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"Hypocrisy comes from the Greek term for delivery (hypokrisis). An actor is a hypocrite. Remember that one sense of doom is a decree or ordinance: that which is delivered, a statute or statement, a phrase that stands. Delivery is the fifth aspect of traditional rhetoric (Aristotle, Quintilian): there is discovery (invention), arrangement (logic), style, memory, and delivery. Delivery is how a speech is embodied, how it is spoken, how it comes to exist for others. Demosthenes was once quizzed about what he thought was the most important part of rhetoric: he replied, "Delivery." Upon being asked what the second most important part was, he replied, "Delivery"—and so on. Demosthenes practiced his delivery by putting pebbles in his mouth and climbing steep hills while reciting his speeches. Delivery is physical.
What if we flipped this around, so that we could understand that the physical is a form of delivery? Think about it. A CD is a delivery. An MP3 is a delivery. A vinyl record is a delivery. A cassette tape is delivery. Each one has its own physicality. Each one is an object: not some merely neutral medium, but an entity in its own right. Now what if this green banker's lamp was a form of delivery? The lamp tells my eyes about the light that its green glass diffuses. The brass base of the lamp delivers the stem to the cherry wood desktop. The fluorescent light inside the lamp delivers the dusty photograph to me in such a way that I can see a reflection of my typing hands in the glass in the photo frame. We never hear the wind as such, only the wind in the chimney, the wind in the doorway. The zone of one object crisscrosses with another's in the interobjective configuration space.
Things are Aeolian, acousmatic: their timbre (timber, substance, matter) speaks of secret strangers. A thing delivers another thing. Rain, sunburn, plastic bags, and car engines, all deliver the doom of the hyperobject. They are its hypocrites. They lie about the hyperobject; they tell secrets."
—Timothy Morton, Hyperobjects