Most of the time his lucubrations fell into the basket of critique of life. He considered alternatives and made economic calculations, expressed his askanceness and pushed the show further along; it was the characteristic process of a persona, a distinctive inflection of the process of every such one in general. Limited in the power of fresh observation, mind over-drawn, seriously in debt to his brain, he would sink back into internal bodily feelings, being-here as animated stuff, thinning out to infinity. There was a whole subjective cosmos, an immediate and all encompassing gathering of the senses and their 'feeds', vast but at the same time minuscule and placeless. In this way the outer was naturalised upon the consoles, consolation and con-soul-ation, of the inner. Thought too, as much as it was abstract and universal, was just as much the experience of thought imprinting in the felt body, the screen behind every other screen. In this eversion spatialisation was so modified as to be almost abolished; while thinghood in one world was mutual exteriority, overlap, obstruction, invariance, cascades of containment, architectural in short, in the other it was compresence, indefiniteness, unlimited recursions of depthlessness, or musical, as music is understood to thaw and digest all architecture.