Relationship with Time

Carnival time is cyclical, regenerative, and collective. Hierarchies collapse; fools become kings, the sacred is mocked, and the grotesque body — open, excessive, laughing — takes center stage. François Rabelais’s Gargantua and Pantagruel embodied this mode: giants born through grotesque parodies of childbirth, endless feasts and banquets, obscene

culture is non-stationary—it changes, mutates, refuses to hold still. As Emmet puts it, models “actually get dumber over time as you use them,” because they are frozen snapshots of a past cultural moment. What they capture brilliantly is instantly outdated; what they recombine convincingly is subtly decayed.