COMPOSITION

... in composition, it is no longer, as in representation, a question of marking the body; nor is it a question of producing it, as in repetition. It is a question of taking pleasure in it. That is what relationship tends toward. An exchange between bodies -- through work, not through objects. This constitutes the most fundamental subversion we have outlined: to stockpile wealth no longer, to transcend it, to play for the other and by the other, to exchange the noises of bodies, to hear the noises of others in exchange for one's own, to create, in common, the code within which communication will take place. The aleatory then rejoins order. Any noise, when two people decide to invest their imaginary and their desire in it, becomes a potential relationship, future order. ... this social form for the recreation of difference -- assuming it does not fall back into the commodity and its rules, in other words, into representation and repetition -- presupposes the coexistence of two conditions: tolerance and autonomy. The acceptance of other people, and the ability to do without them. That being the case, composition obviously appears as an abstract utopia, a polar mode of organization that takes on meaning at an extraordinary moment of cultural climax. Even then, composition may be considered an impossibility. [Attali 143, 145]