apparatus with an always greater amount of compartments. It was as if the intensive flow from one to the other was generating ever more closure, ever more compartments for movements to happen. As a result it could never exhaust its differences and conditional closures, because there was always more closure to sustain the process. The passage from a linear to a non-linear conception of processes had to be seen as the perfect overcoming of the contradiction he had thought to find in his model. The movement of circulation of nothingness onto itself, which he had initially conceived in his linear version of the model as one of pure tautology, was actually the constant creation of an intrinsic excess of the system with itself. As a conclusion of such a revised and extended model, he could extract three main consequences: 1 - That there was in his world always more indifferentiation than difference as such. 2 - That Indifference was never a simple dead product of an intensive difference prior to it but was actually the very fuel of those intensities. 3 - That no claim could be made for the priority of relation over the radically non-relational.

iiion unreason

of the inert

The law he had explored and the consequent model he had built out of it endorsed a radical devitalization of his world. there was no special status of the living over the dead, no particular exception to be given to life as an autonomous and singular state of being. And in all the overbearing profusion of life in himself, in all the vivid nature outside of himself, in all plants or animals, he could barely see the distinctive line excluding them from the realm of other beings. If, of all the forms around him, he chose to look into the black eye of a fly and its perfectly arranged geometry, he could only wonder about the particularity of these shapes claimed to be of the living. If he had ceased to see life as some kind of essence flowing and animating an a priori inert matter, what could it possibly mean to look into a sight coming from the living as such? On its cellular substructure, the eye of the fly was made of a field of lens-shaped facets clearly packed under the formal logic of a beehive. Each facet was made of many cells including clusters of four light-sensitive cone cells. Each one of these particular cones was in itself responsible for the transcription of the amount of photons bombarding its membrane into the nervous system of the fly. Its resulting image was the incomprehensible form of a mans face looking down on it. At this point he was not so much concerned with the microscopic level of what triggered the expansion of a singular cell in the first place, but rather with the process which had led to its division and the life bearing proliferation in the eye of the fly. It was in all ways similar to what he had previously observed in the constitution of spheres out of soapy water. In this respect, the change from a single cell to a cluster of divided cells could be perfectly compared to the transformation of one bubble of soap into the structure of foam created by the adjunction of single bubbles. Even though the binding of these cone cells to one another was controlled by adhesion proteins, what determined the cluster shapes was in fact exactly the same as in soap bubble formation: a pure process of minimization of surfaces a constant drive toward a lesser degree of intensity. As a single cell develops and grows under the spreading pressure of its catalysis, it ridges a point beyond which its surface cannot resist the outward force coming from the inside of the cell. When the intensity of the pressure overpasses the resilience point of its membrane, the cell divides itself in order to spread evenly its tension and avoid its bursting out. As the lipidconstituted membrane of the cell is in many ways similar to the consistency of soap film, it instantaneously seeks the most stable and energically economical arrangement. Its spatial organization is determined by an evenly distributed tension through the film, where all junctions between newly formed cells never exceed the meeting of three surfaces and their critical angle of 120. As the pressure inside each new cell continues to grow, it pushes the membranes to ever more divisions and symmetrical arrangements, thus launching the autocatalytic process known as the basis of all multicellular organisms. Life was not to be conceived as a relational process of any kind but quite on the contrary as a proliferation of ruptures and a constant annihilation of all intensive relations. In this regard, it followed the strict definition of his model: differentiation of cells which he had been told was the sheer property of Life was in fact fueled by an autocatalysis of the inert as such. In the eye of the fly upon which he was looking, there was nothing more to him than the singular and intimate circulation of the dead seizing the dead.

