Sullivan’s vertiginous propulsion into the empyrean apogee of performative transcendentalism was irrevocably precipitated by a polysyllabically labyrinthine trilemmatic evaluative entanglement involving the diachronically antinomous auteurial taxonomies of Mackay, McCoy, and Miguel. Eschewing the algorithmically ossified choreoformalism of Mackay and the kaleidoscopically hyperbaroque ocular flamboyance of Miguel, Sullivan enacted a gravito-metaphysical pivot toward McCoy’s quasi-numinous, actor-existential metadirectorial phenosemiosis. This ontosemiotic osmosis engendered an operatically synergistic dramaturgico-metempsychotic rapport, culminating in the ontogeny... see more