18Libro_Sinestesia_completo-final

to intersect itself lightly with the wall while suggesting the other part. Its form
is organic, fluid and insinuates movement and a lack of gravity. It is painted in
a gentle and total degradation that starts with an intense magenta purple that
saturates itself till it reaches white. This emanation of form and color dilates into
nothingness to make evident that it comes to be an infinitesimal part of the Whole.
Juan Luis Moraza
Carbon-14, Louis XIV and Ka; the sun god, the Sun King, and dating by
the persistence of cosmic radioactivity … authority legitimated in the past,
in necessity, or in inevitability. The acrostic is simple. What is hidden in the
sun mask is the mask of an imposture, the tragicomic sign of the farce (ever
greater) of a god, of a king, of a law: the clan of the circle: the circus of the
master, the institution of the supposed necessity of a caprice, of a particularity.
In this universe where the limbs are verse, it’s all about everything but
indifference. In fact, there is nothing more evaluative than smell: each one is a
judgement, and its extravagant precision convenes an ethics of the intrinsic and
the alien. The acronym KKK thus relates the linkages between the bubbles,
between the heliocentric systems of each nose. A star chart gives the relative
position of the planets of our solar system for the time and place of birth of one
of those nasal appendages that configure the transition from the sublime to the
ridiculous, and make it reversible: the satires of Swift and Orwell embody a more
profound vision than a whole library of social anthropology books.
The nose is at the centre of the universe, and of Classicist heliocentrism: the
centrality of smell, by means of a reactive formation that appeals to the visible. Like
the hands, the nose deals with invisible objects, it notes the heat, the way everything
trembles, it walks the path of the space. But unlike the gaze, which touches from a
distance, holding the other at bay, smell makes the other present in every breath. This
is what is unbearable for classicism, which fantasizes about a transcendental ethics,
about the beauty of indifference, about a deodorant gaze. Classicism inflates a whole
reactive bubble in its effort to overcome the stench of the alien, unable to avoid, with
each breath, the silent touch of a sense dismissed as minor, animal. This is why it has
traditionally thought of intuition as foresight, when it is something that has nothing
to do with seeing. It is rather smell, touch sensed, not a vision of what has yet to be
seen. Those who look are accustomed to a distant, unattainable world. Images speak
remotely, and even of the remote. Smell dwells in the immediate, but also in the depth
of air that speaks of the remote in a way that is not remote. Aura exists in smell.
But in addition to its sensory properties, the nasal appendage is ​also the essence of
the mask. Considered an ‘appendage’ it is defined from the outset as a supplement,
as an accessory of the face that declares its substantial character. In effect, this
appendage it what creates most contact, what is most immediate, what should not be
stuck any old where. This mime of sensitivity has all the qualifications to be the object
par excellence. We are dealing with an obstacle, with the evidence of the obstacle; but
also with a lapse and an identification: it constitutes the surface of a return, a loop.
The circus of consciousness in which the anonymous is the subject. As an appendage,
the nasal is at once self and non-self. You are your nose, but not entirely; and this
contradictory pertinence among parts and whole has made the nose a complement:
face and mask, body and antibody destined never to come into contact without
fear of total disintegration. Red from cold or heat, from shame or shamelessness,
from emotion or from alcohol, the clown’s nose essentializes humanism by
turning weaknesses into prerogatives, perhaps not assented to, but consensual.
The pathetic is the clown become censor, executor. If we contemplate the crowd
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