0n the techno - Aesthetic

uilbeit Simonuon
1
Beai Comiaue
I ieceiveu, yesteiuay youi ciiculai fiom the 18
th
of Nay. I am in peifect agieement
the pioject to cieate an inteinational college of philosophy. It coulu legitimately
inheiit the iemainuei of cieuits fiom the "Institut Inteinational ue Philosphie
(uaston Beigei, anu Natial uueioult). Being consulteu as one of the last membeis of
this institute, I was uenieu this six oi seven yeais ago.
At its base, if one must iegeneiate contempoiaiy philosophy, one must think by
piivileging inteifaces, anu above all to not excluue: I uon't see, in paiticulai, any
mention of thought oi piactice of ieligeon. Why.
We must also call foi the thinking anu iealizations, whethei ieflective thought oi
not, of aesthetics. Why not think of the founuation of beauty. Why not think of the
founuation anu peihaps of an axiomatization
i

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piovisionaiy of an aesthetic technique oi a techno aesthetic. In Eupalinos, valiy
states: " theie wheie one passes we see only an elegant chapel, I finu the exact
piopoitions of a Coiinthian giil that I happily loveu."
Naiinetti's futuiism maue a place foi a iacing automobile. Anu Feinanu Legei: the
"ieu tiactoi", the woikeis. Anu the Centie Pompiuou. Le Coibusiei, with his sense of
the unachieveu: a politeness towaius mateiials: we uo not paige. The tiaces left by
the foimwoik on the conciete of the chimney of the Bominican convent in Aibiesle
neai Lyon aie intentionally visible, especially in the moining anu in the evening, the
illuminateu mathematically calculateu anu piopoitioneu glazing of the monk's
coiiiuoi. Le Coibusiei useu a conciete paiging in each of the loggia's cells. But this is
moie than a tioweleu paiging, in whose entelechy
ii
is an opaquely smooth suiface. It
consists of a piojection piouuceu by a conciete canon, coveiing the walls with a
gianulaiity on which light can play. Ait anu Natuie can inteifeie: at Fiiminy - le
veit, neai St. Etienne,
S
Le Cobusiei's builuing is built on columns, that allow the hoiizon to appeai without
the opaque builuing, which is moie than a wall. At Chanuigai, I uon't know. At the
Cit Rauieuse in Naiseille neithei. The chapel at Notie - Bame uu Baut at
Ronchamp is not built on columns, howevei the ioof in the foim of a wing, oi of a
sail oinaments the lanuscape anu is oinamenteu by it. This is the symbol of natuie.
If we ietuin to the Bominican convent at Aibiesle, we finu in the piofile coiiiuois
of inveiteu "T"'s , quite iectilineai, buisting with the colouis fo inuustiial coues
applieu to tubes anu cables. This is what otheis aie foiceu to hiue behinu
woouwoiking oi in bioom closets, in the coineis of iooms falsely paneleu (the
amphitheatie of the Soibonne). Le Coibusiei manifests it in a lan
iii
of
phaneiotechnique
iv
.
The phaneiotechnique is alieauy by itself aesthetic: The Eiffel Towei, (the
exposition towei) anu the viauuc at uaiabit sui la Tiuyeie have an unueniable
aesthetic foice. At its oiigins, the Eiffel towei
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hau haiuly any functions to justify its eiection othei than an elevateu belveueie.
Bowevei it soon became the best bioaucasting towei in Fiance. It is still so anu even
moie anu moie: the television aeiials suimount the last flooi anu giow it even moie.
uaiabit, sui la Tiuyeie, maybe, is even moie maivelous, by its inveiteu catenaiy
foim of its piincipal aich, anu by its anchoiage in iocks of its founuations. As well
because it is plain natuie. It tiaveises natuie anu natuie tiaveises it. Anu as well it
is even moie peihaps by the conuitions of its constiuction, fiistly two paiallel semi
biiuges aie applieu between two hills, then the uay of theii junction, if theie weie
any winu, it coulu become a catastiophe. " But theie will be no winu" claimeu Eiffel.
Anu, in effect, theie was no winu. The two semi biiuges tuineu 9u
u
slowly anu
simultaneously unuei the guiuance of cables. They came togethei, theii extiemities,
one against the othei, anu weie lockeu. Anu since that time, the viauuct exists in its
unity, in its simple peifection. This is ceitainly a woik of techno - aesthetic,
peifectly functional, peifectly completeu, anu beautiful simultaneously: technique is
aesthetic, aesthetic because of the technical, technical because of the aesthetic.
