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#macro #macrophoto #figure #toy #scale #cave #museum #history #culture #exhibition #human #people #humano #museo #museoantropologiaehistoria #historia #cultura #canon #Canon1D #CanonTeam #eos1d #eos #1D #mexicocity #Mexico #MexicoDF

#macro #macrophoto #figure #toy #scale #cave #museum #history #culture #exhibition #human #people #humano #museo #museoantropologiaehistoria #historia #cultura #canon #Canon1D #CanonTeam #eos1d #eos #1D #mexicocity #Mexico #MexicoDF

#macro #macrophoto #figure #toy #scale #cave #museum #history #culture #exhibition #human #people #humano #museo #museoantropologiaehistoria #historia #cultura #canon #Canon1D #CanonTeam #eos1d #eos #1D #mexicocity #Mexico #MexicoDF

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27.
THE THIRD ITEM INSPECTED: A BUST OF A WOMAN WITH AN ARTICULATED MOUTH AND MOVING GLASS EYES, POSITIONED IN FRONT OF A PANORAMA OF THE EUXINOVAN COASTLINE PAINTED ON A SPOOLED LINEN SCROLL.
WILFRED.    I recognize this exhibit from the Exposition. It runs hourly at the Central Pavilion — but there, a man beside the display delineates the visual tour, and no bust such as this is involved. It seems designed to mouth the narration like a puppet.
AULDOMOUCHE.    Its style and construction leave no doubt that it’s of the same manufacture as the automated sculptures found in the Parc d’Urongelex. Surely the noted entrepreneur Visculorph d’Urongelex wishes to expand the presence of these devices — and he has married into the financial means to accomplish this — yet I’ve noticed they are not readily embraced by the public outside of their pastoral-satirical sphere.
The characters all derive from Euxinovan myths and theatrical traditions, dating back at least to the Romans. (This figure is clearly no exception and Ovarind would have been able to tell us more about it.) Most seem obscure, unfamiliar to common audiences, and this might result in a slight sense of unease in the average spectator. I believe that of the dioramas operated by d’Urongelex in Ellubecque’s Paysage de Beau Monde, only the exhibit “Thriampa Revealed” (which is forbidden to children) features automatons.
It is mystifying that he would store such items here — here of all places. And what dealings would he have with The Society of the Iron Frond?

zbags:

THE THIRD ITEM INSPECTED: A BUST OF A WOMAN WITH AN ARTICULATED MOUTH AND MOVING GLASS EYES, POSITIONED IN FRONT OF A PANORAMA OF THE EUXINOVAN COASTLINE PAINTED ON A SPOOLED LINEN SCROLL.

WILFRED.    I recognize this exhibit from the Exposition. It runs hourly at the Central Pavilion — but there, a man beside the display delineates the visual tour, and no bust such as this is involved. It seems designed to mouth the narration like a puppet.

AULDOMOUCHE.    Its style and construction leave no doubt that it’s of the same manufacture as the automated sculptures found in the Parc d’Urongelex. Surely the noted entrepreneur Visculorph d’Urongelex wishes to expand the presence of these devices — and he has married into the financial means to accomplish this — yet I’ve noticed they are not readily embraced by the public outside of their pastoral-satirical sphere.

The characters all derive from Euxinovan myths and theatrical traditions, dating back at least to the Romans. (This figure is clearly no exception and Ovarind would have been able to tell us more about it.) Most seem obscure, unfamiliar to common audiences, and this might result in a slight sense of unease in the average spectator. I believe that of the dioramas operated by d’Urongelex in Ellubecque’s Paysage de Beau Monde, only the exhibit “Thriampa Revealed” (which is forbidden to children) features automatons.

It is mystifying that he would store such items here — here of all places. And what dealings would he have with The Society of the Iron Frond?