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The list as ‘representation’ system is an expedient presentation alternative to the showing of a finished form, which is referential and closed in on itself. In literature, Umberto Eco’s reading of homer’s Iliad, among a number of citations related to biblical scriptures, illustrates the contrast between the description of the shield of Achilles and the power of the Greek army. The first description is shaped by enumeration of the shield world [even if the incredible number of represented scenes makes it difficult to reproduce it visually],The second is a list or a catalogue ‘made of countable items that we cannot enumerate’ specifically the ships of the Greek army, and suggests the physically infinite perceived through the indefinite.1 The need to postulate an ‘aesthetic infinite’ of an objective kind is related to the shortcomings of the inventory and not to a subjective feeling about the sublime to which the representative modality of the list responds.
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