The aim of this paper is to study the monotonicity properties with respect to the probability distribution of the state processes, of optimal decisions in bandit decision problems. Orderings of dynamic discrete projects are provided by extending the notion of stochastic dominance to stochastic processes.
This paper presents the experimental results of a “Transcontinental Ultimatum Game” implemented between India and France. We use a standard ultimatum game, but in one treatment Indian subjects made offers to French subjects (ItoF treatment) and, in another treatment, French subjects made offers to Indian subjects (FtoI treatment). We observed that FtoI treatment bargaining mostly ended up with unequal splits of money in favor of French, while nearly equal splits were the most frequent outcome in ItoF treatment interactions. The experimental (...) results are organized through a standard social reference model, modified for taking into account the different marginal value of money for bargainers. In our model bargaining is driven by relative standings comparisons between players, occurring in terms of real earnings (that is monetary earnings corrected for a purchasing power factor) obtained in the game. The norm of equity behind the equalization of real earnings is called local equity norm, and contrasted to a global equity norm which would encompass the wealth of players beyond the game. According to what we observed, no beyond-game concern seems to be relevantly endorsed by subjects. (shrink)
After reviewing the status of the concept of the phenomenon in Husserl’s phenomenology and the aim of successive attempts to reform, de-formalize, and to widen it, we show the difficulties of a method that, following the example of Jean-Luc Marion’s phenomenology, intends to connect the phenomenon directly to the revelation of an exteriority. We argue that, on the contrary, Marc Richir’s phenomenology, which strives to grasp the phenomenon as nothing-but-phenomenon, is more likely to capture the “meaning” of the phenomenological , (...) and hence to help us orient in the field of problems that phenomenology encounters without always knowing how to tackle them. Yet, this extension of the phenomenon’s domain does not thereby encompass everything: there may well be certain issues that require a phenomenology without phenomenon ; but the meaning of this cannot be determined before the complete reenvisioning of transcendental phenomenology. (shrink)
Dans cet ouvrage de 430 pages – dont neuf consacrées à un index des auteurs anciens et modernes – Geneviève Clerico, Bernard Colombat et Jean Soubiran ont réuni 22 textes écrits par Françoise Desbordes de 1981 à 2000 et généralement publiés antérieurement dans des revues scientifiques ou actes de colloques. Ces études ne concernent pas la rhétorique, domaine privilégié de l’activité scientifique de F.D., ni les analyses textuelles, les contributions de F.D. à ces disciplines ayant fait l’obje..
Le Père Jean Richard, « théologien engagé », comme le suggère le Doyen de l'Université Laval, a trouvé dans l'œuvre de Paul Tillich un des axes majeurs de sa réflexion, que l'on retrouve largement évoquée dans la vingtaine de contributions qui lui sont offertes avec ce volume. «Tillichiana » (section V), tel est le titre regroupant les quatre derniers articles, qui ont en commun d'éclairer l'inscription de la Dogmatique et de la Théologie systématique de Tillich dans l'histoire de la pensée..
