**Links to**: [[Borges]], [[Semantic attractor]], [[Polycomputation]], [[Music]], [[Song]], [[Dialogue]], [[Dialogics]], [[Repetition]], [[Imitation and adaptation]], [[Double articulation]], [[Semantic attractor]], [[Modulations]]. >“As we all know, Scheherazade constructs her labyrinth of stories to prolong her life but when she reaches the symbolic centre she is saved. This a happy ending, however, does not endure the passing of time or changes of culture: in Borges’s fiction, there is often a moment of illumination, or its delusion on reaching the symbolic centre of the labyrinth, but either madness, or death, inevitably awaits. In a traditional labyrinth you have to turn, and turn, and turn again until you find the centre (or the way out). These turns are diversions (Latin divertere) which mean both to amuse and to turn aside. The “Nights” mission was to draw attention away from a serious concern (diversion) through entertainment (diversion). The title, _The Arabian Nights “Entertainments”_ makes this clear. Borges repeats the claim for himself: “My stories, like those of the _Thousand and One Nights_ (…) try to be entertaining or moving, (…) not persuasive” (_Brodie’s Report_ Foreword 345). Yet what form does this entertainment take? For Scheherazade, as mentioned, it is a life-saving operation; her tales are what delays the moment of her execution. She weaves her labyrinthine web of tales to enthral and entrap the King, enlighten him and reach, eventually the traditional fairy tale ending.” > >E. Fishburn,“Traces of the Thousand and One Nights in Borges.” _Variaciones Borges_ 17, 2004, p. 149. %% Brainwave entrainment - Wikipedia