tag:blogger.com,1999:blog-91834917819826612422024-03-05T01:59:39.105-08:00Camera ObscuraMichael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comBlogger23125tag:blogger.com,1999:blog-9183491781982661242.post-26291730360331394972020-07-02T08:16:00.275-07:002021-07-06T07:19:55.373-07:00Post # 23<br />
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The Poetics of Voice</span><br />
<br /><span style="color: red; font-size: large;">"with appreciation to Lawrence Lipking," </span><br />
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<i><span style="font-size: large;"> </span><span style="color: #444444; font-size: large;"> The life of the Poet:</span></i><span style="color: #444444; font-size: large;"><br />
<i><span> Beginning and ending Poetic Careers</span></i><br />
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<i><span style="color: #444444; font-size: large;">" If the lives of the Poet/Artist tend to be peripheral to </span></i></div>
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<i><span style="color: #444444; font-size: large;">the insides of work, </span></i></div>
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<i><span style="color: #444444; font-size: large;">the life of the artist is often the life of the work: </span></i></div>
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<i><span style="color: #444444; font-size: large;">then to become the life of the beholder.?"</span></i></div>
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<div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit; font-size: x-large;">The artist [beholder] embracing the work </span><span style="font-family: inherit; font-size: x-large;">might recognize its autonomy?</span></div>
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Lawrence Lipking underscores the value that an artist's life might encourage vision and a poet's voice: suggesting this might also offer a rationalization, a clarity not to be mistaken for truth. A photograph's truth rests in its metadata, its formal and material rendering. With this one becomes reliant on objectivity, and as is currently suggested the presence of "fake" and the challenged rendering: bringing into question one's facility/sensitivity for both evidence and metaphor. </span></div>
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<div class="separator" style="clear: both; text-align: left;"> <span style="color: red; font-size: x-large;"><span style="font-family: inherit;">The "insides of a work"?</span></span></div>
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P</span><span style="font-family: inherit; font-size: large;">hotography's analogue negative on film or paper emulsion begins as a latent image: an image registered in the emulsion to be developed, its characteristic to be determined by silver content and directly related, sensitivity to light. Note: the actual visual quality of the image is determined by exposure control taking into account the amount of light available and the desired rendering, whether of maximum depth of field or limited through aperture/shutter speed adjustment. The development of the image determines appearance, grain structure and the subsequent aesthetic content of the image.The critical difference between this and the digital image is that the film becomes the sensor and the latent image results in a translation of 1's and 0's.</span></div>
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However, the true beginning of metadata, whether analogue or digital resides in intent. The artist's initial impulses, experiences and insight might be shaped to both the present and to the value of history and continuity. This is true to photography as to any of the creative arts. It is in the presence of the "other" that voice is initiated. </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit; font-size: large;"> </span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"> </span><i><span style="color: red;"><span style="font-size: medium;"> </span><span style="font-size: large;">So how is it that a work reveals its true self, the portrait of the self?</span></span></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbd0o5avd3ad6VDJOR3H4tMBUEYy_eR8MQDdXKz7xHtsvuJhgMSRV1c4vnq-tzeVF84-prpt9yF57ujj3m4ApxYUfTBvBbhHxjvfillezWukIIX9qSf_5krbJiSi6eyQLkfmjPRIVvXyk/s1600/_1170005_DxO-Recovered.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1264" data-original-width="1600" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbd0o5avd3ad6VDJOR3H4tMBUEYy_eR8MQDdXKz7xHtsvuJhgMSRV1c4vnq-tzeVF84-prpt9yF57ujj3m4ApxYUfTBvBbhHxjvfillezWukIIX9qSf_5krbJiSi6eyQLkfmjPRIVvXyk/s640/_1170005_DxO-Recovered.jpg" width="640" /></a></div>
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O<span style="font-family: inherit;">ne looking carefully at the above images might discern mutual elements of containment, layering and of transparency: all of which lead to an understanding for passage. The time line, day>month>year>hour>minute>second offers an initial containment, confirming a moment observed.</span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;"><i><br /></i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;"><i><br /></i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red; font-size: x-large;"><i>Part 1: The Heroics of the Banal</i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;"><i><br /></i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtsGKrx3G5ELR_xR8i5khL_jGljamH2uuxLFhNgggPyBGpSdBHY1uIC3dFUV2fZqB06YHDua6fBoSS6ANrperV8moLjfQ5zoXrSD0jPum8Dfl_Dcz2h5vWzdelos1f7g6c3jk3_QK0xqo/s2048/_2070001-a12-1bRecovered-Recovered.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1601" data-original-width="2048" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtsGKrx3G5ELR_xR8i5khL_jGljamH2uuxLFhNgggPyBGpSdBHY1uIC3dFUV2fZqB06YHDua6fBoSS6ANrperV8moLjfQ5zoXrSD0jPum8Dfl_Dcz2h5vWzdelos1f7g6c3jk3_QK0xqo/w640-h500/_2070001-a12-1bRecovered-Recovered.jpg" width="640" /></a></div><br /><i><br /></i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: white;"><span style="color: #333333; font-family: inherit; font-size: large;">The Jacob M. Lowy Collection is Canada's national treasure of old and rare Hebraic and Judaica. Its intellectual scope spans religious, scientific, historical and philological thought emanating from presses in North America, Europe, Africa and Asia. It now comprises approximately 3000 volumes printed between the 15th and 20th centuries.</span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: white;"><span style="color: #333333; font-family: inherit; font-size: large;"><br /></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: white;"><span style="color: #333333; font-family: inherit; font-size: large;"><i>Friends of Library Archives Canada</i></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: white;"><span style="color: #333333; font-family: inherit; font-size: large;"><i><br /></i></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: white;"><span style="color: #333333; font-family: inherit; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixY3Ttjh-GLzLl44AxeJQ0OrpCBwVPidxy8WIuRvF63KQbIFgSV41AL0a3SmzGWYcWJth_r_nyvJ-Jpm20G1U_OhqN_H4dYkyG7czHkQYALx4-myHCVey7T9AOXzYoD6Ba7zQl9Bdp9dQ/s2048/_1240024_-1DxO.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1622" data-original-width="2048" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixY3Ttjh-GLzLl44AxeJQ0OrpCBwVPidxy8WIuRvF63KQbIFgSV41AL0a3SmzGWYcWJth_r_nyvJ-Jpm20G1U_OhqN_H4dYkyG7czHkQYALx4-myHCVey7T9AOXzYoD6Ba7zQl9Bdp9dQ/w640-h506/_1240024_-1DxO.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVJtZyy1k8pGyO79e9uNPIhJ-Nvqi5CfVSviNjn8vCFVyfZTuo6jqbhuQFKJZYASBdYLANFKAhagN5vLE6q2enrVV-TUufhmwnQuC0BUBESEn9U-SUx2_CEkePAx0WNrreOmEXi3UuhC8/s2807/_3230215+%25282%2529_-22x17DxO.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1120" data-original-width="2807" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVJtZyy1k8pGyO79e9uNPIhJ-Nvqi5CfVSviNjn8vCFVyfZTuo6jqbhuQFKJZYASBdYLANFKAhagN5vLE6q2enrVV-TUufhmwnQuC0BUBESEn9U-SUx2_CEkePAx0WNrreOmEXi3UuhC8/w640-h256/_3230215+%25282%2529_-22x17DxO.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: white;"><span style="color: #333333; font-family: inherit; font-size: large;"><br /></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="background-color: white;"><span style="color: #333333; font-family: inherit; font-size: large;"> The above three works introduce the still life as a staging for thought.</span></span></div> </span><span style="font-size: large;"><span style="color: #333333; font-family: inherit;"> </span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span><span style="font-family: inherit; font-size: large;"><span style="background-color: white;"><span><div class="separator" style="clear: both; color: red; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZcx343KmlUmM3noFzlDss_FOfJhJeqn3Rr0j0CBBnPEvtI3vx2u4RlqbMZ5ucy9FULCgcL6ixu312m4p7OcW3t9XuunCmnPwYyuHwFaPUieagEezy0gLk3dPdt3pi543a72tPUjcXsw/s2048/_1170021-1_DxO.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1658" data-original-width="2048" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZcx343KmlUmM3noFzlDss_FOfJhJeqn3Rr0j0CBBnPEvtI3vx2u4RlqbMZ5ucy9FULCgcL6ixu312m4p7OcW3t9XuunCmnPwYyuHwFaPUieagEezy0gLk3dPdt3pi543a72tPUjcXsw/w640-h516/_1170021-1_DxO.jpg" width="640" /></a></div><br />All this might lead one to pay attention to the privacy of knowledge and the value for empathy. It is true that to give value to another, one must first value the self, not a self portrait but a portrait of the self.</span></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span><span style="font-family: inherit; font-size: large;"><span style="background-color: white;"><span><br /></span></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span><span style="font-family: inherit; font-size: large;"><span style="background-color: white;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8CpfyZPBcl1R33mYldC5rxIHCe85NAlvo9VDtEI_i-WRxMcP3M2t9UHAeERX4B-QG0N5oiunqq5lGoWbGjiI4V_ruuWJKPhJxzpP1oNN3ehrOIBRdnWdGq_xYgeAUppQeHT-_AjzZc_g/s2048/_4100076-final-1+complete-blog_DxO.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1606" data-original-width="2048" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8CpfyZPBcl1R33mYldC5rxIHCe85NAlvo9VDtEI_i-WRxMcP3M2t9UHAeERX4B-QG0N5oiunqq5lGoWbGjiI4V_ruuWJKPhJxzpP1oNN3ehrOIBRdnWdGq_xYgeAUppQeHT-_AjzZc_g/w640-h502/_4100076-final-1+complete-blog_DxO.tif" width="640" /></a></div><div class="separator" style="clear: both; text-align: left;"><span><span style="font-family: inherit; font-size: large;"><span style="background-color: white;"><br /></span></span></span></div>Chiaroscuro, the rendering of light to dark offers not only a quality of texture but an experience of passage in which contiguity prevails.</span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span><span style="font-family: inherit; font-size: large;"><span style="background-color: white;">Light to dark plays a drama between what is revealed, disclosed and what must remain privileged, in the interim of a conversation, there is a pause, as Lyotard suggests, a Differend, a moment of quiet reassurance within the presence of doubt.</span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span><span style="font-family: inherit; font-size: large;"><span style="background-color: white;"><br /></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span><span style="font-family: inherit; font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC0hwo8xCDu1D5lgS_sS6cdqpsEnTz50FnJMBIr4MbenceoxtWkywDgQxVU-8DpdNJlJeJKGn1mTm84ZSYEa9sCJa8KYRZ6Sgyw_fVbue5_A_N-AZUuXMsNLEmXeJs9YIY_hn2EgR4poQ/s2048/_6150026-final-1blog+image_DxO.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1607" data-original-width="2048" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC0hwo8xCDu1D5lgS_sS6cdqpsEnTz50FnJMBIr4MbenceoxtWkywDgQxVU-8DpdNJlJeJKGn1mTm84ZSYEa9sCJa8KYRZ6Sgyw_fVbue5_A_N-AZUuXMsNLEmXeJs9YIY_hn2EgR4poQ/w640-h502/_6150026-final-1blog+image_DxO.tif" width="640" /></a></div><br /><span style="background-color: white;"><br /><span><br /></span></span></span></span></div><div class="separator" style="clear: both; text-align: left;"><span><span style="color: #333333; font-family: inherit; font-size: large;"><i style="background-color: white;"><br /></i></span></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red; font-family: inherit; font-size: large;"><i><br /></i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;"><i><br /></i></span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;"><i><br /></i></span></div>
Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-33164488290784568742020-04-27T10:28:00.000-07:002020-05-02T06:29:14.470-07:00Post#22<br />
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One may notice that some images may have appeared in previous posts, an intentional gesture as an image may inform within numerous perspectives: effectively, the strength of art history and for the author/beholder an offering of extended reading.<br />
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<span style="color: blue;">Ledger, A Study in Esoterics</span><br />
<span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif;"><i><span style="color: blue;">Stations #1: Travels through the Veil of Orpheus</span></i></span><br />
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<span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif;"><i><span style="color: blue;">(Thoughts considered during Covid 19 Pandemic)</span></i></span><br />
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<span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif;">Consider waking one morning without any sense of voice , language, structure, that all you have known is swallowed in a cloud of silenced unknowing. I have only genuinely realized this once in my life, remembering very little of its immediate texture. I have however by cause always enjoyed not just the meaning of language and words, but its, their texture, tone as in music, perhaps an appreciation for implied passage, a realization, an awareness of intuitive knowing. I can only imagine now from many years distance the<i> void, that [silence]</i> would encourage.</span><br />
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<span style="background-color: white; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif;"> <i><span style="color: red;">An “I”s, eye’s perception without coherency yet a quiet urgency to construct.</span></i></span><br />
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<span style="background-color: white; color: #222222; font-family: sans-serif;">The term </span><i style="background-color: white; color: #222222; font-family: sans-serif;">ledger</i><span style="background-color: white; color: #222222; font-family: sans-serif;"> stems from the English dialect forms </span><i style="background-color: white; color: #222222; font-family: sans-serif;">liggen</i><span style="background-color: white; color: #222222; font-family: sans-serif;"> or </span><i style="background-color: white; color: #222222; font-family: sans-serif;">leggen</i><span style="background-color: white; color: #222222; font-family: sans-serif;">, meaning "to lie or lay" (Dutch: </span><i style="background-color: white; color: #222222; font-family: sans-serif;">liggen</i><span style="background-color: white; color: #222222; font-family: sans-serif;"> or </span><i style="background-color: white; color: #222222; font-family: sans-serif;">leggen</i><span style="background-color: white; color: #222222; font-family: sans-serif;">, German: </span><i style="background-color: white; color: #222222; font-family: sans-serif;">liegen</i><span style="background-color: white; color: #222222; font-family: sans-serif;"> or </span><i style="background-color: white; color: #222222; font-family: sans-serif;">legen</i><span style="background-color: white; color: #222222; font-family: sans-serif;">); in sense it is adapted from the Dutch substantive </span><i style="background-color: white; color: #222222; font-family: sans-serif;">legger</i><span style="background-color: white; color: #222222; font-family: sans-serif;">, properly "a book laying or remaining regularly in one place". Originally, a ledger was a large volume of </span><a class="mw-redirect" href="https://en.wikipedia.org/wiki/Scripture" style="background: none rgb(255, 255, 255); color: #faa700; font-family: sans-serif;" title="">scripture</a><span style="background-color: white; color: #222222; font-family: sans-serif;"> or service book kept in one place in church and openly accessible. According to </span><a href="https://en.wikipedia.org/wiki/Charles_Wriothesley" style="background: none rgb(255, 255, 255); color: #0b0080; font-family: sans-serif;" title="Charles Wriothesley">Charles Wriothesley</a><span style="background-color: white; color: #222222; font-family: sans-serif;">'s </span><i style="background-color: white; color: #222222; font-family: sans-serif;"><a href="https://en.wikipedia.org/wiki/Chronicle" style="background: none; color: #0b0080; text-decoration-line: none;" title="Chronicle">Chronicle</a></i><span style="background-color: white; color: #222222; font-family: sans-serif;"> (1538), "The curates should provide a booke of the bible in Englishe, of the largest volume, to be a ledger in the same church for the parishioners to read on."</span><br />
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<span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 14px;"><i> Avicenna, "The Book of Healing"</i></span><br />
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<span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 14px;"><i> </i> (In for repair, Library Archives, Canada, 2018}</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTkkHREbgmOrZrZvNrif4C605yXuauOZUiP4xtEvC91hwxQh4xDAa8q47HdjR3wXQRh3Wq1uukLMKt8BM-Fc4hi2rNBvI3Iy6_Nc3Kq8S6i1BwGSisrOe5HsPdb4xiUPhk4NV7vctViUs/s1600/beads.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1398" data-original-width="1170" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTkkHREbgmOrZrZvNrif4C605yXuauOZUiP4xtEvC91hwxQh4xDAa8q47HdjR3wXQRh3Wq1uukLMKt8BM-Fc4hi2rNBvI3Iy6_Nc3Kq8S6i1BwGSisrOe5HsPdb4xiUPhk4NV7vctViUs/s320/beads.jpg" width="266" /></a></div>
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<span style="color: #222222; font-family: sans-serif;"><span style="background-color: white;">How a simple string of ceramic beads, represented in the original image, used to weigh the pages down without causing damage, might proffer added insight, perhaps an understanding as to the true function of the<i> "Book of Healing".</i></span></span><br />
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<i style="color: #222222; font-family: sans-serif;"><b>The Book of Healing</b></i><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><span style="background-color: white; color: #222222; font-family: sans-serif;">(</span><a href="https://en.wikipedia.org/wiki/Arabic" style="background-image: none; color: #0b0080; font-family: sans-serif;" title="Arabic">Arabic</a><span style="background-color: white; color: #222222; font-family: sans-serif;">: کتاب الشفاء</span><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><i style="color: #222222; font-family: sans-serif;">Kitāb al-Šhifāʾ</i><span style="background-color: white; color: #222222; font-family: sans-serif;">,</span><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><a href="https://en.wikipedia.org/wiki/Latin" style="background-image: none; color: #0b0080; font-family: sans-serif;" title="Latin">Latin</a><span style="background-color: white; color: #222222; font-family: sans-serif;">:</span><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><i style="color: #222222; font-family: sans-serif;">Sufficientia</i><span style="background-color: white; color: #222222; font-family: sans-serif;">) is a</span><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><a class="mw-redirect" href="https://en.wikipedia.org/wiki/Islamic_science" style="background-image: none; color: #0b0080; font-family: sans-serif;" title="Islamic science">scientific</a><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><span style="background-color: white; color: #222222; font-family: sans-serif;">and</span><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><a href="https://en.wikipedia.org/wiki/Early_Islamic_philosophy" style="background-image: none; color: #0b0080; font-family: sans-serif;" title="Early Islamic philosophy">philosophical</a><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><a href="https://en.wikipedia.org/wiki/Encyclopedia" style="background-image: none; color: #0b0080; font-family: sans-serif;" title="Encyclopedia">encyclopedia</a><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><span style="background-color: white; color: #222222; font-family: sans-serif;">written by</span><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><a href="https://en.wikipedia.org/wiki/Avicenna" style="background-image: none; color: #0b0080; font-family: sans-serif;" title="Avicenna">Abu Ali ibn Sīna</a><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><span style="background-color: white; color: #222222; font-family: sans-serif;">(Avicenna) from medieval Persia, near</span><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><a href="https://en.wikipedia.org/wiki/Bukhara" style="background-image: none; color: #0b0080; font-family: sans-serif;" title="Bukhara">Bukhara</a><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><span style="background-color: white; color: #222222; font-family: sans-serif;">in</span><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><a class="new" href="https://en.wikipedia.org/w/index.php?title=Maverounnahr&action=edit&redlink=1" style="background-image: none; color: #a55858; font-family: sans-serif;" title="Maverounnahr (page does not exist)">Maverounnahr</a><span style="background-color: white; color: #222222; font-family: sans-serif;">. Also called</span><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><i style="color: #222222; font-family: sans-serif;">The Cure</i><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><span style="background-color: white; color: #222222; font-family: sans-serif;">it is intended to "cure" or "heal" ignorance of the soul. Despite its title, it is not concerned with medicine; Avicenna's earlier</span><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><i style="color: #222222; font-family: sans-serif;"><a href="https://en.wikipedia.org/wiki/The_Canon_of_Medicine" style="background-attachment: initial; background-clip: initial; background-image: none; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #0b0080; text-decoration-line: none;" title="The Canon of Medicine">The Canon of Medicine</a></i><span style="background-color: white; color: #222222; font-family: sans-serif;"> </span><span style="background-color: white; color: #222222; font-family: sans-serif;">in 5 volumes had been medical.</span><br />
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This book is Ibn Sina's major work on <a href="https://en.wikipedia.org/wiki/Science" style="background: none; color: #0b0080; text-decoration-line: none;" title="Science">science</a> and <a href="https://en.wikipedia.org/wiki/Philosophy" style="background: none; color: #0b0080; text-decoration-line: none;" title="Philosophy">philosophy</a>. He probably began to compose the <i>al-Shifa</i> in 1014, completed it around 1020,<sup class="reference" id="cite_ref-Shifa_1-0" style="line-height: 1; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/The_Book_of_Healing#cite_note-Shifa-1" style="background: none; color: #0b0080; text-decoration-line: none;">[1]</a></sup> and published it in 1027.<sup class="reference" id="cite_ref-Goodman_2-0" style="line-height: 1; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/The_Book_of_Healing#cite_note-Goodman-2" style="background: none; color: #0b0080; text-decoration-line: none;">[2]</a></sup><sup class="reference" id="cite_ref-Goodman2_3-0" style="line-height: 1; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/The_Book_of_Healing#cite_note-Goodman2-3" style="background: none; color: #0b0080; text-decoration-line: none;">[3]</a></sup></div>
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The book is divided into four parts: <a href="https://en.wikipedia.org/wiki/Logic" style="background: none; color: #0b0080; text-decoration-line: none;" title="Logic">logic</a>, <a href="https://en.wikipedia.org/wiki/Natural_science" style="background: none; color: #0b0080; text-decoration-line: none;" title="Natural science">natural sciences</a>, mathematics (a <a href="https://en.wikipedia.org/wiki/Quadrivium" style="background: none; color: #0b0080; text-decoration-line: none;" title="Quadrivium">quadrivium</a> of <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Islamic_mathematics" style="background: none; color: #0b0080; text-decoration-line: none;" title="Islamic mathematics">arithmetic, geometry</a>, <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Islamic_astronomy" style="background: none; color: #0b0080; text-decoration-line: none;" title="Islamic astronomy">astronomy</a>, and <a href="https://en.wikipedia.org/wiki/Music" style="background: none; color: #0b0080; text-decoration-line: none;" title="Music">music</a>), and <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Islamic_metaphysics" style="background: none; color: #0b0080; text-decoration-line: none;" title="Islamic metaphysics">metaphysics</a>.<sup class="reference" id="cite_ref-Goodman2_3-1" style="line-height: 1; white-space: nowrap;"><a href="https://en.wikipedia.org/wiki/The_Book_of_Healing#cite_note-Goodman2-3" style="background: none; color: #0b0080; text-decoration-line: none;">[3]</a></sup> It was influenced by ancient <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Greek_philosophy" style="background: none; color: #0b0080; text-decoration-line: none;" title="Greek philosophy">Greek philosophers</a>, such as <a href="https://en.wikipedia.org/wiki/Aristotle" style="background: none; color: #0b0080; text-decoration-line: none;" title="Aristotle">Aristotle</a>, <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Hellenistic_civilization" style="background: none; color: #0b0080; text-decoration-line: none;" title="Hellenistic civilization">Hellenistic</a> thinkers such as <a href="https://en.wikipedia.org/wiki/Ptolemy" style="background: none; color: #0b0080; text-decoration-line: none;" title="Ptolemy">Ptolemy</a>, earlier <a href="https://en.wikipedia.org/wiki/Science_and_technology_in_Iran" style="background: none; color: #0b0080; text-decoration-line: none;" title="Science and technology in Iran">Persian</a> and <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Islamic_science" style="background: none; color: #0b0080; text-decoration-line: none;" title="Islamic science">Muslim scientists</a> and <a href="https://en.wikipedia.org/wiki/Early_Islamic_philosophy" style="background: none; color: #0b0080; text-decoration-line: none;" title="Early Islamic philosophy">philosophers</a> such as <a href="https://en.wikipedia.org/wiki/Al-Kindi" style="background: none; color: #0b0080; text-decoration-line: none;" title="Al-Kindi">Al-Kindi</a> (Alkindus), <a href="https://en.wikipedia.org/wiki/Al-Farabi" style="background: none; color: #0b0080; text-decoration-line: none;" title="Al-Farabi">Al-Farabi</a> (Alfarabi) and <a class="mw-redirect" href="https://en.wikipedia.org/wiki/Ab%C5%AB_Rayh%C4%81n_al-B%C4%ABr%C5%ABn%C4%AB" style="background: none; color: #0b0080; text-decoration-line: none;" title="Abū Rayhān al-Bīrūnī">Abū Rayhān al-Bīrūnī</a>.</div>
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The common thread,<i> a silent interior</i> connecting these thoughts/ images might provide an empathy for continuity, passage, and, with an added reference to metaphysics, abstract concepts concerned with knowing and being. It may also suggest the principles of contiguity, critical in our contemporary digital realm.</div>
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Esoteric thought is understood to be of a specialized or limited community, but can also be associated with or as an agent for introspective musing. It is directly associated with allegory and storytelling.</div>
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<span style="color: #222222; font-family: sans-serif;">The anonymous</span><i style="color: #222222; font-family: sans-serif;"> Ledger</i><span style="color: #222222; font-family: sans-serif;"> submitted to Library Archives, Canada, 2017, for repair is in the traditional definition of a ledger, a regional catalog, registering transactions for reference and historical record. This catalog experienced serious damage, the result of aging and other circumstances. It however, also becomes a muse offering evidence not as fact but as a trace, vulnerable to conviction, certainty and loss..</span><br />
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<span style="color: #222222; font-family: sans-serif;"><span style="font-size: 14px;"> ( Drawings by Hilde Schreier)</span></span><br />
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<span style="color: #222222; font-family: sans-serif;"><br /></span><span style="color: #222222; font-family: sans-serif;">With profound subtlety Joy Kogawa introduces the reader in "Obasan's" chapter 15, to a clarity of thought and experience garnered by anyone having experienced exile: that anonymous space wherein any previous archive becomes vulnerable and doubt reigns supreme. </span><br />
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<i>" I am SOMETIMES NOT CERTAIN WHETHER IT IS A CLUTTERED ATTIC in which I sit, a waiting room, a tunnel, a train. There is no beginning and no end to the forest, or the dust storm, no edge from which to know where the clearing begins. Here, in this familiar density, beneath this cloak, within this carapace, is the longing within the darkness."</i></div>
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Joy Kogawa, from "Obasan"</div>
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Exile, A Literary Quarterly</div>
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Volume 8 1 & 2<br />
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<span style="font-size: 14px;"> "terminus ad quem,"</span><br />
<span style="font-size: 14px;"> <u>the point at which something ends or finishes</u></span>
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<span style="font-size: 14px;"> </span> Leaving Vienna Austria for Canada, circa; 1953<br />
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<i>(from emigrant > immigrant)</i><br />
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<i> See Camera Obscura Post #1, January 21, 2016</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLIP725qmW2zf-ALrdIyEBz9JBGqWaf_A_tA0JnDA2exHWZFMhhqt9zj80xhCwjlG-ODnScLisXhsioNbwgddKWGGw0HmKQ8pb95bahhnYNUhUjcJQvDdys-qq5ho2YCMQNbHbg9_KDWI/s1600/1comp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1295" data-original-width="1600" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLIP725qmW2zf-ALrdIyEBz9JBGqWaf_A_tA0JnDA2exHWZFMhhqt9zj80xhCwjlG-ODnScLisXhsioNbwgddKWGGw0HmKQ8pb95bahhnYNUhUjcJQvDdys-qq5ho2YCMQNbHbg9_KDWI/s640/1comp.jpg" width="640" /></a></div>
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( Note:</div>
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<i>In the reading of the above image, 13..12..17, 11..38..33, (the numbers indicate metadata time line of the photograph as day/month/year/ hour/minute/second), one becomes aware that the photograph "Am Schiff" was taken 64 years earlier, and yet as author of this work I am aware of the influence of time, one moment informing the other. Initially, I as a young boy would, as a senior artist 64 years later offer this layout within my body of work.)</i><br />
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<span style="text-align: justify;"><span style="font-size: 14px;"> </span> ( Cursor on image for referenced detail )</span></div>
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<span style="text-align: justify;">Details of a topographic map offering location, villages depth soundings of the St. Laurence river.</span></div>
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<u>Index for Reading</u></div>
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<li>To understand space in between</li>
<li>To question means to break, it means to set up on the inside and on the outside.</li>
<li>Does one first of all have to find oneself in a state of rupture?</li>
<li>Transition between textures.</li>
<li>Nuance resonated/resonance nuanced.</li>
<li>Ledger is about a loss of presence and its recognition: an oxymoron</li>
<li>To illustrate the experience of seeing and thinking.</li>
<li>The serendipity of an idea connected to work, in George Steiner's <i>Bluebeard's Castle,</i>an understanding that history informs the value of continuity and that trace is both of the tragic and the sublime.</li>
<li>A surface underscored by depth, the hidden and the implied, from the past, the present never attained, and future always speculative, where present is never present.</li>
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<span style="text-align: justify;">Movement within a still image always occurs at the edge of any of its elements. This is true for painting,printmaking, drawing and the reading of a book. It is the beholder's responsibility to connect, assisted by visual clues, gesture, color, perspective, associations that might occur between elements providing passage throughout the still work. Depending on associations that are made the visual passage may be between foreground, middle ground and distance, depth of field, movement vertical horizontal or left to right. Where texture and luminosity might imply the presence of a subsurface, the difference between glass ,air, and water. Then, the two associates, abstraction and objectivity may complete a profound rendering of containment.</span></div>
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<span style="text-align: justify;">Consider the reference to containment in the above image, whether the converging lines leading us to an anonymous conversation, the content of which is not revealed, the reading of a paper as one passes by and the presence of a chair inviting the beholder to rest for a moment, speculating for us what might be contained outside the frame. Body language and gesture might offer some insight, yet a rational narrative is not available. What is privileged remains. If one is to view one of the elements listed above, what happens to our awareness of the presence of the other's insignificance? So it is through formal framing that hierarchy is established. Cursor on the image of the ledger and one becomes aware the depth of the surface of the paper as all marks as in a painting are effectively similarly registered. In concert, and with the introduction of a glaze, the painter is able to separate and suggest the depth of an underlying space. It becomes clear that every element nurtured in an image embraces a portal offering a deeper and more profound reflection, identity.</span></div>
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<span style="text-align: justify;">"<i>A brief glance... the speaker embraces voice: entr"acte.</i></span></div>
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<span style="text-align: justify;">She is encircled by silences, unanswered, incomplete and never pure. </span></div>
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<span style="text-align: justify;">As the storyteller, she anticipates thought's final concert. </span></div>
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<span style="text-align: justify;">And yet, </span></div>