Abstract - Evolutionary, ecological and ethical studies are, at the same time, specific scientific disciplines and, from an historical point of view, structurally linked domains of research. In a context of environmental crisis, the need is increasingly emerging for a connecting epistemological framework able to express a common or convergent tendency of thought and practice aimed at building, among other things, an environmental policy management respectful of the planet’s biodiversity and its evolutionary potential. -/- Evolutionary biology, ecology and ethics: at (...) first glance, three different objects of research, three different worldviews and three different scientific communities. In reality, there are both structural and historical links between these disciplines. First, some topics are obviously common across the board. Second, the emerging need for environmental policy management has gradually but radically changed the relationship between these disciplines. Over the last decades in particular, there has emerged a need for an interconnecting meta-paradigm that integrates more strictly evolutionary studies, biodiversity studies and the ethical frameworks that are most appropriate for allowing a lasting co-evolution between natural and social systems. Today such a need is more than a mere luxury, it is an epistemological and practical necessity. -/- In short, the authors of this volume address some of the foundational themes that interconnect evolutionary studies, ecology and ethics. Here they have chosen to analyze a topic using one of these specific disciplines as a kind of epistemological platform with specific links to topics from one or both of the remaining disciplines. Michael Ruse’s chapter, for instance, elucidates some of the structural links between Darwinismand ethics. Ruse analyzes the Evolutionism vs. Creationism debate, emphasizing the risks run by scientists when they ideologize the scientific content of their studies. In the case of the contributions of Jean Gayon and Jean-Marc Drouin, which respectively deal with the disciplines of evolutionary biology and ecology, some central connections have been developed between these two disciplines, while reserving the option to consider in detail their topic in order to discover essential features ormeanings. Gayon analyzes the multilayered meanings of “chance” in evolutionary studies and the methodological implications that accompany such disparatemeanings. Froma similar analytical perspective, Drouin’s contribution focuses on the identification and critical evaluation of the different conceptions of time in ecology. Chance and time, factors of evolution in species and ecological systems, play a very important function in both disciplines, and these chapters help to capture their polysemous structure and development. Bryan Norton’s chapter, on adaptive environmental management, is set within an epistemological context where the Darwinian paradigm, ecological knowledge and ethical frameworks meet to give rise to practical, conservationist policies. In his contribution, Patrick Blandin pleads for the necessity of an eco-evolutionary ethics capable of fully encompassing humanity’s responsibility in the future determination of the biosphere’s evolutionary paths. Our value systems must recognize the predominant place that humanity has taken in the evolutionary history of the planet, and integrate the ethical ramifications of scientific advances in evolutionary and ecological studies. The chapter by J. Baird Callicott introduces us to a metaphorical ecological reversion with direct consequences for our moral conduct. If ecology showed that ecosystems are not organisms, recognizing organisms as a kind of ecosystem could be the basis for a new post-modern ecological ethics that lays the foundation for a better moral integration of humans with the environment. The contributions of Robin Attfield and Tom Regan delve into some of the classical issues in environmental ethics, situating them within a broader ecological and evolutionary context. Attfield’s chapter tackles the confrontation between individualistic and ecologically holistic perspectives, their different approaches to the issue of intrinsic value, and their tangled relation to monism and pluralism. Regan’s contribution ponders the criteria that allow individual beings, human and non-human, to own moral rights, the role of the struggle for existence in the relationship between species, and the logical difficulties involved in attributing intrinsic value to collective entities (species, ecosystems). Catherine Larrère’s chapter discusses the opposition between