First the injunction:
The structural theme must be conceived dynamically, as a pattern of forces, not an arrangement of static shapes.
Rudolf Arnheim, Entropy and Art: An Essay on Disorder and Order
From force to actant:
In 1968, Barthes pointed out that the Proustian narrator is not the person who has seen or felt, nor even the person who writes, but rather he who is going to write.
The opening conclusion, appeal to the reader:
[The concluding sentences to “Delta” and to the book recall the chapter/section on calculating à la Leibniz the ultimate finite number of books and then the necessity of repetition.]
In dreams, in books, in pieces of music, in paintings, in the beings what we love, as on hiking trails, there are sometimes, scattered, signs of gratitude such as compose the traveler’s joy. They are fleeting, like sand, unstable, like sand can be, innumerable… They attest to the presence of something else, as do the shadows that reveal what’s in the light, as do the efforts of the dead who haunt the living.
[Before this is] “The Traveler’s Joy the English call the climbing viburnum because its presence on the hedges lining a road signals that you are approaching a hamlet.”
For “hamlet” read “home”. Always approaching. Hear hameau. Always approached. Approach.
And so for day 2006