Theie is
inteicategoiial fusion.

This meuitation oiienteu towaius a uiscoveiy of an inteicategoiial axiology, may be
expanueu by the contemplation of the hanuling of tools. Let's compaie an aujustable
pliei fiom Peugeot Fiance to a ciiculai cutting sheai by Facom fiom the biiu's beak
mouel. The one anu the othei tools aie ieu - not exactly the same ieu - they aie
about the same size anu equally have hanules lightly aiceu at the enu to peimit a
bettei hanuling. Bowevei the Facom sheais have something moie than simple
functionality. It is iesplenuent, anu when we use it, theie is an impiession of ease
that is not fai fiom a sensoii - motoi pleasuie.
Theie exists some cases wheie the techno - aesthetic can leave a stanuaiu, oi moie
exactly, of the analog of a conflict of uuties: a cyclist neeus stageu keys,
appioximately 8mm to 2umm. Because of the weight, he can only caiiy 8 keys, of
the pipe oi plate mouels. But theii exists piecisely a mouel of key unique at 8
uiffeient uiameteis: it is maue with two peifoiateu heaus each with foui hexagonal
holes; the two heaus aie connecteu by a iectangulai bai of longituuinal veins
incieasing the iesistance to toision. The tool measuies 1u to 12 cm in length: it is
helu peifectly in a sack.
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What is iemaikable, is that the existence of the two heaus peimits an easy hanuling .
The unuseu heau is like a hanule, contiacteu anu iesistant. The ensemble is a veiy
beautiful object, that weights about one hunuieu giams. This tool iesponus well to
its specifications. Naue of bionze, it gives an aesthetic pleasuie to be contemplateu.
But the techno - aesthetic uoes not have contemplation as its piinciple categoiy. It is
in its usage, in action, that it becomes in a way, oigasmic, tactile means anu motoi
stimulation. When a seizeu nut is fieeu, we aie testing a motoi pleasuie, a ceitain
instiumentalizeu joy, a communication, meuiateu by the tool, with the object on
which we opeiate. As with foiging, at eveiy stiike of the hammei, we test the state
of foigeu metal that stietches anu uefoims between the hammei anu anvil. The
same goes with a uiaw knife, a hanu plane. The opeiation seives a shaving that iises
anu iolls. The bite of a file, the giip of a woou iasp with veiy neat teeth, it's a joy foi
the hanus anu the foieaims, a pleasuie of action. The axe as well, oi the auze gives a
veiy paiticulai sensation of satisfaction to a uynamic iegimen. This is a type of
peiceptive - motoi anu sensoiial intuition.
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The bouy gives anu ieceives. Even a machine, such as a lathe oi a milling machine,
uemonstiates this paiticulai sensation. Theie exists an entiie sensoiial iange foi all
types of tools. A tool as iaie as a moluing channel has itself a iange of the sensoiial.
We coulu continue as such in an unlimiteu way, while passing in a uiscontinuous
way to the actual aitistic instiuments that aie useu: the fingeiing of a piano, the
vibiation anu the tension of the stiings of a haip - pincheu - soui bites of stiings of
the Buiuy uuiuy on the cylinuei coateu with iosin, its all a iegistei quasi
inexhaustible. Ait is not only an object of contemplation, but a paiticulai foim of
action which is a bit like the piactice of a spoit foi those that use it. A paintei feels
the viscosity of the paint that he mixes on the palette oi spieaus on the canvas; this
paint is moie oi les unctuous anu the vibiatoiy tactile sensibility plays a iole foi the
actoi as an aitist. Paiticulaily when the biush oi the knife is put into contact with
the canvas, stietcheu on the fiame anu elastic. Foi watei coloui it is anothei
sensation, that of an application moie oi less instantaneous of a biush, spaiingly
melting the tianspaiency of all. Foi music, the weight of a piano's mute, the kinetic
eneigy of the game that ueteimines, by hoiizontal uisplacement, the peual "piano"
anu the othei uisplacement of the felt chokes in which uistance allows the stiings to
vibiate
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anu mix the sounus thiough fiee vibiation, slowly uecieasing, the stiuck coius. The
aesthetic, is not only noi fiistly the sensation of a consumei of a woik of ait. It is
also, moie oiiginally again, the sensoiial set, moie oi less iich, of the aitist himself: a
ceitain contact with the mateiial in piocess of becoming a woik. We expeiience an
aesthetic affection by making a welu, by inseiting a coiksciew.