of the limit

This mechanism of the relation between prey and predator was a perfect representation of an ecosystems inherent organization through self-regulation of its terms. Based on these parameters he had a representation of a miniature system of interactions between three different autocatalytic processes in all points similar to those of cells in an organism. Such an organism was based on the interdependency and the individual rates of growth of three individual cells: G,R and F. Instead of predation and prey dynamics, its inner logic was one of a constant drive of each cell toward lower energy and spread of difference. As a cell R underwent autocatalysis and diffused through the system it eventually met the other cell F undergoing the same process. As F depended on the annihilation of R to diffuse, it provoked a logical temporary inhibition-reaction of the growth of R. In this movement, if F cells did not overpass their growth and didnt fully inhibit the diffusion of cells R, the interdependency of the system was not broken and the cycle could start again through the oscillation of its destructive dynamics. This purely negative dynamics of different entities trying to cancel each other to enable their own growth was what kept the system running. It resulted in a model of diffusionreaction most common to all processes of life. The representation of such a system was of great importance to get to a real comprehension of its implications. A phase space described the way an entity varied over time. It involved a shift from a classical geometry to a differential one: instead of a conception of forms as inscribed in a reference exterior space and time with proper axis and coordinates, it considered the intrinsic changes of the form itself. The dimensions of such a space were defined not as extrinsic references but by the possible degrees of transformation of the form as such. As in the case of the ecosystem of grass, rabbits and foxes there was a clear limit to these becomings. It was a point beyond which the excess of development of one entity could put at risk the regulation of the whole system and trigger its self-destruction.

For him the questions at the basis of any thought concerning living forms were plain and simple. How do those perfectly balanced and spherical cells end up being those incredibly rich and differentiated forms he saw in front of him? If what constituted a form at its lower level of emergence was a sphere of minimal tension, how was it that such things as dogs, horses, humans, or plants did not inevitably result in spheres themselves? How was it that the world was not filled with spherical entities in an infinite array of compacted matter? In other words, how did these clusters of cells, which were initially identical and perfectly symmetrical, give rise to differentiated organisms? In order to understand such a breaking of symmetry and the diverging formations it triggered, he needed a profound reevaluation of his model. To this point, he had considered differentiations and forms only as pure spatial processes of flows of matter and spread of tension. From molten silica to mountains, from soap bubbles to flies eyes, all differentiation processes had been seen under a constant and regular pace of development through time. It was such a perfect synchronization of all movements of surface minimization that he now came to question. Any break of symmetry in forms had to be considered not as a purely spatial change in a single cell but as the result of a competition in the development rate of a crowd of cells. What he needed was an approach of differences in rates of differentiation. As a consequence of his non-linear model he knew already that operations of autocatalytic processes in a single entity could trigger an infinite dynamics of formation and thus a multiplicity of new cells. He also knew that what he had considered from the restricted microlevel of a single entity was simultaneously operating on an equally infinite number of entities. The inevitable collision and interaction of those different paths of formations was what he needed in order to explain the emergence of heterogeneity and breaks of symmetry. The study of relation between populations and environments served as a perfect example for such an attempt : a) Considering a closed situation with three entities only: 1 - a field of grass, 2 - a population of rabbits and 3 - a population of foxes. b) Considering the given properties of these components: 1 - Grass in an unlimited amount, 2 - Rabbits eating grass and reproducing at a famously fast exponential rate, 3 - Foxes eating rabbits and reproducing as long as they can still feed on rabbits. c) Considering the finite set of relations between those entities : 1 - rabbits and grass lead to more rabbits, 2 - rabbits and foxes lead to more foxes, 3 - foxes lead to some dead foxes. We suppose a beginning to this situation with only very few rabbits and very few foxes. As long as rabbits follow a constant path of multiplication, foxes have a similarly constant supply of food and continue to grow. But if, out of excessive predation, foxes eat every rabbit, they end up starving and die. On the contrary, if rabbits dont all die, but some of them manage to escape their excessive predation from foxes, there will be a temporary scarcity of rabbits in the system and thus some foxes, but not all, will die. As rabbits develop once more under the new relief of their predation, in the meantime so do foxes, who can in turn start eating almost all rabbits and begin the cycle all over again. As a result, the peak population of rabbits and the peak of foxes were inversely proportional to one another and thus ensured a regular oscillation of their particular becomings. The line of rabbits and the line of foxes, were keeping themselves regularly out of phase with one another, safeguarding their own survival as individual species.

