One may establish connections, arrange positions, combine flows, increase tensions, execute motions as much as one likes: winning the world without losing the same one somewhere else is not possible. Place is the descriptive evidence of this once here, now there. For example, both sides of a coin can feel each other well through its monopartite interior. The translations make the world larger than she is. Thus the factual initiator of the connection this-that is this, and not that.
Does the vacuum cleaner then effortlessly actualise what a radio cannot?. In his deepest interior, the mover touches this to set this into motion — destination: world. In no case he should force her or impose motions on her she cannot follow — at the risk of deforming her plan. He conducts the outline of the future parts. The flow passes us us, perceivers along.
While the mover is turning he contrives a plan how to touch the thing. She remembers the information on her face. The best chapters do come early, however. We are strangers to each other. Then this is the plan-possessing initiator of the movement. When she repeats rehearses her working we can compare her actions.
In essence however, the law does not prescribe, but copies what is present-at-hand. Worms and partridges became the symbol of female desire and the symbol of female struggle for freedom. For the construction is ahead of him. It simply takes time to work the world in her depths. With her whole essence, the protoconstruction finds herself on the border between technique and art, yet facing technique and with her back to art! They are remainders on the skin of the world.
He does not only look different from station to station — his complete setting changes. That place beside that is not merely a place but belongs to the territory the world of that. Against my wonder they presented the earnestness of their automatons — I did not see it. In the way the nail is lying there, on this side his point on the other side his plane, his direction in the world cannot be misunderstood. This exercises its plan until in its thoughts a firm view arises of a firm touching in the world. Technique cannot do anything of this sort.
That apple is just hanging there — resting. The visible and tangible result of the contraction this-that is a construction. Parenthetically: the direction is seen from out of the interior of the tc and not from the exterior — from the world. Although he provided good arguments in defence of some of Jolles's hypotheses, even Hans' Robert Jauss decided to replace four of Jolles's nine forms with others corresponding to the most common genres in medieval literature. At the third station the terminal-result the very last construction generates the concept for a next — successive — construction.
With the tc, the user hopes to work the world more efficiently than would be possible without her. Of course variations and combinations of them do — but no others. Place is also what this imprints into the world at the moment this relates to that. A man is sitting on a chair. In short, watching technique means: competing with it. Yet there are many classes too! As an arrow guides the pressure of its archer onto the target. An extremely brief moment of deep rest and concentration.
This and that are resting. Whatever the world experiences — she remembers. Initially in its head, only later through interaction with the world. In this respect, really beautiful technique is never seductive, for exclusively efficient. The combination of yield and character renders each tc her own and unchangeable identity.
If this touches that, this touches for the second time: the first time in its thoughts, the second time in the world of that. In the first case I need time to prepare myself in peace and quiet for the touching. Like a beacon, it keeps this thinking as long as she is in the world. She shows herself to us by working in front of our eyes. While the mover is making his way from station to station, he keeps his place in the train mover-this-that-world. Through this pushing a real track is created in the world. Each partition each part is limited by its own inside and outside through which it relates to other partitions.
As if it is she who occurs and not the present-at-hand. Unstirringly they stand on the world showing their mantles. A field leans to the conceptual — a shape to the material. The firm construction keeps her plan in her interior secret and weak until she touches the world. In case the world would not keep the effect of the repeated movement repeating as such would make no sense whatsoever.