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<span style="text-align: justify;">she appears reluctant within this proscenium of solemnity </span></div>
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<span style="text-align: justify;">as she reflects </span><span style="text-align: justify;">on a prospective ending </span></div>
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<span style="text-align: justify;">to this conversation, </span></div>
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<span style="text-align: justify;">although certainly her musings might confirm a shared experience. </span></div>
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<span style="text-align: justify;">Offering both a celebration and its rejection, from the analytical to the sublime, </span></div>
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<span style="text-align: justify;">from the privatized to the social and then to return,</span></div>
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<span style="text-align: justify;"> she understands that the remnant's of an actor's memory might garner </span></div>
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<span style="text-align: justify;">further disturbances in reading. </span></div>
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<span style="text-align: justify;"><i>Nervous and wearied by silence's exacting pulse she begins.</i></span></div>
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<span style="text-align: justify;"><span style="font-size: x-small;">Vienna, City of Thoughts</span></span></div>
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<span style="text-align: justify;"><span style="font-size: x-small;">2010, Michael Schreier </span></span></div>
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<span style="text-align: justify;">( Camera Obscura Post #20)</span></div>
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...from the heart's Eolian wind-song:</div>
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With ice blue tears, cloistered by the sounds of another's epoch,</div>
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the most isolated individuals recognize that they must share the same virtual position, </div>
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as they enter the act of the mind...</div>
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and then in the beginning and as the curtain rises, </div>
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silence offers a portal to thought. </div>
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Yet, and even then, it may occupy that nuanced moment resonant between reverie and word...</div>
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<span style="color: red;">Tears for an Empty Desert</span></div>
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<span style="color: red;">Michael Schreier, 2009</span></div>
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<span style="color: red; font-size: large;">...tsror...</span></div>
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(Hebrew, means pebble)</div>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-67904257118316491222019-10-27T08:52:00.000-07:002020-01-15T08:13:27.446-08:00Commedia: towards an utterance for voice, with apologies to Dante.<div class="separator" style="clear: both; text-align: center;">
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<span style="font-weight: normal;"><span style="font-size: large;"><i>...But here I can't be silent; and by the notes</i></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: large;"><i>Of my Commedia, Reader, I do swear,</i></span></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">So that they might not be deprived of lasting fame,</span><span style="font-family: inherit;"><br /></span></i></span></div>
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<span style="font-size: large;"><i><span style="font-family: inherit;">I saw...</span></i></span></div>
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<span style="font-family: inherit;">Dante:</span><br />
<span style="font-family: inherit;"><i>Inferno, XVI:124-30</i></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwqnrJk-6H0m8gqFz0tQHWfqXxc76Ta7y2SonfBCEOtxgQUDijDN7MilPVeHy4y6ubS5tud03824jEN4gJhB9ZtwzHB-p5dlz9OlwAG7yVzB_dpPdlsIEGhh8S4YY3xUBabN7O0y2WFl8/s1600/_C130006apctif.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1254" data-original-width="1600" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwqnrJk-6H0m8gqFz0tQHWfqXxc76Ta7y2SonfBCEOtxgQUDijDN7MilPVeHy4y6ubS5tud03824jEN4gJhB9ZtwzHB-p5dlz9OlwAG7yVzB_dpPdlsIEGhh8S4YY3xUBabN7O0y2WFl8/s640/_C130006apctif.jpg" width="640" /></a></div>
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<span style="font-size: large;">... the narrator's assertion for something seen, could offer an awareness </span><span style="font-size: large;"> </span></div>
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<span style="font-size: large;">and </span></div>
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<span style="font-size: large;">although, </span><span style="font-size: large;">perhaps </span><span style="font-size: large;">{embraced by some level of<i> hubris}</i></span><i style="font-size: x-large;">, </i></div>
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<span style="font-size: large;">a conviction towards truth.</span></div>
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<i style="text-align: center;"><span style="font-size: large;"> <strike>" Utterance"</strike> = </span></i><span style="font-size: large;">(a word or a drawing) = a sentence or a drawing?</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7jbHEJ5gbqpkAZg84MnjU7v2Dz8HUCFfiZABGJHsiFgsTjThBjJ5BAGYvy8ttjjcbkQAtTWTpYdQTvSppx9d-VVUJqG_-XvqG1X0MZjDRVOI0pl0dJgXWcKGHVxhZPPvcYGvfrjJdlig/s1600/4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="764" data-original-width="1600" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7jbHEJ5gbqpkAZg84MnjU7v2Dz8HUCFfiZABGJHsiFgsTjThBjJ5BAGYvy8ttjjcbkQAtTWTpYdQTvSppx9d-VVUJqG_-XvqG1X0MZjDRVOI0pl0dJgXWcKGHVxhZPPvcYGvfrjJdlig/s640/4.jpg" width="640" /></a></div>
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<span style="font-size: large;">Edmond Jabes,<i> (From the Desert to the Word, Ecrit,Recit) </i>plays with the meaning of "commentaire" simply by suggesting a reading of </span><span style="font-size: large;">{comment taire} and in doing so reveals a much subtler implication, that in offering a commentary one silences previous meaning. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg02mP0pQB47XqxuHKF6M9Sz5LyavIuxGyrvEbzqMtWLpXWYbWQofNkXsPKZNNxCZEEOvG85vLpUVc3MsYIX8XIUCo9DxeXUQKoIrWyF5r04Lp9NmhsWt_TUZiUBmZ-49fe_5BUEPAA85A/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="652" data-original-width="1600" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg02mP0pQB47XqxuHKF6M9Sz5LyavIuxGyrvEbzqMtWLpXWYbWQofNkXsPKZNNxCZEEOvG85vLpUVc3MsYIX8XIUCo9DxeXUQKoIrWyF5r04Lp9NmhsWt_TUZiUBmZ-49fe_5BUEPAA85A/s640/5.jpg" width="640" /></a></div>
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<span style="font-size: large;">Gerhard Richter`s drawing "tisch" (table) reflects both a presence and a loss, an eliminated conversation, or traces from an unwritten tablet, reminisces of the Rauchenberg-Dekooning exploits into erasure. </span><span style="font-size: large;">However, as erasure might play a critical role regarding current perspectives on evidence, objective thought and the authority of voice, and that history is not repeated but restructured, either for expediency or as an attempt at manipulative closure, than grace for wonder, thought and introspective musings will remain suspect or at the least vulnerable. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUarUiGNcVacacnFDG4r6mJRCp5LPyh4JrfirJ6Z-Dl0ZOPI98yGYiKdQjKVOk3se0gS6j6uXjXVhIbVyxTZVCh4ECuGkaI530wdAKkdud3Q_kqW1SjKlvzJwXcXDZbeLxbeSFw3n_nCc/s1600/6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="628" data-original-width="1600" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUarUiGNcVacacnFDG4r6mJRCp5LPyh4JrfirJ6Z-Dl0ZOPI98yGYiKdQjKVOk3se0gS6j6uXjXVhIbVyxTZVCh4ECuGkaI530wdAKkdud3Q_kqW1SjKlvzJwXcXDZbeLxbeSFw3n_nCc/s640/6.jpg" width="640" /></a></div>
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<span style="font-size: large;"><span style="font-size: large;">Certainly humankind's challenge of complicity within a genocide of any kind, whether regional, national or global, and echoed in such events surrounding the Holocaust, Rwanda or national crisis, for example arising from America`s McCarthyism or Canada's own struggle with the aboriginal community regarding reconciliation might govern the vulnerability of reflective thought. One might consider that any</span><span style="font-size: large;"> such erasure would suggest an agency`s </span>culpability.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVkIzllyc5K3bwQwMsO_jdkZ2QgzqRTbuX16aVGf8pj1n7H4Rai1VAM9F2-goktsJLjgVb76avGdBA24tJiX0s_rW-4oA7xTW-5qSG0FMYZ3KBh0ovqYZ2BQsJvMQG143amlXUaC99BNg/s1600/7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="710" data-original-width="1600" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVkIzllyc5K3bwQwMsO_jdkZ2QgzqRTbuX16aVGf8pj1n7H4Rai1VAM9F2-goktsJLjgVb76avGdBA24tJiX0s_rW-4oA7xTW-5qSG0FMYZ3KBh0ovqYZ2BQsJvMQG143amlXUaC99BNg/s640/7.jpg" width="640" /></a></div>
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<span style="font-size: large;">Reconsidering Richter's "Tisch" from a more reasonable, gracious and perhaps even altruistic perspective, one can realize that any introduction of gesture within a work offers both an editing of and an extension towards meaning: initially embraced by the artist as a continuing and reflective conversation until the work's completion, and then by the beholder's subsequent recognition, reading and understanding</span><span style="font-size: large;">.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTMcQNuThS93ZpwTTp49nRtszM6t-v81DXRBdlsnYikbtQtePOtU7CdtHsdNlDfCxLtcH5hyvOKXLJHmPGJXlZWU6X5-Yezu5cnRV-3PSyTxnmm9paYXUto4TMz83sq37TDowCIJU51u0/s1600/8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1258" data-original-width="1600" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTMcQNuThS93ZpwTTp49nRtszM6t-v81DXRBdlsnYikbtQtePOtU7CdtHsdNlDfCxLtcH5hyvOKXLJHmPGJXlZWU6X5-Yezu5cnRV-3PSyTxnmm9paYXUto4TMz83sq37TDowCIJU51u0/s640/8.jpg" width="640" /></a></div>
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<span style="font-size: large;">It begs the very real question, what is the space of a work?</span><br />
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<span style="font-size: large;">The boundaries of a work contrary to the motion picture, is finite, complete. Governed by its texture and even though during its production an artist/author may introduce additional subsequent gestures, the final work is a static amalgam of such. Primarily, reflective thought coordinates an artist's realization and as a work progresses its authority and autonomy is realized.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbaIw67Z9PtwwfmT-O8A0_GNqcvn2sdyBCu5sxCKB0L8YIXdreCc4tVpbksIXqD6NRbNJ7zWFFDkNI1VekIk7kJBImoy9XBB0OoA6ITAeL1k4XKWZr7Xlv09AwcFeol4YLmSkNnCX2OSs/s1600/9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="1600" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbaIw67Z9PtwwfmT-O8A0_GNqcvn2sdyBCu5sxCKB0L8YIXdreCc4tVpbksIXqD6NRbNJ7zWFFDkNI1VekIk7kJBImoy9XBB0OoA6ITAeL1k4XKWZr7Xlv09AwcFeol4YLmSkNnCX2OSs/s640/9.jpg" width="640" /></a></div>
<span style="font-size: large;"><br /></span>Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-60139365637112378752019-01-03T07:12:00.002-08:002019-03-03T08:22:34.374-08:00<h2>
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<span style="font-family: inherit;"><span style="font-family: inherit; font-size: large;"><i>all illustrations by Michael Schreier unless otherwise acknowledged.)</i></span></span></div>
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<span style="font-family: inherit; font-size: x-large;">In Concert for the Silent Witness: </span><span style="font-family: inherit; font-size: x-large;">...an authorization to voice...</span></div>
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<span style="font-family: inherit; font-size: large;"><i>( note, to view Heath video, cursor on highlighted title.)</i></span></span></div>
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<span style="font-family: inherit; font-size: large;">In the beginning of<i>...<a href="https://www.youtube.com/watch?v=HK6eXSsbtOs&t=79s" target="_blank">Dave Heath, in concert for the silent witness,post#19</a>...</i> we are introduced to a family snapshot used by Dave Heath in the original poster for his seminal work, </span><br />
<span style="font-family: inherit; font-size: large;"><i> </i></span><br />
<span style="font-family: inherit; font-size: large;"><i> Le Grand album Ordinaire, </i></span><br />
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<span style="font-family: inherit; font-size: large;"> <span style="font-family: inherit;"> accompanied by Montaigne's famous quote</span></span><br />
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<span style="font-family: inherit; font-size: medium; text-align: center;"> "</span><i style="font-family: inherit; font-size: x-large; text-align: center;">We are all of the common herd,</i></div>
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<i style="font-family: inherit; font-size: x-large; text-align: center;"> ( et nous sommes tous du vulgaire)" .</i></div>
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<span style="font-family: inherit; font-size: large;">While having encouraged our reflection into humanity's gesture he also proffered a singular understanding and appreciation for continuity.</span></div>
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<i style="font-family: inherit; font-size: x-large;">Where however, does one initiate such a journey?</i></div>
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<span style="font-family: inherit; font-size: large;">(See post #12, reference to Temes and boy in the doorway)</span></div>
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<span style="font-family: inherit; font-size: large;"><i>On May 3, 2016, 12:23 pm Dave Heath wrote:</i></span><br />
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<span style="font-family: inherit; font-size: large;">i'm not sure my readings are astute.it is of interest that some find the work</span></i><br />
<span style="font-family: inherit; font-size: large;"><i>"obfuscating". i do not find that so. for me, it is the density of your thinking which i often find difficult to enter.</i></span><br />
<span style="font-family: inherit; font-size: large;"><i>you are more of a "philosopher",word oriented. thinking that is dense like celan, like the 20th century atonal music that you like. i have sometimes wondered if the structure of your thinking is based on the density of your first language, German. i have often wondered that the books from my library that you read from are books of ideas/words, of some poetry(celan, jabès) but not others, nothing from the visual books. i have long said that photographers enter the medium through one of two doors:text (for instance nathan, (lyons)) or visual aesthetic, (Weston, Edward)</i></span><br />
<i style="font-family: inherit;"><span style="font-size: large;">to wit, from your blog:</span></i><br />
<span style="font-family: inherit; font-size: large;"><i>i am more inclined to see clifford still in "temes"</i></span><br />
<i style="font-family: inherit;"><span style="font-size: large;">walker's photo structurally is of clarity and precision, like the grid layouts of philly and manhattan...like his subway series "many are called" wherein the quotidian populace live "lives of quiet desperation. i took his photo as the basis of "beyond the gates of eden"</span></i><br />
<i><span style="font-size: large;">t<span style="font-family: inherit; font-size: medium;">hough I may often find it difficult to enter your thought, I have always thought you brilliant, continue the work as you live it</span></span></i><br />
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<span style="font-family: inherit; font-size: large;"><i>regards, dave</i></span><br />
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<span style="font-family: inherit; font-size: large;"><i>studio<span style="font-family: inherit;">,Walker Evans</span>,>temes</i></span></div>
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<span style="font-size: large;">see: Susan Blackmore <a href="https://www.ted.com/talks/susan_blackmore_on_memes_and_temes?language=en" target="_blank">Temes, Susan Blackmore</a></span><br />
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<span style="font-family: inherit; font-size: large;"> Clifford Still, 1944-N No 2</span><br />
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<span style="font-family: inherit; font-size: large;"><i style="font-family: inherit;">My answer:</i></span><br />
<span style="font-family: inherit; font-size: large;"><i>May 3, 2016, 12:52 pm</i></span><br />
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<span style="font-family: inherit; font-size: large;"><i>Thank you for your kind thoughts and insight...I do read a great deal from the visual section of your library...it certainly sources/influences my work...but I suspect at this point in my life/thinking I am deeply involved with two specific notions, that of doubt and the other, an authority for voice. When I see the profundity of your insight, in your work, and others, I question whether I have anything of real substance to offer...Temes to me underscores a confusion that I have sometimes speculated is part of the "Story of Babel" for in that myth rests not only the notion of language but the privilege to utterance and the struggle for source...What has always struck me about the Evans photograph and his work is the depth to which he goes in recognizing the integrity of the vernacular and the anonymous. I see the window display as a tower built on the subtlety of trace and individual gesture. I also certainly absorb Nathan's text and Weston's visual aesthetics but for me there is a much deeper reflection and that is the right to existence and continuity, that in my own being I find I am challenging. Similar to my experience when one has a deep sense of loss, the very nature of validity is challenged. I have no memory other than through the story's that my parents told me, of my early years in Vienna...and when I came to Canada I could not speak as I did not yet have the language,</i></span><br />
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<span style="font-family: inherit; font-size: large;"><i><br /></i></span>
<span style="font-family: inherit; font-size: large;"><i> "schwimmen ohne worte"</i></span><br />
<span style="font-family: inherit; font-size: large;"><i> ( swimming without words )</i></span>
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<span style="font-size: large;"><i style="font-family: inherit;">...that little boy in th</i><i style="font-family: inherit;">e doorway...</i></span><br />
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<span style="font-size: large;"><i>is of me the first day that I could actually, in English tell and share with my father, my day's events...previously and until that day, he would not listen if I spoke in German...the link to atonal music, to the theater of the absurd, my appreciation of DAda and my understanding of Duchamp's contribution and numerous other elements stem from these early ruminations. Out of coincidence, the first and only play that I directed...The Bald Soprano by Ionesco, was his first play that he wrote to learn English...the humor and contradictions are the result of that dilemma...I am also a deep fan of Clifford Still...currently listening to Arnold Schoenberg...I find your work "Beyond the Gates of Eden" a very quiet reference to the "Tower of Babel" and the, as you suggest, quiet desperation of lives attempting to garner voice...your insights have always fueled the very nature of what I do and on many levels you are one of the few who really understands....</i></span><br />
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<i><span style="font-family: inherit; font-size: large;">with tender thoughts, always, Michael</span></i><br />
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<span style="font-family: inherit; font-size: large; text-align: left;">In Genesis 11:1-9 the </span><span style="font-family: inherit; font-size: large; text-align: left;">origin</span><span style="font-family: inherit; font-size: large; text-align: left;"> myth associated with the </span><i style="font-family: inherit; font-size: x-large; text-align: left;">Tower of Babel </i><span style="font-family: inherit; font-size: large; text-align: left;">illustrates that </span><span style="font-family: inherit; font-size: large; text-align: left;">man's hubris to build a tower sufficiently tall to reach "glory" would have serious consequences. Any</span><span style="text-align: left;"><span style="font-family: inherit; font-size: large;"> displacement of voice could result in a significant loss of </span><span style="font-size: large;">appreciation</span><span style="font-family: inherit; font-size: large;"> for both </span></span><span style="font-family: inherit; font-size: large; text-align: left;">place and continuity.</span></div>
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<span style="font-family: inherit; font-size: large; text-align: left;">Could this be true for the self-imposed exile?</span></div>
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<span style="font-family: inherit; font-size: large;">1. The Absent Museum</span></div>
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<span style="font-family: inherit;"><span style="font-size: large;">The dutch word "<i>afwezig</i>" translates as an <i>absence </i>and may be associated with my previous reference "<i>umsiedlung</i>," </span></span><span style="font-family: inherit;"><span style="font-size: large;">translated as a rupture in post</span><span style="font-size: large;"> #18. I would like to suggest that an </span></span><span style="font-family: inherit; font-size: large;">absence, in which language is severed from its origin, although audible, would offer little refuge for the outsider. </span><br />
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<span style="font-family: inherit; font-size: large;">The <i>Tower of Babel </i>represented on an ancient Iraqi tablet with its companion, the origin myth suggest that each generation has embraced an understanding beyond it's pragmatics of circumstance. Approaching a higher perhaps even sacred calling, the creation of language and its ensuing celebration allowed for speculation and doubt, [while reliant upon the absorption of the immediate experience] a metaphor could encourage the discipline for storytelling; then enfranchised, language could rest concurrently with experience and knowledge.</span></div>
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<span style="font-family: inherit; font-size: large;">In considering the photograph of the young boy in the doorway, can one substitute " <i>in the beginning was the word "</i> with " <i>in the beginning was the sound </i>": a vibration, approaching an utterance, from the intuitive then embracing a suggested structure and finally, the sentence? Certainly this process would require time although the initial stages might affirm some sense of the original experience. </span></div>
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<span style="font-family: inherit; font-size: large;">Any play on language and metaphor might encourage an hierarchy of experience,between the sacred and profane: from a sensitive awareness towards a conscious although speculative thought towards the richness of wonder and the existential song. An original experience offers the presence of sound, temperature, texture, light, darkness, all governed by a sentience for the immediate, yet by its nature, fluid. One selects elements within this more complex reality, to be rationalized, translated and then objectified. So, while a sculpture invites physical passage, the moving image, film, music, live theater, dance etc all determine a beginning, middle and end, all of which governed through cadence and time, offer a point of entry and exit. </span><span style="font-size: large;">The photograph and the painting however congeals all of this and while seemingly democratic, remains still. It is the beholder of the work</span><span style="font-family: inherit; font-size: large;">, determining by his or her reading of </span><span style="font-size: large;">specific</span><span style="font-size: large;"> nuance, that eventually guides oneself towards interpretation and understanding: as Wittgenstein has suggested, the <i>Muse of Possibility or the Impossibility to Muse.<span style="font-family: inherit;"> </span></i></span></div>
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<span style="font-size: large;"><span style="font-family: inherit;"> ...from <i>Babel </i>to <i>Museum</i>...</span></span></div>
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<span style="font-size: large;"><span style="font-family: inherit;">Why should any of these ruminations be of consequence? </span></span><span style="font-family: inherit; font-size: large;">They are present in any curricula dedicated to the celebration of voice. One is simply referring to an association between perception, utterance and then understanding. I find however, that in the current climate of expediency, the immediate and problem solving there seems little room </span><span style="font-size: large;">relegated</span><span style="font-family: inherit; font-size: large;"> towards genuine speculation, without which I suggest one would have little awareness of any cultural implications. and virtue. This, coupled with an overwhelming presence challenging truth in </span><span style="font-size: large;">favor</span><span style="font-family: inherit; font-size: large;"> of fake news creates a profound climate for doubt. None of this is new as we have heard the discussion for the simulacra, a post-modern declaration that truth no longer exists; so if that is true, than how can one believe?!</span></div>
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<span style="font-size: medium;"><span style="font-family: inherit; font-size: large;"> As I have previously suggested:</span></span></div>
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<span style="font-family: inherit; font-size: large;"><span style="background-color: white; text-align: justify;">...for the poet, an "umsiedlung" is the necessary rupture in order </span></span></div>
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<span style="font-family: inherit; font-size: large;"><span style="background-color: white; text-align: justify;">to provide passage and to give value to both </span></span></div>
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<span style="font-family: inherit; font-size: large;"><span style="background-color: white; text-align: justify;">the exterior and interior identity; </span></span></div>
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<span style="font-family: inherit; font-size: large;"><span style="background-color: white; text-align: justify;">f</span><span style="background-color: white; text-align: justify;">or the immigrant, refugee, and the exiled however,</span><span style="background-color: white; text-align: justify;"> </span></span></div>
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<span style="font-family: inherit; font-size: large;"><span style="background-color: white; text-align: justify;">it is also the struggle for continuity </span></span></div>
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<span style="font-family: inherit; font-size: large;"><span style="background-color: white; text-align: justify;">and </span></span></div>
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<span style="font-family: inherit; font-size: large;"><span style="background-color: white; text-align: justify;">a rightful urgency to belong.</span></span></div>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-33322126205510484712018-11-27T08:19:00.001-08:002018-11-27T08:20:03.340-08:00Post # 19<br />
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Dave Heath, A Concert for the Silent Witness<br />
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This post is a video post/work, just completed, celebrating the work and thoughts of Dave heath, Please enjoy,<br />
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<a href="https://www.youtube.com/watch?v=HK6eXSsbtOs&t=187s" target="_blank">Dave Heath, A Concert for the Silent Witness</a><br />
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MichaelMichael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-37675163700137355852018-08-03T08:20:00.001-07:002018-08-06T09:39:04.271-07:00<h3>
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<u style="font-weight: normal;"><span style="font-size: large;">Also please note any ghosted text will connect you to web link </span></u></h3>
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Post #18</span></h2>
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Umsiedlung</span></h2>
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<a class="dictLink" href="https://www.linguee.com/german-english/translation/Umsiedlung.html" rel="nofollow" style="background-color: white; color: #333333; cursor: pointer; font-family: inherit; font-size: 20px; font-weight: inherit;">Umsiedlung</a><span style="background-color: white; color: #333333; font-family: inherit; font-size: 20px; font-weight: inherit;"> </span></div>
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noun, feminine: </span></span></span><span style="color: black; font-family: "times" , "times new roman" , serif; font-size: large;"><a class="dictLink featured" href="https://www.linguee.com/english-german/translation/resettlement.html" id="dictEntry10000208006" style="cursor: pointer; line-height: 24px;">resettlement</a><span style="color: #265180; font-family: inherit; font-size: 16px; font-style: normal;"> , </span><a class="dictLink featured" href="https://www.linguee.com/english-german/translation/relocation.html" id="dictEntry10000207981" style="cursor: pointer; line-height: 24px;">relocation</a></span><i>, </i></h2>
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<span style="font-size: 20px;">(with social, geopolitical implications, a rupture, </span></h2>
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<span style="font-family: inherit; font-size: 20px; font-style: normal;">can also offer poetic, philosophical consideration.)</span><span style="color: #265180; font-family: inherit; font-size: 16px; font-style: normal;"> </span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoaHfVnsVNMx0MYLSjk3ImIjAzIGDIYsr-q6pQ7UWNi2fbPy_77d96P4py2AgWUKQC13I-fi7au-yg26P2jpPQF09QyvT8TmbXyPzN4tiJRWP2q6fqn8dk3W8l5YzwuhjP-1DuwGpE0Qc/s1600/_2260148_ap1.cDxO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1276" data-original-width="1600" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoaHfVnsVNMx0MYLSjk3ImIjAzIGDIYsr-q6pQ7UWNi2fbPy_77d96P4py2AgWUKQC13I-fi7au-yg26P2jpPQF09QyvT8TmbXyPzN4tiJRWP2q6fqn8dk3W8l5YzwuhjP-1DuwGpE0Qc/s640/_2260148_ap1.cDxO.jpg" width="640" /></a></div>
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<span class="mini_h2" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span class="form" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span class="span punctuation" style="border: 0px; box-sizing: border-box; font-family: "times" , "times new roman" , serif; font-size: large; margin: 0px; padding: 0px; word-wrap: break-word;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyVfw42t80fK0Zt6U7K2okAT1lrm-z7RgDbVykKbQZsqKfgOmhSLbOVj7_Y2r_7wPCiRGBzeC5zBua7cwjgD7zzN53iboPhEUXWKeSMg7tFLwf2cxxJYaJQS51AZMuqvaupHKo87RYw5M/s1600/2b4-.jpg" imageanchor="1" style="clear: left; float: left; font-weight: inherit; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><span style="color: #265180;"> </span></a></span></span></span><span class="mini_h2" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span class="form" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span class="span punctuation" style="border: 0px; box-sizing: border-box; font-family: "times" , "times new roman" , serif; font-size: x-large; margin: 0px; padding: 0px; word-wrap: break-word;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyVfw42t80fK0Zt6U7K2okAT1lrm-z7RgDbVykKbQZsqKfgOmhSLbOVj7_Y2r_7wPCiRGBzeC5zBua7cwjgD7zzN53iboPhEUXWKeSMg7tFLwf2cxxJYaJQS51AZMuqvaupHKo87RYw5M/s1600/2b4-.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><span style="color: black;">Photographic vision incorporates the notion of resettlement. With selective framing, the photographer simultaneously chooses to offer and to eliminate elements from their surroundings. The ensuing "umseidlung" might represent a less severe and furthermore, an existential appreciation, not associated with a political, genocidal or social upheaval</span><span style="color: black;">.</span></a></span></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpyCSKXDfvmDpEaiU3iSp29s2azJe8k-dLmgJUA2upeHrfNQ_J-6S6iZBjJNPebJN3-hC5aghSP_JC4h7DLDG_Y_U9EjaZm6Fc4lEdBsLHN3ACTkdEnqdarhYW6flSX1Gge0U71CT9L_s/s1600/8.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="459" data-original-width="349" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpyCSKXDfvmDpEaiU3iSp29s2azJe8k-dLmgJUA2upeHrfNQ_J-6S6iZBjJNPebJN3-hC5aghSP_JC4h7DLDG_Y_U9EjaZm6Fc4lEdBsLHN3ACTkdEnqdarhYW6flSX1Gge0U71CT9L_s/s640/8.jpg" width="484" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Passport Photos<br />
from a series,2018,<br />
Maggie Wesley</td></tr>
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( <a href="https://en.wikipedia.org/wiki/Boudica" target="_blank">Boudica</a>, Queen of the British Celtic Iceni tribe,)<br />
Associated, observation by James Borcoman </div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large; font-weight: inherit;">Certainly it might [in spirit], proffer a kinder, less loaded incite to resettlement: however, consider that the two be inextricably linked; an individual experiencing any sort of resettlement, either imposed or voluntary, must enter into a state/attitude of wandering as both a new territory and a sense of place may present </span><span style="font-family: times, "times new roman", serif; font-size: x-large; font-weight: inherit;">itself.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjemSnmb5JaiNEpGvJFUq4Yto52qZq7JWKbxJj5fqmHzuMncs-sU2NuIma4_gUbMilW7mjXjJXBi-wKqG-il45GN3_Y8qX-igBIPWzXW53OP5XfM6iMHzo4c2f-3PKEcoEH6ljVqkso-mU/s1600/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="573" data-original-width="848" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjemSnmb5JaiNEpGvJFUq4Yto52qZq7JWKbxJj5fqmHzuMncs-sU2NuIma4_gUbMilW7mjXjJXBi-wKqG-il45GN3_Y8qX-igBIPWzXW53OP5XfM6iMHzo4c2f-3PKEcoEH6ljVqkso-mU/s640/2.jpg" width="640" /></a></div>