The sum of all these lines of possible transformations defined a recurrent pattern of becoming of the system undergoing change. Under the precise rules of such phase-spaces, the limit of a form was thus never its surface or its external borderits skinbut the outcome of all of its changes within the system. The result of this new geometry was the definition of a form not as a particular state of the system but rather as the singular space of all possible becomings. It was under such a conception of auto-regulation of negative processes and the subsequent construction of phase spaces that he had come to understand breaks in symmetry and movements of differentiation at the basis of all living organisms.

The concept of emergence was at the core of this final development. A leg, a branch in a tree, a feather on a bird were all particular emergent phenomena in a singular phase space. On the basis of his model of growth cycles, such emergence could perfectly be understood as the temporary overpassing of a particular pattern of becoming. In classical morphology, such phenomena were explained by the action of autocatalytic morphogenes in cells. By activating and inhibiting the development of cells, they triggered exponential discontinuity in cycles of growth. These ruptures in the regulation of phase spaces eventually led to stationary patterns capable of generating robust and differentiated biological forms. Such a definition of emergence could have been sufficient to come to terms with the question of forms. It could have been enough to stop his endless speculation on the nature of indifferent matter around and in himself. From the movements of nothingness as such, to the emergence of ruptures in phase spaces he could have considered to have a full and continuous model capable to logically hold and explain the insisting presence of his desertified world. This was only true under a very limited conception of emergence. Both the unquestioned presence of morphogenes in the process of cell formation or the conditional infinite influx of grass in the ecosystem seemed to point out the very problem at the core of his conception and the persisting limitations of his model. In both cases, it left the presence of such elements favoring an only too local and circumscribed understanding of emerging movements unexplained.

of the monstrous

What he needed instead was a much wider conception capable of grasping the real nature of becomings in his desperate world. What he needed was an approach of the true possibility of the monstrous as such. Going back to his example of the ecosystem, he knew that animal corpses decayed and transferred their biomass to the soil; he knew that grass which grew in this newly enriched soil was dependent upon continuous photosynthesis out of the flow of energy coming from the sun; he knew of the suns release of energy as a result of the nuclear fusion happening at its core; he knew of such a fusion as a result of autocatalytic processes in the collision of atoms, etc. He knew indeed that all phenomena of emergence were always leaking or fueling other systems beyond their sole borders of effectuation, and that no such systems could ever be thought of as radically isolated entities. On the contrary, any phase space was always comprised in a larger system of which it was an element among others. As in the case of his apparatus for initial differences out of nothingness, phase spaces were always inscribed in other phase spaces upon which they fed and developed. Any singular pattern of change was only an element in another pattern of change; any dimension or degree of freedom of a particular path was only a figment among larger roads of becoming. As a result, an emergence was never the coming of the new as such but the temporary output of a much wider logic. It was never the advent of a true and radical break in the system but the simple cresting of a wave on an ocean of causalities. Monsters were commonly understood under such restricted conditions. They could be defined minimally as entities dramatically exceeding the regular pattern in a cycle of becoming. Their apparent disproportions and the incongruity of their shapes was a result of a particular overload of discontinuity in an otherwise regulated space of possibilities.

