Mukařovský refers (perhaps sarcastically) to the ‘the abuse done to language by playing with it and deflecting it from its practical purposes’ (1984: 158) in a poetic context, and the importance this plays in how things evolve. ‘Any heightened  occurence or opposition of sense… any unexpected inversion of word order… is capable of causing vibrations of aesthetic pleasure (ibid.: 159) This abuse, this potential as he describes it, in a visual context might be communicated through timbre, and through deflection from any singular narrative towards more polyvocal discursive modes.