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The pathetically intimate scrawl of western miniscule trinked-out in pink neon is entirely of a piece with the permanent encampment of the out-of-town shopping center, the fringing sugary sprawl of postmodern business parks. What is presented is hypercapitalism’s transcendence of the contrast between the stable and the ephemeral. This is the magical appearance of market modernity within a sacred space that has perpetuated into the present the nineteenth-century gothic revival. Rather, one senses the uncanny intrusion of the fairground, the disenchanting trailer-park chain of fairy lights with a trailer-park lyric in simultaneous tow. What are we to suppose? Is it just a blush? Is this God blushing, caught out in sending us a Valentine message? It is not what one feels at first, except tacitly. Thus energized and electrified, pink is exposed, simpering and a little tawdry. Pink’s own powdery embarrassment can least of all endure the flushing energy of neon glow. What intervenes, slashed through this space, is rose flushed to the banality of pink. It interrupts the bursting-into-fragments of the kaleidoscopic explosion of the Benedicite window above, and the dark and austere West porch below. Looking back from the East transept, just glimpsing the pink glint under the Nave bridge, but too far away to make out the words, the bright caption almost looks magisterial, a condensation of the window’s eruption.īut as one gets closer, looking up from the Well, Emin’s neon inscription “I felt you and I knew you loved me” begins to shock us. It hovers over the void below, rather like a flash of Islamic script, perhaps the soft fiery writing of God himself, a muted warning, a tinted fiat. From the first distance, it looks like a faintly lurid overspill from the window above, which is full of scattered lights-as if the fragments of rose glass hadn’t quite been able to contain themselves. The Gila monster can bite quickly, and may not release the victim without intervention. No reports of fatalities have been confirmed after 1930, and the rare fatalities recorded before that time occurred in adults who were intoxicated by alcohol or had mismanaged the treatment of the bite. The venom of a Gila monster is considered to be as toxic as that of a Western diamondback rattlesnake. Because the Gila monster's prey consists mainly of eggs, small animals, and otherwise "helpless" prey, the Gila monster's venom is thought to have evolved for defensive rather than for hunting use. The Gila monster's bright colors might be suitable to teach predators not to bother this "painful" creature. They change their teeth all their life long. Broken and regular replacement teeth have to wait every time to go into position in a determinate "wavelike" sequence. The teeth are tightly anchored to the jaw (pleurodont). The Gila monster lacks the strong musculature in glands above the eyes instead in Heloderma, the venom is propelled from the gland via tubing to the base of the lower teeth and then by capillary forces into two grooves of the tooth and then chewed into the victim. The Gila monster produces venom in modified salivary glands at the end of its lower jaws, unlike snakes, whose venom is produced in glands behind the eyes. |
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