two environmental and ethical worldviews with very different philosophical centers of gravity: nature and technology. These opposing perspectives have direct consequences not only for the perception of the problems at hand and for what entities are deemed morally significant, but also for the proposed solutions. -/- To set out some foundational events in the history of evolutionary biology, ecology and environmental ethics is a first necessary step towards a clarification of their major epistemological orientations. On the basis of this inevitably nonexhaustive history, it will be possible to better position the work of the different contributors, and to build a meta-paradigm, i.e. a connecting epistemological framework resulting from one common or convergent tendency of thought and practice shared by different disciplines. (shrink)
Jean-Marc Narbonne | : Pour parler de la chute ou de la déclinaison de l’Âme (Sophia) dans le cadre des récits cosmogoniques gnostiques, Plotin a recours, en sus du terme νεῦσις, au substantif σφάλμα (ou encore au verbe correspondant σφάλλεσθαι), comme s’il s’agissait d’un synonyme de νεῦσις. L’enquête que nous avons menée montre le bien-fondé de cet usage, puisque le terme σφάλμα est, de fait, utilisé par les hérésiologues pour décrire, dans un langage hérité du néo-pythagorisme et donc rythmé (...) par le nombre, la chute de Sophia, laquelle incarne le douzième éon de la Dodécade en même temps que le trentième et dernier éon de l’ensemble du Plérôme. Rapporté à la métaphysique pythagoricienne dont il relève, le récit gnostique perd toute apparence d’arbitraire et révèle enfin sa véritable structure, commandée de bout en bout par le nombre. Il est raisonnable de penser que l’arithmologie rivale du traité 34 de Plotin est là pour y couper court. | : When speaking of the fall or decline of the Soul (Sophia) within the context of the Gnostic cosmogonic narratives, Plotinus, in addition to the term νεῦσις, resorts to the substantive σφάλμα (or the corresponding verb σφάλλεσθαι), as if it were a synonym of νεῦσις. The following investigation demonstrates the validity of this usage, as the term σφάλμα is, in fact, used by the heresiologists to describe, in a language inherited from Neopythagoreanism, and therefore structured by number, the fall of Sophia, which embodies both the twelfth aeon of the Dodecade as well as the thirtieth and final aeon of the entire Pleroma. Related back to the Pythagorean metaphysics whence it is stems, the Gnostic narrative loses any appearance of arbitrariness and finally reveals its true structure, ordered from start to finish by number. It is reasonable to think that the rival arithmology of Plotinus’ Treatise 34 was created in order to undermine this very narrative. (shrink)
continent. 2.2 (2012): 82–98 NOTE: This text is a translation of the original essay “Tekendichtheid: Over Jean Daives Narration d’équilibre 2: ‘Sllt’ ,” published in Parmentier 21.2 (2012): p. 65-71, accompanied by the same selection of poems in Dutch translation. It is not my intention to offer the following notes pertaining to one part of the series Narration d’équilibre [ Narrative of equilibrium ], written by the poet, translator, photographer, encyclopedist, and radio maker Jean Daive (1941), as a meticulous overview (...) of the different themes, lines, and figures traversing such a voluminous oeuvre. Rather, they form a set of comments that found their way to the margins of the word processing document while translating the work. However, they depart from Wallace Stevens’s idea that if it is the case that philosophy represents the “official view of being,” poetry can be defined as its “unofficial view.” 1 As Judith Balso argues in Affirmation de la poésie , poetry needs to penetrate the cracks and fissures of the metaphysical framework, beyond the authority and orders of philosophy, if only to undo Plato’s expulsion of poetry from the city. 2 This unofficial being of poetry finds its materialization in “ Sllt ” (listen to slat , the suppressed ssst of the nocturnal visitor, but also the salut of poetry itself). Let me draw the framework of these annotations. In his work On Interpretation , Aristotle elaborates on the different parts of human speech, and institutes a tripartite division between “affects in the soul” ( ta en têi psukhêi pathêmata ), “sonifications,” more commonly translated as “words” ( ta en têi phônei ), and “written things” ( ta graphomena ), all of which are linearly connected. Affects of the soul are symbolized by sonifications, which are in their turn symbolized by what is written down. Letters ( grammata ) and sounds ( phônai ) are not the same for everyone, contrary to the affects of the soul to which they refer, which they signify as signs ( sêmeia ). The same holds for the relation between words and things. 