It should be no coincidence that the man who had laid out the basis for the theory of modern morphology had himself been taken into such a monstrous process. In 1952, Alan Turing was convicted for homosexuality under the law of gross indecency in London. He was given a choice between imprisonment and probation conditional on his agreement to undergo hormonal treatment. Such a treatment was designed to reduce his libido and aimed at curing him from the deviancy of his sexuality. He accepted the treatment and was injected estrogen hormones for chemical castration. It was during the two years that followed this injection and prior to his death in 1954 that he took onto himself to lay out the conceptual and mathematical basis for the study of life formations. During these two years, female sex hormones known as estrogens were diffused across the cell membrane of his body. Once inside the cells they bound and activated dedicated receptors which in turn modulated the expression of his genes. They acted properly as morphogenes by enhancing or inhibiting the development of particular cells in Turings organism. The main effects of the therapy on Turing and its subsequent morphogenetic modification was the growth of breasts, the loss of hair and a constant increase in fat production. If such a process had not been interrupted by Turings overwhelming moral depression and his subsequent suicide, one could ponder on the real possibilities of change he could have undergone. Could it be that such a process of transformation and alteration of his morphology would have continued to diverge to the point of complete unrecognizability? Could it be that the initial discontinuity introduced by estrogens in the regulated production of his cells would have developed into a radical otherness? Any such questions addressed toward the reality of monsters had to do with the conception of the limit of any entity and the degree up to which such a limit could be overpassed. Under the normative conception of emergence he had laid out, such radical disruption in the continuous logic of forms remained unconceivable. What he needed rather was a much wider moveone that could integrate the law of emergence itself in its movement. He had come to know of two limitations to a real conception of emergence: - The first one was an internal limitation of the form itself. It was some kind of inherent dynamics of regulation, the autonomously generated interior borderline of a form to its own process of growth. Based on his example of the ecosystem he knew that any entity undergoing processes of formation and growth could be conceived as responding to such a logic. There were two levels to this inherent regulation. On a first level, it was the distribution of an order between parts of the organism as such. As for the fly in front of him, the size of its abdomen, the strength of its legs, the surface of its wings were coherently proportionated to one another. No parts of the organism could grow without putting at risk the overall structure. In the growth of the abdomen, it was never to ridge the critical point where its legs or its wings would not be able to carry the weight of its expanding abdomen. There was a distinct correlation between developments of parts, and thus a regulated distribution in the processes of growth. The second level of such a self-regulation concerned the order of magnitude of the overall organism. It questioned the limit of growth of the general form, it claimed for a boundary to the expansion of the correlated parts. As for flies; a trees growth was a product of a correlation between the expanding width of its trunk and the extension of its branches. As branches ridged further away from the trunk, they inevitably weakened themselves and bent under their proper weight thus calling for an ever greater expansion of the trunk in order to support them. As a result, the tree would never collapse under its own weight and could continue its path of growth in a highly regulated order. From the point of view of these internal processes, he could see no proper reason for an end to the development of individual entities.

As long as the internal parts of the organism kept on regulating themselves there should have been no proper limit to their expansion. He could only imagine what would have happened to his world if flies would have kept on growing to the equivalent magnitude of a human body. The proportional strength of their legs, the rapidity of their flight, or the noise of their wings would have launched a full devastation of all that was. A flys world would be a desert landscape, a world were all entities would eventually die under the movements of these newly unleashed forces. He could also see no reason for trees not to follow the same dramatic expansion of their magnitude. Under the logic of inherent regulation of proportions they could continue to grow and come to overpass the size of the largest mountains known to him. They could plunge the world into a shadow equivalent to the dampest night. This rising forest of horror would continue to unfold, to eventually block all access to the vital energy from the sun and trigger the death of all other living entities. Fortunately, he knew that such a deadly world of trees and flies was never to happen. - There was a second conditional limit to processes of emergence: it concerned not just one organism but also the interaction between different organisms undergoing similar processes of growth. Any excess of development in one entity was always recuperated by a larger entity outside of itself. In such a change of scale it became an organism among others and thus was conditioned in turn by its inherent rules of regulation. A fly or a tree were never to ridge such monstrous sizes as their expansion was under the condition of other similar processes happening simultaneously. At all levels of growth there was a continuous flux of regulations, a constantly generated order out of competing organisms thriving for their development. In such a view, his world was composed entirely of a flow of self-regulated matter. It was a plane of consistency where no event as such could ever be conceived as a possible interruption in the infinite continuity of its movements. It was a system where any rupture or disjunction was to be integrated as yet another bifurcation in a grander scheme laying outside of its form. He knew that in such a condition some before him had been tempted to see the benevolent action of nature trying to insure its own survival. In fidelity with the situation of his night and the refusal of any incline toward the priority of human concern, he, on the contrary, could only move a step further in his abyssal logic of despair. Such a model of the world was only for him an ocean of possibilities comprised within the clear and finite borders of a reason prior to its movement. It was a field of change and becomings insofar as it remained circumscribed in the boundaries of a law. A law drew the final limit to all movements. It was the shore upon which all cresting waves came to crumble, the wall against which all thoughts came to crash. It was the form of all forms. Up till now, all his efforts had been aimed toward the negation of such a claim for exclusion. He had revealed a world where no grander tank, no great catalyzer, no entity could ever be called into the situation. In his model, nothing was to be conceived as situated outside of the formal and logical plain he had patiently built for himself. In this regard, he could see no reason either for the laws not to be considered as forms themselves. In so far as life and the so-called laws of the living had emerged 3 billion years ago when the first bacteria developed in the mineral folds of a stromatolite, in so far as the galaxy within which such laws were applied would eventually collide with another galaxy in 4 billion years and redistribute all known rules for the regulation of matter, in so far as all laws were purely contingent to the development of forms in his desperate wandering universe of Indifference, he could see no reason for the law on which he had based his entire model not to follow the same dramatic path.

