We simply wish to offer three examples, however diverse and disparate these may be: first, the manner in which all the repetitions coexist in modern music (such as the development of the leitmotiv in Berg's Wozzeck); second, the manner in which, within painting, Pop Art pushed the copy, copy of the copy, etc., to that extreme point at which it reverses and becomes a simulacrum (such as Warhol's remarkable 'serial' series, in which all the repetitions of habit, memory and death are conjugated); and finally the novelistic manner in which little modifications are torn from the brute and mechanical repetitions of habit, which in turn nourish repetitions of memory and ultimately lead to repetitions in which life and death are in play, and risk reacting upon the whole and introducing into it a new selection, all these repetitions coexisting and yet being displaced in relation to one another