Our danger, we libidinal economists, lies in building a new morality with this consolation, of proclaiming and broadcasting that the libidinal band is good, that the circulation is joyful, that the anonymity and the incompossibility of figure are great and free, that all pain is reactionary and conceals the poison of a formation issuing from the great Zero - what I have just said.But it is not an ethics, this or another, that is required. Perhaps we do need an ars vitae, young man, but one in which we would be the artists and not the propagators, the adventurers and not the theoreticians, the hypothesizers and not the censors .

We do not even have to say: this great Zero, what crap! After all, it is a figure of desire, and from what position could we presume to deny it this quality? In what other, no less terrorist Zero? One cannot assume a position on the twisted, shock-ridden, electrified labyrinthine band. One's got to get this into one's head: the instantiation of intensities on an original Nothing, on an Equilibrium, and the folding of complete parts onto the libidinal Moebian band, in the form of a theatrical volume,does not proceed from an error, from an illusion or from malice, from a counter-principle, but again from desire. One must realize that representing [la mise en représentation] is desire, putting on stage, in a cage, in prison,into a factory, into a family, being boxed in are desired, that domination and exclusion are desired; that extreme intensities are instantiable in these assemblages too. That the black Pharaoic face has died, that the metamorphosis he was looking for had been the death that he was. We must succeed in hearing that without any rejection, for it is rejection , the exteriorization , which prolongs theatricality like a shadow cast over the libidinal band. This rejection is necessarily concomitant with establishing a point of view on the Zero, on the empty centre, the place where everything is supposed to be visible and intelligible, the place of knowledge.