You gave me the list you wrote of all the dresses you had. I was amazed. You had a name for all of them.
I still keep safe number 34, Martyn's dress.
Having become a quieter version of the person you used to be, you decide not to speak except to ask for more time to consider the response to what you shouted at Natalie.
Get dressed quietly and come home.
We expect a structure from a sequence and if there is no apparent structure then we put one in place
We expect a function from a sequence and if there is no apparent function then we put one in place
We expect a narrative from a sequence and if there is no apparent narrative then we put one in place
Seeing is changing, nothing is real.
'La Vaporetta' is remarkable in the context of the contemporary analysis of post-modern reflection on17th century values.
It was made by Cosimo Lippi and was commissioned as gift to the city of Venice by Paulo Maldini of Bologne, for the supply of drinking water at the time of the infamous drought in the summer of 1671.
It is evident that the form and Machiavellian structure suggest an autonomy of relationships or juxtapositions between aspects of two specific and heavily mediated dichotomies. The relocation of narrative in the context of a new and radical discourse of commodification, or of course a reaction against it, is both obvious and shocking.
When Baudrillard said, "Welcome to the desert of the real," he wasn't joking.
Laurenet L'Ager, 'The Art of Venice: A New Perspective and Critical Analysis'. Oxford Press (2002)
displace and relocate the narrative
present narrative and non-narrative together in the same place
explore the shifting in and out of authorship
explore the shifting in and out of intimacy
sabotage the logic of the list
drink some beer
I doubt it
As the renaissance mist cleared above the train station, the relocation of narrative became apparent
Our relationships with cities are like our relationships with people; both are discovered physically,
emotionally and psychologically. We explore each with our senses, our minds and with our hearts.
We try to understand the physical structure and the emotional territory that unfolds in our wanderings.
We are tourists.
We touch, taste, see, smell and listen. We navigate. We know. We get lost, we find ourselves at home.
History and circumstance colour our understanding, and we construct meaning and value from
what we experience. Only the city has a guidebook. Only the city has a map.
Things are complicated.
“To live with the other, with the foreigner, confronts us with the possibility ....of being an other.
It is not simply a matter - humanistically - of our aptitude for accepting the other, but of being
in his or her place, which amounts to thinking of oneself and making oneself other than oneself.”
Julia Kristeva Estrangers A Nous-Memes (1998).