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Their words of absolution, taken together with the layers of enclosure and disclosure within the narrative, suggest the following: first, that sainthood is a state into which one is interpellated, that is, performatively “called,” in the sense of the vocative or 24 CLAUSTROPHILIA vocation; second, that sainthood is an interminable tissue of enclosures and disclosures (or enclosive and disclosive moments). Through these moments, what takes place is a reinforcement of the bare spatial point, line, or threedimensional structure (body, den) through which what is hidden or enclosed emerges into visibility, into disclosure.

To be sure, participative accounts of sensation (and here I am speaking above all of Catherine Pickstock’s compelling liturgical critique of THE EDGE OF ENCLOSURE 35 philosophy) tend to be distrustful of intensification, and to see its relationship to another modern event, “spatialization,” as evidence of the impossibility, for secular ontology, of the miraculous, that is, of any non-immanent intervention in the sensory world. 79 I am suggesting, on the other hand, that the artwork’s retreat into its materiality even as it offers itself to the senses, that the mutual distance and approximation through which two bodies immerse themselves out of (which is also to say, emerge into) each other, sensibly—that these spatial modalities establish a “here” which is not “absolute space” but contingent sharing.

On the one hand, he claims instead to be interested solely in receiving the pure phenomenon: “the phenomenologist. brings the image to the very limit of what he is able to imagine” (le phénoménologue. 25 In one of many implicit critiques of Heideggerian bombast, Bachelard declares, Such formulas as being-in-the-world and world-being are too majestic for me, and I do not succeed in experiencing them. In fact, I feel more at home in miniature worlds, which, for me, are domesticated worlds. [Les formules: être-au-monde, l’être du Monde sont trop majestueuses pour moi; je n’arrive pas à les vivre.

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