Akhilleus is drawn to the highway overpass, this particular theatre, after recounting a dream in which Telos repeats the word 'stones' beneath a billboard. By erecting signs at the theatre of the highway overpass, Akhilleus attempts to stutter into communication with Telos.
The highway overpass, as the commercial strip, is a theatre rife with stutters. As in any theatre, stutters ping against one another, against the theatre's stage, the performance in the pinging, the currency established in the pitch of the pinging. But the stutters of the highway overpass ping so uncontrollably against one another so as to cancel out the dynamic exchange, rendering each stutter static, returning to a facade of terminus conceptus.
The pinging reaches this static currency as all signs at the highway overpass resemble the signs at all other highway overpasses. The minute differences - place names, highway numbers - cancel each other out as a slightly lower tone, met with a slightly higher tone, will meld into one neutral tone.
The highway overpass - a theatre nonetheless, stutters nonetheless - articulates without difference, a facade of non-exchange, non-succession.
The facade here serves the purpose of utility - that a truck idling at this particular overpass could be idling at any highway overpass; the procedure for entering the highway is presented as a static execution.
In this, the aim of utility is to establish the theatre of the highway as a consistently shared order, but an inadvertent effect of the utilitarian facade is to disguise the theatrics of the highway overpass.
To Akhilleus, the meaning of the dreamt of 'stones' becomes apparent - to recolor that which is a sign as a sign.
To jar the utility is not to eliminate the utilitarian functions of the signs at the highway overpass. Highways must still serve the purpose of transportation and the signs of its theatre must still assist in this. And with no signs, there would be no place, nor purpose. To jar, then, is to return a sense of succession to the theatre, currently elided by the static currency - to return the possibility for exchange, for a dynamic currency.
Succession has not ceased at the highway overpass - a bus, pedestrians pass in succession. Yet, at the highway overpass, all things succeed without awareness of succession.
There can be any different number of modes of succession - but when duped into forgetting succession, when presented when the neutralized theatre of signs - there is only one mode of succession available: disguised succession. And disguised succession leads to a passive acceptance of the dominant cultural mode of succession - in this case, commercial.
What, then, disguises succession is the same as what brings the pinging of stutters into a static articulation - the uniformity of the signs, through which difference is effaced. If there can be no recognizeable differentiation, then there can be no experience of succession.
A truck pulling onto one entrance ramp, that exits the highway for gasoline, that pulls back onto the highway will - in all three separate acts of entrance and exit - have the same experience of signs. Three experiences so similar will (once the minute stutters that do differ from experience to experience - variations in grass color, topography, the hue of the sky) seem as one experience. The consistency in mile markers, the grade of the road, the continuous median - all stutters themselves in the theatre of the highway - add to this disguising of succession. And this does not lend to the impression of a theatre of stutters, a performance in pinging, of variable meaning - the possibility for exchange - even though this too is precisely what does constitute an experience of the highway overpass.
The solution, then, is not to remove signs, thereby detrimentally altering the utility of the highway overpass, but to add variable signs - to induce a new stutter into the theatre, offsetting the static ping back into dynamism.
The ringing can be said to have been broken in the process of its breaking out of the experience of being in straight time. When co-opted to sign, the ringing becomes echoing without any ring ever to have rung. The ringing cannot be said to have rung because this would only follow if the ringing itself followed the rung in its experience of the ring, which can be the case only for the stutter, the name, its position constantly shifting as a characterisitic of its resinance. 'r/ung belle', thus, invokes experience of succession in its operation as a sign, a name.
Although all of the other signs of this particular theatre share the quality of resinance, it is disguised beneath the facade of utility. With the inducement of the new stutter, the variable mark, the surrounding signs are again invited to participate in the performance of the theatre, to stutter against one another, to establish a dynamic currency.