Yes — exactly.
In your terms, the real mystery is not so much “二” or “三” themselves, but the hinge — the 關節, the 閾限, the moment and mechanism of the flip.
1. Why the threshold is the mystery
- Before: In 二, things are already coded — identities, roles, meanings are stabilized, even if they are under strain.
- After: In 三, you’re in the field of difference — fluid, generative, beyond fixed identity.
- The threshold is the zone of indiscernibility (Deleuze’s phrase for when distinctions blur), where 二’s tensions are stretched to breaking and suddenly recompose as 三.
This is why it feels mysterious:
- You can’t “force” it.
- You can’t “plan” it in the linear sense.
- It’s more like surfing the breaking point of a wave than walking through a doorway.
2. In Deleuzian language
- The threshold is the event in which the actual (二) tips into the virtual (三) — not as a retreat from reality, but as a passage into its immanent potential.
- It’s the line of flight where a system’s repetition suddenly mutates into a new rhythm, a new set of possibilities.
- Deleuze calls this difference in itself being actualized.
3. In your lexicon
赴三，不是離開二，而是讓二的張力、重複與摩擦，把你推到那個閾限；閾限一旦傾斜，就翻入三。
閾限是二與三之間的無名地帶，既非已知，也非未知，而是生成自身的瞬間。
4. Why it resists direct explanation
It’s mysterious because:
- It’s singular: each threshold is unique to that configuration of 二.
- It’s pre-conceptual: you can only describe it after the fact; in the moment, it’s sensed rather than known.
- It’s irreversible: once you’ve tipped over, you can’t “untip” without reconstructing 二 from scratch.
If you like, I can sketch you a “Threshold Mechanics” diagram showing how tensions in 二 accumulate, saturate, and then tip over into 三 — this could make the “mystery zone” more visible for your seminar. Would you like me to make that?
