all beauty
reveals itself to persistent analysis: wooden chests, bamboo boxes, wooden tea dispensers, wine boxes, although A asserts the priority of the object -- what is called the materialist aesthetic -- in contrast to the idealist anesthetic of B, which privileges the subject (over many objections), nevertheless it's C for containers: boxes, cartons, cases, sacks, bales, pallets, drums; rolling on the floor, difficult-to-handle, ventilated containers or essentially dry vans, but either passively or actively ventilated, either insulated, refrigerated and/or heated for perishable goods; stackable tank containers, for liquids or gases—although mine had folding legs under the frame that moved me between trucks without using a crane—like natural gas, coke or asphalt; gravel; gasoline; cereal grains or non-metallic mineral products; fuel oil, coal, crude petroleum, other foodstuffs; waste and scrap; pharmaceuticals, electronics, motorized vehicles and other machinery (while all this time some D, Meister of Königsberg-type, hand idly stuffed down their trousers, experiences art as a product of--you cannot imagine--the sensual experience of a truth-container: export crating, vacuum packing, railcar loading, skidding, shrink wrapping and others, such as may be removed through analysis. But a real beauty, containerized in the cognitive continent of a broad range of not merely inert objectifications but mountains, trackless oceans, with earrings valued by the subjected in shared abjection and subjugation, disjointed analysis, of the boxes & crates, pallet boxes, custom crates; pallet racks; skids: custom heat treated wooden crates, in other words
intermodal containers
with squished
air
tubes.
--x--
Almost impossible to finish without addressing the aura of the dearly deported
(crowbars inert on the floors):
if you simply open the doors of the Porsches and get in
(foregoing any escalating small talk)
you wouldn't be
(mutandis mutatis)
dead by now.