3 In On Interpretation , Aristotle lays the foundation for the sign as linguistic unity, as well as for the idea, popularized by Ferdinand de Saussure, that whereas the form of words, letters, and sounds is arbitrary, the signification of a sign is stable: the famous interpretation of the sign as a fissured duality of signifier and signified. 4 However, both philosophical and scientific developments have complicated the nature the Aristotelian “backside” and Saussurian “frontside” of linguistic production. Brain scans and electromyograms of the larynx and throat offer us an image of actual sound production and the underlying physical processes, and the work of Jacques Derrida and Jacques Lacan, who both addressed the Saussurian sign, have shown that the unity of sign is not as stable as seems, both on the level of the signifier and signified. It is within this framework that Jean Daive aims to formulate a poetical response to this crisis in the (analysis of) the production of language and signification. He nevertheless follows in the footsteps of Aristotle by forming an idea about the production of language and the production of signification. The first poem in the section “PANT THREAT” of “ Sllt ” immediately addresses the wide topographical range of the role of poetry. 'Cause role, in— dict say everything. “Maia, neurolinguistics, telepathy India, dance, allometry. Why this transversal of the others like—” The chamber would it be under the tent. Blockage. Aphasia. Brains wherein a chemistry without page. Line that waves. The role of poetry is introduced as a “cause,” a causa . Further on we read “case role,” car rôle—cas role , suggesting also casserole: “The flesh would it have a role in.” But we have to slow down. Poetry’s role is to say everything. However, this is not without “blockage” or “aphasia,” which is immediately figured by the interrupted, suppressed phrase in—// dit tout dire : the interdiction, interdit , is immediately smothered. What does it say? “Everything.” A stream of terms, from Maia, the eldest of the Pleiades and the mother of messenger and interpreter-translator Hermes (but also a name referring to an ancient form of hieroglyphic writing), to the latest developments in neurolinguistics, telepathic brain waves emitted from the skull, the origin of grammar and the dancing and syncopated rhythm of speech and language. But “Why this transversal of the others like—”? First we have to return to our cranium, the “Brains wherein / a chemistry without page. // Line that // waves.” And further on: “I do not see more than you. Nothing but a wave. / That does not get holes.” In neurology there are no holes, but only wave forms, as yet unsymbolized electrical signals. On the allometric side there are different measurement units. The microseconds of EEGs are transformed into sluggish waves of air pressure, in “phonetic language.” In between, “The hand of a simian” appears, a supplicating throat that does not only supplicate ( supplie ) but also supplements ( supplée ): “That in which it says,” in which neurology speaks, is always “later.” The simian climbs, transversing distances differing from ( allo-métrie ) the minute scales at which neurons fire at each other. This simian ( singe ) is what dwells in the spot previously occupied by the Aristotelian sign ( signe ), between the waving signposts of neurology ( ta en têi psukhêi pathêmata ) and phonetic language ( ta en têi phonêi ). It is the sign of the inherent aphasia of all speech, the mangling, interrupted signals, gaps, and non sequiturs. Whereas Stéphane Mallarmé imagined the sign as swan ( cygne ), caught on the white page, Daive focuses on the “unofficial,” mischievous character of the sign, its nearly being human. Here we have to remind ourselves that Saussure in his Course on General Linguistics illustrates the duplicity of the sign by means of a tree: the relation between the concept “tree” and the phonological sequence /t-r-i/ is arbitrary—arbre . 