We can in fact presume that there exist certain writers, painters, musicians in whose eyes a certain exercise of structure (and no longer merely its thought) represents a distinctive experience, and that both analysts and creators must be placed under the common sign of what we might call structural man, defined not by his ideas or his languages, but by his imagination—in other words, by the way in which he mentally experiences structure.

…we recompose the object in order to make certain functions appear…this is why we must speak of the structuralist activity rather than the structuralist work.