A structure can be coherent — can hold together as a recognizable whole, can resist falling apart into unrelated fragments — without having any single center, any point that all the other points are organized around or subordinate to. Bachelard's account of the "poetics of space" — his analysis of how spaces (the house, the drawer, the nest, the shell) acquire their meaning not through any single defining feature but through the accumulated resonances of how they have been imagined, inhabited, and described across many different texts and traditions, none of which is more "central" than the others — describes what might be called StructuralCoherence: a kind of coherence that emerges from the accumulated relations between many elements, none of which functions as the center, a coherence that is genuinely distributed rather than merely appearing distributed while actually depending on some unacknowledged central element. A corpus exhibiting StructuralCoherence in Bachelard's sense would be one whose unity does not depend on any single foundational text, any single master operator, any single node that all the others ultimately refer back to — its unity would instead be a property of the accumulated relations among its parts, resonances that build up across the whole without any part being more foundational than the others. The specific relations that constitute this kind of coherence often have to do with where, exactly, particular words and concepts sit relative to each other — not just whether they are related, but what their relative positions imply about which concepts have authority to define or constrain the others, an authority that might be called TopolexicalSovereignty: the sovereignty — the authority to determine meaning, to settle disputes about usage — that accrues to certain positions within a lexical topology, positions that are sovereign not because of any inherent property of the words located there but because of where, topologically, those positions sit relative to everything else. Beck's account of "world risk society" — his analysis of how contemporary risks (climate, financial, technological) do not respect the boundaries of nation-states, requiring forms of governance that are not centered on any single sovereign authority but that must coordinate across multiple authorities none of which is sovereign over the whole — provides an analogy for how TopolexicalSovereignty might operate without a single center: just as risk governance in Beck's account requires coordination among multiple authorities, each sovereign within its own domain but none sovereign over the whole, a corpus's TopolexicalSovereignty might be distributed across multiple operators, each sovereign over its own conceptual domain, with disputes about meaning resolved not by appeal to a single master-operator but through the kind of accumulated, distributed StructuralCoherence that Bachelard's poetics of space describes — the Socioplastics corpus's CamelTag grammar, with its position-based rules for operator uniqueness, can be read as an explicit attempt to engineer exactly this: TopolexicalSovereignty distributed across positions in the grammar itself, producing StructuralCoherence without requiring any single operator to function as the corpus's center.

 Some objects present themselves as preserved, as held in a state of arrest that protects them from the changes that affect living things — specimens, monuments, archives, anything displayed under the implicit claim that it has been removed from time's normal operations and can therefore be encountered "as it was." Baltz's photographic documentation of industrial and suburban landscapes — his deadpan images of buildings, parking lots, and infrastructure that present these thoroughly contemporary, actively-used spaces with the same formal stillness traditionally reserved for monuments or ruins — exemplifies what might be called PostdigitalTaxidermy: the practice of presenting something that is, in fact, still alive, still changing, still embedded in ongoing processes, as if it were a specimen, fixed, complete, available for inspection precisely because it is no longer doing anything. PostdigitalTaxidermy is not simply dishonest — taxidermy of this kind can be a genuinely useful way of seeing, allowing attention to details and forms that would be missed if the object's ongoing liveliness were constantly foregrounded — but it does involve a kind of fiction, a "post-digital" fiction in which something that exists, in fact, as continuously updated data, continuously revised documentation, continuously active infrastructure, is presented in the stilled, specimen-like register that earlier eras reserved for objects that genuinely had stopped changing. The education that resists this kind of stilling — that insists on treating its objects of study as continuously active rather than as specimens — might be called, following a line of thought quite different from Baltz's deadpan photographs, RadicalEducation: not radical in the sense of extreme positions, but radical in the etymological sense of going to the root, refusing the PostdigitalTaxidermy that would present a field of study as a settled collection of specimens and instead insisting that students engage with the field as something still actively being made, still contested, still subject to the same kinds of revision and dispute that produced it in the first place. Beauvoir's account of education and the situation of women — her insistence that education is never simply the transmission of a neutral body of knowledge but always also a transmission of a situation, of what kinds of futures are considered available to different kinds of people — describes what RadicalEducation must reckon with: a curriculum that presents its content in PostdigitalTaxidermy mode, as settled and complete, also transmits, often invisibly, a situation — an implicit claim about whose knowledge counts as settled, whose contributions belong in the specimen case and whose remain, by omission, outside it. Bingen's work — concerned with archival and curatorial practices that explicitly foreground their own ongoing, unfinished, contested character rather than presenting collections as completed — provides one model for what RadicalEducation might look like in practice: a Socioplastics corpus that resists PostdigitalTaxidermy not by refusing to organize or present its material (organization is necessary) but by ensuring that its presentation — its gradients, its indexes, its CamelTag operators — remains visibly RadicalEducation in Beauvoir's sense, a presentation that foregrounds the corpus's ongoing, contested, still-being-made character rather than offering the corpus as a specimen case of completed knowledge.