Today's speech has been refusing to be guided in the direction I originally set. I began by talking about precision, not infinity and the universe. I want to tell you that I love geometric forms, symmetry, numbers and proportions; I want to explain what I write down in terms of my fidelity to the concepts of limit, scale, etc. However, perhaps it is this formal concept that evokes the concept of infinity: all series of numbers, the Euclidean line, etc. Rather than talk to you about what I've written, perhaps it's more interesting to tell you about the problems I haven't solved, the problems I don't know how to solve, and what these problems will prompt me to write: sometimes I try to focus on the story I want to write, only to find that what I'm interested in is something else entirely, or more accurately, not anything in particular. It is something that is alien to what I should be writing about-the relationship between a particular argument and all its possible changes and substitutions, everything that can happen in time and space. It is a devouring and destructive obsession that makes writing impossible. To counter this delusion, I try to define the scope of what I have to say, divide it into smaller areas, and then divide them into smaller areas, and so on. Then another kind of vertigo surrounds me, the vertigo of detail of detail of detail, and I sink into the subtlety, the infinitesimal, as I was submerged in the infinitesimal before. The good God is in the small things. I'm going to borrow from Bruno's philosophy to explain this statement by Flaubert. Bruno was a great originator of the universe with keen insight. He believed that the universe was infinite and composed of countless worlds, but he could not call it "completely infinite" because each of these worlds was finite. God, on the other hand, is totally infinite: "He who is whole is in the whole world, infinitely and completely in every part of it." Among the Italian books of recent years, ibc spill pallet ,collapsible pallet box, Paolo zellini's short history of the infinite (1980) is the one I have read most often, repeatedly, and pondered. The book begins with Bohs' famous attack on infinity in "The Incarnation of the Tortoise" ( "avatars of the tortoise" ")-the idea that infinity is misleading and confusing to everyone else-and then re-examines all the arguments on the subject, with the result that the original point of view fades away. And reverse the infinite extension to the minute density. I think the connection between choosing the form of literary writing and exploring the model of the origin of the universe (or exploring a general methodological framework) even appears to those writers who do not make this declaration clearly. This preference for geometric forms can be found in the history of world literature from Mallarme onwards, and it is based on the contrast between order and disorder, which is the most fundamental of contemporary science. The disintegration of the universe into a mass of hot gas inevitably falls into a vortex of entropy, but in this irreversible process, there may be some orderly regions, some parts of existence that tend to form a form, and some special points in which we seem to be able to detect a certain composition or view. Literature is one of those very small parts in which existence crystallizes into a form and acquires a meaning — not fixed, definite, hardened into a mineral immobility, but living as an organism. Poetry is the great enemy of chance, though it also comes from chance, and knows that chance will win the battle in the end. Rolling the dice will never eliminate the occasional. It is in this context that we should reassess the logical, geometric, and metaphysical processes that prevailed in the plastic arts and later in literature in the first decade of this century and thereafter. Crystal symbols can be used to highlight poets and writers as a whole, although they are very different from each other. Such as France's vanlech, the United States's Stevens (Wallace Stevens), Germany's benn (Gottfried benn), Portugal's bezoar (Fernando pessoa), Spain's chena (Ramon Gomez de la Serna), Italy's Massimo bontempelli, argentina's Borges. Crystals, with their precise facets that refract light, are perfect patterns, which I have always cherished as a symbol, because we know that some of the characteristics of the formation and growth of crystals are similar to some of the characteristics of the most primitive creatures, forming a bridge between the mineral world and the living things, and this preference for crystals becomes more meaningful. I buried myself in science books in search of imaginative stimulation, and recently happened to read a model of the formation of life: "It is most clearly revealed from the crystal on the one hand (the specific structure does not change),collapsible bulk containers, and from the flame on the other hand (the external form that can maintain stability in the case of internal agitation)." This text is an excerpt from piattelli-palmarini's introduction to language and learning (1980). This volume contains a debate between Jean Piaget and Noam Chomsky at the royomon center (the centre royaumont) in 1975 (see page 6 of the book). The contrasting images of fire and crystal are used to make visible the alternatives offered to biology and to transfer from biology to the theory of language and the ability to learn. Leaving aside the philosophical scientific implications of the positions stated by Piaget and Chomsky, Piaget favoured "order out of noise" (the principle of "fire"). Chomsky advocates a "self-organizing system" (i.e., "crystal"). binpallet.com