TABLE OF CONTENTS

Preface

Silent Speech, Possible Worlds

On J.L. Austin and Hermann Diels

Incongruity in Speech and Translations

Pragmatic form of ‘if’ and ‘unless’

Ranciere’s Account of ‘Silent Speech’

Empsons Theory of Ambiguity

Properties of Cancellation

Georg Miere’s Book on Logic

Kant’s Cosmology Explored

Problems of Empty and Lived Time

The Conversations of Fontenelle

Influence of Voltaire

Conclusion

Afterword

Notes

Bibliography

“A book about an infinite’ universe composed of German Metaphysics, French Fonts and English interpretations”.

“Austins array of shapes is rather a plurality of interactions with the F’ONT where a.) At the level of the typeface we see the change of shape in capitalization rendered twice, as also in Aristotles references to Democritus and b.) as a play on words’ relative to both Bernard de Fontenelles name and also the dialectal form of his’ book the ‘Conversations on the Plurality of Worlds’ especially as these relate to c.) the heavens, such as to illustrate in concrete visual metaphor the form of language‘’ as outlined by Diels, which is also, by means of the circle d.) a description of the infinite atomistic universe of Democritus that Kant also twice tells us the natural philosophy in his book is premised upon (at 1:226 and 1:227). What was previously imprecise, unclear and vague in Austin now assumes a tantalizing form in coherence.

Is there any other statement written by Kant with anything like this degree of fit relative to what Austin just did?

Was this Austins way, by describing specially perplexing words embedded in’“ apparently descriptive statements, with a witticism in F”ONT; made as reference to a witticism by Kant about the (disgraceful) nature of witticisms in philosophy therefore, articulated in such a way that Austins witticism, while perplexing in’ itself, nonetheless attains clarity when read through Diels, as intended as“ something quite different, as if to say that he was aware of this in Kant and” thereby also, so to speak, claiming a stamp in provenance on the heavenly font in modern times?”

“For the initial reception, only a few copies survived a week. The biographers tell us that upon printing, Kants publisher was declared bankrupt and the books’ were sealed in a warehouse. Within a few days, the warehouse was destroyed by fire with the publisher paying creditors off through the insurance. Anonymous or otherwise, the cover names a local company, Johann Friederich Petersen as the printer, and Kant was either found out or discovered.”

“We can think of Kants statement as formal instruction, possibly also a parody of’ G.F. Meier, but whilst initially constructed as illustration, later published as subrogation relative to himself for the delectation of the court of Friedrich II, and therefore as something of a parody of a parody in terms of the lemmas in the Theory of the Heavens. Seemingly having become aware that something like this was going on and taking up the bait, AUSTIN engaged in a flirtation with the dissemblances and resemblances of the surfeit des witzes, with his shapes of the FONT alongside his embodied references and double edged provocations, such that his forms can also be thought of as a parody of a parody embodied through Kant in KANT and therefore also as that of a generative parodist in terms of the Elementum Thesaurus as rendered through Democritus and Aristotle by Hermann DIELS. “