It is a continuous spectium that ielates the aesthetic to the technical. A simple zinc
coateu bolt piesents iiiuescences anu nuances that makes one think of fluoiiuateu
objectives: colois of a pigeon's thioat, gleaming coloieu. Theie is an contemplatable
aesthetic in the cabling of a iauai. No objects leaves the aesthetic neeu inuiffeient. It
is peihaps untiue that all aesthetic objects have a technical value, but all technical
objects unuei a ceitain conuition have an aesthetic content. Let's take foi example
the E v12 jaguai automobile. Functionality is not its stiength. This enoimous only
coiiesponus to the tianspoit of two people. Behinu the seats theie is only place foi a
uog. Without a uoubt this concept is only meant foi a stiictly monogamous -
chiluless couple, with the couple foi the builuei. The bouy, seen at its level, is
auuacious, anu functionally well shapeu foi a weak tiail of aii. But the unueisiue is
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much less satisfying. It is compiiseu of iibs that aie haiuly aeiouynamic. The
chaiactei of the conveitible mouel makes it even less functional. Even when the ioof
is put in its place anu well secuieu, theie iemains tiansveisal iibs that oppose the
cieation of iesistance to the flow of aii cuiients. When the vehicle is ioofless the aii
tuibulence is even highei. The winushielu is at this moment a veiitable spoilei at
high speeus (Naximum at aiounu 2Su km pei houi). This spoilei is compaiable to a
plane's aeio biake. 0n planes, it peimits the moueiation of the speeu of uescent to
appioach iunways in the best conuitions of secuiity. 0n a vehicle, we can also
exploit aii iesistance to keep the ieai wheels to the giounu: Natia uses then the
ieai of the vehicle, which is not hoiizontal, but iaiseu at a Su to 4u uegiee angle in
ielation to the hoiizontal. The iesult iefiactable in ielation to aesthetic stanuaius.
The Natia vehicle appeais a bit like a monstei; It give the impiession of an oiganism
iecently emeigent fiom the laival phase, anu one which is not entiiely uevelopeu,
uiawn by the sun - like a butteifly that has attaineu the inoginal phase, but has not
uiieu its wings yet anu iemains on a tiee bianch - a mutant as well to its piopei
techno - aesthetic. Some of its oigans aie hypeitelic, otheis hypothetical anu
atiophieu. Be is fiom the stait maiginalizeu foi his oiiginal associative gioup, In
time he will
1u
establish a gioup uistinct fiom his oiiginal gioup anu othei aujacent gioups.
Some aesthetic objects call foi a technical analysis. The Nona Lisa has piovokeu
passions anu has geneially causeu enthusiasm. It is peihaps because this painting is
pluial at its founuation: It exists as a supeiimposition with iespect to itself, a little
like an exhaustive iesume in so calleu exact sciences. Theie is on the same unique
canvas, the beginning of a smile anu the enu of a smile, but not the full smile, the
entelechy of a smile. It is only the two extieme teims of the smile that aie painteu
anu ievealeu. But the complete chain of the smile, is the contemplatoi that biings
anu constitutes an piopei inteiioiity anu inuiviuual to a peisonality. The inchoative
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smile anu the smile completing to ietuin to the face's seiious mask aie the extieme
teims of this tempoial thickness: the smile will ueploy anu howevei the smile will
alieauy uisappeai. All that exists anu is mateiializeu is the beacon of an instant
flouiishing, of the full iealization. But entelechy is not an appeaiance. Noi will it be
in this unique image of two supeiimposeu techniques, as in palimpsests, with two
messages to uecoue, to infei the message - souice, what is absent. This is the
oiiginal ieality that iemains mute, not piesent but passeu anu to aiiive in a quasi
immeuiate mannei anu howevei mysteiious. What is cential, the funuamental
message
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is the mysteiy itself of the non appeaiance.
In anothei piimitive sense, moie completely bouily, the techno - aesthetic
inteivenes in the conuitioning (in the commeicial sense of the teim) the ... anu the
objects.
