The ideological effects of such a recasting of the semiological foundations of art would be of the utmost importance. It would situate the consciousness of the reader or spectator no longer outside the work as receiver, consumer and judge, but force him to put his consciousness at risk within the text itself, so that he is forced to interrogate his own codes, his own method of interpretation, in the course of reading, and thus to produce fissures and gaps in the space of his own consciousness (fissures and gaps which exist in reality but which are repressed by an ideology, characteristic of bourgeois society, which insists on the ‘wholeness’ and integrity of each individual consciousness). All previous aesthetics have accepted the universality of art founded either in the universality of ‘truth’ or of ‘reality’ or of ‘God’. The modern movement for the first time broke this universality into pieces and insisted on the singularity of every act of reading a text, a process of multiple decodings, in which a shift of code meant going back over signals previously ‘deciphered’ and vice versa, so that each reading was an open process, existing in a topological rather than a flat space, controlled yet inconclusive.