5 Daive’s simian is climbing from one to the other, swinging between different branches. The border between signifier and signified, so strongly articulated by Saussure, is permeated through the simple displacement from signe to singe, from the Greek sêmeion to the English “simian,” thus providing an actualization of what Lacan described the moment that the signifier enters the signified. Lacan does not consider the sign to be a structural or hermetically closed unity, as suggested by Saussure, but suggests that the signifier constantly insinuates itself in the signified: words and concepts penetrate each other in series. Lacan’s analysis of the sign is immediately related to the psychoanalytical work of Sigmund Freud concerning dreams and the unconscious: “everywhere [in Freud’s complete works] we see a dialectical apprehension of experience, linguistic analysis becoming still more prevalent the more directly the unconscious is involved [....] This linguistic structure that enables us to read dreams is at the crux of the ‘signifierness of dreams,’ at the crux of the Traumdeutung .” 6 In his reading of the Traumdeutung Lacan points at three semantic mechanisms, Entstellung , Verschiebung , and Verdichtung . This last one is “the superimposed structure of signifiers in which metaphor finds its field; its name, condensing in itself the word Dichtung , shows the mechanism’s connaturality with poetry, to the extent that it envelops poetry’s own properly traditional function.” 7 This metaphor producing superimposition of signs—“condensation”—functions as process largely during nocturnal dreams, but is also expressed within the work of poetry. This brings as back to the cranium, the chamber under the tent, tente—tenter, temptation or test. The brain as the test site of language. What is the architecture in which the simian—image of the permeability of the sign, index to the interpretation of dreams, but also “pre-”conscious state of humanity—climbs around? The first poem of the section “Choir” states: “He concludes. He remains to resemble / and such. Chambers without table or wall.” This resemblance ( ressembler ) and re-sembling ( re-sembler ), being similar again—“Similar to the attention / like I say to him similar to / the identical”—is at the same time a reassambly ( rassembler ), a construction of “chambers with a sun / entirely.” However, this construction, which Daive relate to phrasing, is in the first place a nocturnal activity: “A slat through the nocturnal / series / heavier loaded / than lit. A day is built, sleeping,” and “A longer phrase. A longer night.” This is “neurology.” A slat in which this second would remain. Disowned that separates is called I went to bed and I am marching. The practice of the mouth already entered like a construction in my sleep. The slat ( sommier ) does not only refer to the nocturnal construction work of sleep ( sommeil ) and the support of the bed, but also contributes to the summation ( sommer ) of the phrases, series, and seconds—secundus— sequences and persecutions, marching and marking are separated and thus form names, words, albeit in a disowned way: aping. Such subconscious work on the construction of the phrase may also be interpreted as the construction of the sign itself, which for Sausurre is always split by a bar ( barre ). Lacan pertinently points out the arbre and barre are anagrammatically derivable from each other, something which, as I stated before, has its repercussions on the couple signe - singe . However, this bar is at the same time a blockade: “They block his memory / with a slat.” Again we find a confirmation that chamber and blockade, speaking and aphasia, are intimately connected and mutually imply each other. Daive speaks of a “dismemberment” of words, a “subordination complex”—a subordination, subjugation, which is a “ringing” ( sommier also refers to the bell cage) and clinking—“putting down the money / knowing / that a comma displaces itself / according to / the time that.” This phrase reminds us of the Saussurian metaphor of the sign as coin, and Gertrude Stein’s description of writing sentences as coin in a loan—coining alone . 8 The ringing, pealing, appeal of this word forging may be subdivided in several chemical alarms, electric signals in the brains, firing neurons, “these accumulations of sleep.” But then, sunrise: “A lightness compensates / for the linen / that strangles you. But I will untie you / with one or two lapses.” As soon as the sun lights up the chamber, we are closing in on speech, “The practice of the mouth / already entered like a construction / in my sleep.” Also the flesh enters the scene of articulation—“Pieces of flesh push left of the sun”—the place of the vocalization of language: “Vocalization or your menace / the language will modulate the sounds / associated to the unwinding of a sequence.” Here we are concerned with the notation and intonation of the length— longueur — langue-er , languageness of language and enter the domain of the celestial sounds and music as carreau, tile, foundation, and basis of poetry: carreau le—K rôle—carol , “the