The stranger dreamed that he was in the center of a circular amphitheater which was more or less the burnt temple; clouds of taciturn students filled the tiers of seats; the faces of the farthest ones hung at a distance of many centuries and as high as the stars, but their features were completely precise.

The man lectured his pupils on anatomy, cosmography, and magic: the faces listened anxiously and tried to answer understandingly, as if they guessed the importance of that examination which would redeem one of them from his condition of empty illusion and interpolate him into the real world.

Asleep or awake, the man thought over the answers of his phantoms, did not allow himself to be deceived by imposters, and in certain perplexities he sensed a growing intelligence. He was seeking a soul worthy of participating in the universe.  — “The Circular Ruins”  by Jorge Luis Borges.

What is anti-drawing? Is it: “the importance of that examination which would redeem one of them from his condition of empty illusion and interpolate him into the real world.”

Or is it as French philosopher Gilles Deleuze explains: “Those systems in which different relates to different by means of difference itself. What is essential is that we find in these systems no prior identity, no internal resemblance.”