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<span style="font-size: x-large;"><span style="font-family: "times" , "times new roman" , serif; text-align: left;"> Dave Heath may have been intuitively aware of the complexity that this moment could present: as the young lad quietly acknowledges, the other two pass in silent reverie; a third settles into anonymity. Consequently and beyond that sense of a captured intimate grace, the beholder could be challenged to consider his or her vicarious participation. </span></span><span style="font-size: x-large;"><span style="font-family: "times" , "times new roman" , serif; text-align: left;">We might be reminded of another classic tradition within the photograph's lexicon, </span></span><span style="font-size: x-large;"><span style="font-family: "times" , "times new roman" , serif; text-align: left;">the <i>equivalent.</i> </span></span><span style="font-size: x-large;"><span style="font-family: "times" , "times new roman" , serif; text-align: left;">For, as Heath has included this </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large; text-align: left;">image in an extended portfolio/work, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large; text-align: left;">" a </span><i style="font-family: times, "times new roman", serif; font-size: xx-large; text-align: left;">Breath of Kisses </i><span style="text-align: left;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">" </span></span><span style="font-family: times, "times new roman", serif; font-size: x-large; text-align: left;">he continued to mine that fertile arena within the contemporary zeitgeist, embracing silence, anonymity, the value of exchange: </span><span style="text-align: left;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Heath, </span></span><span style="font-family: times, "times new roman", serif; font-size: x-large; text-align: left;">proposing an urgency for acknowledgement, </span></div>
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<span style="font-family: times, "times new roman", serif; font-size: x-large; text-align: left;">[even that of the beholder].</span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large; text-align: left;">In concert, </span><span style="font-family: times, "times new roman", serif; font-size: x-large; text-align: left;">Hugh Edwards, Curator of Photography, Art Institute of Chicago has eloquently underscored, Heath's... </span><i style="font-family: times, "times new roman", serif; font-size: xx-large; text-align: left;">"A Dialogue With Solitude"...</i></div>
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<span style="text-align: left;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><i>"When we have finished with this "Dialogue With Solitude" we know another of those rare works of the last few years which contemplate humanity's weaknesses, helplessnesses, hostilities and irresistible attractions, to draw from them a new understanding which may be more lasting than our illusions." </i></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoVWLZFVSMdKlJ8iEtw8wITbpb4CKD1ZEAhEdKfxf4cbHrJCDKF7s7IPTWTCBmCoPwVLYIO4Er7n46dZUbR9O_Ko6ex-uGVOR2t85_cEJyR_04JAa_VXIccUMyg_AYdElQHjHut4RGZHI/s1600/1.jpg" imageanchor="1" style="font-weight: inherit; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="665" data-original-width="814" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoVWLZFVSMdKlJ8iEtw8wITbpb4CKD1ZEAhEdKfxf4cbHrJCDKF7s7IPTWTCBmCoPwVLYIO4Er7n46dZUbR9O_Ko6ex-uGVOR2t85_cEJyR_04JAa_VXIccUMyg_AYdElQHjHut4RGZHI/s400/1.jpg" width="400" /></a></div>
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<i style="font-weight: inherit; text-align: justify;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><span class="mini_h2" style="border: 0px; box-sizing: border-box; font-weight: inherit; margin: 0px; padding: 0px; word-wrap: break-word;"><span class="form" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span class="span punctuation" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span style="font-weight: inherit; text-align: left;">" Disenchantment, strife and anxiety enshroud our times in stygian darkness. Pressed from all sides by the rapid pace of technological progress and increased authoritarian control, many people are caught up in an anguish of alienation. Adrift and without sense of purpose, they are compelled in a dialogue with the inmost depths of their being in a search for renewal; </span></span></span></span><span style="font-weight: inherit; text-align: left;">the burden of anarchy rests heavily upon them." </span></span></i></div>
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<span class="mini_h2" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span class="form" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span class="span punctuation" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span style="font-family: "times" , "times new roman" , serif; font-weight: inherit; text-align: left;"><i><span style="font-size: x-large;">"A Dialogue with Solitude" </span></i></span></span></span></span><span style="font-family: "times" , "times new roman" , serif; font-weight: inherit; text-align: left;"><span style="font-size: x-large;">Dave Heath </span></span></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large; font-weight: inherit; text-align: left;">The street dance, a contemporary masque, </span><span style="font-family: "times" , "times new roman" , serif; font-size: x-large; font-weight: inherit; text-align: left;">[by virtue of its urban umbilical,] provides a connecting moment imbued with social import; however at the same time, its disengagement. In order to appreciate the spirit of the work, the beholder is left with the task to reassemble. In the tradition of the social landscape, </span></div>
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<i style="font-weight: inherit; text-align: left;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Lee Friedlander, Lisette Model, Tom Gibson, Gary Winogrand</span></i><span style="font-family: "times" , "times new roman" , serif; font-size: x-large; font-weight: inherit; text-align: left;"> </span><span style="font-family: times, "times new roman", serif; font-size: x-large; font-weight: inherit; text-align: left;">offer their unique perspective. </span></div>
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<a href="https://archive.org/stream/towardsocialland00lyon/towardsocialland00lyon_djvu.txt" style="font-family: inherit; font-size: x-large; font-weight: inherit; text-align: left;" target="_blank">Nathan Lyons, Towards a Social Landscape</a></div>
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<span style="font-family: inherit; font-size: x-large; font-weight: inherit; text-align: left;">Consider:</span></div>
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<span style="font-family: inherit; font-size: x-large; font-weight: inherit; text-align: left;">Balthus: circa 1933</span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-large; font-weight: inherit; text-align: left;">Robert Frank is situated somewhere in the middle, that while reflecting a country in dire emotional crisis, he commands an introspective gaze which for the most part can be attributed to the poet philosopher. </span><i style="font-weight: inherit; text-align: left;"><span style="font-size: x-large;">"The Americans"</span><span style="font-size: x-large;"> </span></i><span style="font-size: x-large; font-weight: inherit; text-align: left;">embraces a wanderer's spirit associated with the writings of Kerouac and </span><i style="font-weight: inherit; text-align: left;"><span style="font-size: x-large;">" The Beat Generation and the Angry Young Men." </span></i><span style="font-size: x-large; font-weight: inherit; text-align: left;">It is neither coincidence nor serendipity that both Frank and Heath make reference to Jack Kerouac and Allen Ginsberg, among others, </span><span style="font-size: x-large; font-weight: inherit; text-align: left;">each engrossed in the nomad's search for place, </span><span style="font-size: x-large; font-weight: inherit; text-align: left;">and a rootlessness governed by an emotional need to reject </span></span><i style="font-weight: inherit; text-align: center;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><span style="font-weight: inherit; text-align: left;">" </span><span style="font-weight: inherit; text-align: left;">the poets contradiction".</span></span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjknheHxMuH1LRWGQTf_4mcZocHP9G7uxMwYZm2cMauA_V3kBi3irnQyzOH_SFLz0xj3dDGtHSezbkI9nGLAbfIw5pv7LCyVUjLkQBZ-Bo_jV_ZwKnWkF4wJv1_LNFSYrLe4h8NGgcQ2gY/s1600/7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="834" data-original-width="1600" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjknheHxMuH1LRWGQTf_4mcZocHP9G7uxMwYZm2cMauA_V3kBi3irnQyzOH_SFLz0xj3dDGtHSezbkI9nGLAbfIw5pv7LCyVUjLkQBZ-Bo_jV_ZwKnWkF4wJv1_LNFSYrLe4h8NGgcQ2gY/s640/7.jpg" width="640" /></a></td></tr>
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Tears for an Empty Desert<br />
Michael Schreier<br />
Drawing by Hilde Schreier</td></tr>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;"><span style="text-align: left;"><span style="font-weight: inherit;">(Here, for your </span>interest is <span style="font-weight: inherit;">the live reading "<i>Howl"</i> </span></span><span style="font-weight: inherit; text-align: left;">by Allen Ginsberg:)</span></span></div>
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<i style="font-weight: inherit; text-align: left;"><a href="https://www.youtube.com/watch?v=WkNp56UZax4" target="_blank"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Howl, Allen Ginsberg</span></a></i></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large; font-weight: inherit; text-align: left;">Dave Heath, embracing an empathy for privacy and the grace of the privileged moment, nurtured his bias as both poet and witness; directing his attention to intimacy, the beholder and the beholder beheld. As the street guarantees both a point of entry and of exit, it is also a place to be seen and by virtue of a mutually understood silent agreement, to watch, both in transition and engagement; always affirming the outsider's will to participate. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Vienna, City of Thoughts, Michael Schreier, 2009<br />
Drawing by Hilde Schreier</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Dave Heath, <span style="font-size: 12.8px;">Philadelphia, 2015</span><br />
Michael Schreier</td></tr>
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<span style="font-size: x-large;">Part 2:</span></h3>
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<span style="font-weight: inherit; text-align: left;"><span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Gaile McGregor outlines in her critical work, </span></span></div>
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<i style="font-family: inherit; font-size: x-large; font-weight: inherit; text-align: left;">"The Wacousta Syndrome, An Exploration in the Canadian Langscape." </i></div>
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<span style="font-family: inherit; font-size: large; font-weight: inherit; text-align: left;"><i>(The coinage " langscape " far from adventitious, is meant to underline the extent to which nature, like other aspects of reality is not simply perceived, but socially constructed.) </i></span><span style="font-family: inherit; font-size: large; font-weight: inherit; text-align: left;">Gaile McGregor</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI-_TX4NxA4Cpfuk9Lr06udJ_j7SdP3VvCMwpTlmZNUtpr_FL3QSm0fogs8z0myBdjT7eD4N4dR3D8stkzOBiUUFZxrOfPkdBRk0on-4buz_W_3rMMu9YXZIczfOjmBSrnUKNigN482aw/s1600/33.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1275" data-original-width="1600" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI-_TX4NxA4Cpfuk9Lr06udJ_j7SdP3VvCMwpTlmZNUtpr_FL3QSm0fogs8z0myBdjT7eD4N4dR3D8stkzOBiUUFZxrOfPkdBRk0on-4buz_W_3rMMu9YXZIczfOjmBSrnUKNigN482aw/s640/33.jpg" width="640" /></a></div>
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<i style="font-family: inherit; font-size: x-large; font-weight: inherit; text-align: left;"><a href="https://muse.jhu.edu/article/242782" target="_blank">Gaile McGregor, The Wacousta Syndrome</a>:</i></div>
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<span class="mini_h2" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span class="form" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span class="span punctuation" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span style="font-size: large; text-align: left;"><i><span style="font-family: inherit;"><span style="font-weight: inherit;">"This brings us back to allegory again providing the best conventional structure within which to comprehend a double reality. Philosophy aside, in the end the Canadian manages to unify his divided response by utilizing forms in which the signifier</span></span><span style="font-family: inherit;"><span style="font-weight: inherit;"> ( both unsystematic and </span></span><span style="font-family: inherit;">opaque</span><span style="font-family: inherit;"><span style="font-weight: inherit;">) and the signified (an ideal of order possibly but not necessarily corresponding to anything real) may be simultaneously disassociated and conjoined."</span></span></i></span></span></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Michael Schreier<br />
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(my reference to Macdonald's Tangled Garden)<br />
Trans Canada 2018</td></tr>
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<tr><td style="text-align: center;"><img alt="Image result for the tangled garden" height="508" src="https://cdn.shopify.com/s/files/1/0871/2144/products/tangledgarden.jpg?v=1447866049" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b style="box-sizing: border-box; color: #686868; font-size: 15px; text-align: justify;">J.E.H. Macdonald</b><span style="color: #686868; font-size: 15px; font-weight: inherit; text-align: justify;">, <br />1873 - 1932</span><br />
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<span class="mini_h2" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><i style="box-sizing: border-box; color: #686868; font-size: 15px;">The Tangled Garden, </i><span style="color: #686868; font-size: 15px;">1916</span><br style="box-sizing: border-box; color: #686868; font-size: 15px;" /><span style="color: #686868; font-size: 15px;">oil on beaverboard</span><br style="box-sizing: border-box; color: #686868; font-size: 15px;" /><span style="color: #686868; font-size: 15px;">121.4 x 152.4cm</span><br style="box-sizing: border-box; color: #686868; font-size: 15px;" /><span style="color: #686868; font-size: 15px;">National Gallery of Canada, Ottawa</span><br style="box-sizing: border-box; color: #686868; font-size: 15px;" /><span style="color: #686868; font-size: 15px;">Gift of W.M. Southam, F.N. Southam and H.S. Southam in 1937 </span></span></div>
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<span class="mini_h2" style="border: 0px; box-sizing: border-box; margin: 0px; padding: 0px; word-wrap: break-word;"><span style="color: #686868; font-size: 15px;">in memory of their brother Richard Southam</span><br style="box-sizing: border-box; color: #686868; font-size: 15px;" /><span style="color: #686868; font-size: 15px;">no.4291</span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-large;">Gaile McGregor's use of the Canadian novel <i>"The Wacousta "</i> ( <a href="https://en.wikipedia.org/wiki/Wacousta" target="_blank">Wacousta</a>) provides a complementary reflection to American, James Fenimore Cooper's <i>"The Leatherstocking Tales"</i>. As the frontier is [successfully?] settled and its indigenous tribes brought to knee, circumstances may demand a fortress mentality, further stylized, through metaphor and imagery. She underscores the value placed on memory, that of another place and its influence on the present; </span><span style="font-family: Times, "Times New Roman", serif; font-size: x-large;">attributing this a leitmotif for Canadian Voice.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><i style="font-size: x-large;"><span style="font-weight: inherit;">"... to be simultaneously disassociated and conjoined..."</span></i><span style="font-size: x-large;"> </span><span style="font-size: x-large; text-align: justify;">Gaile McGregor</span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-large;"><span style="text-align: justify;">For the artist, the above echoes the value of the muse as one is transported, while for the migrant and the refugee, it rests as a reminder of loss and a vulnerability towards any potential settlement. How can one contribute an archive, history to a frontier and including a foreign place?</span></span></div>
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<span style="font-family: Times, "Times New Roman", serif; font-size: x-large; text-align: justify;"> For the poet, an "umseidlung" is the necessary rupture to provide passage and to give value to both the exterior and interior identity; f</span><span style="font-family: Times, "Times New Roman", serif; font-size: x-large; text-align: justify;">or the immigrant, refugee</span><span style="font-family: Times, "Times New Roman", serif; font-size: x-large; text-align: justify;"> it is also the struggle for continuity; a rightful urgency to belong.</span></div>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-16565084275574526462017-10-01T10:24:00.003-07:002018-08-05T07:41:49.392-07:00Post #17, The Gaze of Orpheus: veil removed.<h2>
<span style="font-size: large; font-weight: normal;">(Cursor on images for detail,)</span></h2>
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<span style="font-size: x-large;">The Gaze of Orpheus</span></div>
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<span style="font-size: large;">(All drawings by Hilde Schreier)</span><br />
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<u style="font-size: x-large; font-style: italic;">From Dread to Language, </u><span style="font-size: large;">an essay found in the remarkable book, The Gaze of Orpheus by </span><a href="https://en.wikipedia.org/wiki/Maurice_Blanchot" style="font-size: x-large;" target="_blank">Maurice Blanchot</a><span style="font-size: large;">, strikes at the very foundation of creative voice.</span><br />
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<span style="font-size: large;"><i>" It is comical for a man to recognize his solitude by addressing a reader and by using methods that prevent the individual from being alone"</i></span><br />
F<br />
Maurice Blanchot<br />
<span style="font-size: large;"><br /></span><span style="font-size: large;">Allow me to suggest, is it not truly ironic to assume a beholder present in the observation of a work, consumed by the notion of solitude? Considering it is here, as recounted in the classic Greek myth, <a href="https://en.wikipedia.org/wiki/Orpheus_and_Eurydice" target="_blank">Orpheus and Eurydice</a>, Orpheus's plea to the King of Hades that Eurydice be allowed to return to the upper world, that we witness the ultimate hubris: in glancing back hoping to guarantee for himself, her presence in returning, Orpheus actually jeopardizes and destroys that possibility; the King of Hades having insisted that he, Orpheus, not look back at her as she begins to surface? </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNfJeZxc7FWPoVKDQR1EzRhyphenhyphent05QP8f76r-PVBmywyAgxRYijHDiKOJcq00mahLX6LKthDZiAZNuv43VsE3n29XFUXb7i7sUeUN6vKh6HaFZDaPwHGCvRJjfQlH8tZrGeCnbNU87IV8yY/s1600/orpheus+and+euridice.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="626" data-original-width="1600" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNfJeZxc7FWPoVKDQR1EzRhyphenhyphent05QP8f76r-PVBmywyAgxRYijHDiKOJcq00mahLX6LKthDZiAZNuv43VsE3n29XFUXb7i7sUeUN6vKh6HaFZDaPwHGCvRJjfQlH8tZrGeCnbNU87IV8yY/s640/orpheus+and+euridice.jpg" width="640" /></a></div>
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<span style="font-size: large;"> (</span><a href="https://www.youtube.com/watch?v=13WGthWZink" style="font-size: x-large;" target="_blank">Morton Feldman</a><span style="font-size: large;"> composition for</span><span style="font-size: large;"> </span><a href="https://en.wikipedia.org/wiki/Philip_Guston" style="font-size: x-large;" target="_blank">Philip Guston</a><span style="font-size: large;">)</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj61rAU5yK6WlIZEvPebnxOwGuBflmM6WFxKdNNm9N_vBBZwGyaaxzkfhVgIwixm3kmGPNEVMQYoYnf1NnTuNbj444kGyPasqrQmkFm1nI29pG3BmTzmZC1pCdFWitLKgwpuQbUe3mKQh8/s1600/_9180125_DxO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1243" data-original-width="1600" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj61rAU5yK6WlIZEvPebnxOwGuBflmM6WFxKdNNm9N_vBBZwGyaaxzkfhVgIwixm3kmGPNEVMQYoYnf1NnTuNbj444kGyPasqrQmkFm1nI29pG3BmTzmZC1pCdFWitLKgwpuQbUe3mKQh8/s640/_9180125_DxO.jpg" width="640" /></a></div>
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<span style="font-size: large;">Disappearance of memory, the resonance of time, and I was invited for a bowl of soup and conversation. We reminisced the early years our families had connected, the bridge games shared and then the inevitable conversation back to homeland and one's private "heimat". Heimat, the German word for one's homeland, more than just a territory, but a place governed by the nurturing of sanctuary coupled with a profound understanding, awareness and longing for continuity.</span></div>
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<span style="font-size: large;">Touching on a son lost in contemporary bewilderment, Bill proffered this gift of thought, an image allowing me to see a moment of recall for which I had only superficial access. It was enough, for at that moment there was a link between time, present and time speculated: she looked out from another past conviction, kept for him on a mantle and accessed only, by memory and that certain desire to the impossible return.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSURT0-lOizg4cIoK5Th23xfSDtgoX6rgQaeo1uyOYOfCYr1v1LJFTad6YpM_EVEwpHv_l32YXBywl-Qr0-KJzNnmq3v0w9n5fUngY9Rhf8Bcq5OHTs3xVl2x9QHFaKiZgLVC0JMH8uEY/s1600/20170513_135439.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="990" data-original-width="1548" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSURT0-lOizg4cIoK5Th23xfSDtgoX6rgQaeo1uyOYOfCYr1v1LJFTad6YpM_EVEwpHv_l32YXBywl-Qr0-KJzNnmq3v0w9n5fUngY9Rhf8Bcq5OHTs3xVl2x9QHFaKiZgLVC0JMH8uEY/s640/20170513_135439.jpg" width="640" /></a></div>
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<span style="font-size: large;"> </span><span style="font-size: medium;">The Secret Life of Objects</span><br />
<span style="font-size: medium;"> Robert Cummings,</span><span style="font-size: medium;"><br /></span><br />
<span style="font-size: large;">Several years ago I had the opportunity to view </span><span style="font-size: large;">Cy Twombly's epic work </span><i style="font-size: x-large;">Treatise on the Veil</i><span style="font-size: large;">, a work dedicated to composer Pierre Henry. I had used Pierre Henry's master composition, </span><a href="https://www.youtube.com/watch?v=G8_fhIKeOX0" style="font-size: x-large;" target="_blank">Le Voile d'Orphee</a><span style="font-size: large;"> as an introduction to my course, Images in Motion, an exploration in sound production. Both Twomblys' and Henrys' works speak to the frailty and urgency for continuity, lost in a memory's passage. The coherency of a sound trace is threatened by the texture of concrete utterance and noise becomes its loss. </span><a href="https://www.youtube.com/watch?v=Zsb1w-3iFa8" style="font-size: x-large;" target="_blank">Pierre Henry</a><span style="font-size: large;">, and </span><a href="https://www.youtube.com/watch?v=z97Pa0ICpn8" style="font-size: x-large;" target="_blank">Dziga Vertov</a><span style="font-size: large;"> both embraced the values and experience accorded a flaneur, a wanderer absorbed by a quotidian's silent grace: similar in spirit perhaps with the travails offered a photographer. </span><br />
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<span style="font-size: large;">The next two images are dated according to time line, the same day and an hour+ apart. </span><span style="font-size: large;">Intuitively, did the first experience have some influence on my sensitivity </span><span style="font-size: large;">concerning the subsequent image? </span></div>
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<span style="font-size: large;">Simply the residue of "nothing" or perhaps the nothingness of object-hood. Maurice Blanchot resting at the nuanced entry to the post-modern period, encouraged the insight of so many following, </span><span style="font-size: large;">including Gilles Deleuze, Michel Foucault and Jacque Derrida. I return often to these writers as they challenge the veracity of truth, the event, evidence and if all should be in doubt, the fundamental belief in continuity. They have given a profound declaration to the value for the muse, its presence, clarity and above all its frailty for doubt.</span><br />
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<span style="font-size: large;">Gilles Deleuze</span><br />
<span style="font-size: large;"> <i>" Not only does the past coexist with the present that has been, but...it is the whole integral past; it is all our past, which coexists with each present. The famous metaphore of the cone represents this complete state of coexistence"</i></span><br />
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<i>(</i>This extracted from Memory, History Forgetting, Paul Ricoeur, The Historical Condition, Forgetting.)<br />
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<span style="font-size: large;">While "storytelling" may play well into this scenario: it is assumed that a spectator, an audience, and or witness may have experienced similar circumstance, guaranteeing perhaps some semblance of mutual place. However, all that this may lead to is a cautious sense of ownership, autonomy and a false belief in the value of colonialism. As control, order and finally rectitude might play a critical role in an artist's vision, the truth however for the beholder may actually provide a false pretence, as the poet rests in a place of "nothingness". </span><span style="font-size: large;">As previously mentioned, Gaston Bachelard's "Poetics of Space" occupies a critical place in this drama, </span><span style="font-size: large;">"the silence of the room revisited".</span><br />
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<span style="font-size: large;">Finally, and as an alternative to Cartier Bresson's <i>Decisive Moment </i>may I suggest, the "Privileged Moment". Historically, Bresson's missive relied primarily on the rationalization of an event or circumstance, that the artist/photographer must be sensitive to all that occurs within the frame, as a graphic concert leading perhaps to some more profound truth. The time component in the photograph becomes fractionalized. I would like to suggest that a moment of clarity is reached not through recognition, but by a much more subtle element, empathy. This post began with an appreciation, reflection on solitude providing insight and continuity. </span><span style="font-size: large;">Now the critical element empathy is only to be reached through conversation, whether silent or otherwise embraced. </span></div>
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<span style="font-size: large;"><br /></span>Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-12686605700383252662017-07-29T07:05:00.000-07:002017-08-08T07:29:24.197-07:00<br />
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<span style="font-size: large;">Post #16</span><br />
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<span style="font-size: large;">(Cursor on the image for a detailed viewing,</span><br />
<span style="font-size: large;">all drawings, Hilde Schreier,</span><br />
<span style="font-size: large;">all images copyright Michael Schreier)</span><br />
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<span style="font-size: large;"><i><u><span style="background-color: white; color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: 27px;">'Curiouser and curiouser!' cried Alice (she was so much surprised, that for the moment she quite forgot how to speak good English). </span><span class="close_paragraph" style="background: url("about:blank") 0% 0% no-repeat scroll rgb(255 , 255 , 255); box-sizing: border-box; color: #222222; display: inline-block; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: 27px; height: 36px; width: 36px;"></span></u></i></span><br />
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<span style="font-size: large;"><span style="background-color: white; color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: 15px;"><i>Lewis Carroll, Alice in Wonderland</i></span></span><br />
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<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif;"><span style="background-color: white; font-size: 15px;"><i> "Tears for an Empty Desert"</i></span></span><br />
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<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: x-small;"><span style="background-color: white;"> (Double-page layout, artist's book, Michael Schreier)</span></span><br />
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<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;"> Post #16, is dedicated to my mentor, and close friend, </span></span><br />
<span style="background-color: white; color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><i> Jim Borcoman, Curator Emeritus, </i></span><br />
<span style="background-color: white; color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><i> National Gallery of Canada.</i></span><br />
<span style="background-color: white; color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><i><br /></i></span>
<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;">Following closely on the heels of the previous post, #16 might be considered a continuation. My intention throughout the structure of <i>Camera Obscura </i>is to offer cross fertilization, and while it may result in repetition, either of image and or of concern, it is intentional. And with respect for Carl Chirenza's previously expressed concerns, I have often returned to an image for its structure and additional thematic vitality, having always understood the relationship between image and text as being complementary. </span></span><br />
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<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;"> <i>Alice's musings, Curiouser and Curiouser, </i>echoes<i> </i>my empathy for Lewis Carroll's understanding that an artist's sensitivity for the unknown, and the portal is critical in serving the mystery for poetry and thought. </span></span><br />
<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;">I remember one of the first observations Jim Borcoman offered me concerning both a photographer's perspective, intent, and the photograph, is the attention to be accorded the edge rather than the center. Certainly the process of photographing requires a sensitivity to that which occurs outside the frame and understanding its influence on the final subject represented. The photographer is required by process to select from the quotidian and the rationally perceived. And in so doing, an abstraction is both linked, yet independent of evidence and fact: passage underscored.</span></span><br />
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<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;"> The history of photography has referenced the <i>equivalent, equivalence,</i>and as so eloquently highlighted by <a href="http://blog.hrc.utexas.edu/tag/notations-in-passing/" target="_blank">Nathan Lyons</a> , a process of notating, a <i>Notations in Passing. <a href="http://yalebooks.yale.edu/book/9780300208252/multitude-solitude" target="_blank">Dave Heath's</a> </i> <i>A Dialogue With Solitude </i>extends meaning and intent towards a deeper experience, a reflective attitude that may actually challenge one to reconsider Robert Frank's <i>The Americans</i> an <a href="https://en.wikipedia.org/wiki/On_the_Road" target="_blank">"on the road"</a> suite rather than as a social document: even as both attitudes might be interconnected.</span></span><br />
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<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;"><i> </i></span></span><br />
<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;"><i> ...the writers pallet...</i></span></span>
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<a href="https://en.wikipedia.org/wiki/Frederick_Sommer" style="font-family: "open sans", "helvetica neue", helvetica, helvetica, arial, sans-serif; font-size: x-large;" target="_blank"><span style="font-size: large;">Frederick Sommer</span></a><span style="background-color: white; color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"> occupies a profound niche, embracing music, drawing and photography. He enjoys that space within, a space so necessary for the poet, where one can challenge one's own sense of place and existential breath.</span><br />
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<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;"><i>I CAN STILL SEE YOU: an echo,</i></span></span><br />
<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;"><i>palpable, with feel-</i></span></span><br />
<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;"><i>words at the departure-</i></span></span><br />
<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;"><i>ridge.</i></span></span><br />
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<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: large;"><span style="background-color: white;"><i><a href="http://quarterlyconversation.com/breathturn-into-timestead-the-collected-later-poetry-by-paul-celan" target="_blank">Paul Celan</a></i></span></span><br />
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<span style="color: #222222; font-family: "open sans" , "helvetica neue" , "helvetica" , "helvetica" , "arial" , sans-serif; font-size: medium;"><span style="background-color: white;"> (I would suggest the reader cursor,double-click on these images, and highlighted <i>Paul Celan</i>) </span></span><br />
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<span style="font-size: xx-small;"><span style="background-color: white;"><span style="font-size: large;">The introductory poetic muse by Pablo Neruda with added meaning for the double page spread from <i>Tears for an Empty Desert, </i>suggests the existing nuance between reader and author. </span></span></span><span style="background-color: white; font-size: large;">Rational thought remains only slightly traceable, as the reader experiences either doubt, or affirmation. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIW3yIVJHAIS0IdYSId6Raavq_5S3syEbb4MwshBV7thOoFy36caigAUZZc13tZJrTRWfExRiMRjjU6BhJvWxpArJLAWXYtA24ywxFHgzdqFFaZaezCo9CGbPeAlDnWc7NHCqmdr7aQKk/s1600/20160626_150002_DxO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1590" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIW3yIVJHAIS0IdYSId6Raavq_5S3syEbb4MwshBV7thOoFy36caigAUZZc13tZJrTRWfExRiMRjjU6BhJvWxpArJLAWXYtA24ywxFHgzdqFFaZaezCo9CGbPeAlDnWc7NHCqmdr7aQKk/s640/20160626_150002_DxO.jpg" width="640" /></a></div>
