There can be no experience of the stutter, no stuttering, without succession and as the actions of all of us hinge on the stutter, engage to the stutter, are stutters, there can be nothing which is not successive.
The strike, the sign, the stutter must be marked through succession. But, with different modes of marking (of being marked, of seeing the mark - and missing the mark - hearing the marked as it is marked, as it might have been marked, of the arrow - on its way to the mark - missing an ear, or the ear might be the mark and, in that case, earmarked, to be near the mark, but not on it, and then, of course, the difference between the unmarked car and the mark a woodpecker has left on a tree, unattended) there are different modes of experiencing the mark, the stutter to put it more broadly, and thus, there must be different modes of succession.
In the mode of succession, the valu is located. Or, rather, valu is the location, derived by the location. Location - spatially, fiscally, ethically, but foremost - as valu is principally determined by succession - successively.
The actions of rising and falling - as a flag is raised or brought down - are what differentiate the strike in space. As a tongue moves up and down in the act of pronunciation, valu. Rising and falling place the strike in succession, allow for the positioning of valu - spatially or otherwise. All transfer of valus - all evaluation - can be considered as economics. That is to say, economics is not to be confined to the consideration of fiscal valu, but also spatial valu, &c.
Where the stutters rise, fall, and rise into ripple in accordance with theatres - that is, they are erected with conscious thrust towards a particular experience of succession, of participating in the theatre of stutters, Akhilleus calls this narative succession.
The cars on the commercial strip bustle with no narative. Yet, here there are signs - thus stutters, thus strikes, thus a theatre. But, an unused stage.
The cars are duped into a commercial succession - duped because they are experiencing a particular mode of succession, without awareness to the particular qualities of that mode of succession. As valu is located within the particularities of a mode of succession, the cars are also duped into a succession of valus.
Cars at a stoplight can have it no other way.
By erecting 'werrthe', then, Akhilleus attempts to alter the mode of succession from the commercial to the narative - just as the introduction of the 'r/ung belle' was intended to effect a shift from static succession - characteristic of the highway overpass - to jarred succession. And, in doing, the intention is also to effect a shift in the valus - the ways things are located, in any way location occurs - which are dependent upon the particular mode of succession.
In the commercial mode of succession, valu is almost wholly determined as monetary. Even that which would be a spatial valu, an ethical valu, or an aesthetic valu in anoher mode of succession, is translated into a monetary valu. This, Akhilleus perceives, is the poverty of commercial succession - each differentiation, succession, stutter is subsumed into one kind of valu.
What could be sculptural of a particular stutter is evaluated as monetary; what could be forestial of a particular group of stutters is evaluated as monetary; what could be a theatrical stutter is evaluated as monetary; what could be a poignant, architectural, vehicular, electric, or pragmatic stutter is evaluated as monetary.
Above all, sighs Akhilleus, this is boring.
And so, Akhilleus erects 'werrthe' in an attempt to effect a change on the commercial strip - from the commerical succession to the narative succession where all these evaluations might be possible. Akhilleus calls this attempt to effect a change of the mode of experience to schell.
The purpose of schelling is not to enact a change in the mode of succession experienced in a particular theatre, but to attempt to effect a change.
Any truck driving along could experiecne the commercial strip in the narative mode without the presence of 'werrthe' or could continue to experience the commercial strip in the commercial mode (or any other for that matter) given the presence of 'werrthe'. Schelling is merely meant to allow for the possibility of experiencing a theatre in different modes.