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Mandy Martin, Puritjarra 2, 2005. For further information on MANDY MARTIN, refer here: http://www.mandy-martin.com/
If there are diverse kinds of knowledge and ways of knowing place, then we need to learn to value the different ways each of us sees a single place that is significant, but differently so, for each perspective.
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October 19, 2005

This was painted in the early nineteenth century. It is very abstract isn't it?

TurnerW.jpg
William Turner, The Breaking Wave, circa 1832, Gouache and watercolour on paper

What we have is the barest representation of sea and sky.

TurnerW1.jpg
William Turner, Long Ship's Lighthouse, Land's End, 1834 - 1835, Watercolor and bodycolor

You look at that image and think movement, process or becoming and multiplicity

| Posted by Gary Sauer-Thompson at 12:53 PM | | Comments (2)
Comments

Comments

Also great power. How did Turner represent the potential energy in those waves so convincingly?

Also re. Miller's Crossing post: don't worry, that's just the Coen brothers - too complex to get it all in one viewing, but that's what makes them such good value. I recommend the Hudsucker Proxy if you haven't seen that one yet.

Turner is pretty good.
He must have spent a lot of time watching waves crashing against cliffs. He is pretty dam good on moving swirling clouds as well.

I've reordered Miller's Crossing and I'm going to see it again.

I thought that Barton Fink is a postmodern film in that it is based around allusions to popular culture.It wasn't really an ethnographic expression---documentary authenticity---or a critical exploration of particular regional culture---Hollywood.

Miller's Crosssing was more ethnographic expresson of a particular culture --urban American Irish in the 1940s.

Barton Fink was more a film about other films. Well, they know a lot about films--hence all that intertextuality.