La Parade de Cirque
The Trombone Player, as Contrapposto, as surface effect, as an ornamental proxy of the protocol of a de-idealization, a routinization, or incidentalization of Renaissance opposition, which both decorative and structural is, in any case, meant to be vivid. A Praxitilean figure now at some great distance where "now" (1888?), an empty synchresis fills in with a side show, with Illuminations of Disenchantment these painter- archaeologists, poet- psychologists, theatrical producers of this or that theory of the durational place of the fantastic as a determinate & marked absence at the heart of the secular world, an object world forever suspended on the brink of meaning, forever disposed to receive the revelation of evil or grace that never comes through the relentless unmasking of chromatic immediacy, through the unstable physiological conditions of human vision, unlike an 18th century diagram of the eye in which light rays enter as if through a transparent lens to transmit an image which we may now deny as a kind of synthesis and not "simply" a chromochronometric synthesis, but one which posits a vivid Contrappostos, A Praxitilean figure of polysynthesis, an embedded symbolism, an embolism of vision's unity with synthetic, synchretic understanding, an aggregate of purpose and display which combines both ration- alizations of aesthetic response and syntheses that are the free subjective invention of an active autonomous subject, and the "object" then, would be the making of perception, location of my know the meaning of the new, for even with 1 ) divided to its origin and a we can easily find an the stone 1.618034 or some other natural/unnatural a line drawn through by 2 = hierogyphs of Egypt the sun. seem infinitely old, infinitely navel with reference intimation of parenthetical square of 5 + Phidian miracle. How can you something which must line drawn through
