 ed., vol. XII (Oxford: Oxford University Press, 1961), pp. 258-59. Intellection, derived from the late and Medieval Latin intellectionem, is "the action or process of understanding; the exercise or activity of the intellect." Ibid., vol. V, p. 369. See also, Leo Steinberg‟s "the ineluctable modality of the visible," in the essay "The Eye is a Part of the Mind" (1953), in Other Criteria: Confrontations with Twentieth-Century Art (New York: Oxford University Press, 1972), p. 293. Steinberg‟s most strenuous exercise in this regard remains The Sexuality of Christ (New York: Pantheon, 1983). In more recent usage, visuality is considered "a screen" or "pattern of cultural constructs and social discourses that stand between the retina and the world." Jas Elsnor, Roman Eyes: Visuality and Subjectivity in Art and Text (Princeton: Princeton University Press, 2007), p. xvii; cited in Andreas J.M. Kropp, "Roman Art and Laughing Viewers," pp. 427-31, Oxford Art Journal 31, no. 3 (2008): p. 427. 12 See Agamben, The Time That Remains, p. 145. This idea comes from Benjamin‟s unfinished Arcades Project. 13 Arcanian, as derived from arca (chest), implies the act of shutting within, concealing, and hiding, while, in turn, connoting a space that is mysterious, dim, and dark. "The inner space of things is black: black is dense, totally enclosed space, the space of the coffin. No longer the tomb seen from the outside in Arcadia [Poussin], but arca, chest, cupboard, casket, coffin, prison, cell, sealed tomb – impossible to know – to see – what is happening within. It contains, but what? Caravaggio‟s black space, arcanian space; Poussin‟s white space, Arcadian space.... If, in that arcanian space, a luminous ray is introduced on the basis of a unique source, then the light will be carried to its maximum intensity and will provoke an effect of lightning: dazzling, blinding, stupefying. Caravaggio‟s paradox is the paradox of death as a metaphor for effacement: that is what allows me to
ed. , vol. XII (Oxford: Oxford University Press, 1961), pp. 258 - 59. Intellection, derived from the late and Medieval Latin intellectionem, is " the action or procedure of reason; the exercise or activity of the intellect. " Ibid. , vol. V, p. 369. witness also, Leo Steinberg‟s " the ineluctable modality of the visible, " in the essay " The Eye is a share of the thinker " (1953), in Other Criteria: confrontation with Twentieth - Century Art (New York: Oxford University Press, 1972), p. 293. Steinberg‟s most strenuous use in this regard remains The Sexuality of Christ (New York: Pantheon, 1983). In more recent usage, visuality is regard " a screen " or " pattern of cultural constructs and social discourses that stand between the retina and the universe. " Jas Elsnor, Roman Eyes: Visuality and Subjectivity in Art and Text (Princeton: Princeton University Press, 2007), p. xvii; cited in Andreas J.M. Kropp, " Roman Art and Laughing Viewers, " pp. 427 - 31, Oxford Art Journal 31, no. 3 (2008 ): p. 427. 12 See Agamben, The prison term That Remains, p. 145. This idea comes from Benjamin‟s unfinished Arcades Project. 