As Craig Owens puts it in Beyond Recognition: Representation, Power, and Culture: In representing these canonical images of the rural poor — the expropriated — Levine was calling attention to the original act of appropriation whereby Evans first took these photographs [FSA project], as if to illustrate Walter Benjamin’s observation, in ‘The Author as Producer,’ on the economic function of photography: ‘[Photography] has succeeded in making even abject poverty, by recording it in a fashionable perfected manner, into an object of enjoyment, i.e., a commodity.’³ One might wonder why I didn’t choose to talk about John Cage instead.
Indeed, Oliveros was a colleague of Cage’s as well as a performer of his music.
David Elkind, Ph D, is the author of All Grown Up and No Place to Go, and is a professor of child development at Tufts University School of Medicine in Boston.
Amy Bobrow, Ph D, is a clinical psychologist and professor in the Child Study Center at New York University School of Medicine in Manhattan.
In the midst of everything that was going on, hearing this thunder gave me a feeling that is honestly impossible to verbalize — and so I won’t.
Instead, I will leave you with this recording of thunder by Gordon Hempton.https://open.spotify.com/album/5Tlr KFP8wm1ED6p Siudm16— — — — — — — — — — —Notes¹ An almost better example from the same era is Sherrie Levine’s Frequently misunderstood as a postmodernist stunt, Levine’s photographs of Walker Evans’ iconic works were not meant to be pictures, but rather pictures of pictures (or of picturing).
The writer, the thinker, the dreamer, the poet, the metaphysician, the observer …
he who tries to solve a riddle or to pass judgement will become an anachronistic figure, destined to disappear from the face of the earth like the ichthyosaur and the mammoth.
Their parents don't know how dress, walk, talk; they're embarrassing," he tells Web MD.
All the arguments -- they're also the result of the prefrontal cortex at work, Elkind says.