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<span style="font-size: xx-small;"><span style="background-color: white;"><span style="font-size: large;">Michelangelo Antonioni's <a href="https://en.wikipedia.org/wiki/Red_Desert_(film)" target="_blank">Red Desert</a> as described, can certainly reflect our contemporary environmental issues, challenges and possibilities for adaption. There may however be a much more subtle challenge offered: that is access to the privilege of original thought. I am to consider the vulnerability for empathy regarding another's perspective or witnessing for truth.</span></span></span><span style="background-color: white; font-size: large;">We are given the option to accept the challenge or to acquiesce, </span><span style="background-color: white; font-size: large;">as Antonioni might suggest, </span><i style="background-color: white;"><span style="font-size: large;">" burn in the silence of our own making." </span></i><i style="background-color: white; font-size: x-large;"> </i><span style="background-color: white;"><span style="font-size: large;">This is how I understand the poet's dilemma: that there is never a guarantee, or completed circuit confirming a witnessed event. </span></span><span style="background-color: white; font-size: large; text-align: center;">Returning for a moment to Lea Dunning's painting </span><i style="background-color: white; font-size: x-large; text-align: center;">"Idle in Paris", (</i><span style="background-color: white; font-size: large;">corrected title, </span><i style="font-size: x-large;">"34 Rue du Fer a Moulin"), </i><span style="font-size: large;">while </span><span style="font-size: large;">invited</span><span style="background-color: white; font-size: large;"> at the edge, I am clearly denied </span><span style="background-color: white; font-size: large;">access </span><span style="background-color: white; font-size: large;">to the distant space, blocked by the table, </span><span style="background-color: white; font-size: large;">chair and the sitter.</span><span style="background-color: white; font-size: large;"> </span><br />
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<span style="font-size: large;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnZ7OtUpLn3VDQ5Lx2u0bWOo0AW6rmbYqRzAvfH3bUhp6TXrdrtjjF8VPH9i6bd-_xL8NhF9OWjbrHlwJoT1BiHscCypT-u4iwbfUJpRHNu1qlzgfrWpxUIBxBkRSPhzt7zOmXTkGY-Jg/s1600/lea.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1212" data-original-width="1600" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnZ7OtUpLn3VDQ5Lx2u0bWOo0AW6rmbYqRzAvfH3bUhp6TXrdrtjjF8VPH9i6bd-_xL8NhF9OWjbrHlwJoT1BiHscCypT-u4iwbfUJpRHNu1qlzgfrWpxUIBxBkRSPhzt7zOmXTkGY-Jg/s640/lea.jpg" width="640" /></a></i></span></div>
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<span style="font-size: large;"><span style="background-color: white;">His </span></span><span style="background-color: white; font-size: large;">transparent tracing</span><span style="background-color: white; font-size: large;"> suggests that they, [in themselves], may have, or are about to appear/disappear. Echoing </span><span style="background-color: white; font-size: large;">the implied urgency in </span><i style="font-size: x-large;">Red Desert, </i><span style="font-size: large;">it</span><i style="font-size: x-large;"> </i><span style="background-color: white; font-size: large;">is not whether one can clean or readjust, but <i>why</i> is there such a disregard for the vulnerability of voice and humanities's required utterance?</span><br />
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<span style="background-color: white; font-size: large;">As Leo Stein has surmised in his "<i>Appreciation: Painting, Poetry and Prose"</i></span><br />
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<span style="background-color: white; font-size: large;">"Structurally man is just one of the facts in the universe, but compositionally he is its center. <i>His </i>feelings,<i> his </i>desires, <i>his </i>hopes </span><span style="background-color: white; font-size: large;">cause him to arrange things so that he can get at least a moment's satisfaction from these interests. If he gets from them the satisfactions as though he had altered the world of real things beyond the periphery of his inner life, he is sentimentally, pathologically falsifying the world, and confusing the realms of poetry and prose."</span><br />
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<span style="background-color: white; font-size: large;">The illusion of being "centered" within a postmodern reality however, offers contradiction as it nurtures the artist. Within the clear reality of the simulacra where truth is no longer obligatory, how can we believe in its rendition.</span><br />
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-35713134693876503422017-06-20T12:07:00.003-07:002017-07-29T06:41:12.643-07:00<br />
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<span style="font-size: large;">Post # 15</span><br />
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<span style="font-family: inherit; font-size: x-large;">Ordered Circumstance, </span></h2>
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<span style="font-family: inherit; font-size: large;">The reflection of the muse with the placement of thought:</span></h3>
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<span style="font-size: large;">(Cursor on the image for a detailed viewing,</span><br />
<span style="font-size: large;">all drawings, Hilde Schreier,</span><br />
<span style="font-size: large;">all images copyright Michael Schreier)</span><br />
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<span style="font-size: large;"><span style="background-color: white; color: #222222; font-family: "arial" , "helvetica" , sans-serif;">Christopher Lea Dunning's work,<i> "Idle in Paris"</i> has encouraged me to revisit George Steiner's </span><i style="background-color: white; color: #222222; font-family: arial, helvetica, sans-serif;"> </i><span style="background-color: white; color: #222222; font-family: "arial" , "helvetica" , sans-serif;">two iconic works, </span><i style="background-color: white; color: #222222; font-family: arial, helvetica, sans-serif;">Real Presences</i><span style="background-color: white; color: #222222; font-family: "arial" , "helvetica" , sans-serif;"> and </span><i style="background-color: white; color: #222222; font-family: arial, helvetica, sans-serif;">After Babel </i><span style="background-color: white; color: #222222; font-family: "arial" , "helvetica" , sans-serif;">: the latter much more difficult as it has negotiated the complexity of language, semantics and the poetic of significance. In referencing "Babel's fall from grace," Steiner suggests the very basic urgency for voice, thought and continuity as Dunning's inchoate structures and discorded details resonate with appropriate empathy: consider these remarkable short works by </span></span><br />
<span style="font-size: large;"><span style="background-color: white; color: #222222; font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.youtube.com/watch?v=YWQAw7XSkDY" target="_blank">Arnold Schoenberg</a>.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGl-7aTDLXbuHc_Kb95ILPNprjm4q3GtBPA15R7yLFRrgC8JT7MHN165oxFaYpP2jgWB5IlLkc7xcFg9fZn-c2z0_hRxMN8d_vgh1FyTLb79qu-y3n7okOc9RRXfORQZQ_SHRbHjaY_gk/s1600/lea.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1212" data-original-width="1600" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGl-7aTDLXbuHc_Kb95ILPNprjm4q3GtBPA15R7yLFRrgC8JT7MHN165oxFaYpP2jgWB5IlLkc7xcFg9fZn-c2z0_hRxMN8d_vgh1FyTLb79qu-y3n7okOc9RRXfORQZQ_SHRbHjaY_gk/s640/lea.jpg" width="640" /></a></div>
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"Idle in Paris"<br />
2008<br />
Painting by Christopher Lea Dunning<br />
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<span style="font-size: large;"><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">I am</span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;"> reminded of Gaston Bachelard's iconic writing<i> <a href="http://culturalstudiesnow.blogspot.ca/2011/06/gaston-bachelard-poetics-of-space_23.html" target="_blank">The Poetic's of Space,</a> </i> the "<i>room/space</i>" as a support for the silent muse, reverie and </span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">the value for passage: </span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">incidentally all critical components for one's </span></span><br />
<span style="font-size: large;"><i style="color: #222222; font-family: arial, helvetica, sans-serif;"><a href="http://dreamhawk.com/dream-encyclopedia/archetype-of-the-night-journey-the-search-for-self/" target="_blank">Night-Sea Journey.</a> </i><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">The window, access to the external, social world is gained only through a progressive acknowledgement of "interior" events. While staging at the edge of a theater's proscenium, Dunning asks us to consider a moment of absorbed thought. As beholder, I am made aware of an intimate space and given privileged access to its occupant absorbed in reading: interesting to note a book open on the table, while the other is being read. I am somewhat perplexed whether the book on the table is open to me or whether I am looking at its back. Now,</span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;"> for a moment, consider this self portrait by Austrian painter Carl Moll titled "Self Portrait in Study". In creating a character writing, he implicates the viewer in that moment of theatrical introspection, and privileged intimacy. Although while both artists offer proximity, neither recognize the presence of the beholder. In Dunning's work we are placed as previously indicated, at the edge of the proscenium. </span></span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif; font-size: large;">Moll offers a distanced staging, complete with curtain, props and a tiled floor describing passage. </span><br />
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<span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The irony for me is that as both artists incorporate portals for transition, Moll suggests a possible entry to a room, Dunning prefers the exact opposite, an exiting. Can it be assumed that the process of reading might involve an exiting while the process of writing implies a moment of entry? </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Furthermore, intrigued by numerous palimpsests, Dunning makes us aware of the internal structure of the work, perhaps a moment's vulnerability, a disturbance in reading and possible disappearance. He leaves us with the "trace" as a metaphor for vulnerability, and potential loss, the memory of a previous book to be read again. This painting is a profound reflection on passage in which the very structure offers its metaphor.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;">The book within the book, the event within the event, the painting within the painting, the drawing within its structure are all elements which speak to the very nature of memory, evidence and implied thought.</span></div>
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<span style="font-size: large;">In "Man With a Movie Camera", Dziga Vertov, (<a href="https://www.youtube.com/watch?v=XoMT194SUvE" target="_blank">Dziga Vertov, Man with a Movie Camera,circa 1928</a>) defines the relationship between representation, its structure, evidence and allegory, with the quotidian. It is clear that our understanding of structure and method may provide a conviction for truth, as critically as it provides for the mystery of storytelling and abstraction.</span><br />
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<span style="font-size: 14px;"> </span> From the series <i>Camera Obscura, Stations #2</i><br />
<i> 2016-2017</i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Michael Schreier </span><br />
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From the series <i>Camera Obscura, Stations #2</i></div>
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<i> 2016-2017</i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> Michael Schreier </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> From Series "Stations,#3"</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"> 2017, </span></div>
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<span style="font-size: large;"><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">Finally, as Plato's <i>Cave, </i>an allegory, perhaps instructed to resolve a searching for introspection, inside-out, it also speaks to an artist's deeper moment of clarity, "en atelier" both grounded and without gravity. As Lea Dunning's <i>Idle in Paris</i> might suggest, a moment of "idle" thought embracing all possibility, is it not in that moment of passage, suggested by metaphor and allegory, that representation,( mark-making) occupies time's embrace of change, (frankly, the antithesis of </span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">inactivity)? W</span></span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">hile a composer/film maker (as eloquently described by Sergie Eisenstein in his text</span><i style="color: #222222; font-family: arial, helvetica, sans-serif;"><a href="http://www.casaruibarbosa.gov.br/arquivos/file/A_Dialectic_Approach_to%20_Film_Form_SergeiEisenstein.pdf" target="_blank"> Film Form/ Reflections on Sergie Eisenstein) </a></i><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">governs the depth and duration of a beholder's experience,</span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;"> the visual artist on the other hand while composing without physical change, must suggest a </span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;">comparable</span><span style="color: #222222; font-family: "arial" , "helvetica" , sans-serif;"> movement; as an echo becomes stylized, reflective only through evidence of its trace. </span></span><br />
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-63437262289872988382017-02-19T07:18:00.003-08:002017-02-22T07:55:32.610-08:00<br />
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(Cursor on the image for a detailed viewing,<br />
all drawings, Hilde Schreier,<br />
all images copyright Michael Schreier)<br />
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<span style="font-size: large;"><u>Post 14</u></span><br />
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<span style="font-size: large;"><u>A State of Rupture in a Time of Alternative Facts</u></span><br />
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...with appreciation to Edmond Jabès...<i>From the Desert to the Book...</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHCS6UlYmVu0KARcq3j16RAHncHCp61FnlCemM0Nw2cIxNFcAJ-UMtQ1kixvLJhfNjiUDinoNu6uwuTAgTWCbiNdIgMrg6Dnp_c54lWJTfepvxopXQXp5WS4EzZrWCHqOfLAgKc242D7A/s1600/_9290030-2a_DxO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHCS6UlYmVu0KARcq3j16RAHncHCp61FnlCemM0Nw2cIxNFcAJ-UMtQ1kixvLJhfNjiUDinoNu6uwuTAgTWCbiNdIgMrg6Dnp_c54lWJTfepvxopXQXp5WS4EzZrWCHqOfLAgKc242D7A/s640/_9290030-2a_DxO.jpg" width="640" /></a></div>
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" To Question means to break; it means to set up an<i> inside</i> and an <i>outside</i>. It means to be at times in the one, at times in the other. In an <i>outside</i> that would be, in relation to the inside, a backing away, a recession-the retreat- the prelude, the first threshold necessary for interrogation, a neuter space where neutrality is obsolete."<br />
<i> </i><br />
<i> The Labyrinth of the Question</i><br />
<i> <span style="font-size: x-small;">Dialogues between Edmond Jabès and Marc Cohen</span></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihQtQMwhl50dCzJvxrmyDTB2mm63q8o_SSivbrk5sG6kcYEUXWDzwyf0HeDOTPE9WvY9Beu8b5IXHhB_5zHV7OqZ6hJPBQwGZ86ocmCjdmiPrlLPaDgKjPfC0K4Y480KNkcN7heDuwe8w/s1600/_6150026-final_DxO_DxO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihQtQMwhl50dCzJvxrmyDTB2mm63q8o_SSivbrk5sG6kcYEUXWDzwyf0HeDOTPE9WvY9Beu8b5IXHhB_5zHV7OqZ6hJPBQwGZ86ocmCjdmiPrlLPaDgKjPfC0K4Y480KNkcN7heDuwe8w/s640/_6150026-final_DxO_DxO.jpg" width="640" /></a></div>
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Perhaps, surrounded by one's familiar circumstance, one may experience the depth of both clarity and doubt embraced by thought. I certainly do not claim authorship of such concerns, only an empathy for those in the past who have spoken so eloquently of both loss and of faith.<br />
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In this time of the <i>Alternative Fact </i> a reassurance for truth is set adrift as <i>nurturing</i> rests in limbo; the concertmaster encourages a singular and in some way, cynical skepticism. While some, a few members of the popular circus may be embraced by a false hubris, the poet/artist may challenge the veracity of the charlatan's hollow echo.<br />
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A remarkable composition by Harold Budd:<br />
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<a href="https://www.youtube.com/watch?v=Fzm74jVr0Fs" target="_blank">Harold Budd The Whispers</a><br />
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<i> Hannah Hoch, Cut With the Kitchen Knife Through the last Weimar Beer-Belly Cultural Epoch</i><br />
<i> in Germany, (1919-20)</i><br />
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The chaos depicted in <a href="http://www.theartstory.org/artist-hoch-hannah-artworks.htm" target="_blank">Hannah Hoch's</a> work, echoed in writings by <a href="https://www.britannica.com/biography/Eugene-Ionesco" target="_blank">Eugene Ionesco</a> decry the insanity and brutality of an epoch that in some way seems to be returning. As one curator/critic questioned <a href="https://en.wikipedia.org/wiki/Josef_Sudek" target="_blank">Joseph Sudek's</a> remarkably intimate renderings of a window, garden as sentimental, not resonating the tragedy of the Czech crisis during the Weimar period: seemingly, to much perhaps of an idyllic garden. Such a reflection could not be further from the truth as Sudek's work, dark in tonality spoke to loss and melancholy, a world fallen from grace, and in his silent space can be found the resonance for beauty, grace and, with an almost reluctant faith.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJemULS7zXkQQxVp4184VCWDgbeF52ZCoT5i7Cx9ssrk-soWV7DnwSJSldmGGk2HsFBiSYSM8RREJD7N2KhW7ESskd3NE0JgHurnw6SC4ec54UG-l_2_L5p3cPENBd5w4O9mE4F0c57OQ/s1600/7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJemULS7zXkQQxVp4184VCWDgbeF52ZCoT5i7Cx9ssrk-soWV7DnwSJSldmGGk2HsFBiSYSM8RREJD7N2KhW7ESskd3NE0JgHurnw6SC4ec54UG-l_2_L5p3cPENBd5w4O9mE4F0c57OQ/s320/7.jpg" width="254" /></a></div>
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Joseph Sudek, Circa 1930's<br />
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Idealism is easily coerced by pomp and ceremony, so perhaps it is through an artist's pursuit of quietude and reflection that one begins to understand the value of thought, empathy and discovers the strength to confront the doubt generated by the daily mockery prevalent in our social community.<br />
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If one cursors on either one of the my two previous interior images, one may see a set of numbers integrated with the image, numbers sourced<br />
as the time line during which the original exposure is made. Almost impossible to realize these numbers offer a rationale to the moment and underscore the very nature of the photograph, a rupture from continuity. One may also recognize that I have intentionally printed the numbers backwards, hoping to offer a virtual transition to the other side of the picture-plain, a way of suggesting passage from one space to another. Further, I have come to consider that my entry to photography has somehow been governed, or regulated by my severance as a young child from Vienna, including the loss of my mother tongue.<br />
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(Images from my publication <i>Disturbances in Reading, Palimpsest)</i><br />
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<i>Time and Space were only their disguises'</i><br />
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<i>Time and Space were only their disguises </i> <br />
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<i>Under which their hatred chose its shapes</i><br />
<i>From swords in bushes, flowers like periscopes,</i><br />
<i>And mirrors that revealed themselves as faces.</i><br />
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<i>And later, clouds flew past me as I sat;</i><br />
<i>Stations like ships swam up to meet the train</i><i></i><br />
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<i>And bowed; all time was equal like the sun;</i></div>
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<i>Each landscape was elaborately set.</i><br />
<i><br /></i>
<i>But now this blackened city in the snow</i><br />
<i>Argues a will that cannot be my own,</i><br />
<i>And one not wished for: points to show</i><br />
<i><br /></i>
<i>Time in his little cinema of the heart</i><br />
<i>Giving a première to Hate and Pain;</i><br />
<i>And Space urbanely keeping us apart.</i><br />
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<span style="font-size: x-small;"><i>before April 1941</i></span><br />
Philip Larkin<br />
Collected Poems<br />
<br />
Edited with an Introduction by Anthony Thwaite<br />
The Marvell Press 1988<br />
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-63420261740339479702016-12-19T07:52:00.000-08:002017-01-08T07:03:06.980-08:00...between the book and leaving the book...<h2>
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<i style="color: #222222; font-family: inherit; font-size: small;">#13</i><br />
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<i style="color: #222222; font-family: inherit; font-size: small;">(cursor on photograph for detailed view, </i></div>
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<span style="font-family: inherit; font-size: x-small; line-height: 18px;"><i>note: unless otherwise indicated all photographs,</i></span></div>
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<span style="font-family: inherit; font-size: x-small;"><i><span style="font-weight: normal; line-height: 18px;">by Michael Schreier and drawings by Hilde Schreier,</span><br style="font-weight: normal; line-height: 18.48px;" /><span style="font-weight: normal; line-height: 18px;">reproduction, without permission, prohibited.)</span></i></span></h2>
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<i style="font-family: inherit;"><span style="font-size: x-large; line-height: 18px;">...between the book and leaving the book...</span></i></div>
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<i><span style="line-height: 18px;"> <span style="font-size: large;"> </span></span></i></div>
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<i><span style="line-height: 18px;"><span style="font-size: large;"> The Book of Questions</span></span></i></div>
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<span style="font-family: inherit; font-size: xx-small;"><i><span style="font-weight: normal; line-height: 18px;"><span style="font-size: x-small;"> </span> </span></i></span><i style="font-family: inherit;"><span style="line-height: 18px;">Edmond Jabès</span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPCokeVUlGkQTn6Gu43Cwd_lBtIc8u23uO9qKfYgLwTmQe31tu3ULj_KuoI13ABTfp7Z3D-t32aQrqLn6b0FHpkZupR0DV4weuMeDDrSJ9e3HBbvGLVLmZYQOrieyyEKTf_2JBJemnzvk/s1600/_B160149_DxO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPCokeVUlGkQTn6Gu43Cwd_lBtIc8u23uO9qKfYgLwTmQe31tu3ULj_KuoI13ABTfp7Z3D-t32aQrqLn6b0FHpkZupR0DV4weuMeDDrSJ9e3HBbvGLVLmZYQOrieyyEKTf_2JBJemnzvk/s640/_B160149_DxO.jpg" width="640" /></a></div>
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<span style="font-family: inherit; font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif; font-size: large; font-weight: normal; line-height: 18px;">Can one grant that initially, there was the "word" given as a sound, </span></span><span style="font-family: inherit; font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif; font-size: large; line-height: 18px;">and then, <i>challenged, </i>with an intent to garner meaning? I would suggest the passage, from an "understood" to further understanding provides a foundation for the image maker. It can be</span></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;"> considered a trust between experience, knowledge and truth and although one can declare the non-existence of truth; yet, </span><span style="font-size: large;"><span style="font-family: "times" , "times new roman" , serif;">" </span><i style="font-family: times, "times new roman", serif;">how can that be believed.?" </i></span><span style="font-family: "times" , "times new roman" , serif; font-size: large;">Perhaps, t</span><span style="font-family: "times" , "times new roman" , serif; font-size: large;">he non-existence of truth, a "post-truth", significant of our immediate moment in history, may be accurately rendered as a consequence of disillusionment.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh89Hm5Yt8-SCdzNIHGrY-1dBSF85kb10MGNWEJyt088lahsBeYRPqnhZq-Aj7crJcc6i2wSZJ1XpxXA51ox64OmJ-dC6iGdGhZ_-WqApK2RT3ebPmGg7SmNLG943yqscaUDAL5npZiSYo/s1600/2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh89Hm5Yt8-SCdzNIHGrY-1dBSF85kb10MGNWEJyt088lahsBeYRPqnhZq-Aj7crJcc6i2wSZJ1XpxXA51ox64OmJ-dC6iGdGhZ_-WqApK2RT3ebPmGg7SmNLG943yqscaUDAL5npZiSYo/s640/2.jpg" width="640" /></a></div>
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<span style="font-family: inherit; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large; font-weight: normal; line-height: 18px;"><br /></span></span>
<span style="font-family: inherit; font-size: xx-small;"><span style="font-family: "georgia" , "times new roman" , serif; font-size: large; font-weight: normal; line-height: 18px;"> </span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif; font-size: large; text-align: center;"> </span><span style="font-family: "georgia" , "times new roman" , serif; font-size: large; text-align: center;"> </span><span style="font-size: large;"><i style="font-family: georgia, "times new roman", serif; text-align: center;">...a consequence </i><i style="font-family: georgia, "times new roman", serif; text-align: center;">of disillusionment...</i></span><br />
<span style="font-size: large;"><i style="font-family: georgia, "times new roman", serif; text-align: center;"><br /></i></span><span style="font-family: "times" , "times new roman" , serif; font-size: large; text-align: center;">Is there an association between the sublime and, "to sublimate" and further, is it not in the belief of the sublime that one progresses? Yet any suggestion that an ascension towards a higher understanding and an acceptance that one is quite prepared to sublimate, might become suspect. The nexus between reason and passion becomes disparately clouded. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiFfN3wLYA_IK53VuDYQ7Pq7Nj75krBMqSHvDLAgoEssGazl8Yb3w6mgFYOR-QPZym6FfmJbyXPdU-jFsSIGDwdOAXL_A1y_yUEM-FZrmD9dvUvIIgbJx6Dbe7PRHlk-qwjJ96tFmvk44/s1600/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiFfN3wLYA_IK53VuDYQ7Pq7Nj75krBMqSHvDLAgoEssGazl8Yb3w6mgFYOR-QPZym6FfmJbyXPdU-jFsSIGDwdOAXL_A1y_yUEM-FZrmD9dvUvIIgbJx6Dbe7PRHlk-qwjJ96tFmvk44/s640/3.jpg" width="640" /></a></div>
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<span style="font-family: "times" , "times new roman" , serif; font-size: medium;"><span style="text-align: center;"> </span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><span style="text-align: center;">The gallery/book, and the above selected photographs have proffered an access to passage from history to the presence. The included, time line, offers evidence, a confirmation of an event, </span></span><span style="font-family: "times" , "times new roman" , serif; font-size: large; text-align: center;">05..10..16, 11..36..47, yet what is understood and critically, what is its link to history?</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSB5gYyoKMSHma8yJ05udheS4IdpvXtnmnughtTnjle_r3VSFA4uK9q3HjHaaOysHzcaF4Th4w20U1BJPfh0JY2WMrBInKcQDWdJ7YbFeiN3veZ57eC4Rywu2QVwAgBh7vq3KNvHT7hHg/s1600/4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSB5gYyoKMSHma8yJ05udheS4IdpvXtnmnughtTnjle_r3VSFA4uK9q3HjHaaOysHzcaF4Th4w20U1BJPfh0JY2WMrBInKcQDWdJ7YbFeiN3veZ57eC4Rywu2QVwAgBh7vq3KNvHT7hHg/s640/4.jpg" width="640" /></a></div>
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<i style="font-family: times, "times new roman", serif; font-size: x-small;"><span style="font-size: large;"><span style="font-family: inherit;">"The fact that the word needs to go from one to the other to be confirmed or contradicted and developed shows the necessity of the interval. The power to speak is interrupted, and this interruption plays a seemingly subordinate role, that precisely, of subordinated alternatives. A role, however, so mysterious that it can be interpreted as carrying the mystery of </span>language<span style="font-family: inherit;"> itself: pause between phrases, pause from one speaker to the other, and pause of attention, of understanding, which doubles the power of expression."</span></span></i><br />
<span style="font-family: inherit; font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;"><i><span style="font-family: inherit; font-size: medium;"><br /></span></i></span></span>
<span style="font-family: inherit; font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;"><i><span style="font-family: inherit; font-size: medium;">Interruptions</span></i></span></span><br />
<span style="font-family: inherit; font-size: xx-small;"><span style="font-family: "times" , "times new roman" , serif; line-height: 18px;"><i><span style="font-family: inherit; font-size: medium;">Maurice Blanchot</span></i></span></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"></span><br />
<i style="font-family: times, "times new roman", serif;"><span style="font-family: inherit; font-size: medium;"><br /></span></i>
<i style="font-family: times, "times new roman", serif;"><span style="font-family: inherit; font-size: medium;">Trans. Rosemarie Waldrop and Paul Auster</span></i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEbD85ab34k7o0Zg5gf_DZqIOBehscqV1FYfjmtheyQCVSGYsJuU8GJSEIvbihdQo4u23KqBQ64FDgBjnmZeM2yYBiFy7jlzl3RlL6_Kkk3RWz7KMNzJXX1qALL_7VgyZTJ47AFPxYyKI/s1600/_B170276.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEbD85ab34k7o0Zg5gf_DZqIOBehscqV1FYfjmtheyQCVSGYsJuU8GJSEIvbihdQo4u23KqBQ64FDgBjnmZeM2yYBiFy7jlzl3RlL6_Kkk3RWz7KMNzJXX1qALL_7VgyZTJ47AFPxYyKI/s640/_B170276.jpg" width="640" /></a></div>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"> </span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>Art is born in conflict, life and death in opposition, each mirroring</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>the other, interchangeable. Art is born in sorrow, nostalgia and</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>madness. Art is born on the threshold of silence. Art is born in</i></span><br />
<i style="font-family: times, "times new roman", serif;"><span style="font-size: large;">the reclamation of that which is lost. Art is born in the chimera</span></i><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>of hope. Art is born as the tragic expression of the profound </i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>laughter of God's melancholy.</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i><br /></i></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>We are the present</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>Bound in this moment of life's reality</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>To a task;</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>An action borne from an unseen past.</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i><br /></i></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>We are the present</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>Compelled by life's disorder</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>To order;</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i>In action borne toward an unknown future.</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i><br /></i></span>
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i> We are the image makers</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i> Beguiled by our fictions,</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i> Through creation cursed</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i> With the mystery.</i></span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i> ____Dave Heath</i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i> </i></span><br />
<span style="font-family: "times" , "times new roman" , serif; font-size: large;"><i> Dave Heath's Art Show</i></span><br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: large;">I have returned to this credence, offered by Dave to his students as a way to assist their efforts, to underscore the very nature of art making, an embrace for philosophical, spiritual truths in which verity can be challenged for a deeper understanding. It is for me appropriate to return to these thoughts as I notice with some regret such a plethora of contemporary art making, governed seemingly by expediency and an urgency to be noticed. Dave's thoughts return me to a moment of profound consideration for that illusive gift of knowledge given and challenged through the ages, by those who have touched on a level that continues to motivate my own search.</span><br />
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-1782591549034293452016-06-09T06:42:00.000-07:002016-08-17T10:02:14.922-07:00<h2 style="clear: both; color: #222222; font-family: "times new roman"; font-size: 22px; margin: 0px; position: relative;">
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<span style="font-family: inherit;">Post # 12</span></h2>
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<u>From an urgency to utterance, through studio muse towards an audience:</u></div>
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<u>( A Memento Mori)</u></div>
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<span style="font-family: inherit; font-size: x-small; line-height: 18px;"><i>(cursor on photograph for detailed view, </i></span></div>
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<span style="font-family: inherit; font-size: x-small; line-height: 18px;"><i>note: unless otherwise indicated all photographs,</i></span></div>
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<span style="font-family: inherit; font-size: x-small;"><i><span style="font-weight: normal; line-height: 18px;">by Michael Schreier and drawings by Hilde Schreier,</span><br style="font-weight: normal; line-height: 18.48px;" /><span style="font-weight: normal; line-height: 18px;">reproduction, without permission, prohibited.)</span></i></span></h2>
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<span style="text-align: left;">Some years ago I reflected with a close friend, wondering what I would be doing now, if I had grown up in Vienna. The answer, quickly returned, "why, you would be an artist". There is certainly truth to this, while recognizing that my cultural imperative, influence, might be very different. Clearly my concerns for a sense of place, the nurturing of voice, the poetics of thought, the value placed on passage with the memory of one place, while the being in another, might be very different. And yet perhaps not.</span></div>
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So it begins with introspection, then to utterance including a speculation for argument and then a return to silence as truths revealed offer little but further introspection: a cycle to confirm.</div>
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It has been some time since I have either considered writing or visiting Camera Obscura. Partially the result of a personal challenge to consider more deeply one's muse, however, more urgently an attempt to understand both the embrace of loss and the requirement to let go, hoping that memory would confirm a deeper continuity. It is with great sadness, yet with a quiet acknowledgement of all gifts garnered that I dedicate this posting to Dave Heath, my mentor, and above all, my close friend. </div>
