When the recombinatory convergence of once-distant or disparate symbols no longer shocks us, it is probably not merely because the world (and it’s inhabitants) have moved on and desensitised to the essential information entropy of difference. It is because these once dissonant symbols share some deeper (and logical) bond.
The cultural and psychological self-representation of art is a complex, recursive and temporal narrative or semiotic combinatorics of logical self-inflection, finite but unbounded. It (also) does not really matter whether we suggest that the symbols did or did not possess some deeper a priori bond beyond being visual “words” in a shared vocabulary of concepts and meaning. A dissonance and surprise of novelty represents an effervescent sparkle of information and light in the (otherwise) darkness of blind and largely meaningless cultural self-replication. These too, like embers, fade in time and it is only in these shadows and dusky twilights of experience and dulled memory that new lights could ever (once again) appear brilliant.