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.pp. 59-64. Greenaway effectively "releases," through a type of "insane discursivity," all of the "temporal" agency embedded in Veronese‟s painting The Wedding at Cana. 19 Badiou, Logics of Worlds, pp. 558-59. Badiou objects to Agamben‟s presentation of "being as weakness, as presentational poverty." He calls him the "Franciscan of ontology," who "prefers, to the affirmative becoming of truths, the delicate, almost secret persistence of life." Badiou, p. 559. 20 See note 15. In many senses, the collapse of the vertical (paradigmatic) axis is the point. The vertical axis is considered, in Marxist critique, the axis of the "hegemonic." The "absence" (or silence) of this axis and its abandonment by progressive critique has effectively shut down all discussion of "transcendence," "presence," and "the real" except as aberration or phantasm.