…the black lead of his carpenter’s pencil has been pressed into the paper with tremendous force, far exceeding the demands of the form or the requirements of the shading in that precinct of the image…
In other words, following some difficult sentences on contingency, the play drive will “introduce form into matter and reality into form. To the extent that it deprives feelings and passions of their dynamic power, it will bring them into harmony with the ideas of reason; and to the extent that it deprives the laws of reason of their moral compulsion, it will reconcile them with the interests of the senses.”
Nonsite presents new poetry. Three prose poems by Michael Fried: “The Divergence,” “An Essay in Aesthetics,” and “Akhmatova Looks Up.”
…for me much of what is most immediately gripping in June 8, 1968 turns on the contrast or say the felt difference between the stagedness plus residual “magic” of absorption of the “mourners” and the wholly unselfconscious albeit dramatic, in certain scenes one might say over-the-top beauty of the natural world…