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Dave died on his birthday, June 27, 2016.</div>
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I include the following discussion between Dave and I,</div>
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(with appreciation to SPAO, and Michael Vuckovic)</div>
<span style="text-align: justify;"> </span><a href="http://photokibitz.com/2013/09/25/special-edition-dave-heath-and-michael-schreier-in-conversation/" style="text-align: justify;" target="_blank">Dave Heath, Michael Schreier, In Conversation</a><br />
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(For your reference, The following exchange between Dave and I was initiated as a result of Post#10<br />
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The Beholder, beheld:<br />
The Reader, read.)<br />
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On May 3, 2016, 12:23 pm Dave Heath wrote:<br />
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i'm not sure my readings are astute.it is of interest that some find the work<br />
"obfuscating". i do not find that so. for me, it is the density of your thinking which i often find difficult to enter.<br />
you are more of a "philosopher",word oriented. thinking that is dense like celan, like the 20th century atonal music that you like. i have sometimes wondered if the structure of your thinking is based on the density of your first language, German. i have often wondered that the books from my library that you read from are books of ideas/words, of some poetry(celan, jabès) but not others, nothing from the visual books. i have long said that photographers enter the medium through one of two doors:text (for instance nathan, (lyons)) or visual aesthetic, (Weston, Edward)<br />
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to wit, from your blog:<br />
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i am more inclined to see clifford still in "temes"<br />
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walker's photo structurally is of clarity and precision, like the grid layouts of philly and manhattan...like his subway series "many are called" wherein the quotidian populace live "lives of quiet desperation. i took his photo as the basis of "beyond the gates of eden"<br />
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though I may often find it difficult to enter your thought, I have always thought you brilliant, continue the work as you live it<br />
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regards, dave<br />
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My answer:<br />
May 3, 2016, 12:52 pm<br />
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Thank you for your kind thoughts and insight...I do read a great deal from the visual section of your library...it certainly sources/influences my work...but I suspect at this point in my life/thinking I am deeply involved with two specific notions, that of doubt and the other, an authority for voice. When I see the profundity of your insight, in your work, and others, I question whether I have anything of real substance to offer...Temes to me underscores a confusion that I have sometimes speculated is part of the "Story of Babel" for in that myth rests not only the notion of language but the privilege to utterance and the struggle for source...What has always struck me about the Evans photograph and his work is the depth to which he goes in recognizing the integrity of the vernacular and the anonymous. I see the window display as a tower built on the subtlety of trace and individual gesture. I also certainly absorb Nathan's text and Weston's visual aesthetics but for me there is a much deeper reflection and that is the right to existence and continuity, that in my own being I find I am challenging. Similar to my experience when one has a deep sense of loss, the very nature of validity is challenged. I have no memory other than through the story's that my parents told me, of my early years in Vienna...and when I came to Canada I could not speak as I did not yet have the language,<br />
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...that little boy in the doorway...<br />
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is of me the first day that I could actually, in English tell and share with my father, my day's events...previously and until that day, he would not listen if I spoke in German...the link to atonal music, to the theater of the absurd, my appreciation of DAda and my understanding of Duchamp's contribution and numerous other elements stem from these early ruminations. Out of coincidence, the first and only play that I directed...The Bald Soprano by Ionesco, was his first play that he wrote to learn English...the humor and contradictions are the result of that dilemma...I am also a deep fan of Clifford Still...currently listening to Arnold Schoenberg...I find your work "Beyond the Gates of Eden" a very quiet reference to the "Tower of Babel" and the, as you suggest, quiet desperation of lives attempting to garner voice...your insights have always fueled the very nature of what I do and on many levels you are one of the few who really understands....<br />
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with tender thoughts, always, Michael<br />
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<a href="https://www.youtube.com/watch?v=G8_fhIKeOX0" target="_blank">Pierre Henry : Le voile d'Orphee II</a><br />
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-36324852888853174772016-04-29T07:18:00.004-07:002016-05-01T05:25:14.477-07:00<div style="background-color: white; text-align: center;">
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<u><span style="font-family: inherit; font-size: medium;">Words yet to Come</span></u></div>
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<span style="font-family: inherit; font-size: small;"><span style="font-weight: normal; line-height: 18px;">note: unless otherwise indicated all photographs,</span><br style="font-weight: normal; line-height: 18.48px;" /><span style="font-weight: normal; line-height: 18px;">by Michael Schreier and drawings by Hilde Schreier,</span><br style="font-weight: normal; line-height: 18.48px;" /><span style="font-weight: normal; line-height: 18px;">reproduction, without permission, prohibited.)</span></span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvzAFQdlbg8MrS7wl_8bL31Gtz7ivWl80il7-c2VsBYte__3vbXy05YnNG7srjGfcsAq8koEoHHmAlx3YVW8j_aq_Q8ympndrhYnVQ7EoUsHoTkCwzTZdQgCcPLoKDlJNx9ywELUrNMws/s1600/107.jpg" imageanchor="1" style="color: #888888; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvzAFQdlbg8MrS7wl_8bL31Gtz7ivWl80il7-c2VsBYte__3vbXy05YnNG7srjGfcsAq8koEoHHmAlx3YVW8j_aq_Q8ympndrhYnVQ7EoUsHoTkCwzTZdQgCcPLoKDlJNx9ywELUrNMws/s640/107.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.0980392) 1px 1px 5px; padding: 5px; position: relative;" width="640" /></a></div>
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<i><br /></i><i>Storyteller/ Waiting for Words</i></div>
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<i>Artist book: 2007-8</i></div>
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<span style="font-size: xx-small;"><i>Michael Schreier</i></span></div>
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<span style="font-family: inherit; text-align: left;">I have always interpreted Carl Jung's definition of a </span><i style="font-family: inherit; text-align: left;">Night Sea Journey </i><span style="text-align: left;"><span style="font-family: inherit;">as a necessary place/attitude that an artist might embrace at a time of deep introspection. One may become occupied by doubt and uncertainty, perhaps even challenging a sense of place and </span>possibly one's<span style="font-family: inherit;"> accomplishments. My regard for such a deep challenge provides me with the necessary energy and guidance for clarity: as it may also become a component in my work. The above layout from </span></span><i style="background-color: transparent; font-family: inherit;">Storyteller/ Waiting for Words, An </i><i style="background-color: transparent; font-family: inherit;">Artist's book: 2007-8 </i><span style="background-color: transparent; font-family: inherit;">illustrates</span><span style="font-family: inherit; text-align: left;"> my suggestion. </span></div>
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Detail from Intro: Layout</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhjiN94OlKfJEA4F2bx-OfbmZ4ycngcHY1MrZ1BcQaoNXUCwX0SSxS4k0xGUefkA6N4zdr7VVWkyH76uTb2mMMUDSGQGxWJ3BO_mYEr7APK_yIjvkvujfzaGurlX0IQyaPVi4aFnJMwQ4/s1600/111.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhjiN94OlKfJEA4F2bx-OfbmZ4ycngcHY1MrZ1BcQaoNXUCwX0SSxS4k0xGUefkA6N4zdr7VVWkyH76uTb2mMMUDSGQGxWJ3BO_mYEr7APK_yIjvkvujfzaGurlX0IQyaPVi4aFnJMwQ4/s640/111.jpg" width="640" /></a></div>
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The above two details underscore the subtlety offered in the complete image. Clearly, the reversed illegible text presents its source somewhere behind the beholder. A further complication arises as one notices that the perspective tends to the right and into the distance. As an aside, notice that this perspective will marry virtually with the space suggested by a mirrored spacial movement offered by the photograph of the store window/blue rectangle space: its perspective also moving into the distance. The two might meet behind the central image of the ceramic women figure?! Further study of the surface of the glass reflecting the text reveals a rubbing, a smudge, probably a sloppy window cleaning effort. A deeper study of the lower corner of the text image may reveal a shadow form cast by and echoing the shape of the ceramic figure. I leave the reader with any implications arising from these formal traces. I would however as I have tried to emphasize in previous posts reiterate that a photograph offering detailed information may actually propose a more complex truth. Although a cloak of certainty has somehow always been presumed as the photographic process renders accuracy, it has however, over the course of photography's short history just as quickly been questioned.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLOVo95yBt4UKIP3iiHmLMcJrxZcLDE9uTbDWftrGw1umcUKc7pa78ZACkMGgTV40ZX2RQMm0FXXQQgR3l8GPyNgH24aVqJ0FiU1dKCztixtf5Tnf6l_mb0N6tCYqditeKOYzLCV-ieFE/s1600/113.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLOVo95yBt4UKIP3iiHmLMcJrxZcLDE9uTbDWftrGw1umcUKc7pa78ZACkMGgTV40ZX2RQMm0FXXQQgR3l8GPyNgH24aVqJ0FiU1dKCztixtf5Tnf6l_mb0N6tCYqditeKOYzLCV-ieFE/s640/113.jpg" width="640" /></a></div>
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Tabula Rasa #1 Table 1 Tabula Rasa #2</div>
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Michael Schreier <a href="https://www.gerhard-richter.com/en/art/paintings/photo-paintings/household-icons-39/table-4954" target="_blank">Gerhard Richter</a> Michael Schreier</div>
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2009 1962 2009</div>
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Anecdote: <a href="https://www.sfmoma.org/artwork/98.298" target="_blank">Robert Rauschenberg, Erased Drawing</a></div>
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Notions of erasure as a creative gesture are not new as a painter may draw over, erase a previous gesture. Rauschenberg's interest to erase a de Kooning drawing happens at a very interesting moment in American history as Joseph McCarthy revs up his insidious efforts, directing his notorious witch hunts throughout the american cultural fabric. My understanding for the erased drawing comprises a profound sense of irony as certainly Rauschenberg would have to decide to what extent evidence should be retained and destroyed, almost a foreshadowing: the completed erasure in 1953 introduces with some irony the initiated <a href="https://en.wikipedia.org/wiki/Army%E2%80%93McCarthy_hearings" target="_blank">McCarthy hearings of 1954.</a><br />
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(Please allow me to acknowledge a mistake made in the initial posting, It was not Eugene McCarthy but Joseph McCarthy that was involved with the Anti-American hearings. Much appreciation to Dave Heath for pointing out the mistake!, now corrected)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhVEeV1Z3fBEqranCHeuabfkVfvKFuNO8Xfm0biamFb2RMJmB3DV9IxZl4CdlSdFFhHmwn8yUKNTHH4f6HLYPvL1gfz1Lgodnkv45VNrvwZbjyfYlILVpxuhXK_4YiB95MEDWjxj9MXTM/s1600/115.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhVEeV1Z3fBEqranCHeuabfkVfvKFuNO8Xfm0biamFb2RMJmB3DV9IxZl4CdlSdFFhHmwn8yUKNTHH4f6HLYPvL1gfz1Lgodnkv45VNrvwZbjyfYlILVpxuhXK_4YiB95MEDWjxj9MXTM/s640/115.jpg" width="640" /></a></div>
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<a href="https://www.youtube.com/watch?v=PdkirNUpX-s" target="_blank">Christopher Lea Dunning,</a> "from an Artist's" book. <br />
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Christopher Lea Dunning is a close friend, colleague, compatriot who has for a number of years insinuated himself into Art History publications. Cursor on his above name and you should arrive at one of his remarkable works, <i>Insinuating Oneself into History. </i>The work speaks for itself. These references to erasure and "collage" emphasize both an artist's need for linkage and continuity as well as challenging the very nature of truth and witnessing, the value, duration not only of utterance but the broader archive of humanity's guarantee for voice.<i> </i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUDnZVuN2z-2BtLB4MjdQY55NQZmtH0sWXFQkpa52YrUMGRnO_2nFXFjkcv0r6aj5ljWKOFDp-GzRQVG6Eyu04oNPhIpSAruLmgV6flMJms3rF81rpcYKwYPctku-MViBazHyWRy1Iy7A/s1600/116.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUDnZVuN2z-2BtLB4MjdQY55NQZmtH0sWXFQkpa52YrUMGRnO_2nFXFjkcv0r6aj5ljWKOFDp-GzRQVG6Eyu04oNPhIpSAruLmgV6flMJms3rF81rpcYKwYPctku-MViBazHyWRy1Iy7A/s640/116.jpg" width="640" /></a></div>
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As history compels itself to the surface of time, to compete with the quotidian can one really acknowledge the value of witnessing? Artists over the years have struggled with both their conscience and ethics, finally relying on an artwork's profound implication for guidance. Implications guided not strictly by formal gesture, abstraction and rendering but by the very desire for continuity.</div>
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As Edmond Jabès has so eloquently challenged in<i> The Book of Dialogue, </i>translated by Rosemarie Waldrop,</div>
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Hidden language, not that of the hand or eyes, a language beyond</div>
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gesture, beyond looks, smiles or tears that we had to learn! Ah, what</div>
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desert will revive it now?</div>
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We thought we were done with crossing the desolate stretch of</div>
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land where the word had dragged us, making us and our wanderings</div>
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bear amazed witness to its perennial nature.</div>
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And here silence leads us into its glass kingdom, vaster yet at first</div>
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sight, breaking all trace of our passage.</div>
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...primal silence which we cannot escape. </div>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-47730629408868290552016-04-09T07:00:00.000-07:002016-09-10T06:49:44.941-07:00<h2 style="background-color: white; clear: both; color: #222222; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 22px; margin: 0px; position: relative;">
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Post # 10</h2>
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<u>The Beholder, beheld:</u></div>
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<u>(the reader, read)</u></div>
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<span style="font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px; line-height: 18px;">(cursor on photograph for detailed view,</span></div>
<span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px; line-height: 18px;">note: unless otherwise indicated all photographs,</span><br />
<span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px; line-height: 18px;">by Michael Schreier and drawings by Hilde Schreier,</span><br />
<span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px; line-height: 18px;">reproduction, without permission, prohibited.)</span><br />
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<span style="background-color: white; color: #222222; font-family: inherit; font-size: 13.2px; line-height: 18px;"> From Series; <i>Camera Obscura</i></span><span style="background-color: white; color: #222222; font-family: inherit; font-size: 13.2px; line-height: 18px;"> Hilde Schreier From Series; <i>Corner room</i></span></div>
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<span style="background-color: white; color: #222222; font-family: inherit; font-size: 13.2px; line-height: 18px;"> 2016 circa 1995 2016</span></div>
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<span style="background-color: white; color: #222222; font-family: inherit; font-size: 13.2px; line-height: 18px;"> Michael Schreier </span><span style="background-color: white; color: #222222; font-family: inherit; font-size: 13.2px; line-height: 18px;"> Michael Schreier</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0-7vPOzRm9m8I6SBx0efdsZP-Fl5_ThSh8up7ONW91PxJLsf8QRZ5Dpaq4occnmts_U3wnXLrXX7awWPk8GxwKguzI7bGWeN_tH4-TQiEJWmNkvEG4tW4-O6OIJiZacNw1w3U7FoNf6E/s1600/99.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0-7vPOzRm9m8I6SBx0efdsZP-Fl5_ThSh8up7ONW91PxJLsf8QRZ5Dpaq4occnmts_U3wnXLrXX7awWPk8GxwKguzI7bGWeN_tH4-TQiEJWmNkvEG4tW4-O6OIJiZacNw1w3U7FoNf6E/s640/99.jpg" width="640" /></a></div>
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<i>Disturbances in Reading, Palimpsest</i></div>
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Michael Schreier, (artist book),</div>
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<span style="font-size: x-small;">Blurb.ca</span></div>
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<i> "It is time I get a name fit to live in," he had written me.</i><br />
<i>"The one I have used so far is the name of my absence."</i><br />
<i>"I need my life in order to write, but did my life want</i><br />
<i>to be written?" he asked.</i><br />
<i>"Every life is the writing of a life," he was told.</i><br />
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<i>The Book of Dialogue</i><br />
<i>Edmond Jabès</i><br />
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<i>Translated by Rosemarie Waldrop</i></div>
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<span style="background-color: white; color: #222222; font-family: inherit; line-height: 18px;">I began this post wanting to offer some clarification, perhaps some additional references, that might make for an easier or less confusing reading. It has been suggested that my reflections have tended to the opaque, dense and perhaps even the esoteric. I have never wished to obfuscate but simply to reach a more exacting and responsible reading both for myself and for my reader.</span><br />
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<span style="background-color: white; color: #222222; font-family: inherit; font-size: 13.2px; line-height: 18px;"><i style="background-color: transparent; text-align: center;"> "It is time I get a name fit to live in," he had written me.</i> </span><br />
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<span style="font-family: inherit;">The above photograph was taken at the National Museum of Anthropology in Mexico. Visitors were invited to offer marks to this panel, signatures, dates, scribbles, whatever they chose to trace. I spent time studying this photograph, intrigued <strike> </strike> with some poetic license <strike> </strike> by its subtle reference to Walker Evans:</span></div>
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Further study, of the Mexican photograph, (serendipitously) revealed the word "temes". <a href="https://www.ted.com/talks/susan_blackmore_on_memes_and_temes?language=en" target="_blank">Susan Blackmore</a><i> </i>makes reference to "temes" as <i>the basis of technology. </i>How ironic that this word should appear on an anonymous panel with vernacular markings. It seems that the profundity in this accidental marking could imply that the basis for technology might just include an urgency to voice and mark-making. Certainly Walker Evans in his critical work <i><a href="http://www.moma.org/calendar/exhibitions/1360?locale=en" target="_blank">American Photographs, with text by Lincoln Kirstien,</a> </i>underscores the value for the quotidian and vernacular gesture.</div>
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An aside:</div>
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<i>A friend of mine studying Hebrew indicated that the graffiti on the wall can be loosely translated as "lushi" meaning to knead, </i><br />
<i>as in bread, before baking in an oven. </i></div>
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This double-page spread is taken from my artist's book, "Storyteller/Waiting for Words"</div>
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Taking on the formal costume of <i>utterance </i>is no easy task. Utterance embraces a series of sounds placed within a designated structure, to be recognized initially as word and then as sentence. I am not aware as to when abstract thought-perspective was initiated. One does however eventually embrace rational and abstract voice, both within the social and the privatized experience. Walker Evans' <i>Studio </i>suggests humanity's collective library, each one embracing and challenging continuity within Babel's <i>unreachable</i> intention to assemble and to recognize.<br />
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<span style="font-family: inherit;">The three photographs in the introductory layout are all taken in library, museum or gallery facilities. Each offers a distinct reference to both the beholder and the beholder beheld. The beholder embraces the outsider vantage point while at the same moment being beheld. The larger image from <i>Palimpsest</i> recognizes a rich still life, while reflecting its viewer's presence. That shadow however assumes a peculiar attitude, framed by an outside frame, (shadowed), it ascribes to a similar position as the artist in Durer's woodcut previously discussed in Post #9. It is suggested that the shadow will never attain a presence inside the garden/still-life, exiled. It seems to me that this offers an understanding for knowledge...that one can attain a certain amount of clarity that is then immediately rendered in doubt and further more, inaccessible.</span></div>
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<span style="font-family: inherit;">"Erlaubt"/allowed </span></div>
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<i>"The one I have used so far is the name of my absence."</i></div>
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<i>From Series: Corner Rooms</i></div>
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<i>(con't)</i></div>
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<i>2015-16</i></div>
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<i><span style="font-size: x-small;">Michael Schreier</span></i></div>
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<i>Balance, Transition</i><i style="font-style: normal;"> and </i><i>Continuity</i><i style="font-style: normal;"> remain,</i> for both author and reader/beholder, integral to voice and clarity. As Jabès asks in <i>Dialogue...but did my life wish to be written...</i>I suggest this is the fundamental question to be asked. In fact we are given this question throughout our history even though, at times, its answer may not be as clear. Certainly in the last number of years as my work progresses it reflects two elements: the first a conviction towards trying to understand and then a profound embrace for doubt. I am motivated to trust my intuition while at the same time measuring each garnered instinct and trace for any sense of credibility. Perhaps that's why Duchamp proposes a time element for the viewing of the <i>Small Glass. </i></div>
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And finally Jabès offers;</div>
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...<i>Every life is the writing of life... </i></div>
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<span style="font-family: inherit;">Post # 11</span></h2>
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<u><span style="font-family: inherit; font-size: large;">Words yet to Come</span></u></div>
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<i><br /></i><i>Storyteller/ Waiting for Words</i></div>
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<i>Artist book: 2007-8</i></div>
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<span style="font-size: x-small;"><i>Michael Schreier</i></span><br />
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-16699270060791847632016-04-04T08:02:00.003-07:002016-04-09T07:40:48.335-07:00<div style="text-align: left;">
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Post #9</h2>
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<u>Uncertainty and Doubt within the Theatre of the Moment</u></div>
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<span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px; line-height: 18px;">(cursor on photograph for detailed view,</span></div>
<span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px; line-height: 18px;">note: unless otherwise indicated all photographs,</span><br />
<span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px; line-height: 18px;">by Michael Schreier and drawings by Hilde Schreier,</span><br />
<span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px; line-height: 18px;">reproduction, without permission, prohibited.)</span><br />
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Uncertainty and doubt, two critical incentives when combined with the<span style="text-align: left;"> "theatre of the moment"</span><span style="text-align: left;"><i> </i>may motivate an artist's work: initially privileged, later shared with another. As well, constantly changing rules of representation can be adjusted according to specific demands, some governed by a sense of place while technological invention may provide additional and welcomed assistance.</span><span style="text-align: left;"> <a href="http://drawingseeing.blogspot.ca/2012/05/albrecht-durer-drawing-devices.html" target="_blank">Albrecht Durer's</a> use of the window-grid establishing perspective could reflect an accuracy that for some might guarantee clarity for a more authentic and perhaps</span><span style="text-align: left;"> <i>truthful </i>experience. We can appreciate</span><span style="text-align: left;"> Canaletto's use of the <i>camera obscura: </i>his<i> </i>attention for a rendering of increasingly complex details. Each of these perspective interpretations proffers an accurate, although anonymous,</span> witnessing of space associated with an implied moment in time. </div>
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<i> Blue <strike> </strike> light, library (office), she, </i></div>
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<i> Vienna walk, 2007</i></div>
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<span style="text-align: center;"><i> </i></span><span style="font-size: x-small; text-align: center;">Michael Schreier</span></div>
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While studying Durer's etching, I have come to realize that, apart from its illustrative function, Durer offers three distinct vantage points: the artist at his table studying his muse while resolving perspective issues; the reclining woman resting introspectively without regard for the artist's attention; and then the beholder of the work, witness to an event. The beholder's vantage, on the edge of the proscenium, echoes the artist's position using the frame as a suggested window to privacy. The grid-frame provides a viewing of minute separate elements that in reality are contiguous. It offers a similar attitude as the camera, selecting from the broader and extended moment. More importantly however, both artist and beholder have the privilege of familiarity, seemingly more complex than a simple study for perspective rendering. This image reminds me of both <i>Duchamp's Étant Donné</i> and of Nobel laureate <a href="https://en.wikipedia.org/wiki/The_House_of_the_Sleeping_Beauties" target="_blank">Yasunari Kawabat</a>a's novella <i>House of the Sleeping Beauties. </i>When studied in this context, the work offers a very different and more profound understanding of the human theatre. It may also introduce ethical concerns.</div>
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<i><span style="font-family: inherit;">Wine for the Architect</span></i></div>
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<span style="font-family: inherit;">1992</span></div>
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Theatre, conversation, and the directive may be inextricably linked. A moment in time is recognized, a directive given and then photographed. My intent with <i>Wine for the Architect</i> was a simple acknowledgment, not an observation, similar to my portrait of Lea included in the introductory layout to this post. The directive offered was " please, just stay like that". All participants are aware of the process as it happens. Does this mean, as Michael Fried has suggested in <i>Absorption and Theatricality,</i> that these moments although referring to absorption remain theatrical? Do the protagonists <i>assume</i> a pose of absorption rather than <i>being </i>absorbed? I am not certain whether this issue is so critical as to differentiate the value of experience, reducing the value of one while elevating the other. These moments occur sometimes casually but always offer a consideration more profound and inaccessible. What remains paramount for me is that the beholder is now, by proximity, complicit in the event observed. An artist always reflects the beholder's role either as a silent witness or as an active, although virtual, participant. It may also be true that he/she the artist remains the beholder, beheld.</div>
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Michael Schreier, (artist book),</div>
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<span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px; line-height: 18px;">note: unless otherwise indicated all photographs,</span></div>
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<span style="background-color: white; color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13.2px; line-height: 18px;">by Michael Schreier and drawings by Hilde Schreier,</span></div>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-79360639207993973422016-03-25T08:20:00.001-07:002016-09-10T06:53:49.669-07:00<h2 style="text-align: left;">
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<i><span style="font-size: large;">The Portrait and a Theatre's Silent Hero</span></i><br />
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<span style="font-family: inherit;"><span style="background-color: white; color: #222222; font-size: 13.2px; line-height: 18px;">(cursor on photograph for detailed view,</span><br style="background-color: white; color: #222222; font-size: 13.2px; line-height: 18.48px;" /><span style="background-color: white; color: #222222; font-size: 13.2px; line-height: 18px;">note: unless otherwise indicated all photographs,</span><br style="background-color: white; color: #222222; font-size: 13.2px; line-height: 18.48px;" /><span style="background-color: white; color: #222222; font-size: 13.2px; line-height: 18px;">by Michael Schreier and drawings by Hilde Schreier,</span><br style="background-color: white; color: #222222; font-size: 13.2px; line-height: 18.48px;" /><span style="background-color: white; color: #222222; font-size: 13.2px; line-height: 18px;">reproduction, without permission, prohibited.)</span></span><br />
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<span style="font-size: xx-small;">(available at Blurb.ca, Michael Schreier, 2014)</span><br />
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<span style="font-size: 13.2px;">Original artwork, collection of the artist, Michael Schreier</span></div>
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Head by <a href="https://en.wikipedia.org/wiki/Franz_Xaver_Messerschmidt" target="_blank">Franz Xaver Messerschmid</a><span style="background-color: transparent; font-size: x-small; line-height: 1.3;"> </span><span style="background-color: transparent; font-size: x-small; line-height: 1.3;"> ( Double Page Spread, <i>Disturbances in Reading, Palimpsest )</i> </span></h1>
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Portrait of an Old Woman Anonymous Street Portrait</div>
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<a href="http://www.gallery.ca/rubens/en/11.htm" target="_blank">Peter Paul Rubens</a> Michael Schreier</div>
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circa 1615 2004<br />
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<span style="font-family: inherit;">I am most grateful for Max Kozloff 's insight, particularly his critically acclaimed work, <a href="http://www.artcritical.com/2008/02/01/the-theatre-of-the-face-portrait-photography-since-1900-by-max-kozloff/" target="_blank">The Theatre of the Face, Portrait Photography Since 1900</a> and his essay <i>Photos within Photographs </i>published in the anthology, <i>The Photographer's Choice, </i>edited by Kelly Wise, circa 1975. </span><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Let me begin with the mirror image in the introductory layout for it is here that one may understand the significance of absence, the beholder outside of his own frame and moment, the opposite to what was reflected in the discussion concerning Duchamp's <i>Small Glass </i> in the previous Blog #7. In emphasizing the relationship between, the exterior of circumstance, the constructed theatre, with the intensity of the interior <strike> </strike> the reflected <i>unknown</i> might just invite drama through absence. Ruben's <a href="https://en.wikipedia.org/wiki/Tronie" target="_blank">Tronie</a> encourages an attention not only upon the magnificence of detail and craftsmanship but also the suggestion of space through focus with a subtle transition to distance, <i>depth of field</i>. </span><span style="font-family: inherit;">This nuanced rendering personalizes the portrait. It may be placed into the theatre of the implied history painting, actually allowing a beholder's embrace and formal caress. Her intimacy, strangely enough, is relegated primarily from outside her privilege. I am effectively invited in without any understood social ritual. On the other hand, in Messerchmid's head, I am given drama without plot, isolation of expression without context <strike> </strike> a representation within the unknown. </span><br />