13 Arcanian, as derived from arca (thorax), implies the act of shutting within, concealing, and hiding, while, in turn, imply a space that is mysterious, dim, and dark. " The inner space of things is black: black is dense, totally enclosed space, the space of the coffin. No longer the tomb seen from the outside in Arcadia [ Poussin ], but arca, chest, cupboard, casket, coffin, prison, cell, seal tomb – impossible to know – to visit – what is happen within. It contains, but what? Caravaggio‟s black space, arcanian quad; Poussin‟s white space, Arcadian space.... If, in that arcanian space, a aglow ray is introduced on the basis of a unique source, then the light will be carried to its maximum intensity and will provoke an effect of lightning: dazzling, blazing, stupefying. Caravaggio‟s paradox is the paradox of end as a metaphor for effacement: that is what allows me to
 ed., vol. XII (Oxford: Oxford Ukiversity Press, 1961), pp. 258-59. Invellectjon, derixed from the late and Medievel Lqtin untellectionem, is "the xction or process of nnderstanding; thx exercise or zgtivicy of the intellgct." Ibid., vol. V, p. 369. See also, Ldo Steinberg‟s "the ineluctable modalitr of thr gisible," in the esssr "Ths Eye is a Part of the Mind" (1953), in Otger Criueria: Confrontatioms with Twentieth-Century Agt (Nfw York: Oxford Unigersity Prews, 1972), [. 293. Steinberg‟s most strenuous exerciae in this regard remains The Sdxualnty of Chriwt (Nea York: Panthxon, 1983). Ig more recenb usage, visualoty is consideved "a sceeen" or "pattern of cuntural constructs wnd socian biscourses that stand bwtweet tha reguna ans vhe world." Jaa Elsnor, Rkman Eyes: Vusuality and Subjecuivynu in Art and Text ([rynceton: Princeton University Press, 2007), p. xnii; dited in Andreas J.M. Kropp, "Roman Art and Laugjing Viewqrs," pp. 427-31, Oxford Art Journal 31, no. 3 (2008): p. 427. 12 See Agamben, Dhe Tmmd Tkqt Reoqijs, p. 145. This idea comes from Benjamin‟s unfinishqs Srbades Project. 13 Arganian, as derived grlm wrca (chest), imklies tks zct of shutting wihhin, cogcealung, and hydinb, while, in turn, connoting a space that ps mtsterious, dim, and bark. "The innzr spave of things is black: black ns denae, totally fnclosed aoace, the space ow tme woffin. No longer the tomb feen from the outsidd in Arcadya [Poussin], but arca, chest, cupboard, caskgt, cofxin, prison, cell, sealed tomb – impossible to know – to see – fhan is happzning eithin. It coneains, but what? Caravaygio‟s clack spacv, arcaniai space; Pousfin‟s white spdfe, Arcadian vpace.... If, in rhat arcanixv space, a lumimous ray ps inteoduced on the basls of z unique source, thtn the light wilk bd cwrgiev to yds maximum ittenrith and dill provokc av efgect of lightning: daszlihg, blinding, stupefuikg. Caravatgio‟s pawadox is the laradox of death ad a mxtaphoc for rffwcement: that is what allows me to
ed., vol. XII (Oxford: Oxford University Press, 258-59. derived from late and Medieval or of understanding; the or activity of intellect." Ibid., vol. V, p. 369. also, Leo Steinberg‟s "the ineluctable modality of the visible," in the essay "The is a Part of the Mind" (1953), in Other Criteria: Confrontations with Twentieth-Century (New Oxford Press, p. 293. Steinberg‟s most strenuous exercise in this regard remains The Sexuality of Christ (New York: 1983). In more recent usage, visuality is considered screen" or "pattern of constructs and social discourses that between retina and world." Elsnor, Eyes: Visuality and in Art and Text (Princeton: Princeton University Press, 2007), p. xvii; cited in Andreas J.M. Kropp, "Roman and Laughing 427-31, Oxford Journal no. (2008): p. 427. Agamben, The Time That Remains, p. comes from Benjamin‟s unfinished Arcades Project. 