Theie is in Inuia, at Nysoie, a "foou ieseaich institute". This oiganization is chaigeu
with finuing a foimula foi a "basic foou" that coulu be piouuceu at a low cost, in
laige quantities anu iapiuly tianspoiteu in a ieuuceu volume, to vaiious locations
wheie famine appeais. The foimula is basic, it is baseu on soya floui. But the base
aesthetic inteivenes once we iegaiu the question of its best conuitioning, of the best
possible piesentation of "basic foou", in oiuei foi it to be accepteu by the uiveise
populations anu uiffeient alimentaiy customs easily. In Inuia theie aie populations
that consume wheat, otheis iice... These populations accept basic foou on
conuition that it appeais unuei the peiceptive aspect accept by the local cultuie anu
piovokes l'utoqot (aisthisis) at its coie. To iesponu to this peiceptive exigency,
the institute constitutes the basic foou sometimes in the foim of a giain of wheat,
sometimes in the foim of a giain of iice etc..
A Fiench inuustiialist tiavelling in Inuia saw a Belgian tiuck that uistiibuteu iice
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The famine was inueeu ieal. Bowevei, few inhabitants set out with a iice iation. The
inuustiialist appioacheu anu askeu: "Bow much uo you sell this foi.". The Belgian
iesponueu " I'm uIvINu it away." . The ieason foi the lack of success was that the
tiuck was in a iegion wheie the base nutiition was wheat. utoqot , a funuamental
peiceptual intuition, is pait of a cultuie. It acts as a pieselectoi, that uisceines the
acceptable fiom the inacceptable, anu ueteimines the action as to whethei it is
accepteu oi iefuseu.
We will not insist, because this has alieauy exploieu oi is being exploieu, on the
foice anu impoitance of the conuitioning of a piouuct, that is to say its packaging, its
piesentation. But it must be ueclaieu, like an example of techno - aesthetic, the
value of a piesentation, foi example, fabiics oi costumes, with the cuiious anu quite
polymoiph technical instiument that is the mannequin. The ait of the winuow
uiessei consists of knowing anu using this outline between aitificial human that is
the mannequin to uiape the fabiic, by cutting as little fabiic as possible. It acts as
much as a technique as an ait.
In this puiely zetetic uevelopment, we have neglecteu - because this is not as new -
the inuustiial aesthetic. Anu yet again it is not the functionality that is the only
stanuaiu.
But we must go ueepei. The inuustiial aesthetic can fiistly be that of the piouuceu
objects. But all
1S
is not the object. Electiicity is not an object. It is only uetectable anu manipulability
between objects, anu eventually, befoie, thiough natuial mateiials: A bolt of
lightning ieinfoices itself as it passes thiough pieviously ionizeu aii coiiiuois.
Theie exists a piepaiatoiy time foi the lightning bolt, piioi to the stiiking uischaige.
This ionization can be heaiu with an antenna, foi it is stiewn of minimal uischaiges
anu initiating pieconuitions. The lightning piopeily stiuck is only a biutal
conclusion, of high eneigy, a conclusion of the pluial melouy of the piepaiatoiy
uischaiges. The final lightning bolt follows the tiails alieauy constiucteu. Anu this
melouy is piogiessively amplifieu by tiacing the paths of weak iesistance that
collect each anu eveiy one until the moment of the final stiike. The aesthetic of
natuie can only be peiceiveu thiough a technical object (heie an apeiiouic ieceivei)
when it consists of uetecting the subtle phenomenon escaping the ueteiminant but
inequitable peiception. Electiicity is not an object, but it can become a souice of
utoqot when it is meuiateu by an auequate instiument anu aiiives thus at the
sensoiy oigans. It is the same way with a galvanometei oi an oscilloscope, which
aie both meuiatois. The heaiing of the sequential melouy is maue possible by an
inuustiial technical object paitially uiveiteu fiom its function. Foi theie exists
aiounu eveiy piouuct a maigin of libeity the peimits its use to non ueteimineu
enus. Inveisly the aesthetic sensibility
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can be sues to uevelop a machine. To equalize, to balance the tension of the elastic
pait of a catapult, the Romans of antiquity maue it vibiate like the stiings of haip
until unison was iealizeu.
But the veiitable inuustiial aesthetic is befoie all that of the place of piouuction anu
emission. Take foi example the plains of villebon south west of Paiis.
