In Room 3 paintings by Chris Ofili, Sanya Kantarovsky and Apostolos Georgiou feature embracing figures, and on the back wall objects dominate with Philip Guston, Michael Simpson and Domenico Gnoli, punctuated with a tiny Giorgio Morandi, to make the art historical point about
the metaphysical life of things.
For as regards infra - human
living things, even on the suppositions already mentioned, the question is probably still open, or has not yet been sufficiently subjected to examination, whether the
living substantial formal principle
of what in the
metaphysical sense would be a real species (biological category, etc.), is multiplied with the individuals
of the species (biological group, etc.), or is one and the same principle which, unfolding its formative power at various material points in space and time, manifests itself more than once in space and time.
The Lovely Bones and little Susie Salmon (Saoirse Ronan) certainly tell us what she's learning while watching her family and murderer shuffle around on the mortal coil in a near - constant voice - over, but those words
of denial and anger growing into acceptance don't reveal themselves in her limited actions in her stop on the way to Heaven (This might also be attributed to the fact that the story is told in the past tense, which lessens its overall impact as she has already seen and discovered these
things; she's telling her story as opposed to
living it, if you pardon the
metaphysical contradiction in the wording).