The second law of thermodynamics, which he had come to name the law of nothingness, should be considered as an emergent entity among others. It should be seen, like any other law, as entirely immanent to the development of forms. There had been a world before the conditions of his particular world and no doubt there will be a world succeeding its consequences. The ground of reason that had circumscribed his night was only a temporary state in the material formations of all grounds. It had come out of a contingent arrangement in the becomings of forms, as a singular curve in the continuous rippling of Indifference. If the laws of emergence were emergences themselves, if nothing was there lying outside to ensure their stability and their consistency, there was no contradiction for a form undergoing morphological change to carry along with itself the vey law that conditioned its development. There was no possible claim for a difference between matter as such and the laws of matter, between a thing and the exterior reason to this thing. On the contrary, the Outside was to be seen by him as fully merged with forms themselves, and the existence of his world as a sheer product of their common drift. Of all the cycles of his days, of all the patterns of his boredom, of all these limited spaces he had mistaken for a world he could now contemplate the full and savage nature. He saw the inclusion of laws themselves in morphological processes as the possible advent of the truly monstrous he had been searching for. With this final movement in the constitution of his model, there was no proper limitation to the development of forms, no border to the spaces of possibilities: as they carried along with themselves the very reason of their emergence, forms could generate entirely unknown and unexpected entities. In the same movement, they could produce new rules for their becoming, new laws for their behavior. They could engender equivalently infinite worlds, abyssal voids or almighty gods without ever calling to a prior reason. The true monstrous was not to be seen in the potentially infinite creative property of matter ever surpassing its borders of possibilities but in the eventuality that such a process could even generate the end of all becomings. Such a movement was not to be regarded as yet another baroque swirling line of becoming but the advent of an infinite sterile and arid land where all changes would come to cease. This pure possibility of monstrosity rested in the capacity to engender the fully discontinuous event of their negation in perfect continuity with their movements. He had been through the night as through a series of collapses. Firstly, it had been a collapse of his thought into the indifferent matter of a world outside of himself; secondly, it had been a collapse of all of matter into the pure laws of nothingness as a conditional reason for Indifference as such; finally, it had been the collapse of all laws themselves into the radically immanent plain of forms and processes. As he was approaching a possible ending to his night, he stood at the converging point of all these movements, a place where all thinkable entities had finally come to crumble onto the purely logical plain of forms. His accomplished model was one of a morphology of unreason. It was a renewed possibility for knowledge and action within the realm of the purely indifferent world he had progressively unveiled to himself. In such a method, Unreason had nothing to do with the irrational, it did not make any claim toward a supposed madness of the world nor did it endorse a primary chaos rendering all thoughts impossible. Quite the contrary, it claimed for the capacity of thoughts to reasonably access the full Unreason at work in all forms. From Nothingness as such to a world of Unreason, he had followed the only path available to him: a clear and continuous line of unfolding causalities. From the chemical deflagration in mens brains to the full ungrounding of all thoughts, his night had followed the same process. It had progressively unfolded as a form in itself, encompassing all entities in its growthit had finally ridged the monstrous magnitude of a morning of Unreason.

