To suspend the philosophical imagination at the borderlines of solitary confinement: an experiment with thought-in-isolation. We have placed eight authors in eight soundproof rooms. Each has selected a single philosophical companion; each must devise their own careful strategy for entering and exiting the cell, with a critical-stylistic approach to the crossing of paths; each must decide on their own techniques of orchestration, manipulation, and survival. The clichéd speculative question of asking what book one might bring if stranded on a desert island finds its more grave methodological execution here in the invitation to form a soundproof room: for this gesture, in essence, also asks what specific figure one might drag alongside oneself into the desolate world, and more particularly what hallucinatory conversations one might entertain in order to kill time (as time kills us). More specifically, the ruse of the “soundproof room” would imply staging an intimate philosophical encounter with a single obscure figure (from whatever period or cultural territory, though presumably outside the dominant boundaries of knowledge). This would conceivably yield a dialogic space based on principles of seclusion, captivation, and visionary trade; it would take the form of a conceptual conversation with a lone literary, philosophical, mystical or artistic personage and follow whatever chosen patterns or trajectories drift therein. The main operational constraint is to avoid citations, jargon or referentiality beyond this confrontation with the selected figure (that is, no explicit names or quotes derived from anyone outside the immediate circumference of exchange). Rather, the entire constellation of ideas generated should emerge from whatever unique strata of primary source passages one extracts in order to stage the “soundproof room” experience. Once again, the endeavor here is neither pure scholarly analysis nor historical contextualization but rather the design of eight esoteric hollows; eight sites of provocative intersection with another consciousness across time-space – untimely (in meaning), disturbing (in tone), and deploying closure (of certain realities) to induce improvizational complexity. We seek four transfigurative victories here:

中文翻译：

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隔音房

在单独监禁的边缘暂停哲学想象：孤立思想的实验。我们将八位作者安置在八间隔音房中。每个人都选择了一个哲学伴侣；每个人都必须为进入和退出牢房制定自己的谨慎策略，并采用批判性风格的方法来跨越路径；每个人都必须决定自己的编排、操纵和生存技术。一个陈词滥调的思辨性问题，即如果被困在荒岛上会带什么书，在这里找到了更严肃的方法论执行，邀请形成一个隔音室：对于这种姿态，本质上，也是问一个人可能会拖到自己身边的具体人物走进荒凉的世界，更具体地说，人们可能会为了消磨时间而进行的幻觉对话（因为时间会杀死我们）。更具体地说，“隔音室”的诡计意味着与一个不知名的人物（来自任何时期或文化领域，尽管可能在知识的主要边界之外）进行亲密的哲学邂逅。可以想象，这将产生一个基于隐居、迷人和有远见的贸易原则的对话空间；它将采取与孤独的文学、哲学、神秘或艺术人物进行概念对话的形式，并遵循其中所选择的任何模式或轨迹。主要的操作限制是避免引用、行话或参考性超出与所选人物的对抗（即，没有明确的名称或引述来自交易范围之外的任何人）。相反，所产生的整个想法群应该来自一个人提取的主要来源段落的任何独特层次，以呈现“隔音室”体验。再一次，这里的努力既不是纯粹的学术分析，也不是历史语境化，而是八个深奥空洞的设计；八个跨时空与另一种意识的挑衅性交叉点——不合时宜（在意义上）、令人不安（在语气上）和部署关闭（某些现实）以引起即兴的复杂性。我们在这里寻求四项变革性的胜利：所产生的整个想法群应该来自一个人提取的主要来源段落的任何独特层次，以呈现“隔音室”体验。再一次，这里的努力既不是纯粹的学术分析，也不是历史语境化，而是八个深奥空洞的设计；八个跨时空与另一种意识的挑衅性交叉点——不合时宜（在意义上）、令人不安（在语气上）和部署关闭（某些现实）以引起即兴的复杂性。我们在这里寻求四项变革性的胜利：产生的整个想法群应该来自一个人提取的原始来源段落的任何独特层次，以呈现“隔音室”体验。再一次，这里的努力既不是纯粹的学术分析，也不是历史语境化，而是八个深奥空洞的设计；八个跨时空与另一种意识的挑衅性交叉点——不合时宜（在意义上）、令人不安（在语气上）和部署关闭（某些现实）以引起即兴的复杂性。我们在这里寻求四项变革性的胜利：八个跨时空与另一种意识的挑衅性交叉点——不合时宜（在意义上）、令人不安（在语气上）和部署关闭（某些现实）以引起即兴的复杂性。我们在这里寻求四项变革性的胜利：八个跨时空与另一种意识的挑衅性交叉点——不合时宜（在意义上）、令人不安（在语气上）和部署关闭（某些现实）以引起即兴的复杂性。我们在这里寻求四项变革性的胜利：