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<span style="font-family: inherit;">My thoughts concerning the portrait will focus on two very specific issues: its role or direct engagement with the beholder and the subsequent implied theater/storytelling. </span><br />
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Artist, Thomas Ruff Artist, Hilde Schreier Artist, Michael Schreier</div>
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1998 circa, 1995-98 2010 </div>
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To begin, all five selected portraits have two critical elements in common: they may be considered as <i>anonymous portraits </i>and <i>they engage the beholder directly.</i></div>
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<i>"I don't believe in the psychologizing portrait photography that my colleagues do, trying to capture the character with a lot of light and shade. That's absolutely suspect to me. I can only show the surface. Whatever goes beyond that is more or less chance."</i></div>
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<a href="http://www.gilblank.com/texts/intvws/ruffintvw.html" target="_blank">Thomas Ruff</a></div>
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<i>Why Photography Matters As Art As Never Before </i></div>
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<i>Michael Fried. </i></div>
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<i>Storyteller/Waiting for Words</i></div>
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<span style="font-size: x-small;">Michael Schreier</span></div>
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It is not so much the "light and shade" of a portrait that guarantees character but the individual's identity founded on privileged experience. All portraits are governed by the directorial mode, the directive offered by the artist to the sitter and then the assumed posture and pose offered to the beholder. I would suggest that there is no such attribute as <i>neutrality</i>. When one is required as Ruff demands, to empty one's mind of all perspective, he/she would experience imposed control and consequently either challenge his instruction or acquiesce. Certainly, it makes me consider that victims of genocide have experienced such an "emptying" either self-directed or imposed. <i> </i>I believe that a tronie offers an artist two specific elements: the formal rendering and the immediate psychological description to be incorporated within the future history painting. Within the current postmodern theatre Ruff's <i>emptying</i> results in a contemporary metaphor reflecting control and power. I as the beholder feel reluctantly and uncomfortably complicit. All artists define their ethics and none can claim in my opinion a neutral democratic position. I do not believe such altruism exists. It is precisely an artist's responsibility to govern voice; the contemporary <i>street</i> theatre in its anonymity may actually arise from an iconic mythology, as the hero remains silenced. </div>
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Post #9</h2>
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<u>Uncertainty and Doubt within the Theatre of the Moment</u></div>
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<img alt="Albrecht-Durer-Draftsman-Drawing-a-Recumbent-Woman-Woodcut-1525-Graphische-Sammlung-Albertina--1024x352.jpg (1024×352)" src="http://lucyvivante.net/wp-content/uploads/2009/10/Albrecht-Durer-Draftsman-Drawing-a-Recumbent-Woman-Woodcut-1525-Graphische-Sammlung-Albertina--1024x352.jpg" height="219" style="font-size: x-large;" width="640" /></div>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-59929154449069844332016-03-11T07:42:00.001-08:002016-03-29T06:08:24.236-07:00<h2 style="clear: both; color: #222222; line-height: 18px;">
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<u><span style="font-family: inherit; font-size: x-large;">Post # 7</span></u></h2>
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<span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; line-height: 18px;">(cursor on photograph for detailed view,</span><br />
<span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; line-height: 18px;">note: unless otherwise indicated all photographs,</span><br />
<span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; line-height: 18px;">by Michael Schreier and drawings by Hilde Schreier,</span><br />
<span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; line-height: 18px;">reproduction, without permission, prohibited.)</span><br />
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<span style="font-size: large;"><span style="font-weight: normal;">Post</span><span style="text-align: center;"> # 7: Theatre, installation, and the fragility of time</span></span></div>
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<span style="font-weight: normal;"><span style="font-family: inherit; font-size: x-small;"> </span><span style="font-family: inherit; font-size: large;"> </span><span style="font-family: inherit; font-size: large;"> Dedicated to <i>Marcel Duchamp</i></span></span></div>
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<span style="font-size: large;"><span style="font-family: inherit;"> </span><span style="font-family: inherit;"> <span style="font-size: xx-small;"> </span></span><span style="font-family: inherit;"><i><u>To be looked at from the Other side of the Glass </u></i></span></span></div>
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<span style="font-size: large;"><span style="font-family: inherit;"><span style="font-style: italic;"> </span><u style="font-style: italic;">with One Eye, </u></span><u style="font-family: inherit; font-style: italic;">Close to, for Almost an Hour</u></span></div>
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<span style="font-family: inherit; font-size: large;"><span style="font-style: italic;"> </span><span style="font-size: xx-small;"> </span><u style="font-style: italic;"><a href="http://www.moma.org/collection/works/78993?locale=en" target="_blank">The Small Glass</a></u></span></div>
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<span style="font-weight: normal;"><span style="font-family: inherit; font-size: xx-small;"><span style="font-family: inherit; font-size: large; font-weight: normal;"> </span><span style="font-size: large;"><span style="font-family: inherit; font-weight: normal;"> </span><span style="font-family: inherit; font-weight: normal;"> Marcel Duchamp</span></span></span></span></div>
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<span style="font-weight: normal;"><span style="font-family: inherit; font-size: xx-small;"><span style="font-family: inherit; font-size: large; font-weight: normal;"> 1918 </span></span></span></div>
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<span style="font-family: inherit; font-size: large;"><span style="font-family: inherit;"><span style="font-weight: normal;"><span style="font-family: inherit; font-size: medium;">Artists using formal means in order to suggest an approach to their work, direct an individual's engagement and consequently, interpretation and understanding. In </span></span><span style="font-family: inherit; font-size: medium;">introducing a temporal concern, Marcel Duchamp proposes an additional element. As clearly outlined in the included link,</span><span style="font-family: inherit; font-size: medium;"><span style="font-family: inherit; font-size: small;"> </span></span></span><span style="font-family: inherit;"><span style="font-family: inherit; font-size: medium;"><u style="font-style: italic;">The Small Glass, 1918</u><span style="font-family: inherit; font-size: small;">, </span></span><span style="font-family: inherit; font-size: medium;">if taken seriously, the beholder would close one eye, while studying the work for just a little less than one hour. The artist insists on the beholder's singular absorption as the key to entry: implicated in a privileged viewing. As a complement, p</span></span><span style="font-family: inherit; font-size: medium;">lease refer to the following <i><a href="https://books.google.ca/books?id=hYC4NWKapEkC&pg=PA133&lpg=PA133&dq=schwitters+man+standing+there&source=bl&ots=7GSD7miy-1&sig=NjkqepLRrJCQjcDTGS-_fQ_r0gE&hl=en&sa=X&ved=0ahUKEwjNs4rPrL7LAhXMtYMKHaLlCkgQ6AEIGzAA#v=onepage&q=schwitters%20man%20standing%20there&f=false" target="_blank">Kurt Schwitters</a>, </i>page 133 performance.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijOtjkyjA8uLEd0isdzbKoXufJTVNClB4ApB-8Brfj0a1EIVrL3zGjboEerMNMTtcIv8eUImevcVoXNQ-y18K-RJTMdyJgaK8zKor5MqXs39tDm1RARb2x3x0kf6MO5bJ3-nA2vggQV5g/s1600/81.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijOtjkyjA8uLEd0isdzbKoXufJTVNClB4ApB-8Brfj0a1EIVrL3zGjboEerMNMTtcIv8eUImevcVoXNQ-y18K-RJTMdyJgaK8zKor5MqXs39tDm1RARb2x3x0kf6MO5bJ3-nA2vggQV5g/s640/81.jpg" width="640" /></a></div>
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<span style="font-family: inherit; font-size: large;"><span style="font-family: inherit; font-size: medium;">I</span><span style="font-family: inherit; font-size: medium;">n the central panel of this post's introductory layout-the </span><span style="font-family: inherit; font-size: medium;">triptych-the right-hand photograph presents</span><span style="font-family: inherit; font-size: medium;"> a series of numbers,</span><span style="font-family: inherit; font-size: medium;"> a timeline, specifying the day-month-year, hour-minute-second, at the moment recorded, the [meta-data] from the digital file. One may also notice that the numbers are backwards. Consider that in order to read them correctly one would have to virtually enter the space from the other side of the implied film plane, suggesting a passage from one space to the other: the beholder becoming a subtle, active participant in the work. The number's transparency, including partial erasure might also suggest a potential fragility of time: referring not only to a document, but a moment in actual transition.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRytZHaJaDg1aa_OgV7uZsP0bUdjU6OON1qci1I7GvOGAJqq4_dXygVlT2PZ3oCDO3y8_9421kqM-ALbw7bdVw2R9SVUBy9gCYamHwkK42Ttr9PdawespNGKsH0BIL0dMYa-l6rUqDSSA/s1600/79.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRytZHaJaDg1aa_OgV7uZsP0bUdjU6OON1qci1I7GvOGAJqq4_dXygVlT2PZ3oCDO3y8_9421kqM-ALbw7bdVw2R9SVUBy9gCYamHwkK42Ttr9PdawespNGKsH0BIL0dMYa-l6rUqDSSA/s640/79.jpg" width="640" /></span></a></div>
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<span style="font-family: inherit; font-size: large;"><br /></span><span style="font-family: inherit; font-size: large;"> É<a href="http://artobserved.com/2009/09/go-see-philadelphia-marcel-duchamp-etant-donnes-at-philadelphia-museum-of-art-through-november-29-2009/" target="_blank">tant Donne</a>, </span></span><span style="font-size: x-small;"><span style="font-family: inherit; font-size: medium;">(</span><span style="font-family: inherit; font-size: medium;">1</span><span style="font-family: inherit; font-size: medium;">946-1966)</span></span><span style="font-family: inherit;"><span style="font-size: x-small;"> </span> </span><span style="font-family: inherit; font-size: large;"> Untitled, 1980 </span><br />
<span style="font-family: inherit;"><span style="font-family: inherit; font-size: large;"> </span><span style="font-family: inherit; font-size: medium;"> </span><span style="font-family: inherit; font-size: small;">( Fountain for Marcel Duchamp ) </span></span><br />
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<span style="font-size: large;"><span style="font-size: medium;"><i>Untitled </i>is from a series completed in 1980, <i>The Daly Building, </i>now part of the <i>National Gallery of Canada</i> Collection. Composed of "In-camera" cibachrome photographs, rather than prints, the series explores trace-time in an abandoned building. <span style="font-family: inherit;">Two fundamental
truths concerning photography are, (amongst others), the presence of the
objective witness, and the process of mark-making. </span></span><span style="font-family: inherit; font-size: medium;">Conventional
analogue negative-positive photographic methods allow the artist/photographer
to intervene and to render according to their immediate concerns and
interpretation of the image. The in-camera cibachrome technique/emulsion which
I used from 1978 through 2001 registers an image without intervention. It is
its own event. It is important to understand that the in-camera cibachrome has a very low iso rating,</span></span><br />
<span style="font-size: large;"><span style="font-family: inherit; font-size: medium;">requiring as in this case a very long exposure, (2.5 hours). When I suggest that it is its own event, light moves, </span><span style="font-size: medium;">color</span><span style="font-size: medium;"><span style="font-family: inherit;"> temperature of the day changes, and a critical aspect to photography, the latent image is governed by</span><span style="font-family: inherit;"><a href="http://filmphotographyproject.com/content/howto/2011/10/what-reciprocity-failure" target="_blank"> reciprocity failure</a>. The result is a very subtle optically inverted and delicate image.</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwlL9OWT6kbCvGxqHgORvbUnoRTH0wFE5XQoFqiMrX6SGlkSVkouAV4KRz5FKP_BTgzt0duMACRdD07uCbNb6tH3PcUwmvNWKZ5BE13HFQEtCu8urPzx1qZhjOy-FE01nViC043fgwaFE/s1600/69.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwlL9OWT6kbCvGxqHgORvbUnoRTH0wFE5XQoFqiMrX6SGlkSVkouAV4KRz5FKP_BTgzt0duMACRdD07uCbNb6tH3PcUwmvNWKZ5BE13HFQEtCu8urPzx1qZhjOy-FE01nViC043fgwaFE/s640/69.jpg" width="640" /></a></div>
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<span style="font-size: large;"><span style="font-family: inherit;">From the series "Disappearing Numbers"</span></span></div>
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<span style="font-family: inherit;">Digital Print</span></div>
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<span style="font-family: inherit;">2007</span></div>
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<span style="font-family: inherit;">Michael Schreier</span></div>
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<span style="font-family: inherit;">(Disappearing numbers = reciprocity failure)</span></div>
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<span style="font-size: medium;"><span style="font-family: inherit;"><span style="font-size: large;"> </span><span style="font-family: inherit; font-size: large;">The photograph effectively implies an unknown, yet recorded series of anonymous moments. All this to stress that the process embraces philosophical perspective, rather than technical virtuosity. It is essentially a "way of seeing", the word seeing to include "understanding". The camera, incidentally, employs the same process of seeing that the viewer engages in when participating in both Duchamp's <i>The Small Glass </i>and <i>Étant Donné. </i></span></span></span><span style="font-family: inherit; font-size: large;">It must be understood that at the moment of exposure whether analogue or digital, the photographer does not see what is registered. His/her reference is only guaranteed when viewing of the file/print is completed.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghwMlq3JbZ5RkHjl4nIwwCxQyMxfk-OLFRY8l59Kx5TmYseeXp1jjf84R7BCHwCGquyWYAC5JdO9CburLMsbNtVKjPApJTQXQbALS-AiHshx-5caCybO1AS-W0TOKLPyIrg6arBQGCA_E/s1600/80.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghwMlq3JbZ5RkHjl4nIwwCxQyMxfk-OLFRY8l59Kx5TmYseeXp1jjf84R7BCHwCGquyWYAC5JdO9CburLMsbNtVKjPApJTQXQbALS-AiHshx-5caCybO1AS-W0TOKLPyIrg6arBQGCA_E/s640/80.jpg" width="640" /></a></div>
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<span style="font-size: large;"><img alt="Albrecht-Durer-Draftsman-Drawing-a-Recumbent-Woman-Woodcut-1525-Graphische-Sammlung-Albertina--1024x352.jpg (1024×352)" src="http://lucyvivante.net/wp-content/uploads/2009/10/Albrecht-Durer-Draftsman-Drawing-a-Recumbent-Woman-Woodcut-1525-Graphische-Sammlung-Albertina--1024x352.jpg" height="219" width="640" /></span></div>
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<a href="https://www.oneonta.edu/faculty/farberas/arth/arth200/durer_artistdrawingnude.html" target="_blank">Albrecht Durer | Draftsman Drawing a Recumbent Woman | Woodcut | 1525| Graphische Sammlung Albertina</a><br />
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<span style="text-align: left;"><span style="font-family: inherit;"> Étant Donné, </span></span><br />
<span style="text-align: left;"><span style="font-family: inherit;">" Duchamp's having been given." </span></span></div>
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" Stand still and the story will come to you. "</div>
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André Gregory,</div>
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Before and After Dinner</div>
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Post #8</h2>
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<i>The Portrait and a Theatre's Silent Hero</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMK1xeJtqnmC1GmN2juckC-xHRjJ1Y_1e3-wj9NK-Zlieq_D-orOc8BlPZJXAGoFWmKDTHOsDooYdvfm1Wo2BqcaORW2dD7j4imWrLjna83czGii-EyqAFThf04iUWWUefs138wuw1Dfs/s1600/87.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="406" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMK1xeJtqnmC1GmN2juckC-xHRjJ1Y_1e3-wj9NK-Zlieq_D-orOc8BlPZJXAGoFWmKDTHOsDooYdvfm1Wo2BqcaORW2dD7j4imWrLjna83czGii-EyqAFThf04iUWWUefs138wuw1Dfs/s640/87.jpg" width="640" /></a></div>
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Portrait of an Old Woman Anonymous Street Portrait</div>
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<a href="http://www.gallery.ca/rubens/en/11.htm" target="_blank">Peter Paul Rubens</a> Michael Schreier</div>
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circa 1615 2004</div>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-26265619435617331332016-03-06T12:47:00.000-08:002016-03-13T11:35:03.109-07:00<h2>
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<i><u>Camera Obscura is dedicated to Dave Heath and Jim Borcoman</u></i></div>
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<u><span style="font-family: inherit; font-size: large;">Post # 6</span></u></h2>
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<span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13px; line-height: 18px;">(cursor on photograph, for detailed viewing</span><br />
<span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: xx-small; line-height: 18px;"> note: unless otherwise indicated all photographs by </span><br />
<span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: xx-small; line-height: 18px;"> Michael Schreier </span><span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: xx-small; line-height: 18px;">and drawings by Hilde Schreier</span><span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; line-height: 18px;"><span style="font-size: x-small;">)</span></span></div>
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<span style="font-weight: normal;"> </span><u>Tableau and the Anti-hero:</u></h2>
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(Reflections on Staging, theater and the event,)</div>
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<span style="font-weight: normal;">Tableau:</span></h2>
<span style="font-family: inherit;"><span style="text-align: justify;">The tableau has a complex history, both as a theatrical event and as a painting: later also to be embraced by photography. For discussion here, I will refer primarily to the tableau as<i> a most immediate and vivid description of a living scene</i>. Traditionally the tableau vivant has used actors in period costume presenting a moment in history, presumably of some significance. These moments might include classical mythology and storytelling or reflect a prosaic occurrence, granted significance through representation. With the advent of photography, a tableau's truth may be further encouraged by the camera's facility for an objective rendering both of evidence and a specific moment in time.</span><span style="text-align: justify;"> Discussing the most critical aspect to the tableau, absorption, </span><span style="text-align: justify;">(to be intensely engaged in the moment),</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ojN_VfM392Pe8Rx1Qjkona-rBB-6zKC7m0KOTjHUISzb_PWQe8z9aIaBwGCTVIUgdIQiodqitluqOsGJCLr_VEhOl0uT-uh4qXG5NLfKtT2eASu4HiDl1i0_mITUHGjPDplLRwhqnm0/s1600/72.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0ojN_VfM392Pe8Rx1Qjkona-rBB-6zKC7m0KOTjHUISzb_PWQe8z9aIaBwGCTVIUgdIQiodqitluqOsGJCLr_VEhOl0uT-uh4qXG5NLfKtT2eASu4HiDl1i0_mITUHGjPDplLRwhqnm0/s640/72.jpg" width="640" /></a></div>
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<span style="text-align: justify;">Disturbances in Reading</span></div>
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<span style="text-align: justify;">Palimpsest</span></div>
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<span style="text-align: justify;">2014</span></div>
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<span style="text-align: justify;"><span style="font-size: x-small;">Michael Schreier</span></span></div>
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<span style="text-align: justify;"><span style="font-size: x-small;">(available on blurb.ca)</span></span></div>
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<span style="text-align: justify;"> </span><span style="text-align: justify;">Michael Fried proposes </span><span style="text-align: justify;">in his iconic tome </span><a href="https://en.wikipedia.org/wiki/Michael_Fried" style="text-align: justify;" target="_blank"> Absorption and Theatricality: Painting and Beholder in the Age of Diderot</a><span style="text-align: justify;">, that any loss or digression from the moment of absorption, (the experience only of the internal event), so that the focus might shift to the beholder, challenges the credibility of the event represented. It would simply be reduced to a theatrical gesture. There is some truth to this concern as the above photographing has not disturbed the moment and the beholder is consequently offered proximity. Imagine that at the moment of exposure she had turned and focused on me, and by association the beholder; I suspect her gaze would have challenged my presence, significantly altering the meaning of this work.</span><br />
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<span style="font-family: inherit;"> In the dance where everyone dances,</span></div>
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<span style="font-family: inherit;"> there are some who don't dance, just stare,</span><br />
<span style="font-family: inherit;">better not to go to the dance</span></div>
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<span style="font-family: inherit;"> than to be there without being there.</span></div>
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<a href="https://en.wikiquote.org/wiki/The_Book_of_Disquiet" target="_blank">Fernando Pessoa</a></div>
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August 4, 1934</div>
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<span style="text-align: justify;">The following photograph from my work <i>Tears for an Empty Desert </i>illustrates additional concerns reflected by Fried, however offering a peculiar subtlety, critical to photography. Notice on the top left corner a mysterious unavailable presence. The gentleman immediately below, gestures his right arm towards the gentleman on the right who, while leaning back, eyes slightly closed considers what is being discussed. His line of sight however connects directly to the unknown figure and he seems slightly baffled, briefly oblivious to the suggested urgency for his conversation. All this, as the central woman's reflective gaze/gesture further complicates the scenario, proffering a consideration excluded from the main event, (the discussion between the two gentlemen). She draws me in past the two men and for a brief moment in considering her troubled demeanor, I am similarly perplexed.</span><span style="text-align: justify;"> A tableau's notion of time is both constant and fragile. Each moment gains and loses authority and, consequently, voice. So, while remaining empathetic with Michael Fried's argument that the moment of absorption should not be lost, I suggest it is precisely the debate between co-existing elements that offers vulnerability and a more complex truth. Here,</span><span style="text-align: justify;"> the beholder, privileged</span><span style="text-align: justify;"> by the act of framing in proximity is implicated. Additional questions of privilege and the ethics of complicity associated with such a witnessing must be considered. Is it possible that the beholder attains (virtual) membership in this moment, shifting the understood "main event", (a discussion between two gentlemen), to the privilege of participation within the private, yet social arena, claiming the beholder as adjudicator/interrogator, be it from the periphery, <i>the outsider integrated</i>?</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxfHeNarBtUp7sqzPu72lyzanZZfrdflH-tUtDzFz2RTCW-M0FXmVvL7c_ZAgpGn8h_cUfLslIFVf1uk9Iqikf_F4aeoKDsjMNUptEeFXAGqUQ4HkYyzwp_1sZfctn2skCnU5X95xh54w/s1600/59b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxfHeNarBtUp7sqzPu72lyzanZZfrdflH-tUtDzFz2RTCW-M0FXmVvL7c_ZAgpGn8h_cUfLslIFVf1uk9Iqikf_F4aeoKDsjMNUptEeFXAGqUQ4HkYyzwp_1sZfctn2skCnU5X95xh54w/s640/59b.jpg" width="640" /></a></div>
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Consider, the film <a href="https://en.wikipedia.org/wiki/My_Dinner_with_Andre" target="_blank">My Dinner with André</a> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3dS6cXaeNDmxPvMGmYbhNb8YaV3cLD4DnIdK199Uu9CfqqD_edh2MiUBm2Q4Q_f_7q9LoiSGOlu6_tkV_zpLKkBVgrS9OvgcIS2ifaWrff1iPoYdzm7UlRdjKvaMAiZ8p66QDonNQSwg/s1600/12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3dS6cXaeNDmxPvMGmYbhNb8YaV3cLD4DnIdK199Uu9CfqqD_edh2MiUBm2Q4Q_f_7q9LoiSGOlu6_tkV_zpLKkBVgrS9OvgcIS2ifaWrff1iPoYdzm7UlRdjKvaMAiZ8p66QDonNQSwg/s640/12.jpg" width="640" /></a></div>
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<i>Diptych: From series Portraits in Silence, 2003, </i></div>
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<span style="font-size: x-small;">Collection of the Artist, Michael Schreier</span></div>
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16..04..03, 13..45..15 16..04..03, 13..40..11</div>
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(#s metadata timeline for photograph: day..month..year..hour..minute..second)</div>
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<i style="text-align: start;">(note the order for the placement of the photographs in the diptych: the time line clearly indicates that the photograph on the right was taken first. What might this artist's intentional reversal imply?</i></div>
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<span style="text-align: justify;">Tears for an Empty Desert</span></div>
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<span style="text-align: justify;">2006</span></div>
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<span style="text-align: justify;"><span style="font-size: x-small;">Michael Schreier</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqkhyl5qyC3LBtM02zMeGnLojo9F5asR4zwg1y2_QiJamPMAIUXY6MPbiHUCj_dhQwRORDLk1AiC1-T-1su_jCGfWNym315EjuVtRvhqvg9838fnu5KP5wu13vOAUjab2oNbHEMHcIVY/s1600/68.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpqkhyl5qyC3LBtM02zMeGnLojo9F5asR4zwg1y2_QiJamPMAIUXY6MPbiHUCj_dhQwRORDLk1AiC1-T-1su_jCGfWNym315EjuVtRvhqvg9838fnu5KP5wu13vOAUjab2oNbHEMHcIVY/s640/68.jpg" width="640" /></a></div>
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<span style="text-align: justify;">The Overpass</span><br />
<span style="font-size: x-small;"><a href="http://curiator.com/art/jeff-wall" target="_blank">Jeff Wall</a></span><br />
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<span style="text-align: left;">Jeff Wall's </span><i style="text-align: left;">The Overpass </i><span style="text-align: left;">has always</span><i style="text-align: left;"> </i><span style="text-align: left;">intrigued me in</span><span style="text-align: left;"> its implied serendipity. I realize that the significance of his oeuvre rests in the contemporary photographic tableau, all elements considered, constructed, and then assembled. On numerous occasions, Wall has discussed his process. One of the more informative conversations was with Thierry de Duve, </span><a href="https://www.youtube.com/watch?v=B8P9S6FeAuU" style="text-align: left;" target="_blank">We Are All Actors</a><span style="text-align: left;">. It is well worth considering. In the tableau,</span><i style="text-align: left;"> The Overpass, </i><span style="text-align: left;">the anonymous <i>constructed</i> moment is paramount. It offers all the characteristics of a "snapshot". Yet, while embracing this event's implied casualness, Wall alters its insignificance through framing, the repetition of shape and formal elements, the shadow of the street lamp in the foreground offering an edge as it echoes the conduit above the woman's head. There are other intentional elements as subtle but I wish however to focus on the position of the beholder either standing or walking in concert. By his and their mutual proximity, I can only presume that (all) these individuals must be aware of each other. Yet each is absorbed in their private thought and nomadic; they remain exiled.</span><span style="text-align: left;"> Ironically, Wall offers a potential meeting with an approaching figure. None of whom, it is suggested, at this moment will engage. </span></div>
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<span style="text-align: left;"> Ever upstream from myself</span></div>
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<span style="text-align: left;"> I advance, implore and pursue myself</span></div>
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<span style="text-align: left;"> <strike> </strike>O harsh law of my poem</span></div>
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<span style="text-align: left;"> In the hollow of a shadow which flees me.</span></div>
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<span style="text-align: left;">Edmond Vandercammen, La Porte sans Mémoire</span></div>
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<span style="text-align: left;"><span style="font-size: x-small;">The Poetics of Reverie</span></span></div>
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<span style="text-align: left;"><span style="font-size: x-small;">Childhood, Language, and the Cosmos</span></span></div>
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<span style="text-align: left;"><span style="font-size: x-small;">Gaston Bachelard</span></span></div>
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<span style="font-family: inherit;"><u><i>Chimney Sweeps Walking,</i> December 1851</u></span><br />
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Salted paper print, 15.1 cm x 19.7cm<br />
32485, National Gallery of Canada<br />
<i>Charles Nègre</i><br />
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<i>Charles Nègre's </i>title, <a href="https://www.gallery.ca/en/see/collections/artwork.php?mkey=26120" target="_blank">Chimney Sweeps Walking, December 1851</a>,<span style="text-align: center;"> seems somewhat ironic as it underscores two critical elements regarding photography; truth, (the veracity of an event), and its specific time frame. The time frame here is easily understood: December 1851. As described in the <i>National Gallery of Canada</i> link, this photograph replicates a "snapshot" attitude. However James Borcoman has eloquently described Nègre's intentions, that in posing these three figures he has offered a constructed event. <i>The Chimney Sweeps are not Walking.</i> It is well known that one of Nègre's motives was to provide photographic studies to painters; James Borcoman suggests this may have been one of them. Personally I am attracted by the implied immediacy and the witnessing of a moment. In contrast with Wall's <i>The Overpass, </i>Nègre places the beholder as an observer, at the proscenium's edge rather than as potential active participant. All suggested movement is from left to right as opposed to in The Overpass, from foreground to middle ground to distance. I believe that one of the most critical elements to any work is the implied engagement of the beholder either as an active (suggested) participant or as a silent observer. In either case, an author remains reliant on a reader's ability to recognize from a previous experience. </span></div>
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<span style="text-align: justify;">Finally, pursuant to Diderot's reflections on the tableau, and just to reiterate, Michael Fried insists the beholder must refrain from any immediate engagement with the drama presented. Resting only in silent observance at the outside edge of the proscenium, the actor remains absorbed, offering no acknowledgement of the audience/beholder. If there were to be a direct engagement, then the tableau would immediately be suspended. Yet is it not in the Shakespearean experience, via the apron/thrust stage that the beholder may be considered not only a viewer of the drama but a member of the crowd within the scenario? According to Fried, in his recent work, </span><i style="text-align: justify;">Why Photography Matters As Art As Never Before,</i><span style="text-align: justify;"> the position of the beholder as a silent observer rather than participant must also hold true for the photograph as tableau. He further argues that the large scale of contemporary photography must consider those issues for </span><i style="text-align: justify;">Absorption and Theatricality, </i><span style="text-align: justify;">initially addressed by 18th century French painting and underscored in the writings of Denis Diderot. I would however prefer a somewhat different reading. I can agree that scale may be critical in considering the contemporary tableau: however, I would suggest that elements concerning time and space are of equal if not overriding value. For me, these elements reinforce the transitory nature of vision and may subsequently contribute to our understanding of place. </span></div>
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Gallery Muse<br />
2015<br />
<span style="font-size: x-small;">Michael Schreier</span></div>
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The next blog will discuss the theatrical nature of time and place.<br />
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Floor<br />
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<span style="font-weight: normal;">Blog # 7: Theater, installation, and the fragility of time.</span></h2>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-76021937256458314712016-02-21T11:14:00.001-08:002016-02-21T11:14:14.874-08:00<h2>
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<i><u>Camera Obscura is dedicated to Dave Heath and Jim Borcoman</u></i></div>
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<span style="font-family: inherit; font-weight: normal;"><i>Vienna, City of Thoughts</i></span></h2>
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<span style="font-family: inherit; font-weight: normal;">A cursory response to Justin Labelle's </span><span style="font-family: inherit; font-weight: normal;">previous e-mail blog #4: my answer in <i>bracketed italics</i></span><br />
