XOsquelette, Metatarsus Varus & Άποτίλματα Ομφαλόυ. The three chimes reasoned in the test benches. Le Chimist, an exegete-carilloneur percussionist, attempted the tuning of the tubes, filling them with his essays. He tried to extract a partition from the mixture, but ended up setting the death knell for their evaporation.
The arrival of the benches marked the end of the era of chimes. Behind their cries, the beatings revealed that the agitator was also ringing. Here comes the time without a tribune, that of lost benches, testubers and buttocks with adjoined foundations:
Here the time of the seat in judgment .
< To summarize, this is the story of a piece / audience matchmaker who, by promoting comfort at the expense of pieces and their authors, ends up reducing them to simple seats (→ benching →”mise au banc/ban”, →”to put in bench/applause/banish”) . In this chapter we see formulated, between the lines, a projection of this audience which goes through three reversed stages described by Marie-Madeleine Mervant-Roux: assistance (defined by touch / feeling / pathos in relation to space) , audience / listener (defined by hearing in relation to time) and viewer / spectator (defined by sight in relation to ἀλήθεια (aletheia)).
What produces this new entity Mickey Mutt (cf. Promenade Mythanalytique ) as a testuber (in connection with the test tube of chemistry → “éprouvette” → “éprouveur” → “éprouver” → “to feel/experience”) to whom we come to give the seat in judgment (→”l’assise du propos”→”the seat of the discourse / the establishment of the discourse”), the making of the testuber’s throne. >