But it is conceptually impossible that this immediate language should take on meaning for another's gaze, without the intervention of an act originating in another place: an act of which Condillac availed himself, in advance, by conferring consciousness upon the two speechless subjects (sujets sans parole), imagined in their immediate motility; and whose singular, sovereign nature he has hidden by inserting it into the communicative, sinniltaneous movements of' instinct.'