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<span id="yui_3_16_0_1_1455461675604_3826">Hi Michael,</span></div>
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<span id="yui_3_16_0_1_1455461675604_3829">I noticed in your blog posts that you are providing a rather intimate reading into your family and family dynamics..<b>. </b></span><i><b>(Yes of both the privileged and social)</b></i><b> </b>In reference to art as a whole, do you think that the strongest art is always personal to the creator?<b> </b><i><b>(Yes) </b></i> I think that we tend to love artists that delve into their psyche and try to grasp the psychological underpinnings of the creative process.. <b>(</b><i><b>Shouldn't there always be an inner search ?!)...</b></i>That might be why so many people do not "understand" or immediately dismiss certain types of modern art... Opinions?<b> ( </b><i><b>Why dismiss so quickly as it might just designate work as entertainment...work should challenge both the artist and the beholder )</b></i></div>
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<span id="yui_3_16_0_1_1455461675604_3858"> Looking back on your career as an artist, do you think the work that you are most proud of generally touched on personal matters? </span><br />
<i><b>( Always ) </b></i>I know your master's project heavily involved your family and your recent books also create a dialogue with your mother's paintings... Do you feel this is the most rewarding way of making art?<b><i> ( Most rewarding as new implications are raised and continuity is extended. )</i></b></div>
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<span id="yui_3_16_0_1_1455461675604_3861"> Likewise, have you ever created something purely for money and how did you feel with the finished product? <b><i>( No and I always remain challenged )</i></b></span></div>
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<span style="font-family: inherit;">I anxiously await your reply,</span></div>
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<span style="font-family: inherit;">Justin</span><br />
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<span style="font-family: inherit;">However, these questions require much more serious consideration:</span></div>
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<i>La Parole sans Langue</i><br />
<i>( Utterance without Code )</i></div>
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<span style="font-family: inherit; font-size: large;">From Series, Corner rooms,</span><br />
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<span style="font-size: x-small;">Collection of the Artist, Michael Schreier</span></div>
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<span style="text-align: left;">Rosemarie Waldrop's phrase, <i>Utterance without Code,</i> a translation of <i>La Parole sans Langue, </i> suggests an engaged silence similar to Lyotard's <i>Differend, </i>proposing that<i> </i>a right to voice is granted through disciplined study. So, an</span><span style="text-align: left;"> artist's engagement may include any of the following, the familial, the social, that of introspective thought including a sensitivity for both the sacred and profane: the code being granted as language and intuitive insight coincide. Justin Labelle's questions reflect a young artist's critical effort to rationalize his formal experience and practice while embracing a personal search for a clarification of (his) ethics. Questions focused on my mother's work provide for a consideration of disclosure, privacy and the development of the iconic myth. Such concerns may constitute one's rationale for work and I would suggest their presence continues throughout one's career, as they impact with an increasingly subtle nuance. An artist's career may reflect early hubris followed by a profound appreciation for doubt in one's senior years.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicyP9eyMHouczKZ15ChGw0v9Yg24tCG5nGs-hzkGN6kWKI278PMotXhQgQFsEV5erlVBruWqO15BRXTkb7-2udiR3LN3gbOmsidXkY1uoZFLxkvCPtXiDqkk_eDpEyvRn8njlJ2GiK-io/s1600/52.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="502" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicyP9eyMHouczKZ15ChGw0v9Yg24tCG5nGs-hzkGN6kWKI278PMotXhQgQFsEV5erlVBruWqO15BRXTkb7-2udiR3LN3gbOmsidXkY1uoZFLxkvCPtXiDqkk_eDpEyvRn8njlJ2GiK-io/s640/52.jpg" width="640" /></span></a></div>
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<span style="font-size: x-small;">Collection of the artist:</span></div>
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<span style="font-size: x-small;">2014</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1WTlXMmRV4DNNZfmxKaIi5P8HOSUyChuwWHz7Te-F3j5wo-TboG44D5reX7dqZFvwPMi0pCAq-ZW0D3lX3P-3WvU58XPOc_hclQDfv2WN-LjIZGpby1V89XsdKoI7JMUjfNTuxCbAhZA/s1600/56.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="532" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1WTlXMmRV4DNNZfmxKaIi5P8HOSUyChuwWHz7Te-F3j5wo-TboG44D5reX7dqZFvwPMi0pCAq-ZW0D3lX3P-3WvU58XPOc_hclQDfv2WN-LjIZGpby1V89XsdKoI7JMUjfNTuxCbAhZA/s640/56.jpg" width="640" /></a></div>
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<span style="font-weight: normal;">Disturbances in Reading, Palimpsest </span></h2>
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<span style="font-size: x-small;">(available at Blurb.ca, Michael Schreier, 2014)</span><br />
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Original artwork, collection of the artist, Michael Schreier</div>
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<span style="font-family: inherit;">Cover Photograph</span><br />
<span style="font-family: inherit; font-size: x-small;">(Michael Schreier, Blurb.ca)</span><br />
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<a href="https://en.wikipedia.org/wiki/Yad" style="font-family: inherit;" target="_blank">Yad</a><br />
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<span style="font-family: inherit;"><a href="https://en.wikipedia.org/wiki/Edmond_Jab%C3%A8s" target="_blank">Edmond Jabès' Book of Questions</a> challenges the idea of absolute laws, reflected in the introductory layout. The rules of engaging with art demand a clarity for personal values, to be tested, and appreciated in the broader creative arena. However they have little to do with a pragmatic resolution and more to do with the mysterious embrace of knowledge and wonder as each generation's experience, whether of comedy, tragedy or the lost sense of place imagines an embrace of the privatized with the social. The "Innere Stadt" must remain fluid as it provides a witnessing of the quotidian.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWWkJjatgCyMwUBRsU6MDOQqfcM-Nqc_9VqNc-hyMpwgEvF54NyPHllnq5R_knjWLhXoumfcCf3QAx5Zaa-yWPLogrUFejcO3WfWQE8L1yhVsThYyZtfSG_9RkSrleccn0T_JVu0LJDt4/s1600/55.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWWkJjatgCyMwUBRsU6MDOQqfcM-Nqc_9VqNc-hyMpwgEvF54NyPHllnq5R_knjWLhXoumfcCf3QAx5Zaa-yWPLogrUFejcO3WfWQE8L1yhVsThYyZtfSG_9RkSrleccn0T_JVu0LJDt4/s400/55.jpg" width="400" /></a></div>
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<span style="font-family: inherit;"><i>(Vienna shadows, window light)</i></span></div>
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<span style="font-family: inherit;">from</span></div>
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<span style="font-family: inherit;"><i>Disturbances in Reading, Palimpsest</i></span></div>
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<span style="font-family: inherit; font-size: x-small;"><i>(Blurb.ca, Michael Schreier)</i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8IIn6mCH8xKM7Cn279cfK8evQ5JoY7w_dkgO6-xF4VnDBodllBk7XJe-U3LZl9_U0XrzcibGPFHqcrR7rl0LMeqLoChbQduB3F38Dg8MqO8_u-p8AuFv97cC_osZRh5EsGc0HjP09HE4/s1600/54.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8IIn6mCH8xKM7Cn279cfK8evQ5JoY7w_dkgO6-xF4VnDBodllBk7XJe-U3LZl9_U0XrzcibGPFHqcrR7rl0LMeqLoChbQduB3F38Dg8MqO8_u-p8AuFv97cC_osZRh5EsGc0HjP09HE4/s640/54.jpg" width="598" /></a></div>
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<i>Disturbances in Reading, Palimpsest</i></div>
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<span style="font-size: x-small;">Photograph layout, Michael Schreier</span></div>
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<span style="font-size: x-small;">Drawing, Hilde Schreier</span></div>
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<span style="font-family: inherit;">I have always been intrigued by my mother's drawing as it touches on the very core of </span><a href="https://en.wikipedia.org/wiki/Nekyia" style="font-family: inherit;" target="_blank">Carl Jung's Night Sea Journey</a><span style="font-family: inherit;">, displaying a dawning, that initial moment of utterance. These figures appear on one page, are not edited nor arranged. They offer an artist's insight for the development of conscious thought from intuitive insight. It rings true my concerns for the reflection of an original idea, linked to the broader community of mythology, just as architecture might reflect a latent witnessing of its history: sunlight might suggest a still to be acknowledged silent presence for memory of a city's past military insignia. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghmwdg0YcidHCQIYwiWLZoou2RRa-FRE-eL9OJkW3lI1zi-obsZXN0rAUgQtcPxGjAeF7YBK_IPPATjl-ma9BZon_CkiVHXhbT_6C1z1ruJmcF0gU0lm1xowJhOB8rKdjFpg5UVF-5Cqk/s1600/57.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghmwdg0YcidHCQIYwiWLZoou2RRa-FRE-eL9OJkW3lI1zi-obsZXN0rAUgQtcPxGjAeF7YBK_IPPATjl-ma9BZon_CkiVHXhbT_6C1z1ruJmcF0gU0lm1xowJhOB8rKdjFpg5UVF-5Cqk/s640/57.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx8mWGZbJpXoZFBG8DHoVvQ04BhhaOpsmjn5XUqOf2HBxUs6xuz3fzhWbe_qNAChpMAW-0Tg1-jvcLxVzpF0mLWRJQr1Pz6_a0jNJPBA128TpgtZCSBtYqCiBuP5zkcjitjjZc8pf4C08/s1600/58.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx8mWGZbJpXoZFBG8DHoVvQ04BhhaOpsmjn5XUqOf2HBxUs6xuz3fzhWbe_qNAChpMAW-0Tg1-jvcLxVzpF0mLWRJQr1Pz6_a0jNJPBA128TpgtZCSBtYqCiBuP5zkcjitjjZc8pf4C08/s640/58.jpg" width="640" /></a></div>
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<span style="font-family: inherit;">The next </span>Installment<span style="font-family: inherit;">:</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><i>The Tableau, the Anti-Hero.</i></span><br />
<span style="font-family: inherit;"><i><br /></i></span>
<span style="font-family: inherit;">February 28, 2016</span><br />
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-79742788680612150302016-02-15T06:18:00.000-08:002016-02-15T18:42:58.077-08:00<div class="separator" style="clear: both; color: #222222; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 13px; line-height: 18px;">
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<i><u>Camera Obscura is dedicated to Dave Heath and Jim Borcoman</u></i></div>
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<i><u><span style="font-size: large; font-weight: normal;">Post #4 </span></u></i></h2>
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(cursor on photograph, for detailed viewing)</div>
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<span style="font-size: large; font-weight: normal;"><i><u><span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif;"><span style="font-weight: normal; line-height: 18px;">From Margin to Proscenium:</span></span></u></i></span></h2>
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<span style="font-weight: normal;"><span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif;"><span style="font-weight: normal; line-height: 18px;">Considering the layout, <strike> </strike> privileged landscape <strike> </strike> with Storytelling</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaiK8S_rrn8O2tmu-DX6DzXygP55ym1f6ZT95FKfsAZr5L-5CzTWu8N1vbYWJtSe45dfkgJgMHsOTqfUYyvtmTfoglb_ic7B1xstISJtHHc413wUdXxlt9BqYJFtpWcBs25Kyuaw9r_MA/s1600/39.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaiK8S_rrn8O2tmu-DX6DzXygP55ym1f6ZT95FKfsAZr5L-5CzTWu8N1vbYWJtSe45dfkgJgMHsOTqfUYyvtmTfoglb_ic7B1xstISJtHHc413wUdXxlt9BqYJFtpWcBs25Kyuaw9r_MA/s640/39.jpg" width="640" /></a></div>
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Vienna Window</div>
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<span style="font-size: x-small;">(tabula rasa)</span></div>
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2007</div>
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<span style="font-size: x-small;">Collection of the Artist, Michael Schreier</span></div>
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...the unstable state and instant of language wherein something which must be able to be put into phrases, cannot yet be...</div>
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The Differend: Phrases in Dispute</div>
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1983</div>
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Jean-François Lyotard</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsJALk0fM5hjKkxsCIzVGYFEp7xL_gOpnN0McUT-HyTjWhzXl7ZACZ3JP1eqEKjMdvyi2uaRlb6EoiL6EcgEX5iHKyn7vio75EOckDn2VcESbQYSIdjxbcu5go0b8RwC3_g2_fvVc5ZW8/s1600/41-f.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsJALk0fM5hjKkxsCIzVGYFEp7xL_gOpnN0McUT-HyTjWhzXl7ZACZ3JP1eqEKjMdvyi2uaRlb6EoiL6EcgEX5iHKyn7vio75EOckDn2VcESbQYSIdjxbcu5go0b8RwC3_g2_fvVc5ZW8/s640/41-f.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK1JPm_qe0Oz5TDJ9heKNfBlZq_uBG1AQRmJffEsHaJayJWAYXwkk333D4IMJ0PW4Qe1RAE5p7p7nD8CtmJwSotBSaHAjpoYXzq-msNvKQBwrKAuInfEdNPTO7CAtAe0LdEUKVb9T7jYY/s1600/40.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK1JPm_qe0Oz5TDJ9heKNfBlZq_uBG1AQRmJffEsHaJayJWAYXwkk333D4IMJ0PW4Qe1RAE5p7p7nD8CtmJwSotBSaHAjpoYXzq-msNvKQBwrKAuInfEdNPTO7CAtAe0LdEUKVb9T7jYY/s640/40.jpg" width="640" /></a></div>
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Turtle Theater</div>
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<i>Tears for an Empty Desert</i></div>
<h1 class="yt watch-title-container" style="background: rgb(255, 255, 255); border: 0px; display: table-cell; margin: 0px 0px 13px; padding: 0px; vertical-align: top; width: 824px; word-wrap: break-word;">
<span class="watch-title " dir="ltr" id="eow-title" style="background-attachment: initial; background-clip: initial; background-color: transparent; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; margin: 0px; padding: 0px;" title="Henry Purcell - Sefauchi's Farewell - Z 656 - George Malcolm - Harpsichord"><div style="text-align: center;">
<span style="background-color: transparent; font-size: x-small;">Artist book, 2006</span></div>
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<span style="font-size: x-small;">Michael Schreier</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiwhS4UpAOV3fMP9C7RoLqQWhfDmWZsH4Vr2IK89-nygxhpgWgKIr5RGb9wbJq5p9Ky0Tu74ovanyF3xq6-WMBYuhnED6hdzeBTcInths_Syg4KMP4qJqv8JRA2QrAl6wjXfyGj9gi4lI/s1600/43.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiwhS4UpAOV3fMP9C7RoLqQWhfDmWZsH4Vr2IK89-nygxhpgWgKIr5RGb9wbJq5p9Ky0Tu74ovanyF3xq6-WMBYuhnED6hdzeBTcInths_Syg4KMP4qJqv8JRA2QrAl6wjXfyGj9gi4lI/s640/43.jpg" width="640" /></a></div>
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#28</div>
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<span style="font-size: x-small;">from </span></div>
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<i>Stations, 1-28</i></div>
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<i>2016</i></div>
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Collection of the artist, Michael Schreier</div>
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<span style="text-align: left;"> Traditionally, those characters of epic proportion, represented in a </span><a href="https://en.wikipedia.org/wiki/History_painting" style="text-align: left;" target="_blank">History Painting</a>, are associated with<span style="text-align: left;"> mythology and its historical reference. In contrast, f</span><span style="text-align: left;">rom </span><i style="text-align: left;">Margin to Proscenium </i><span style="text-align: left;">suggests to me a passage from silence to voice, as a theater's stage provides the window to storytelling and experience. History is yet to be discovered. </span><a href="https://en.wikipedia.org/wiki/Rosmarie_Waldrop" style="text-align: left;" target="_blank">Rosemarie Waldrop's</a><span style="text-align: left;"> remarkable work, </span><a href="http://www.complete-review.com/reviews/jabese/waldrop.htm" style="text-align: left;" target="_blank">Lavish Absence: Recalling and Rereading Edmond Jabès</a><span style="text-align: left;"> describes </span><i style="text-align: left;">La Parole sans Langue, </i><span style="text-align: left;">an utterance without code, as the door to voice, with introspection its key. </span></div>
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<i>Storyteller/Waiting for Words</i></div>
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How to balance an artist's intuitive insight with the rational: as T.S. Eliot implies in his master work, <a href="https://en.wikipedia.org/wiki/The_Family_Reunion" target="_blank">The Family Reunion</a>, storytelling, while revealing history, might propose ethical boundaries. Editing has always required a significant consideration of intuitive thought with truth. In order to offer continuity one must accept the responsibility surrounding disclosure. Personally, I believe this to be the source for abstraction. The artist always gauges objective truth, evidence with the associated myth and intent. </div>
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The Reader</div>
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<i>Disturbances in Reading, Palimpsest</i></div>
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2015</div>
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<span style="font-size: x-small;"><span style="font-family: inherit;">Collection of the Artist, Michael Schreier</span><span style="color: #222222; font-family: inherit; line-height: 18px;"> </span></span></div>
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<span style="color: #222222; font-family: inherit; line-height: 18px;">note: </span><i style="color: #222222; font-family: inherit; line-height: 18px;">Disturbances in Reading, Palimpsest </i><span style="color: #222222; font-family: inherit; line-height: 18px;">is available at</span></div>
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<span style="font-family: inherit;">Blurb.ca, Michael Schreier</span></div>
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<span style="font-family: inherit;"><span style="color: #222222;"><span style="line-height: 18px;">(In this intuitive layout, the linkage from one set of images to the next), I have just noticed that in arranging this installment, I have </span></span><span style="color: #222222;"><span style="line-height: 18px;">vertically</span></span><span style="color: #222222;"><span style="line-height: 18px;"> sequenced, beginning with the table as an introduction </span></span><strike style="color: #222222; line-height: 18px;"> </strike><span style="color: #222222;"><span style="line-height: 18px;">Tabula rasa < Clear-blue panel in turtle < stations #28 ( theater) rectangular frame on right < square window light accent in page layout < book on the edge in The Reader, each panel placed at the margin, directed to the anonymous reader, <strike> </strike> I might suggest that the book on the edge offers a subtle introduction to the <a href="https://en.wikipedia.org/wiki/Apron_stage" target="_blank">Apron Stage</a>. This layout is placed at a critical point in the book, <i>Disturbances in Reading, Palimpsest</i> suggesting the role of the reader shifts from audience member to that of director, from observer to participant. </span></span></span></div>
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From series,<i> </i></div>
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<i>Palimpsest,the Museum Works.</i></div>
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<i>2015</i></div>
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<span style="font-size: x-small;">Michael Schreier</span></div>
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<span style="font-family: inherit;"><span style="color: #222222;"><span style="line-height: 18px;">It is a privilege to include this recent reflection by James Borcoman:</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbtD6Pz5tBukVjrdUAlFDIFapEG_fe7PUl29oL2PF-yyJI_LuKEUe7lkA-18Zb7pI7_4FoLMkwlKOAWm8l-OFt-3TOUKUkzIIqHqq9kXcLb5BN0KxxOEEmKrgC5MjxGEIL-b6juUjs7nI/s1600/45-b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbtD6Pz5tBukVjrdUAlFDIFapEG_fe7PUl29oL2PF-yyJI_LuKEUe7lkA-18Zb7pI7_4FoLMkwlKOAWm8l-OFt-3TOUKUkzIIqHqq9kXcLb5BN0KxxOEEmKrgC5MjxGEIL-b6juUjs7nI/s320/45-b.jpg" width="320" /></a></div>
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<span style="font-family: inherit;"><span style="color: #222222;"><span style="font-family: inherit; line-height: 18px;"><span id="yui_3_16_0_1_1455461675604_2345" lang="EN" style="background-color: white; color: black; line-height: normal;">Eugène Atget<br /> </span><span style="background-color: white; color: black; line-height: normal;"><br /></span></span></span></span></div>
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<span style="font-family: inherit;"><span style="color: #222222;"><span style="font-family: inherit; line-height: 18px;"><span style="background-color: white; color: black; line-height: normal;">Although Eugène Atget may be seen as a continuation of the concerns of the nineteenth century photographer, he is, in fact, an artist for our own time. He did more than any other photographer to prepare the way for our acceptance of the complexity of layered meaning in the photograph. No other photographer has ever surpassed the subtlety with which Atget combined the image as descriptive information with the image as expression. He did so through photographs that are provocative, evocative and sumptuously beautiful. Even to this day, however, he is thought of primarily as a street photographer with a social agenda and with facts exclusively.</span><br style="background-color: white; color: black; line-height: normal;" /><span style="background-color: white; color: black; line-height: normal;"> </span><br style="background-color: white; color: black; line-height: normal;" /><span style="background-color: white; color: black; line-height: normal;">The occasional glimpse of expressive imagery may be seen as early as 1907 in some of his St. Cloud Park photographs. But not until after the First World War does he appear to be more concerned with personal imagery than with the needs of clients whose concerns were factual documentation. One of the earliest of the late images that are both poetic and elegiac, is </span><i style="background-color: white; color: black; line-height: normal;">Saint-Cloud </i><span style="background-color: white; color: black; line-height: normal;">(NGC 21237),</span><i style="background-color: white; color: black; line-height: normal;"> </i><span style="background-color: white; color: black; line-height: normal;">made around 1920. Trees as subjects for his botanical series appear as early as the end of the nineteenth century. Some he photographed over and over again across the years and through the seasons. We cannot avoid the feeling that he saw them as a life force. However, the mood of foreboding that we see in </span><i style="background-color: white; color: black; line-height: normal;">Saint-Cloud </i><span style="background-color: white; color: black; line-height: normal;">is new and typical of this late period. The natural disarray of the overarching branches create a dark arabesque against a lighter sky. In the gloom of the woods, a lone tree blazes with light. Did Atget, like Dante, see himself as lost in a dark wood? It is easy to see his tree photographs as metaphors for his life. The late pictures show a complicated, troubled artist, whose concerns ran deeper than the literal.</span><br style="background-color: white; color: black; line-height: normal;" /><span style="background-color: white; color: black; line-height: normal;"> </span><br style="background-color: white; color: black; line-height: normal;" /><span style="background-color: white; color: black; line-height: normal;">James Borcoman</span></span></span></span></div>
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February 21, 2016</div>
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Thoughts concerning Authorship:</div>
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Page layout from Artists Book,</div>
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<i>Vienna City of Thoughts</i></div>
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<span style="font-size: x-small;">(available at blurb.ca, Michael Schreier)</span></div>
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<span style="font-family: inherit;">Justin Labelle</span></div>
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<span id="yui_3_16_0_1_1455461675604_3826"><span style="font-family: inherit;">Hi Michael,</span></span><br />
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<span id="yui_3_16_0_1_1455461675604_3829"><span style="font-family: inherit;">I noticed in your blog posts that you are providing a rather intimate reading into your family and family dynamics... In reference to art as a whole, do you think that the strongest art is always personal to the creator? I think that we tend to love artists that delve into their psyche and try to grasp the psychological underpinnings of the creative process...That might be why so many people do not "understand" or immediately dismiss certain types of modern art... Opinions?</span></span></div>
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<span id="yui_3_16_0_1_1455461675604_3858"><span style="font-family: inherit;"> Looking back on your career as an artist, do you think the work that you are most proud of generally touched on personal matters? I know your master's project heavily involved your family and your recent books also create a dialogue with your mother's paintings... Do you feel this is the most rewarding way of making art?</span></span></div>
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<span id="yui_3_16_0_1_1455461675604_3861"><span style="font-family: inherit;"> Likewise, have you ever created something purely for money and how did you feel with the finished product?</span></span></div>
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<span style="font-family: inherit;">I anxiously await your reply,</span></div>
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<span style="font-family: inherit;">Justin</span></div>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-28049367166111236132016-02-08T10:02:00.000-08:002016-02-16T09:28:15.725-08:00<br />
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<i><u>Camera Obscura is dedicated to Dave Heath and Jim Borcoman</u></i></div>
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<i><u><span style="font-family: inherit; font-size: large; font-weight: normal;">Post #3 </span></u></i></h2>
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<span style="font-family: inherit;"><span style="font-size: large; font-weight: normal;"><i><u>The Constructed Image/Directorial Mode and the Sequence</u></i><i><u><br /></u></i></span><span style="font-size: small; font-weight: normal; text-align: center;"><br /></span></span></h2>
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<span style="font-family: inherit; font-size: small; font-weight: normal; text-align: center;">(another point of view)</span></h2>
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(cursor on photograph, for detailed viewing)</div>
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To begin with, an anecdote:</div>
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While teaching a summer session at the Banff School of Fine Arts in 1979, I learned that the magazine <i>Arts Canada </i>was planning an issue on the Canadian Artists <a href="https://en.wikipedia.org/wiki/Vera_Frenkel" target="_blank">Vera Frenkel</a>, <a href="http://www.thecanadianencyclopedia.ca/en/article/charles-gagnon/" target="_blank">Charles Gagnon</a>, and <a href="https://en.wikipedia.org/wiki/Michael_Snow" target="_blank">Michael Snow</a>. The issue would focus on the <i>metaphor for passage, storytelling</i> and<i> memory.</i> Vera asked if I might photograph her in support and I agreed, stipulating that she be seated by a window. In concert with the completed portrait, I and several others eagerly accepted a proposed challenge: a collaborative effort, directed by Vera <strike> </strike> to offer another moment in the assumed life of <i>Cornelia Lumsden</i>. During the arranged video-shoot in the illustrious <i>Banff Springs Hotel</i> conference hall, and while in casual conversation, <a href="https://en.wikipedia.org/wiki/Takao_Tanabe" target="_blank">Takao Tanabe, the Canadian painter</a>, aware of the circumstances surrounding this production, and with some, I suspect, intended mischief, unassumingly divulged that the Banff Springs Hotel has a room without a door. His further revelation that there had been a woman resident in the hotel during the late 40's, early 50's, who in order to cover expenses, would sell a work from a selection of "degenerate" art she had salvaged from Europe during the second world war, provided us with additional intrigue. Naturally, in connecting these two unrelated musings, we conjectured that <i>this room without a door</i> housed critical art works associated with numerous contemporary masters. Regrettably, Wikipedia would reveal that this <a href="http://immrfabulous.com/2012/03/27/you-didnt-know/" target="_blank"><i>Room</i></a> was the site of a murder, simply confirming that architecture could indeed be witness to both fact and fiction. These casual ruminations encouraged my work,<i> From One Room,</i> completed during my stay at the Banff School. At the time I had little idea of its significance within my developing body of work as its production was simply intended as an illustration of my professional concerns for my students.</div>
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<img alt="The secret life of Cornelia Lumsden" height="419" src="https://dg19s6hp6ufoh.cloudfront.net/pictures/612142720/large/11_cornelia_5.jpeg?1384802601" width="640" /></div>
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<i>Snapshot of an Event, Possibly,</i></div>
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<i>or </i></div>
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<i>A Concert for the Silent Witness, Character and script to be improvised!</i></div>
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<i>( </i>my working title including credit for Ara Rose Parker, photographer,</div>
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with profound appreciation and tender thoughts for a passing memory)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz7yJrLKUSrj8jx3qhhbUfwEgPVFW4r2F7POmxYjQtaQqV503YNwH3hOoJL74U9gTlHCJ6VwR1TzJ0g4Cs-F91-A0zRp1U6krOEfqsHYehfwJRWxIKOTucAvKNTN89tYZlCCR4RJKLW5s/s1600/32.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz7yJrLKUSrj8jx3qhhbUfwEgPVFW4r2F7POmxYjQtaQqV503YNwH3hOoJL74U9gTlHCJ6VwR1TzJ0g4Cs-F91-A0zRp1U6krOEfqsHYehfwJRWxIKOTucAvKNTN89tYZlCCR4RJKLW5s/s400/32.jpg" width="301" /></a></div>
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(<i>From One Room</i><i>)</i></div>
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<span style="font-size: x-small;">Collection of the Artist</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIg2y7VgSSH9hozqF2__O67Gk4dQh07Uwnb2ZqkifYtnmuBotHMIXk6TuNzIB0-haKw4Js8HMPEd5EfOXdGrPhn2o4GNgKZqwtCyBDv80876rd96fT0t9BEhRRC-iMZN-j_59uH5pbfzI/s1600/31.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="514" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIg2y7VgSSH9hozqF2__O67Gk4dQh07Uwnb2ZqkifYtnmuBotHMIXk6TuNzIB0-haKw4Js8HMPEd5EfOXdGrPhn2o4GNgKZqwtCyBDv80876rd96fT0t9BEhRRC-iMZN-j_59uH5pbfzI/s640/31.jpg" width="640" /></a></div>
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From series<i> </i></div>
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<i>The Daly Building Porftfolio</i></div>
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In-camera cibachrome photograph,</div>
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1980, Michael Schreier</div>
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National Gallery of Canada</div>
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<span style="font-family: inherit;"> </span><a href="https://en.wikipedia.org/wiki/Michael_Lesy" style="font-family: inherit;" target="_blank">Michael Lesy</a><span style="font-family: inherit;">'s </span><i style="font-family: inherit;">Time Frames:The Meaning of Family Pictures, </i><span style="font-family: inherit;">and Carl Jung's </span><i style="font-family: inherit;"><a href="http://www.iaap.org/resources/academic-resources/abstracts-of-the-collected-works/46-abstracts-vol-5-symbols-of-transformation.html" style="font-family: inherit;" target="_blank">Symbols of Transformation</a> </i><span style="font-family: inherit;"><span style="font-family: inherit;">have provided me valuable insight concerning the origin and perception of an idea. As an aside, one's</span><i style="font-family: inherit;"> Family Album</i><span style="font-family: inherit;"> may contribute its own unique </span><i>Symbols<span style="font-family: inherit;"> of Transformation.</span></i><span style="font-family: inherit;"> My experience has demonstrated that</span></span><span style="font-family: inherit;"> poetry, visual or otherwise encourages one towards a deeper empathy for continuity and the value of place. To that end, I have considered </span><a href="https://en.wikipedia.org/wiki/Pre-established_harmony" style="font-family: inherit;" target="_blank">Gottfried Leibniz</a>'s<span style="font-family: inherit;"> reflections on the notions of authority and hierarchy: matters which directly affect our understanding for </span><span style="font-family: inherit;">the origin of thought. An </span><a href="http://www.niu.edu/~gpynn/322_H17.pdf" style="font-family: inherit;" target="_blank">Authority to Voice</a><span style="font-family: inherit;"> offers a simple perception, best illustrated by acknowledging that </span><strike style="font-family: inherit;"> </strike><span style="font-family: inherit;"> as one reads this text an idea may be provoked, and then, just as quickly replaced. The former is its author, the latter, both its</span> defender and potential challenger, the process to be repeated. Any formal structures used by the artist, including elements such as depth of field, texture, light and dark, scale, perspective invoking a transition from one space to another, provide the reader with similar experiences. Simply, one recognizes the process of seeing/perceiving as an acknowledgement of both stasis and change, each element enthusing a metaphor of passage. Similarly, while still harbouring notions of vulnerability and doubt, Art History and the family album continue to offer an opus, a witnessing to their time.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiD6jdDLz79i7I7CADQZEZucz_Q-Zx1RPfXoSOHI0eQy08uKrULpjeFdokU6C25z-xyV3ZLADXWYt7j42ANv3hsbUh0ni3M_citM2StFtiswON87-5SB4ueMGlJDbDgrN3CgRpT5ZCops/s1600/36.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiD6jdDLz79i7I7CADQZEZucz_Q-Zx1RPfXoSOHI0eQy08uKrULpjeFdokU6C25z-xyV3ZLADXWYt7j42ANv3hsbUh0ni3M_citM2StFtiswON87-5SB4ueMGlJDbDgrN3CgRpT5ZCops/s640/36.jpg" width="640" /></a></div>
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<i>Si</i><i>on</i></div>
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<i>Freud's Window,</i></div>