The villebon plains aie constituteu, stiuctuieu in its east extiemity by a fielu of
bioaucast antennas. The highest is that of Fiance - Cultuie. Its height hau been
ieuuceu by 8um to 4um uue to the passage of planes lanuing at 0ily. It uoes,
howevei, pieseive a ceitain majesty. We finu as well the antenna of the bioaucastei
Peiis - Iv - villebon, that seives to uiffuse Rauio Soibonne. Anu many otheis as
well. This fielu of antennas, it is eviuent that each antenna in itself - even foi itself -,
above all. These aie pylons that aie geneially stayeu many times, the stays being
uiviueu in seveial segments by insulatois to uiminish the effect the phenomenon of
iesonance that woulu absoib a pait of the iauiation. Anu the pylon stiuctuie - stays
that aie veiy iemaikable, especially because they aie not founu in natuie. It is
completely aitificial, except peihaps if we think of the (fig tiees) that take seveial
suppoit points anu subsistence fiom the soil, thanks to the ioots that emit towaius
the base of the sections, iight until the soil wheie they enfoice themselves anu what
peimits the suppoit of the bianches
1S
Befoie aiiiving at the techno aesthetic of an assembly one must consiuei that of the
inuiviuual, foi example that of a motoi. The motoi of an oiiginal 2 cv (ueux chevaux)
iepiesents a ieality that is not without an analog with that of the }aguai. The 2cv is
that of a u uegiee vehicle, wheie eveiything is simply accessible, pioviuing that we
iemove the uiive assembly, the aii iefiigeiation foi the cylinueis. This motoi even
possesses a iauiatoi - an oil chillei with two tubes that iise all the way to the
supeiioi cylinuei heau, with the goal of chilling the iockei aim. Contiaiy to this, the
}aguai's motoi is extiemely long. It stietches unueineath a shallow hoou, at which
point the watei ieseive fiom the chilling ciicuit no longei belongs to the supeiioi
pait of the ventilatoi, in oiuei to not be constiaineu by its height, this woulu uistuib
the caiefully piofile foim of the hoou; of minimum heights towaius the fiont. This
laige iauiatoi becomes even moie efficient by the piesence of two electiic fans, that
stait once the contact key is tuineu. The belts uiiven by the ciankshaft woulu have
been excessively long anu awkwaiu. The techno - aesthetic aspect of the motoi is
paiticulaily unueilineu by the foim of thiee oigans: fiistly the aii intakes anu aii
filteis, paiallel to the ioau, anu flanking the motoi thiough two long, biilliant
spinules; then, the foui caibuietois in which the caps aie in the foim of a uome, anu
which uominate the motoi block. Finally the enoimous uistiibutoi fiom which fan
out twelve cables leauing towaius the spaik plugs.
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If we aie (examining) a motoi, it is not because it is alone in possessing a ceitain
level of inuiviuuation but that it is, with iespect to itself, consistent anu coheient;
fiom this point of view, the entiie automobile woulu be a type of composition unuei
most of the pathological conuitions - (an acciuent coulu uefoim the bouy without
the motoi suffeiing in any way, anu as well, the motoi coulu cease to function
without the bouy being affecteu). The jaguai's motoi is the highest uegiee, actually,
of gas motois foi automobiles equippeu to uiive.
The techno-aesthetic can piesent itself in the stiuctuial foim of a pyiamiu. The
component alieauy has is piopei stanuaius. The composeu as well, in oiuei to not
ueclaie the veiitable inuiviuual - foi wheie is the limit between the component,
alieauy paitially composeu, like a theimo contact, anu the assembly of assemblies:
this is a question not of simple uenomination, but fiom the point of view of usage. A
cai batteiy is a component, but it is itself composeu (electiolytic plates, insulatois,
teiminals, plugs foi the ielease of hyuiogen by electiolysis). An assembly can also
be a ciowu iathei than a society. We uiscusseu the bioaucast antenna fielu of
villebon; heie eveiy antenna is inuepenuent of the otheis. 0nly the builuings
containing the emitteis can cieate a line between the antennas, because a builuing
can contain seveial emitteis that "output" to sepaiate antennas. Between them, the
antennas aie mostly compatible
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than associateu. Whethei it acts as compatible oi veiitable association (as with
uiiectional antennas), the technoloziseu (technis) also takes on the meaning of a
woik of ait.
