Building off such a conflicted prescription, this section tasks various writers to dig deep into the means and ways that mediated visions turn scenes into situations that promote a shared consciousness.
To provoke this discourse between the use, effect, and sideeffects of images and narratives, artists, writers, and scholars here ‘peep’ at a single image so as to find hidden fames in the ubiquitous signs and symbols which surround and constitute our daily lives.
With particular regard toward new ideas and their promotion, this section serves as Wd W Review’s stage for thoughts that are timely and urgent.
Manifesting in two tracks—the first a series of in-depth essays on open topics, while the second presents commissioned scholarly articles and personal compositions that inform, feed off, and serve to refract the program and its themes hosted at Witte de With—, these investigations tease out the full range of our intellectual situation.
Billy Holiday once made a simple, yet prescient observation; when she was coming off drugs, she didn’t like to watch Television.
Although this could be seen as a passing comment, such an association ties imagery to narcotics as twinned devices that can both stimulate and anesthetize.
Like symbols on a map, these posts offer our readers touchstones with which to construct their own tours both through and around the art center’s program.
In addition to these texts, editorial cartoons punctuate this section so as to stoke the mind through other means.
Bound together into unique sets, each featuring a different setting respectively, these collections also look toward under-examined events and situations that have influenced or underlay how we live today.
The structure of Wd W Review is organized around four dedicated sections.
The first takes the form of reports from several international editorial desks; the second weaves critical and innovative essays with editorial cartoons; the third invites an author to consider a single image through a speculative piece of writing; the last section layers texts commissioned thematically to address the same time and/or place so as to collectively draw a set of discrete volumes on each context in question respectively.
I am one of the many people Eustace considered to be his protege. Eustace’s works are free and easily available on the web.
He considered the information too important to sue for copyright infringement.
The first two objectives are readily achievable, but running a vehicle on water alone is not going to happen for almost everybody.