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<i>Tears for an Empty Desert </i></div>
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<i>2006, Michael Schreier</i></div>
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Edmund Jabès' <a href="https://en.wikipedia.org/wiki/Edmond_Jab%C3%A8s" target="_blank">Book of Questions</a> offers a remarkable philosophical journey, of both exit and entry to <a href="https://en.wikipedia.org/wiki/Allegory_of_the_Cave" target="_blank">Plato's Cave</a>. He underscores the value of the exile and nomadic experience:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUX1j1AFsRvQRlB9iJ89mWbP0u9ijqXNXbcRQh3J5fQ6j17bcPuanMstrs7yEHWZHCUAa2MEBN_6re1tinfnVj86uJtHmsf7p7L0c3mZTChFzDn8EjuvQmfzCdzYmJBOIi5x3RO5iWxyM/s1600/38.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUX1j1AFsRvQRlB9iJ89mWbP0u9ijqXNXbcRQh3J5fQ6j17bcPuanMstrs7yEHWZHCUAa2MEBN_6re1tinfnVj86uJtHmsf7p7L0c3mZTChFzDn8EjuvQmfzCdzYmJBOIi5x3RO5iWxyM/s640/38.jpg" width="640" /></a></div>
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Untitled</div>
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Michael Schreier, 2002</div>
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<i> Returning to the Archivist's Muse:</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj63InQNoC1tGaGYA9zwoKkYsxn32jV-dROgnS73QRnthOJPvs0nZzrrpek3SRwXXeVIDvE3AfaHJzRBOLOoYiG8HGVWh65HyrUPJYwzWzQgMwbwpx_NuULUsS9Im5bbe3pRfBUrJxBuSs/s1600/26b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj63InQNoC1tGaGYA9zwoKkYsxn32jV-dROgnS73QRnthOJPvs0nZzrrpek3SRwXXeVIDvE3AfaHJzRBOLOoYiG8HGVWh65HyrUPJYwzWzQgMwbwpx_NuULUsS9Im5bbe3pRfBUrJxBuSs/s640/26b.jpg" width="640" /></a></div>
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<strike style="font-style: italic;"> </strike> <i>the archivist's muse </i><strike style="font-style: italic;"> </strike><i> </i><br />
<i> </i><i>Tears for an Empty Desert </i><br />
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<i>2006, Michael Schreier</i></div>
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<i><span class="Apple-style-span" style="font-style: normal;"><br /></span></i><i><span class="Apple-style-span" style="font-style: normal;"><i><a href="http://www.encyclopedia.com/article-1G2-3078901734/cotapos-baeza-acario-18891969.html" target="_blank">(Acario Cotapos)</a></i></span></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEGzKQ_2KqK8SfYrrcdzTme4B_zliF4Rf3tUK1Gl4dTkb5V6GQk6mnAuFZqhIFLUkwrcQ1ts2nPAAvcys5YczDQUr5INNY0c5pHSrPdyDqSxw6p-jITuvyZsrbJCYRZgpuNU3_hti9zRg/s1600/34.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEGzKQ_2KqK8SfYrrcdzTme4B_zliF4Rf3tUK1Gl4dTkb5V6GQk6mnAuFZqhIFLUkwrcQ1ts2nPAAvcys5YczDQUr5INNY0c5pHSrPdyDqSxw6p-jITuvyZsrbJCYRZgpuNU3_hti9zRg/s640/34.jpg" width="640" /></a></div>
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<span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; line-height: 18px;"> </span><span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; line-height: 18px; text-align: right;">Jacob Jordaens<span style="font-size: 13px;">, </span>Family Album,<span style="font-size: 13px;"> </span></span><span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; line-height: 18px; text-align: right;"><span style="font-size: 13px;"> </span></span><span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; line-height: 18px; text-align: right;"><span style="font-size: 13px;"> </span></span><span style="color: #222222; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; font-size: 13px; line-height: 18px; text-align: right;"> </span></div>
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<span style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;">This detail from the Jordaens painting emphasizes the father playing and by association, passing on that sense of voice to the younger child. The grandmother, in concert, sings the song " A New Song from Kallo" dedicated to those extraordinary individuals lost in combat. Jacob Jordaens' allegory asserts the value of history and voice to storytelling. He encourages the role of the witness. This history painting, reassembling the structure of the family snapshot, underscores a sequence of events: the senior flutist gazes at the silent viewer a virtual witness, possibly complicit, uninvited <strike> </strike></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjnAPYNoN5nvAoLxASDvk8nioTGXDa_AaT1Ef-XomrfEahVanGdROsnwCHzt5i40qpsHlauMc3i6VygTUpH6b8Ml8CEUWBYLSBgeHJs0MdZng6R1_X4rzi4RQ7UD2s2i7XWvxmUjSG1vQ/s1600/37.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjnAPYNoN5nvAoLxASDvk8nioTGXDa_AaT1Ef-XomrfEahVanGdROsnwCHzt5i40qpsHlauMc3i6VygTUpH6b8Ml8CEUWBYLSBgeHJs0MdZng6R1_X4rzi4RQ7UD2s2i7XWvxmUjSG1vQ/s400/37.jpg" width="400" /></a></div>
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<span style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;"><strike> </strike> a chair in the foreground laden with fruit, however turned inward preventing access: </span><span style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;">Oh Yes! <strike> </strike> please, with some licence for hyperbole <strike> </strike> all that music, song and hidden voice proposing a <i>Concert for the Silent Witness </i>and we are relegated to rest at the proscenium. On the other hand, and in partnership, <i>Family Album</i></span><span style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;"> places a young boy, pausing, at the edge having the potential for entry to an undisclosed room, a <i>Camera Obscura. </i> I am overwhelmed by the surrounding silence and anonymity</span><span style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;"> </span><strike style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;"> </strike><span style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;"> </span><span style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;">the doors offering little sanctuary. Contrary to the Jordaens, as this young boy gazes out, one is made aware that any evidence of ritual other than the immediate encounter is lost. Instead, we are given silence, as any external circumstances are neither present nor potentially acknowledged. Much later as an artist, I would engage a body of work titled "</span><i style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;">Storyteller,Waiting for Words," perhaps </i><span style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;">partially informed by a similar experience.</span><span style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;"> "</span><i style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;">From One Room" </i><span style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;">notes</span><i style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;"> </i><span style="color: #222222; font-family: inherit; line-height: 18px; text-align: left;">that for a restricted period of time there is both entry and exit to an outsider's space, both exiled and critical to solitude. </span></div>
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<span style="color: #222222; font-family: inherit;"><span style="line-height: 18px;">Much has been discussed in the </span></span><i style="color: #222222; font-family: inherit; line-height: 18px;">History of Photography </i><span style="color: #222222; font-family: inherit;"><span style="line-height: 18px;">regarding both the directorial mode and the constructed image. I would suggest that the process of abstraction be considered as a means to engage an objective reality with its translation </span></span><strike style="color: #222222; font-family: inherit; line-height: 18px;"> </strike><span style="color: #222222; font-family: inherit;"><span style="line-height: 18px;"> rendering either an abstract or figurative reference <strike> </strike> neither of which replicate an objective moment but transfer the original experience. Formal constraints direct the viewer to engage with the work, which may either be participatory, or a silent musing. </span></span></div>
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<i> Portrait of Lea </i> </div>
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2015</div>
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From series, (working title; The Differend)</div>
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<span style="font-size: x-small;"> Collection of the Artist, Michael Schreier </span></div>
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<i>Disappearing Numbers</i></div>
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from exhibition, </div>
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<i>Storyteller/ Waiting for Words, 2009</i></div>
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Ottawa Art Gallery, Curator, Emily Falvey</div>
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<span class="Apple-style-span" style="font-size: xx-small;">Collection of the artist, Michael </span></div>
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<span style="font-family: inherit;">Post #4</span></div>
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<span style="font-family: inherit;">From Margin to Proscenium:</span></div>
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<span style="font-family: inherit; font-size: x-small;">Considering the layout <strike> </strike> internal landscape <strike> </strike> with Storytelling:</span></div>
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<span style="font-family: inherit;">February 14, 2016</span></div>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-74034430354908806012016-01-24T11:41:00.000-08:002016-02-10T06:08:34.349-08:00<br />
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<i><u>Camera Obscura is dedicated to Dave Heath and Jim Borcoman</u></i></div>
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<span style="font-size: large;"><u><br /></u><u>Post #2</u></span><br />
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<u style="font-weight: normal;">The Snapshot, History Painting and A Storyteller, Waiting for Words</u></h2>
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<strike style="font-style: italic;"> </strike> <i>the archivist's muse </i><strike style="font-style: italic;"> </strike><i> </i><br />
<i> </i><i>Tears for an Empty Desert </i><br />
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<i>2006, Michael Schreier</i></div>
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<i><span class="Apple-style-span" style="font-style: normal;"><i><a href="http://www.encyclopedia.com/article-1G2-3078901734/cotapos-baeza-acario-18891969.html" target="_blank">(Acario Cotapos)</a></i></span></i></div>
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<i> </i><i> As the Old Sing, So the Young Pipe. </i><i>1640</i><i> Family Portrait</i><br />
<i> </i>Jacob Jordaens,<i> </i>circa 1985<br />
<i> </i>National Gallery of Canada<i> </i>Michael Schreier<br />
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<span style="font-family: inherit;">I am most appreciative to the National Gallery of Canada for its clear and informative essay concerning Jacob Jordaen's painting <i>As the Old Sing, So the Young Pipe, 1640. </i></span><u> <a href="http://www.gallery.ca/rubens/en/31.htm" target="_blank">Essay/History to Jordaen's As The Old Sing</a>.</u><br />
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However, allow me to digress for a moment and return to my father's portrait from the previous posting:<br />
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<i> Portrait of my father,</i></div>
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circa 1985</div>
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Michael Schreier, From artist's book <i>Tears for an Empty Desert, 2006</i></div>
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Prior to his death, and for several years, my father referenced Austria's daily journals; prompted perhaps by an increasing anxiety for his decision to sever all ties with his European roots, he came to realize that returning would be impossible. My father expressed serious difficulty with this portrait, as it may have highlighted an uneasiness, that his privileged musings could be so readily recognized. His accidental death in 2005 suggested a deeper unresolved ambiguity: my response would be the threnody,</div>
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<i>Tears for an Empty Desert, 2006. </i></div>
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Gaile McGregor's <a href="https://muse.jhu.edu/journals/mfs/summary/v032/32.2.davidson.html" target="_blank">The Wacousta Syndrome: Explorations in the Canadian Langscape</a>, associated with James Fenimore Cooper's iconic <a href="https://en.wikipedia.org/wiki/Leatherstocking_Tales" target="_blank">The Leatherstocking Tales</a>, explores this unique aspect of Canadian identity. Although focused on the routine pragmatics of daily life <strike> </strike> in one's adopted culture <strike> </strike> one might still experience a memory of and yearning for one's homeland. She suggests this metaphor of loss as an intrinsic element within the Canadian cultural profile. </div>
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Note: the word <i>Langscape </i>is<i> </i>McGregor's, delineating vision as a product of language and voice. </div>
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( Page layout, one year after my father's death, </div>
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included in <i>Tears for an Empty Desert.)</i> </div>
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2006</div>
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<span style="font-size: x-small;">Collection of the Artist, Michael Schreier</span>.</div>
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<span style="text-align: left;">Further, as my father's death would mark our familial tragedy, its circumstance would reflect a more critical absurdity <strike> </strike> an embrace for the unknown.</span></div>
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<i> Remember </i></div>
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( Portrait of my mother, one year after my father's death, </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1zyLHRX6gX2XeXv7U4P8cuTXpjkl7b-jRwozh2gcDz8IVSszNlLBauCzHxZ9ogIBwGIh7CgcJ38pP0wB8bFY-L2U6VZjeCiUPROfgBtPDmIzi08_bM4pYK8DD-GtacV-DRJWSNcy68eM/s1600/23.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="491" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1zyLHRX6gX2XeXv7U4P8cuTXpjkl7b-jRwozh2gcDz8IVSszNlLBauCzHxZ9ogIBwGIh7CgcJ38pP0wB8bFY-L2U6VZjeCiUPROfgBtPDmIzi08_bM4pYK8DD-GtacV-DRJWSNcy68eM/s640/23.jpg" width="640" /></a></div>
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Drawing, circa 1983, included in <i>Shaman's Witness, 2008</i></div>
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Hilde Schreier</div>
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<span style="text-align: left;"> As suggested, a memory, a photograph or work of art may offer a portal to thought. I first viewed Jordaens' master work at the National Gallery of Canada in 1968. At the time, I was very interested in theater, having the previous year in high school, with deep conviction and premature hubris, directed Eugene Ionesco's </span><a href="https://en.wikipedia.org/wiki/The_Bald_Soprano" style="text-align: left;" target="_blank">The Bald Soprano</a><span style="text-align: left;">.</span><span style="text-align: left;"> A master of </span><i style="text-align: left;"><a href="https://en.wikipedia.org/wiki/Theatre_of_the_Absurd" target="_blank">the theater of the absurd</a>, Ionesco </i><span style="text-align: left;">touches the very core separating the frailty of memory from storytelling. I have discovered that Jordaens' work interrogates similar notions and I would over the course of my career, when accessible, return to this painting as it continues to enlighten current interests and direction.</span></div>
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( Considering another of Ionesco's plays ) </div>
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<a href="https://en.wikipedia.org/wiki/Rhinoceros_(play)" target="_blank">Rhinoceros</a> </div>
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Page Layout from <i>Shaman's Witness, </i>the 2nd in the trilogy:</div>
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-<i>Tears for an Empty Desert</i></div>
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<i> -Shaman's Witness</i></div>
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<i> -Storyteller/Waiting for Words</i></div>
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Michael Schreier, Artist's Book circa 2005-9, </div>
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<span style="font-size: x-small;"> </span> (paintings and drawings, Hilde Schreier,</div>
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photographs, Michael Schreier)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilVTDGKqf1N4avXhFaEy3qenrqFDD9Gvpss5m0xIHdOy-2Y5tR2dt6rDxcs9WlxfyciGtK7lhLtHJxinp-NzkR9Ao8RPPfSLA-0r5yPBBNLSVW65HX0wzVotziXbgrhJSL9M8tUkCsL3k/s1600/25.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilVTDGKqf1N4avXhFaEy3qenrqFDD9Gvpss5m0xIHdOy-2Y5tR2dt6rDxcs9WlxfyciGtK7lhLtHJxinp-NzkR9Ao8RPPfSLA-0r5yPBBNLSVW65HX0wzVotziXbgrhJSL9M8tUkCsL3k/s640/25.jpg" width="640" /></a></div>
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From Series: <i>A Warm Smile is an Attribute of Charm,</i></div>
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<i>1973, Michael Schreier</i></div>
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<i>(Cyanotype)</i></div>
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<i>Collection: National Gallery of Canada</i></div>
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<i>( <a href="https://en.wikipedia.org/wiki/The_Differend" target="_blank">The Differend: Phrases in Dispute, Jean-François Lyotard</a> )</i></div>
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Remote</div>
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2013</div>
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From work-in-progress series, (working title; The Differend)</div>
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<span style="font-size: xx-small;"> </span><span style="font-size: x-small;">Collection of the Artist, Michael Schreier</span></div>
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<span style="text-align: left;">True absurdity, I propose, </span><span style="text-align: left;">renders elements of both tenderness and empathy. A reverence for humanity's mystery might suggest that </span><i style="text-align: left;">the story</i><span style="text-align: left;"> told, reflects an ethic to be revealed. Would the snapshot simply offer </span><span style="text-align: left;">a confirmation, without any judgement or alternative rationale? Or might one c</span><span style="text-align: left;">onsider it less than casual? The snapshot <strike> </strike> of that <i>prodigious</i> moment <strike> </strike> requires both a motive and then directive. Yet t</span><span style="text-align: left;">he artist may employ this common style, engaging with a more comprehensive dialectic, while framed within the rubric <strike> </strike> one of numerous <strike> </strike> "to witness". </span><span style="text-align: left;">Eric Fischl's </span><a href="http://www.ericfischl.com/html/en/paintings/krefeld_project_2003_040.html" style="text-align: left;" target="_blank">Krefeld Project</a><span style="text-align: left;"> touches on chords of melancholy, sadness, and humor, with little contemporary cynicism, embracing complex thoughts for loss and bewilderment, a truly masterful work. His work underscores the very nature of contemporary history painting and storytelling and can be referenced with </span><a href="http://ca.phaidon.com/agenda/art/events/2012/january/26/revealed-the-story-behind-paula-regos-pillowman/" style="text-align: left;" target="_blank">Paula Rego's Pillowman</a><span style="text-align: left;"> and </span><a href="http://www.wikiart.org/en/balthus/the-cardgame-1950" style="text-align: left;" target="_blank">Balthus and the Cardgame</a><span style="text-align: left;">.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMtE_FLbekcYeQ4nVaZ538pjpxKMdKZ6adz_5w1MQLYPgwm25pO1S0vsEeGAHPWD39raIUZjbZVj7b8S7ve5nTjHLM1AAeI5sGAFAPg6VaBZMOSbCxWb8PKUYO0O4QDHNg9XTkWUbRH-I/s1600/24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMtE_FLbekcYeQ4nVaZ538pjpxKMdKZ6adz_5w1MQLYPgwm25pO1S0vsEeGAHPWD39raIUZjbZVj7b8S7ve5nTjHLM1AAeI5sGAFAPg6VaBZMOSbCxWb8PKUYO0O4QDHNg9XTkWUbRH-I/s640/24.jpg" width="640" /></a></div>
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<i>Conversation/Pause,</i></div>
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<span style="text-align: left;"> 2015</span></div>
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<span style="text-align: left;"> From work-in-progress series, (working title; The Differend)</span></div>
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<span style="text-align: left;"><span style="font-size: x-small;"> Collection of the Artist, Michael Schreier </span></span></div>
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It is during moments of doubt, while still embracing with the quotidian, that I allow myself a respite in reverie <strike> </strike> a reflective silence <strike> </strike> a nurturing of a sense of place. The snapshot, I suggest, is always linked with storytelling, offering each of us a window to continuity and a mirror for the self. Finally Jean-François Lyotard's <i>The Differend: Phrases in Dispute </i>suggests a unique perspective; consider an interim both a tie to and separation from immediacy in which a generated pause is exiled from continuity and rational thought.</div>
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Gyorgy Kurtag's remarkable composition resonates to voice, silence and the orchestration of space.</div>
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<i> Family Moment </i> </div>
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From series, (working title; The Differend)</div>
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<i> </i><i>Diptych: From series Portraits in Silence, 2003, </i></div>
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<i> </i>16..04..03, 13..45..15 16..04..03, 13..40..11</div>
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(#s metadata timeline for photograph: day..month..year..hour..minute..second)</div>
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<i>(note the order for the placement of the photographs in the diptych: the time line clearly indicates that the photograph on the right was taken first. What might this artist's intentional reversal imply?</i></div>
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A blog traditionally offers chronologically connected observations with historical references: it can also become an independent voice playing with associated imagery and thought. This blog is of the latter, not attempting to categorize logic with existing rationale but to offer an exploration for both unity and chaos. </div>
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This blog may be its own <i><u>Storyteller/Waiting for Words</u></i></div>
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<i>Disappearing Numbers</i></div>
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<i>Storyteller/ Waiting for Words, 2009</i></div>
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Ottawa Art Gallery, Curator, Emily Falvey</div>
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<i><u>The Constructed Image/Directorial Mode and the Sequence </u></i></div>
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<i><u>February 7, 2016</u></i></div>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.comtag:blogger.com,1999:blog-9183491781982661242.post-41555191611269647562016-01-21T09:16:00.001-08:002016-05-21T05:54:30.827-07:001. An Introduction to Camera Obscura<div class="separator" style="clear: both; text-align: center;">
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<i><u>Camera Obscura is dedicated to Dave Heath and Jim Borcoman</u></i></div>
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<i><u>(Camera Obscura is dedicated to Dave Heath and Jim Borcoman)</u></i><br />
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<span style="font-family: inherit;"> For some time I have been considering writing a blog exploring photographic vision, thought and the continuity of knowledge. The privilege of a productive career as an artist and professor in the visual arts department at the University of Ottawa has encouraged a</span> perspective grounded in<i> Art History, and Photography; </i>with a deep appreciation for<i> painting, music, poetry</i> and<i> philosophy.</i> While providing<span style="font-family: inherit;"> critical thinking for a student's understanding and appreciation of their vision, our discussion focused on an individual's obligations in the </span>pursuit of a personal language. Supported by formal constraints, they addressed inherent possibilities for future direction. Personally, I am grateful for this time and our conversations as they have assisted me in nurturing a more comprehensive understanding of my own work. <span style="font-family: inherit;"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjipM2ggt4PQi_sarkqgHxPUxNdvwhqakttHsD8QVxPXnTqolHoNRNWfvrKsRBP3yIfYlO0F0ID0a2wYdZb3M2fRUtsE6U6TQJinpTQE1l_tFx8kKQ62a6uP3EhrYXXiLqFeVOHv269lZY/s1600/4a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjipM2ggt4PQi_sarkqgHxPUxNdvwhqakttHsD8QVxPXnTqolHoNRNWfvrKsRBP3yIfYlO0F0ID0a2wYdZb3M2fRUtsE6U6TQJinpTQE1l_tFx8kKQ62a6uP3EhrYXXiLqFeVOHv269lZY/s320/4a.jpg" width="214" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Brother and Sister<br />
Vienna, Circa 1932</td></tr>
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<span style="font-family: inherit; text-align: left;">As an objective document </span><span style="text-align: left;">the</span><span style="font-family: inherit; text-align: left;"> photograph reflects a moment in time: with quiet subtlety it may also provide an intuitive and penetrating subtext.</span></div>
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<span style="text-align: left;"><i style="font-family: inherit;"> Camera Obscura, </i><span style="font-family: inherit;">a "room without clarity", of both entry and exit, (access to be granted), a metaphor suggesting a passage from one moment to the next, from one space to the next, a continuity to be discovered, rendering a </span><i style="font-family: inherit;">palimpsest</i><span style="font-family: inherit;">; in another context, </span></span><span style="text-align: left;"><a href="https://victorianpersistence.files.wordpress.com/2013/03/a-room-of-ones-own-virginia-woolf-1929.pdf" style="font-family: inherit;" target="_blank">A Room of One's Own</a>. <span style="font-family: inherit;">Virginia Woolf offers an </span>interrogation<span style="font-family: inherit;"> for recognition within one's professional community; moreover, a discovery for one's perspective and immediate sense of place in history. She reflects upon an artist searching for a </span><i style="font-family: inherit;">Room of One's Own,</i></span><span style="text-align: left;"><span style="font-family: inherit;"> that her </span></span><span style="font-family: inherit; text-align: left;">singular insight might encompass a lifetime of progressive thought. </span><span style="font-family: inherit; text-align: left;">This blog accepts Virginia Woolf's challenge to embrace the mystery and grace of one's vision. </span></div>
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<span style="font-family: inherit;"> I discovered the photograph, </span><i style="font-family: inherit;">Brother and Sister, Vienna, Circa 1932 </i><span style="font-family: inherit;">of my mother and her brother in our family album in the late 70's. An unnamed photographer has provided a kindred moment.</span><span style="font-family: inherit;"> Considering this photograph over the years, I have come to realize that concerns explored in my professional practice emerge and are evident in </span>this<span style="font-family: inherit;"> photograph. So what is there yet to be discovered? It has afforded me a portal for thought. I also find myself in tandem with <a href="https://en.wikipedia.org/wiki/Roland_Barthes" target="_blank">Roland Barthes</a></span><span style="font-family: inherit;">. Shortly after his mother's death while studying a</span><span style="font-family: inherit;"> similar photograph, he mused that his family album might provide him some clarity</span><span style="text-align: left;"> for perhaps a</span> lost coherency and sense of place. However, Barthes would discover an appreciation for the intrinsic value and curse of doubt. His tract <a href="https://en.wikipedia.org/wiki/Camera_Lucida_(book)" target="_blank">Camera Lucida</a> followed.</div>
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<span style="font-size: 12.8px; text-align: left;">Page layout from artist's book, </span><i style="font-size: 12.8px; text-align: left;">Tears for an Empty Desert, </i><span style="font-size: 12.8px; text-align: left;">Michael Schreier, 2006</span></div>
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<span style="font-size: small; text-align: left;">In the mid 80's and for the first time, I arrived at my mother's previous address, entering a courtyard of her apartment complex. </span><br />
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<span style="font-size: small;">The new photograph would be juxtaposed with <i>Vienna, Mother and Brother, Circa 1932.</i> I had mistakenly assumed it to be the same courtyard. </span><span style="font-size: small;">The tree behind my mother is, in the more recent photograph, located on the other side of the wall. However my vantage from an adjacent courtyard would prove fortuitous. One of numerous themes, evolving in my work, reflects on the metaphor and value of passage, that unattainable space or the memory of one's lost history. While offering traces of previous play, the density of this wall restricts me and the reader from any access to my mother's privileged</span><span style="font-size: small;"> childhood sanctuary. One may however discover other connections between the two photographs, underscoring a more contemporary reading and understanding.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoyqmO-aVBYxdP2DOqny8uymHIWpJ3s83aPQJGzFMV0AHXwpUgBfXHhyd_FiIkYrHNZ1CeNUkO4s-GTMtQCieNbWnNawME2Cyr852vXw-g4Ys1yZRWUUxFAz2fbZlgcRYGr8ZdMwVS564/s1600/5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="536" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoyqmO-aVBYxdP2DOqny8uymHIWpJ3s83aPQJGzFMV0AHXwpUgBfXHhyd_FiIkYrHNZ1CeNUkO4s-GTMtQCieNbWnNawME2Cyr852vXw-g4Ys1yZRWUUxFAz2fbZlgcRYGr8ZdMwVS564/s640/5.jpg" width="640" /></a></div>
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<span style="font-size: small;"> My parents and I leave Vienna for Canada in 1953.</span><br />
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<span style="font-size: small;">This photograph begins a small family album assembled by my grandmother, photographs sent by my father hoping to retain some link to our "Heimat" (homeland), while harboring only little intention to return. My grandmother labelled this photograph "Im Schiff" </span><br />
<span style="font-size: small;">(on the boat), left of center, lining up with my outstretched arm, perhaps searching for that last virtual embrace. Both my father and I seemingly cite our attention with the handwritten "Im Schiff" while my mother joyously smiles towards an unknown bystander. Neither is aware of the specter looming behind, so reminiscent of <a href="http://christojeanneclaude.net/" target="_blank">Christo's</a> work, assemblages and constructions for the undisclosed and looming past. Further, I have always been intrigued by the strangers' choreographed dance of silence and distance, absorbed, living their lives totally disassociated from the confirmation of this moment.</span><br />
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<span style="font-size: small;">As a reader of this moment, I am aware of the significance of my immediate history while accepting those present but unavailable musings of others. </span><br />
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<span style="font-size: 12.8px; text-align: left;">Page layout from artist's book, </span><i style="font-size: 12.8px; text-align: left;">Tears for an Empty Desert, </i><span style="font-size: 12.8px; text-align: left;">Michael Schreier, 2006</span></div>
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<a href="https://www.youtube.com/watch?v=oOTpQpoHHaw" style="font-size: medium; text-align: justify;" target="_blank">Gnossienne 1/piano, Alessio Nanni</a><br />
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A remarkable performance, with (reflected hands), recorded at </div>
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White Noise Factory Laboratory, November 23, 2009.</div>
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<span style="font-size: small;"> </span><span style="font-size: small;">Digital Photograph, 2015/16 from series "Museum's Muse"</span></div>
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<span style="font-size: small;"> Michael Schreier</span></div>
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<span style="font-size: small;">This introduction to <i>Camera Obscura</i> has offered one of many ways to read an image. To assume that an image includes a motif to be channeled, allows the author an entry to conversation. I would suggest that an artist, in concert with their work may address valuable implications leading to new directions. Implications can be of formal concern as well as of content and of ideas. This blog focuses on the development of ideas suggested in the musing of one's work. Further at a time of doubt the work may inform an artist's perspective, proposing a more coherent understanding. I have always encouraged this process as it reasserts continuity.</span></div>
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<span style="font-family: inherit; font-size: small;">The next posting: <i>The Snapshot, History Painting and A Storyteller, Waiting for Words</i> </span></div>
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Jacob Jordaens: <i>As the Old Sing, So the Young Pipe. 1640 </i>Michael Schreier:<i> Family at Lunch, 1985</i></div>
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Collection of the National Gallery of Canada Collection of the Artist </div>
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<span style="font-family: inherit; font-size: small;"><span style="font-family: inherit;"></span><span style="font-family: inherit;">( Now that the blog has been published I realize some may not know that selecting or tapping on a photograph / illustration enlarges the image and any text included. This is quite beneficial for text that may have been mastered in Photoshop and then entered in the blog. It is much clearer, allowing for a detailed viewing. Further, it is my intention to post a new entry on the Sunday of the next week. <i>The Snapshot, History Painting and A Storyteller, Waiting for Words </i>will be published on</span></span><br />
<span style="font-family: inherit; font-size: small;"><span style="font-family: inherit;">January 31, 2016.)</span><span style="font-family: inherit;"><br /></span></span></div>
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Michael Schreier.http://www.blogger.com/profile/05703729010268967294noreply@blogger.com