angel will hide himself in a sonority / but before / a simian will have / transformed / into audition.” The production of sound, speaking, is already first hearing ourselves speak, to “play our personage / vocally / with our laryngeal sacks.” The simian (singe) and the angel (ange), the sign of the sound, collaborate, engage in conversation, “Speaking / in the sense that they currently give / to this word.” Speaking, fluently, currently ( courrament ), running ( courant ) early, is a scale. A spectrum of sounds penetrates— pénètre — fénêtre —the manner of speaking, the air pressure from the diaphragm (read also chambre—camera , the throat as opening of the chamber): “Along a manner / the place of the effort / a pressure of air, this response / that takes the consonance.” So according to Daive, both ends of language production are affected by interruptions, penetrations, commas; both inside the room and outside. There is always too much “baggage / a simian’s overloaded back.” The sign is always overloaded, also more ambiguous and polyvalent than the speaker’s intension. Language is constantly excessive. A condition is placed like a plank. It is a balance. I weigh an umbrella, three saws a tire. Not to name this package pointer plows. Just like the slat, the plank is part of the chamber’s construction, which is gradually built up. From “Plank I: Everything / is / lacuna” until “Thanks for the planking. It finishes / everything.” This space, built from planks, is provisional, conditional. “A condition is placed like / a plank. / It is a balance.” Here we arrive at one of the possible readings of the title of the series, Narration d’équilibre : a narrative of equilibrium, a balance, or, as Werner Hamacher suggests, “This […] equilibrium would hold the balance between speaking and halting, mere saying and conscious thematization, between sudden thought and coherent story, interruption and the flow of speech, between the impossibility to speak and its beginning.” 9 Or elsewhere, “Comparable to a deafness”— surdité—sur-dité , an over-saying and blockade at the same time. This oscillation between speech and lacuna, between umbrella— parapluie—oui , three saws— scies—si 10 —and a tire— pneu—pneuma —a breath of air, forms a “package,” an affirmation and a halting voice. “In the chamber. / A package hangs from the ceiling / thickening. Day after day.” Joseph Beuys. FOND VII/2 (1967/84) This package, slowly expanding inside the chamber, is in itself already charged, both inflated, “pneumatic,” and in the shape of “several layers of felt.” Elsewhere Daive speaks of a “battery.” It is difficult not to interpret this as a reference to the formal language of the German artist Joseph Beuys, in which natural materials like felt, rubber, and metal form a balance in stacked “batteries”—“Tree or heating / which you cited.”—and thus imply a relation between natural materials and immaterial “energy”—the charge of concrete streams of air flowing from my mouth. This is a relation that can be traced to an early point in the history of Western poetry, the Old-Irish poetical treatise Auraicept na n-Éces , which equates the construction materials for the tower of Babel—clay, water, wool, blood, wood, glue, flax, acacias, bitumen—to the different types of words. 11 We are thus faced with an alchemical transformation of a chemical process into language. Daive suggests sorcery: “I will be you sorceress.” Sorceress— sorcière—source , source but also incantation and literally singing-into. The nocturnal construction is ready, the accumulations of sleep have been completed, the alarm resounds, the poet awakens. “The repeater of the revolution / transforms himself into pure logarithm / of stellar speeds.” This is nothing but an image of this poet, the repeater—“If candles evoke anew / several sequences, this idea / of repetition. We studied the filth / or what it spaces.” but also re-peater, the one who reaches anew for a turnover, a revolution, a transvaluation which transforms, like a battery or through incantation, into pure logarithm, a logos-rhythmos —a rhythm, a spacing of words and speech, the incarnate comma of stellar speeds—the progression of candle to sun, from night to day, the sleepy acceleration, running early, to “Chambers with a sun / entirely”—but also a Stellen , the Aristotelian thesthai—testing of language. Every poetic statement is a test, a risk, ventures a leap. Each stroke of the pen is monkey business. NOTES 1. Wallace Stevens. “The Figure of the Youth as Virile Poet.” in Collected Poetry and Prose . New York: Library of America. 1997.p. 667. 2. Judith Balso. Affirmation de la poésie . Paris: Nous. 2011. p. 25. 