XI. Faire la mise [au point sur l'infini]

XI. Faire la mise [au point sur l'infini]

As, if to wax some threads, armature wires, into the crossed light well of Casa da Música (2005)
This stage of Ursula’s dissimilatory dreaming hair purring under its applied layers of oxyacetylene
Soot—Insert here, vacuum formed, dilated ends of ducts, untitled [flower sculpture] (1968)—
Carpaccio’s (1495), or Freyja, from an unharnessed cat at her bed, by an emissary's return of a falcon feather of a cloak of already
Two book covers, which, like so much cut through the hands, is improperly read—
Searching now, for either margins that might absorb more of a torch, or Lee Bontecou’s

Panoramas, where stones of universes; the wobble of whole bodies, smooth themselves—Bontecou
Introduces as a mote of an eye, around which the infinite gathers, as in Casa da Música’s
Roundabout beyond the end-to-end Grand Auditorium—Walled carpet pages, of fired oxides, of azulejos up to the building’s roof, where the tiered Douro valley is read
Krische and Spitteler’s legend of whiteboards whose messages are still spread by a wet sponge—Molded casein (1895) of Galalith tieback buttons; the nearby sashcord exposes twilight’s oxyacetylene
White plumes, with marking blue funnels mounted in Vaucanson's offcuts, and what endures as sculpture—
Carnot's Réflexions sur la puissance motrice du feu (1824); foundational to entropy's fall of cold to hot bodies, already

Ursula's vision is rubbed forward, without our input, into a subjective enamel of Trouble in Mind's already
Singlesighted / Life (2004)—Rising with the Solar Eclipse, and partially detonated chrysalis of Bontecou’s
Eleventh Stone (1970); not to beckon back all of Pessoa's most flattering, for being someone else's, paper sculptures
Unfilled extensions that have since then altered every single direction since half-past eleven—Let us leave Casa da Música's
Truncated cube otherwise fumed by the welding and cutting oxyacetylene
Heads—The gilt figured wood and undulating acoustic glass, for Livraria Lello & Irmão's upper floor of poured novenas that might be read

Without being profane, looking down from its porthole of a stairway without pulmonic stenoses, or disheartening quarter-turns read
As turning away—Again, Ursula’s apartment with the dianthus and myrtle planters; the escape mounted by Hercules; born on a Solar Eclipse in 1251 B.C.E., at his eleventh labor already
Expecting his gull, Atlas, for the golden quince diverting a footrace—Michael Maier’s Atalanta fugiens (1617), whose flares for Rudolf the Second’s court predate oxy-acetylene,
Perhaps, as Lycopodium spores—Making much of the theoretical ruin of chastity, Atlanta and Hippomenes; the lions Cybele transformed, Sow [their] Gold in the white foliate Earth (Fuga VI); the same might be inferred in Lee Bontecou’s
Saw blades fused into a mouth, an exile of fire, untitled (1961)—Torn canvas and cowhide of her sculpture

Proclaim their seams, in case this dimension’s vacuum trapped doors refer to another one—Casa da Música's

View of the Rotunda, features a lion commemorating the end of the Peninsular War (1814)—Casa da Música's
Exterior; recalling Melencolia I (1514), surveys the alternately titled, Praça Mouzinho de Albuquerque—After Joachim Mouzinho (1855-1902), who is read
For crushing rebellion in Moçambique, whose first governor (1507), Afonso de Albuquerque (1453-1515) sent the rhinoceros from Gujarat to Leo X—A spectacle in its sculpture,
Of armor, Belém Tower, no less abstracted the same year by Dürer (1514), delivered by the Strait of Ormuz—After the Gnostic converted by Mark, whose emblem of the Rosy Cross, was already
Treated by Reformation factions by alchemists—A simple, porcelain eye, were it to scale with a compound insect’s the interommatidium would require an 11-meter radius, from which an oxy-acetylene
Torch advances, as eye stalks of prawns enucleated to maturation—Ophiocoma wendtii; a brittle star, an entire body of eyelets, which has arms in later sculptures of history, as amazement, of Lee Bontecou’s

Retrospective, All Freedom in Every Sense (2010)—Transparent fish are their own touchstones, at that depth, and part of Bontecou’s
Nocturnal flowering with casein on paper; one activates the synthesis of the other, and is often tender
for being asymmetrical—Casa da Música’s
Baroque organ posts its old world, avoiding its tedium with blue glass divisions of the entrance hall’s camouflage the oxy-acetylene’s
Bronzed line of solder, for the horizontal incision made into the dropped ground onto its travertine square—Read
As the fear of blank space, Atalanta fugiens, Fuga 14—This is the Dragon that devours his Tayle; rampant in this sculpture
Of a star chart or imago (1980–98)—Ursula, awaking as Hörsel, recalls neither the kite that mislaid a feather, nor her retinue of 11,000, and we are by then already

On Bontecou’s aerospace constructions; already associations that went vacant, for this permeable tap and its lower spheres overwhelmed with two in the bath,
Ligatured to this atmosphere—Somewhere, reading Da Vinci on an oak, at is most powerful at its beginning, that is where it springs from the earth, which is where it is largest, with oxyacetylene
Root hairs—We pronounce this fortitude; Casa da Música’s reserved rooms of unconsciously blow molded sculpture containing other lives until they realize them on just such a rooftop—