How would you translate the following paragraph?

[All conversations 100% guaranteed overheard, as Stan Mack used to say. My dad sent the first two to me apparently on a whim, then the third I happened on, courtesy of]

L’apport des multimedia notamment pour répondre à nos intentions de discours sachant l’objet, dans sa présentation et sa matérialité, ne peut répondre à toutes les questions : apprendre à résoudre le dilemne “l’objet n’est pas bavard ou bien l’est trop !”

This one seems simple enough:

Bringing multimedia into the picture–most notably as a response to our instinct to learn about the object through study of its materiality–cannot respond to every question; to wit, on one’s own, one must learn to resolve the dilemma, “The object is either not blabbering or it’s blabbering too much!”

Here’s another one:

La place des accompagnements et supports didactiques afin de répondre à la totalité des interrogations (elements de contextualization historique et géographique) et leur place dans le discours scénographique.

La place de la médiation humaine dans la transmission et la pédagogie, choix initiaux et adaptation aujourd’hui.

La place des objets mémoriels et son rapport au discourse scientifique.

OK, after a quick convo with the parent (and secondary source of these quotations), I’ve adapted this one a little more freely:

How do you arrange in the exhibit design the supporting material and pedagogy that might answer any possible question (contextualized by history and by site)?

How do you mediate the transmission of learning, and how has this changed from how it was done in the past?

How do you connect objects of memory to scientific learning?

And now, in reverse, from this obliging source:

In a sense, this makes the Mystery Object unique even among the project’s already-singular series of offerings; as a result, it may be the most valuable object yet, not despite its absence from the scene until the moment that value is determined, but because of that absence. Who wouldn‘t want to own such a thing — whatever it is?

Evidemment, cet Objet mysterieux est unique même dans le cadre des objets du project déjà créés. Celui-ci donc est peut-être l’objet le plus valable de toute la série, non seulement par rapport a son absence du marché jusqu’à ce que son valeur intrinsique soit determiné, mais à cause même de cet absence. Qu’est-ce qui ne desirent pas cet objet, quoiqu’il en soit?

I adore anything that has jusqu’à ce que or quoiqu’il en soit, and qu’est-ce qui is just classic, “Psycho Killer”–style French.

‘It will be lovely, he thought ten times a day before he set off.’ –Maxim Biller, 80cm of Bad Temper

It had all been so easy in Cracow. Well, not entirely. The stout Jewish young man from Microsoft whom she had visited there was in love with her, but she didn’t feel the same about him. She was in love with Itai, but he didn’t feel the same about her. He knew that he was not in love with her, but she didn’t know it, so she’d said come and see me in Ljubljana sometime soon, it will be lovely. It will be lovely, he thought ten times a day before he set off. When he saw her in Ljubljana at the airport he thought, No, it won’t.

—Maxim Biller, 80 Centimeters of Bad Temper
(As a personal interjection, please don’t let this story dissuade you from traveling to European cities to meet dates. When I was single I preferred staging first dates in the Old World; the chemistry might not be right, but on the bright side, you’re in Paris, instead of stuck out in Brooklyn.)
Maxim Biller’s stories have been compiled into an austere-looking hardback collection called by the sprightly and opaque title Love Today. I’m reading the stories (there are 27 of them, most no more than six pages), and thinking that somehow the word “Grumpy” should have been shoehorned in that title somewhere. “Grumpy Love, Today,” perhaps, or “Love? Today, Grumpy.” This story’s title (the measurement refers to the width of the woman’s bed) is probably the most accurate in the whole collection.
The characters are always on the move from one place to another, inhabiting temporary roles in the sturdy cities of central Europe. This is the kind of book that has tram tracks running through its pages. The quoted story I like for its simple, straightforward nature that doesn’t rely on awkward tricks or character traits to be told. This guy, Itai, comes to Ljubljana to meet up with this woman, and just like that, it doesn’t work out. Dommage. J’en suis desolé. It’s not me, it’s you.
What redeems Itai from the ordinary strain of grumblecore characters (grumblecorporals?) is his optimism. He was genuinely hoping that he would fall in love in Ljubljana. The sudden clarity of mind he displays in the quoted passage is perhaps his realist streak coming out: the woman’s too-narrow bed just makes his plight more obvious. 

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Quote for the commonplace book 008: Michael Innes, ‘Appleby and Honeybath’

Thought was an activity which, steadily over the years, he
had been addressing himself with some success to doing

—Michael Innes, ‘Appleby and Honeybath’
I love the passive-reflexive verb, “he had been addressing himself to
doing.” Michael Innes has the gift of turning a sentence which would
really sound better in French into a sprightly English bon mot.

 On second thought, it’s not that easy to translate. La pensée lui
était depuis quelques années quelque chose qu’il a à peu près reussi a
s’adresser à se manquer?
Not exactly.