The contemplative researcher lives aloof from society, a silent and unseen example it would seem. How is he to share his refined sensitivities, his ascetic and indeed aesthetic findings in ways that reveal their hidden purpose?

Cloud stains (a post-Nuagiste critique)

In Cloud stains, a post-Nuagiste critique we invited cool scrutiny of Laubies's procedural affinity to tropicalism. First was his affection for 'exploiting materials accessible to the site be they old or new.' Second was seeing his visual expression as a narratology more of his staining bricolage than of any post-gestrual antecedents. Third was to disengage his burnished end-products from the structuruation of systemic unity finely controlled through the layering of error over grazed equivocations in specific regard to the dissipation of existing modes of aesthetic perception. The fourth rebuffed all colonial messages as textual 'kitsch if only for their sheer romantic inappropriateness.'

(Reliance on J.H. Bay, "Tropicalism," 1999, private correspondence.)

See: Harris, Nuagisme, 12.6.09; and Varnelis, Poll: unless a cultural artifact is first and foremost cool, styling it as high is now a form of kitsch, 28 April, 2009.

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