Play (n.) is always mocking those who long for stability of a hierarchical structure in that it welcomes indeterminacy and change, it embraces and exploits rather than fears and denies the seductive and subversive possibilities of play.
Play (n.) is not the grateful, bold enjoyment of having been given existence, rather it is the lively but joyless fight were there is no 'other' to respond to or speak to.
Play (n.) is permitted within a structure by the lack or absence of a center or origin, is the movement of supplementarity.
Play (n.) is that which a structure attempts to close down, but which always escapes its boundaries.
Play (n.) has two faces: Rousseau's sad nostalgia for a lost origin, or Nietzsche's joyous affirmation of a world of signs without fault, truth or origin.
Play (n.) is the absence of the transcendental signified: its limitlessness is the destruction of ontotheology and of the metaphysics of presence.
Play (n.) is the play of the world: it had to turn freely on its axis for a finger to tip it.
Play (n.) is the disruption of presence.
Play (n.) is what lets necessity and antagonism pair themselves into a work of art.
Play (n.) is serious only in that its absence of meaning is itself a meaning, and it is always lost in the night of an indifferent nonmeaning.
Play (n.) is nothing if not an open and unreserved challenge to everything opposed to play.
Play (n.) keeps itself beyond the opposition of chance and necessity, and announces their unity in calculations without end.
Play (n.) belongs to the god who invented dice and draughts, as Plato himself reminds us.
Play (n.) erases itself the moment it comes into being and into language.
Play (n.) can only survive by being nothing; once it becomes something it is confiscated into the service of seriousness, truth and ontology.
Play (n.) is at its best when supervised and contained within the safeguards of ethics and policies.
Play (n.) is always lost when it seeks salvation in games.
Play (n.) is in collusion with the casting aside of being.