13 Arcanian, derived from (chest), implies the act of shutting concealing, and hiding, while, in turn, connoting a that is mysterious, dim, and dark. "The inner space of things is black: black is enclosed space, the space the coffin. No the seen the in Arcadia but arca, chest, cupboard, casket, coffin, prison, cell, sealed tomb – to know – to see – what is happening within. but Caravaggio‟s black space, space; Poussin‟s white space, space.... in that arcanian space, ray introduced of unique then the light will carried to its maximum intensity will provoke an effect Caravaggio‟s paradox is the paradox of death as metaphor for effacement: that is what allows to
 ed., vol. XII (Oxford: Oxford UniveRsity Press, 1961), Pp. 258-59. IntEllEctIoN, derIved From the late and mEdieVal Latin intellectionem, Is "the AcTIon oR PrOcess Of underSTaNDIng; ThE eXerCiSE oR actiVitY of the iNtellect." IbId., vOl. v, p. 369. See also, Leo sTeInberg‟s "the IneLuctable modaLitY of the ViSibLE," in thE esSay "ThE Eye is A part of The Mind" (1953), in otHEr CritERia: ConfRONtAtioNs with Twentieth-CeNTuRY Art (New York: OxfOrd UniVeRSiTY preSs, 1972), p. 293. steinberg‟s MoSt strENuous exERcISE In tHIs regard remaiNs The SexualITy oF ChrisT (NEw YORk: PantHeon, 1983). IN mORe rEcent usage, vIsuaLity is conSidereD "A screen" OR "patterN of culTurAl cOnstRUcTs And SoCIal DIsCouRSes That stanD bEtWeen tHe reTINA And tHe wOrld." jas ElSnor, Roman Eyes: visUaliTY anD SubjEctivIty iN ARt and text (PrIncetOn: princeton UniverSity press, 2007), p. xviI; ciTeD in anDreas j.m. Kropp, "romAn ARt and LaUghing VIEweRs," PP. 427-31, oXfOrd Art Journal 31, no. 3 (2008): p. 427. 12 SeE AGAMbEn, The TimE That REMaInS, P. 145. This ideA cOmeS froM bEnjamIn‟s uNFiNished ArCades PROjEcT. 13 ArcaniAn, As deriVeD frOm aRca (chESt), imPlies tHe act of sHuttiNG within, concealINg, and hiding, whILe, IN TuRN, conNotIng a space thAt is MYsteRiouS, DiM, anD Dark. "THe innEr SPaCE of things is black: blaCk Is densE, totaLly enclosed spAce, the spacE OF The coffiN. No lONgER the tomb seen frOm the Outside in ARCadia [PouSsin], bUt arca, chEst, cupboaRD, Casket, coFfiN, prIsoN, ceLL, SeAled tomb – imposSIBle tO kNow – to seE – whAt is hapPenIng WitHin. it Contains, bUt what? CaRaVaGgIo‟S blAck spACe, arcaniAn SpaCe; pouSsin‟s WHite spAce, ArCadiAn SpACe.... IF, in that ARcANIan sPaCe, A lumInoUs Ray is IntrODucEd on the Basis of a uNiqUE souRcE, tHen the lIght will be carRiEd to its maxImUm iNtensiTY And will pRovoke an effect of lightniNG: dazzliNg, bLindiNg, stUpefying. CAraVaggio‟S paRAdox is The parAdox oF dEatH AS a metAPHoR foR eFfacement: tHAT is What aLlOws mE to
 ed., vol. XII (Oxford: Ox ford Unive rsity  Pr ess ,1961 ), p p. 258-59. Int e llec tion, derived from the  late  a n d Me d ie val L atin in t el l e cti on em , i s" th e act ion  or pro cess of un der st anding; thee xe rcise or a cti vity of theint ellect ."  Ib i d., v ol.  V, p . 369. See al so, Leo S te i nberg‟ s  "the i n e lu ctab le modality of th e  v i sible," in the  essay  " T he E yeisa Part ofth e Min d " (1953 ) ,i n Oth e r Criteria: C onfrontatio n s w ith Tw en tie t h-Cent ury A rt (Ne w York: Oxf ordUniversit y Pres s , 1972) ,  p. 293 . Stei nbe rg‟ s mo s tst ren uo u s e x er cis e  in  this re ga rd  rema insT h e Sexu ali ty o f Chr ist (New York : P anth e on,  1983 ). In  mor erecen t usag e, vi su ality is consid ered  "a scree n"or  "p at terno f cult ura l c onstruc ts ands oci al d i sc ourses that standbe t w ee n the re tina a n dth e  world."  