"For the producer has neither privileged access to nor a monopoly on the symbol’s function”

— Catherine Z. Elgin (1993) Understanding: Art and Science

(0) Anything can be a symbol;

               (0.a) A symbol refers to whatever a symbol refers;

               (0.b) Any symbol can have more that one referent;

               (0.c) Any symbol can refer to anything;

               (0.d) The set of referents of a symbol is then a set of all sets;

(1) Being a symbol, WORK comprises the contradictions of being a set of all sets;

               (1.a) To avoid the contradictions inherent to the set of all sets, a subset of said set must be imposed by a matrix of commitments;

               (1.b) From our part, we would like to avoid the fiction of such commitments, said matrix and thus any resulting subset;

               (1.c) As such, it remains, as it is, that WORK stands for the set of all sets, a fact tooled in order to ensure the highest degree of freedom;

               (1.d) The highest degree of freedom, grounded on a thing, produces a self-centred mobility invested in the construction of a non-teleological realm of free play;

(2) In standing for the set of all sets, WORK stands for all that it stands for including itself, its negation and nothing at all (ε);

               (2.a) As such, WORK, as any other symbol, can be a true placeholder for anything that can be hold;

               (2.b) It follows that everything that can be deemed as a thing can be posited in WORK at anytime;

                              (2.b.1) This condition regulated the fiction that was WORK’s construction;

                              (2.b.2) This condition regulates the fiction that is WORK’s deployment;

(3) To be able to stand for anything, WORK must be brought into being by a mark;

               (3.a) “WORK” can be a mark for WORK;

               (3.b) Another mark for WORK could be:

                              “Installation for backstage and auditorium comprised by a series of computationally                             manipulated video files projected onto a steel structure in no particular order, depicting

                              a series of choreographic exercises realised from sound pieces of various durations

                              which are simultaneously being played on a multi-channel system.”

               (3.c) The set of marks that can refer to WORK, meaning the symbols that stand for WORK, is also a set of all sets;

(4) A mark for WORK could be WORK’s appearance, meaning, its manifest image;

               (4.a) WORK’s appearance consists of its size, colours, smells, shapes, sound, temperature (…);

               (4.b) WORK’s appearance can refer to WORK, while WORK can refer to WORK’s appearance;

               (4.c) WORK’s appearance enjoys the perks of being perceived as what is given by WORK;

(5) What is given by WORK’s appearance is definitely given, but not true;

               (5.a) What makes up WORK’s can not be homogeneously defined;

               (5.b) Still, what makes up WORK’s appearance makes up WORK’s appearance;

               (5.c) Meaning that what stands for WORK, WORK, and what works stands for is simultaneously self-evident and ultimately not true;

               (5.c.1) Which would takes us back to point (0);