3. Aristotle. On Interpretation . 16a3-8. 4. Ferdinand de Saussure. Course in General Linguistics . Trans. Wade Baskin. New York: McGraw-Hill. 1966. p. 67. 5. Ibid. p. 67. 6. Jacques Lacan. “The Instance of the Letter in the Unconscious,” in Écrits . trans. Bruce Fink. New York: W.W. Norton & Co. 2006. p. 424. 7. Ibid. p. 425. 8. Gertrude Stein. How To Write . Mineola, NY: Dover, p. 116. The metaphor of the coin is however much older: “Customary use, though, is the most steady teacher of speaking, and speech must be like a coin: it must bear a public stamp.” (Quintilian, Institutio oratoria 1.6.1-3, quoted from Erik Gunderson. Nox Philologiae: Aulus Gellius and the Fantasy of the Roman Library . [Wisconsin: University of Wisconsin Press. 2009], p. 56). 9. Werner Hamacher. “Anataxis. Komma. Balance,” in Jean Daive. Erzählung des Gleichgewichts 4: W . trans. Werner Hamacher. Basel: Urs Engeler. 2006. p. 134. 10. In Stéphane Mallarmé’s celebrated poem Un Coup de dés , there are precisely three instances of the word si . For an analysis of this word (which also opens the si-nge ) see Quentin Meillassoux’s recently published analysis of the work, The Number and the Sirene: A Decipherment of Mallarmé’s Coup de Dés . trans. Robin Mackay. New York: Sequence Press. 2012. 11. George Calder (ed.) Auraicept na n-Éces: The Scholars’ Primer . Edinburgh: John Grant. 1917. p. 23. Selections from Narration d’équilibre 2: ‘Sllt’ Jean Daive From Jean Daive. Narration d’équilibre: Antériorité du scandale, ‘Sllt’, Vingt-quatre images seconde . Paris: Hachette/P.O.L, 1982. Translated by Vincent W.J. van Gerven Oei. Marcel Broodthaers. Pense Bête (1964) Choir Similar to the attention like I say to him similar to the identical. He concludes. He remains to resemble and such. Chambers without table or wall. Chambers with a sun entirely. Then the children show that the sun is entire. As if I find myself right now. Similar to repeating which the attention instructs (was it a raft produced by our elbows?). I am here. Then the children learn that the morning has no difference and that the phrase is identical because of the object preparation. I am here loving it, but also eating is the phrase of here or speaking. Because we need to respond now. Responding, that is continuing and waiting, that is the return of the event. In fact, it is like a lady, but it is different who mentions for the first time that three could do. My willow is more. A quantity at the corner of the telegram and my grammar. Being regarding the blue. And first now. Or only now. No. First of the part of now, here. That is to say of each of which the first grasps thinking truly necessary cake and rural. Thanks for the planking. It finishes everything. *** Commentary of a portrait in reality of a progression reproduced in our manuscript. Plank I: Everything is lacuna would look for the trace or better the loss of notebooks. This is explainable in several ways: I edit I don’t transcribe the interruption of the outline under the dictate of an addition then the problem and if we are lacuna or piece detached from our suppositions at last the signature amputates from the beginning. So everything supposes something provisory. Plank II: The orthography varies handy like the division of apparatuses. Plank III: He has come in his achievement of which I speak. So we have to understand the words he has come in his achievement like a world after me absent from the preceding passages. Henceforth, I am simply a man. But certainly in the past participle (did he speak or did he come?) the text adds to my nature. The eyes, in other words what precedes me evoke the clouds whereof the word theory spoke. The contemplation designs here also the blissful hereafter. Plank IV: Carried along to the encounter of the lake and the purified, the simple and not send off the precursor in a different way. Plank V: Who are you? The response (it’s not me) is a first way of understanding only the manner of none other. Plank VI: He is the limit of a letter. But who is the manner of all things. Now redress the test of the road and divide who has cried. A shoe is in your midst, the natural figure who is hiding in the house. It is the next day of paradise. *** Trembles at the accent which he disintegrates more or less. […] Which are the traces? A hotel room that he has paid daily for twenty years. […] Whereas he no longer walks. In the chamber. A package hangs from the ceiling thickening. Day after day. A table on a slope of sagging sand to paint no more. […] A broken watch. So he starts to paint oil cans. The Raving Beauty . Red, blue, yellow. Colors that