Whoever reflects on four things I would be better if he were never born: that which is above, that which is below, that which is before, that which i… - Umberto Eco

"Poor boy," the libertine then said, "he builds machines to count the infinite, and we have terrified him with the eternal silence of too many infinities. Voila, the end of a fine vocation."

Scratch the heresy and you will find the leper. Every battle against heresy wants only this: to keep the leper as he is.

Epistemological thinkers connected with quantum methodology have rightly warned against an ingenuous transposition of physical categories into the fields of ethics and psychology (for example. the identification of indeterminacy with moral freedom). Hence, it would not be justified to understand my formulation as making an analogy between the structures of the work of art and the supposed structures of the world. Indeterminacy, complementarity, noncausality are not modes of being in the physical world, but systems for describing it in a convenient way. The relationship which concerns my exposition is not the supposed nexus between an "ontological" situation and a morphological feature in the work of art, but the relation between an operative procedure for explaining physical processes and an operative procedure for explaining the processes of artistic production and reception. In other words, the relationship between a scientific methodology and a poetics.