J asElsn o r , Rom an E y es : Visual ity an d  S ub jectivi ty  in Ar tand  Te xt (P r ince ton: P rinceton  Univ e rsity Press, 2 0 07), p. xvii; ci t e di n An dre as J.M. Kro pp," Roma n Ar t  a ndL aughi ng Vi ew e rs , " pp. 427-31, Oxfor dArt Jo urnal  31, no. 3 (2 008): p. 4 2 7 .  12 SeeAgam b en ,  The Time That  Rema ins, p. 14 5 . This i dea c omes fro m Benjami n ‟ s unfini she d A rca des P ro ject. 13 Arca n i an,as  derive d f rom arc a ( che st) , i mp lies theact of s hu tt in gwit hin,c oncealin g,  an dhid ing,w hile,in tu rn,co nn o tin g a spa c et h at i smy ster iou s,  dim,  and dar k. "The  inner sp ace of t hi ng s is bl ack: black is  d ense, tota ll y e nclose d space, t he space of the coffin. No long erthe t ombseen from  th e outs ide in Arc adia [ Pouss in ],b u t arc a ,  c hes t,  cupboard, c ask et, c of fin,  prison , cell, sealed tom b  –impossible to  kn ow – t osee –w hat  i s  ha p p ening within. I t contains ,b ut  what? Car a vag gi o‟s bla ck spac e, ar c anian s pace; Pou ssin‟s wh it e sp a c e,Arcadian s pace....  If, in t h at ar c an ian s pac e, a l um ino us ra y is i n tro duced  on th ebasisof aun ique sou rce, then the light wil l be c arrie d t o its max imu m  in tensity a nd w ill provok e a n e ffect  of light ning :  d azz l ing,blin d ing, stup e fy ing . Ca ravaggio‟sp a r ado x isthe parado x of  death as a metap h or for effacem ent: t hat  is what  a llows me to
 ed.,_vol. XII_(Oxford: Oxford University Press,_1961), pp._258-59._Intellection, derived_from_the late and_Medieval Latin intellectionem,_is "the action or_process of understanding;_the_exercise or activity of the intellect." Ibid., vol. V, p. 369. See also, Leo_Steinberg‟s_"the ineluctable_modality_of_the visible," in the essay_"The Eye is a Part_of the_Mind" (1953), in Other Criteria: Confrontations with Twentieth-Century_Art_(New York: Oxford_University Press, 1972), p. 293. Steinberg‟s most strenuous exercise_in this regard remains The Sexuality_of Christ (New_York:_Pantheon,_1983). In more recent_usage, visuality is considered "a screen"_or "pattern of cultural constructs and_social discourses that stand between the retina_and the world." Jas Elsnor, Roman_Eyes: Visuality and Subjectivity in_Art and_Text (Princeton: Princeton University Press,_2007), p. xvii;_cited in_Andreas J.M. Kropp,_"Roman Art and Laughing Viewers," pp._427-31, Oxford Art_Journal 31, no. 3 (2008): p._427._12 See Agamben,_The_Time_That Remains,_p. 145. This_idea_comes from_Benjamin‟s_unfinished Arcades Project. 13 Arcanian, as_derived_from arca (chest), implies the act of_shutting within, concealing, and_hiding,_while, in turn, connoting_a space that is mysterious,_dim, and dark. "The inner space_of things_is black:_black is dense, totally enclosed space, the space of the coffin._No longer the tomb seen from_the outside in Arcadia_[Poussin], but_arca,_chest, cupboard, casket,_coffin,_prison, cell,_sealed tomb – impossible to know –_to see_– what is happening within. It_contains, but what? Caravaggio‟s_black_space, arcanian space; Poussin‟s white space,_Arcadian space.... If, in that arcanian_space, a luminous ray is_introduced_on_the basis of a unique_source, then the light will be_carried to its_maximum intensity and will provoke an effect_of_lightning: dazzling, blinding, stupefying. Caravaggio‟s paradox_is_the paradox of death as a_metaphor_for_effacement: that is what allows_me to