assure him of his end. Three trunks, therefore painted. The Raving Beauty . […] He turns to the direction of the noise reflects in front of a bluish metal. His fingers on the glass, but also in a motor. […] A car in the course of a velocity taken from —Bang! *** If they are seated or underground surrounded by women who damage my smile. I know that they have cemented all the books. If candles evoke anew several sequences, this idea of repetition. We studied the filth or what it spaces. Those forgotten things. Word by word, what they kindle in my hair. A slat through the nocturnal series heavier loaded than lit. A day builds up, sleeping because newspapers would have filled the tubs. So there would be a last book and its first phrase: “The repeater of the revolution transforms himself into pure logarithm of stellar speeds.” PANT THREAT 'Cause role, in— dict say everything. “Maia, neurolinguistics, telepathy India, dance, allometry. Why this transversal of the others like—” The chamber would it be under the tent. Blockage. Aphasia. Brains wherein a chemistry without page. Line that waves. *** I do not see more than you. Nothing but a wave. That does not get pierced. Hears itself. Neurology. The hand of a simian. His throat supplicates us. We will have children, trees. We will grow up we will climb. That in which it says. Later. Neurology. The simians are coming, closing in, doubling. The kilometer. That. Phonetic language. The kilometer. *** A longer phrase. A longer night. I will not return. More often you would move back your head. There are two years of that. An entry will not explode. Nearly. Return. Neurology. *** The flesh would it play a role in. Speaking garage. For. Us. Yes. Case role. Of. *** Diaphragm would confirm the question. Along a manner the place of the effort a pressure of air, this response that takes the consonance. *** Pieces of flesh pushing left of the sun an arm what comes, turns. You say it is not will come. Logarithms the back of my chair responding to the portrait, this simian left of the sun he extends his hand toward you. He will not kill twice. He will shoot twice. *** Tile the. They will throw stones at me found in a hotel room. Even the animals will talk very slowly to the bombs. For the optional use of the brain. I will be your sorceress. A habit. They will enter unto your sleep. Unto my flesh. A habit. *** You sang to deafen the future's use. The battery. A chord imparts the smoke. In his turn a simian will open the radiator. *** Tree or heating which you cited. Nearly appearing in passing in a book. Comparable to a deafness that would imply a progression toward the octave. *** The simians are sitting on stones at the level of terrestrial existence. Their image surpasses our idea of harmonic functions. Their image regulated on what they leave behind. *** A slat in which this second would remain. Disowned that separates is called I went to bed and I am marching. The practice of the mouth already entered like a construction in my sleep. *** A lightness compensates for the linen that strangles you. But I will untie you with one or two lapses. *** I overhear a conversation. The simian says to the angel that typifies himself. Then offers him a cigaret. *** Speaking in the sense that they currently give to this word. *** They block his memory with a slat. Then they run for it. *** K role the angel will hide himself in a sonority but first a simian will have transformed it into hearing. Then you arrive, don’t I follow attaining or let’s see we will play our personage vocally with our laryngeal sacks. Presence eludes itself, an inquiry will specify the person. *** Running early a scale penetrates the manner you are not determined hence your baggage a simian’s overloaded back —Schematic but sensible. You throw a part of the man. A paper to— That of a painted eyelash if not faster. *** Subordination a ringing that he subdivides in chemical alert—several these accumulations of sleep. *** Eyes like caps, putting down the money knowing that a comma displaces itself according to the time that. *** Vocalization or your menace the language will modulate the sounds associated to the unwinding of a sequence. Stamping then it yawns. Noting the length of language. *** A subordination complex maybe added itself then to his manual on the dismemberment of words. *** A condition is placed like a plank. It is a balance. I weigh an umbrella, three saws a tire. Not to name this package pointer plows. *** In the receiver “him”. And several layers of felt. That looks like the package that we are. Inflatable. When our chamber inflated itself, pneumatic w?ns? pon? ta?m. (shrink)