Karl Holmqvist

S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T

THIS SHIT HITS THIS

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THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T

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THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T

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THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS

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THIS SHIT HIT THIS SHIT HIT HITS SHIT THI SHIT HITS THI SHIT HITS THI SHIT THIS THI HITS THIS SHI HITS THIS SHI THIS SHIT HIT

THIS SHIT HIT THIS SHIT HIT HITS SHIT THI SHIT HITS THI SHIT HITS THI SHIT THIS THI HITS THIS SHI HITS THIS SHI THIS SHIT HIT

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THIS SHIT HIT THIS SHIT HIT HITS SHIT THI SHIT HITS THI SHIT HITS THI SHIT THIS THI

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S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T S T I H T I H S S I H T S T I H T I H S S I H T S I H T T I H S S T I H S I H T S T I H T I H S S I H T S T I H T I H S S I H T S I H T T I H S I H S S I H T S T I H I H S S I H T S T I H S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T

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S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S T I H T I H S S I H T S T I H T I H S S I H T S I H T T I H S S T I H S I H T S T I H T I H S S I H T S T I H T I H S S I H T S I H T T I H S I H S S I H T S T I H I H S S I H T S T I H S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS

THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T

THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS

S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T S T I H T I H S S I H T S T I H T I H S S I H T S I H T T I H S S T I H S I H T S T I H T I H S S I H T S T I H T I H S S I H T S I H T T I H S I H S S I H T S T I H I H S S I H T S T I H S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T

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THIS SHIT HIT THIS SHIT HIT HITS SHIT THI SHIT HITS THI SHIT HITS THI SHIT THIS THI HITS THIS SHI HITS THIS SHI THIS SHIT HIT

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THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T

S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS

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THIS SHIT HITS THIS S I H T S T I H T I H S S I H T THIS SHIT HITS THIS S I H T S T I H T I H S S I H T HITS SHIT THIS THIS S I H T S I H T T I H S S T I H SHIT HITS THIS THIS S I H T S I H T S T I H T I H S SHIT HITS THIS THIS S I H T S I H T S T I H T I H S SHIT THIS THIS HITS S T I H S I H T S I H T T I H S S I H T THITS THIS SHIT THIS I H S S I H T S T I H S I H T THITS THIS SHIT THIS I H S S I H T S T I H THIS SHIT HITS THIS S I H T S T I H T I H S S I H T THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS S I H T S T I H T I H S S I H T S I H T S T I H T I H S S I H T S I H T S I H T T I H S S T I H S I H T S I H T S T I H T I H S S I H T S I H T S T I H T I H S S T I H S I H T S I H T T I H S S I H T T I H S S I H T S T I H S I H T T I H S S I H T S T I H S I H T S T I H T I H S S I H T

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THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS

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THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS HITS THIS SHIT THIS HITS THIS SHIT THIS THIS SHIT HITS THIS

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THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS

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THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS

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THIS SHIT HITS THIS THIS SHIT HITS THIS HITS SHIT THIS THIS SHIT HITS THIS THIS SHIT HITS THIS THIS SHIT THIS THIS HITS

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INSULAR AESTHETICS Hernn Daz

