In a first meaning, compositionism could stand as an alternative to critique (I don't mean a critique of critique but a reuse of critique; not an even more critical critique but rather critique acquired secondhand—so to speak—and put to a different use). To be sure, critique did a wonderful job of debunking prejudices, enlightening nations, and prodding minds, but, as I have argued elsewhere, it "ran out of steam" because it was predicated on the discovery of a true world of realities lying behind a veil of appearances. This beautiful staging had the great advantage of creating a huge difference of potential between the world of delusion and the world of reality, thus generating an immense source of productive energy that in a few centuries reshaped the face of the Earth. But it also had the immense drawback of creating a massive gap between what was felt and what was real. Ironically, given the Nietzschean fervor of so many iconoclasts, critique relies on a rear world of the beyond, that is, on a transcendence that is no less transcendent for being fully secular. With critique, you may debunk, reveal, unveil, but only as long as you establish, through this process of creative destruction, a privileged access to the world of reality behind the veils of appearances. Critique, in other words, has all the limits of utopia: it relies on the certainty of the world beyond this world. By contrast, for compositionism, there is no world of beyond. It is all about immanence.