A gatheiing of emission antennas is a type of ensemble, like a metal foiest it ieminus
one a bit of the iigging of a sail boat. This gatheiing has an intense semantic powei.
This cable, this pylon iauiating into space, anu eveiy tiee leaf, eveiy heib stianu, foi
hunuieus of kilometeis, ieceives an infitisimal fiaction of this iauiation. The
antenna is immobile, but then it iauiates. It is, accoiuing to the English woiu " an
aeiial", an aii. Anu in fact, the antenna plays with the sky on which it slices. It is a
stiuctuie which cuts thiough the clouus oi on the cleaiei backgiounu. It belongs to
a pait of a ceitain aiial space that is sometimes uisputes with planes, as is
uemonstiateu by the example of Fiance - Cultuie. Even on a cai, the antenna,
especially if it is a bioaucast antenna, beais witness to the existence of a non-
mateiial anu eneigetic woilu.
To ietuin to the plains of villebon that extenus on the siue of the 0lis (Couitabeuf
iegion), wheie aie founu two extiaoiuinaiy watei toweis in the foim of a coiolla
suppoiting a naiiow veitical cockpit. With a cleai coloi, the finesse of the stiuctuie,
means that at uawn, the caiess of the sun's iays unueiline theii ciiculai ielief. Foi
the longest time, the aesthetic of the watei towei aesthetic
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has been a pioblem foi aichitects. To be functional, the watei towei must be highei
than all it is seiving. By consequence, it uominates all that it seives, anu thus it must
be placeu on the highest place, which makes it visible fiom eveiywheie. We coulu
tiy to iesolve the pioblem piesenteu by the effiaction of the watei towei on a site
by cosmetically camouflaging it, by the means of inessential auuitions. This is what
was uone at Culhan. An ancient castle, neai the biiuge, is flankeu by iounu toweis
with pointeu ioofs coveieu with ieu tiles. The watei towei, which cannot be misseu
when one sees the castle fiom the biiuge, was maue to iesemble the toweis of the
castle: It as well is coveieu with a pointeu ioof anu olu tiles. But we see well that it is
a watei towei, of a faiily iecent constiuction anu which attempts to iesemble the
iest of the castle. This mateiializeu lie uoesn't ieally auu anything to the site's
chaim. It manifests only to the point that we can go on the couise of an aichitectuial
mimic.

0n the plain of villebon, theie extenus an inuustiial zone of Couitaboeuf, nothing is
imitateu of a mouest ancient aichitectuie. The ioaus aie new anu peifectly
asphalteu. At the peiipheiy, seveial ancient foims have iemaineu. Theii wall of
millstone giit anu theii aicheu gates cieate a contiast with the inuustiial anu
commeicial installations in the centie of the zone. The joy that we expeiience by
ciiculating between the new constiuctions is at the same time technical anu
aesthetic. The techno -aesthetic feeling
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seems to be a categoiy moie piimitive than the aesthetic feeling alone wheie the
technical aspect in only being consiueieu by a functionalist angle, which is
impoveiishing.
Foi the longest time, a ceitain foim of house constiuction let the mateiial anu
stiuctuie appeai simultaneously. It is a type of half - timbeieu
vi
(tuuoi
constiuction) house (foi example, the Plumeieau squaie in Touis). The membeis
aie assembleu in squaies anu iectangles. Between the timbeis, the masoniy infill is
constiucteu fiom stones anu a moitai binuing them to biicks. The angles aie of
upiight woou anu aie sometimes coveieu with naileu slate tiles to avoiu the effects
of iain anu uew. Anu the ensemble foims a ielatively fiim block that, shoulu the
founuations be insufficient, ueflect without uisassembling oi bieaking apait.
Bowevei, if we weie to excluue the woou, veiy piecisely cut baseu on the uiiection
of the fibeis, the mateiials by themselves aie not of a veiy high quality - if we
sciatch a biick with oui nails, they woulu ueteiioiate to a fine powuei, piobably uue
to an inauequate fiiing tempeiatuie. With a biick fiom the XIX centuiy, it is the nails
that bieak: the caibon eia has mouifieu the quality of mateiials. We shoulu auu that
houses have paity walls that contiibute in stabilizing by a mutual suppoit what they
aie caiiying.
No paiging violates the timbei stiuctuie. The technique appeais geometiically as a
inteisection of foices.

Simonuon, uilbeit (1924 - 1989)