La obra escrita es Dios mismo en cierto sentido —porque lo que Dios es en el diálogo oral, es lo escrito en el pensamiento. Lo escrito no es un Dios de Antes (cuya eternidad lo precede). El libro no es un Eterno (cuya ley lo juzga). Cuando se entreabren las páginas lo que surge es Alter. En la Ética, Spinoza en Voorburg se comunicaba un poco consigo mismo. Luego escondía el manuscrito, para que nadie lo viese, en un pequeño armario, como los romanos, antaño, sus imágenes, que eran las cabezas de muertos de sus padres. La obra es la interlocución inhallable del pensamiento. Escribir piensa. En un determinado grado de pensamiento ya no podemos distinguir esos verbos sino solamente su orden. Pensar no escribe. Escribir piensa. Escribir encuentra lo que aquel que escribió no podría pensar sin la obra escrita.

¿Qué es el pasado? El universo. La respuesta que da el universo antes de cualquier cuestionamiento lingüístico posible sugiere la pregunta a posteriori (nachträglich) que es la de lo anterior. La memoria es un pasado mientras que el sueño es un antes. Secuela misteriosa de la evolución. Experiencia densa, inconsciente, inverosímil, del sueño. Fase enigmática de reprogramación genética y de caos encantador. De reanimación de lo actual no mediante los actos pasados sino mediante el origen. Lo anterior vuelve a visitar el cuerpo cada noche para limpiarlo del pasado.

The first man ever to have posed the problem of reading, and in consequence, of writing, was Spinoza, and he was also the first man in the world to have proposed both a theory of history and a philosophy of the opacity of the immediate. With him, for the first time ever, a man linked together in this way the essence of reading and the essence of history in a theory of the difference between the imaginary and the true. This explains to us why Marx could not possibly have become Marx except by founding a theory of history and a philosophy of the historical distinction between ideology and science, and why in the last analysis this foundation was consummated in the dissipation of the religious myth of reading. The Young Marx of the 1844 Manuscripts read the human essence at sight, immediately, in the transparency of its alienation. Capital, on the contrary, exactly measures a distance and an internal dislocation (décalage) in the real, inscribed in its structure, a distance and a dislocation such as to make their own effects themselves illegible, and the illusion of an immediate reading of them the ultimate apex of their effects: fetishism. It was essential to turn to history to track down this myth of reading to its lair, for it was from the history in which they offered it the cult of their religions and philosophies that men had projected it onto nature, so as not to perish in the daring project of knowing it.

Why did the birth of art find itself tied to a subterranean expedition?

Music is not a song specific to the species Homo. The song specific to human societies is their language. Music is an imitation of languages taught by prey at the time of the reproduction of the song of the prey during their reproduction.