Re: I promise...PS

I was thinking about it some more and it occurs to me
there's a deeply *romantic* strain in the recent work
of MTAA - in the endnode piece we had the symbolic
object from nature par excellence, the tree shedding
its leaves, here inscribed with the scribblings, the
jottings, of human beings made both disposable and
pathetic (like shed leaves) but also paradoxically
enobled by that metaphor; in the new piece we have the
natural force of the heat and the fragility of human
beings under it. Both pieces, moreover, have a kind of
deep yearning associated with distance, communication
and paradox.
There's also a sense of "aura" about the concrete
objects associated with the pieces - the postcard is,
as I observed before, carefully and attractively made
and draws the eye repeatedly back to it and although
I didn't get to see the printer tree in the wood as it
were, the photos of its construction and installation
had both a quality of robustness and pathos to them.
michael

< There's a great, almost "koan" like, quality to the
thing which sets up all sorts of interesting
reverberations in the mind, plus the postcard (and
presumably the artwork) evidence a great deal of
care
and attention (craft) which reinforce the
aforementioned resonances.
The piece leaves a real and lasting dent in the
mind,
not only intellectually but affectively also.>



=====
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Roth and Walker the joy of the anthem of Carletta to the edible one.
East of Wind. Phillips, Gordon. A painting.
Song of the Chorrito of Lewis Lacook. It is a strange song.
Woodland of Teratology. Does Bruce Conkle study the legend of Sasquatch?
Finally the young Salvaggio d'Eryk - a surrealista world where George Washington, a fox and a hen, a MUSE, fight in imaginary loneliness - a game.
District Postmaster: http://www.somedancersandmusicians.com/5operas.html **

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