1. Art has become peninsular. It is has been tethered to the referential world by didactical and allegorical ties. The isthmus needs to be severed. Art needs to become insular. 2. There is a widespread tendency to reduce art to an example or an epiphenomenal froth, an ornate way to convey contents that could have been expressed more economically. Literature instructs us about the struggles of the oppressed. Films illustrate the current state of our society. Visual arts teach us how institutional boundaries are erased and redrawn. 3. Art, in other words, tends to be degraded to culture. The stuff of sociologists and anthropologists. 4. The aesthetic dimension of art has become taboo. Little can be said of it. It has, for the most part, been coopted by technocrats obsessed with the craft, by narcissists with feelings, and by the umpires of taste. 5. What little can be said of the aesthetic dimension of art seems to be a redundancy: the aesthetic in art is that which cannot be reduced to or translated into anything else. It can never be a symptom or an allegory because it does not say something else. 6. Say is the wrong word. The aesthetic does not trade in signs and substitutions. It resists communication. It is a mode of being. Literally. 7. Literality is not a repetition. It is a being insisting on itself in the only way it can: by being. This is why the aesthetic experience can have so much in common with the feeling of extreme, utter frustration: we cannot talk about it. The only one thing capable of talking about it is it. 8. Talking is the wrong word. 9. Music illustrates this. There is nothing in it but itself (symbolic resonances attached to a particular piece are irrelevant in this context), and it cannot be paraphrased. 10. In historical terms, abstraction made literality visible in the arts, and senselessness made it readable in literaturealthough it was, of course, always there (abstraction and senselessness are only shortcuts to aesthetic literality, which can be harder to be experienced in figurative art, where the aesthetic becomes confused with other feelings, conjured up by the things represented). 11. Even though literality defines the aesthetic experience, the former exceeds the latter (science and philosophy, for instance, also strive for literalityto say of what is that it is). 12. First paradox: the aesthetic transcends itself through this extreme limitation. By its literality, the aesthetic binds itself to truth. The aesthetic is the ultimate truth of the object. It shows us what a thing is. The aesthetic is the spectacle of being. 13. Literality is not static: it is a constant emergence of presence; it is being in process, being becoming itself. Being taking place. Literality is the gerundial quality of being. 14. Literality is not a tautology: even in x is x there is a trade, a quid pro quowhile literality is about x, whose quidditas requires no other term, not even itself as other. 15. Second paradox: by insisting on being, aesthetic literality escapes metaphysics. In art, nothing is more material, more concrete, more tangible, more present, more here, more now than aesthetic

literality. Compared to it, everything else (including the search for political connotations) is an abstraction, and in a very strict sense, metaphysics. 16. Metaphysics is that which is beyond the physical realm perceived by our senses. Etymologically, the aesthetic is what relates to sense perception. Thus, the aesthetic experience could never be faulted for being metaphysical. Aesthetic literality is the most radical form of materialism. 17. This is why conceptual art is the farthest art has ever been from the aesthetic experience. Conceptual art is always fulfilled outside itself: an exterior concept completes the piece. Without clever punchlines or lengthy dissertations (the concept), the piece is very little, almost nothing. Oddly enough, all this also applies to any form of engaged art, and programmatic art in general (even if the program is an aesthetic dogma, as in most avant-garde movements). 18. The notion of representation is particularly helpful to understand aesthetic literality, because it sums up all that aesthetic literality is not. It is not a repetition, or a copy; there is no mimicked original; there are no sequential hierarchies (the thing and its reproduction; the idea and its manifestation); there is no linkage to a referent. 19. Representation is the failure of aesthetic literality. Aesthetic literality is presentationin the many senses that this word evokes: a present, a presence, an exhibition, a showing, a gift. 19. Aesthetic experience should not be confused with beauty. Aesthetic literality has nothing to do with values of any kindthe very notion of value implies a transaction, a translation, a conversion that is incompatible with literality. 22. The experience of aesthetic literality is neither intellectual nor emotional. This is why it will always be safe from both academics and hedonists. 23. Third paradox: there is nothing essential about the aesthetic experience. Aesthetic literality is the experience of the intensity with which the thing shows itself. Because it is determined by intensity, the definition of the aesthetic experience (its quality) derives from a quantitative principle. Nothing is inherent to it. It is only a matter of degree. 24. This (and not any kind of message) ensures the democratic and egalitarian qualities of the aesthetic experiencethere are no pre-given forms or materials, sanctioned by tradition or taste, that are guarantors of the aesthetic. Only the intensity of literality constitutes the aesthetic experience. And (at least potentially) it can be found anywhere by anyone. 25. The artist intentionally strives to bring literality forth with the greatest intensity possible.

THE ORPHAN BACHELOR Etienne Chambaud A text written with inscribed stones.

SINKING ISLANDS Published by LABOR Written by Hernn Daz Etienne Chambaud Fabien Giraud Karl Holmqvist The Institute for Figuring Vincent Normand Edited by Vincent Normand Translated and corrected by Gabriela Jauregui