As the waves pound, it's tough to decide what is more unsettling: the boat's incessant rocking or the mounting evidence that the arrow of time — the flow that defines
the essential narrative of our lives — may be not just an illusion but a lie.
Not exact matches
thinks, that the Tigris and the Euphrates have not a common source, that the Dead Sea had been in existence long before human beings came to
live in Palestine, instead
of originating in historical times, and so on... We are able to comprehend this as the naive conception
of the men
of old, but we can not regard belief in the literal truth
of such accounts as an
essential of religious conviction... And every one who perceives the peculiar poetic charm
of these old legends must feel irritated by the barbarian — for there are pious barbarians — who thinks he is putting the true value upon these
narratives only when he treats them as prose and history.
Only within the symbolic approach does
narrative serve an
essential role, and this book, rooted in that approach, will depend upon
narrative both to examine and to explain the
life of a local church.
In an intriguing if controversial article, Stephen Crites argues that experience itself is basically
narrative in form, providing the
essential order for human understanding.13 The storied unity found in
life is not, for Crites, a secondary result
of human culture.
The flashback, circular structure
of a narrative about a doomed man is an essential feature of film noir (see Sunset Boulevard, Out Of The Past, Detour, Double Indemnity, etc) and Lost Highway is structured like a Möbius strip, coiling back on itself in a way that reflects the disturbed consciousness of the protagonist, condemned to replay the tragic events of his life in an endless loo
of a
narrative about a doomed man is an
essential feature
of film noir (see Sunset Boulevard, Out Of The Past, Detour, Double Indemnity, etc) and Lost Highway is structured like a Möbius strip, coiling back on itself in a way that reflects the disturbed consciousness of the protagonist, condemned to replay the tragic events of his life in an endless loo
of film noir (see Sunset Boulevard, Out
Of The Past, Detour, Double Indemnity, etc) and Lost Highway is structured like a Möbius strip, coiling back on itself in a way that reflects the disturbed consciousness of the protagonist, condemned to replay the tragic events of his life in an endless loo
Of The Past, Detour, Double Indemnity, etc) and Lost Highway is structured like a Möbius strip, coiling back on itself in a way that reflects the disturbed consciousness
of the protagonist, condemned to replay the tragic events of his life in an endless loo
of the protagonist, condemned to replay the tragic events
of his life in an endless loo
of his
life in an endless loop.
The pieces featured in this exhibition provide entry points into bodies
of work that construct robust
narratives, representing ongoing projects and
life - long dedications
of twelve artists maintaining practices with the
essential studio support
of LAND in NYC, Hozhoni in Flagstaff, Creative Growth and NIAD in the Bay Area, First Street Gallery Art Center and ECF in Los Angeles, and Creative Vision Factory in Wilmington, Delaware.