Two more variations on the what if speculation of taking colour photographs using the Daguerreotype Process, instead of having to hand paint/tint the finished image . Perhaps in another reality they are taking portraits of their pets right now.
What if they could take colour photographs using the Daguerreotype Process, instead of having to hand paint/tint the finished image ? Here is an example from an alternative reality where the process is still widely used.
Stage One : Existential Moment –
Audience exits, stage left.
Metatexual awareness seeps through
The Fourth Wall.
Note concerning text (most of the characters) – that it is of Self – it is, it breaks the illusion that it is reality – never, when the text is recognized as text.
Director’s notes to self – play begins with Audience exiting, stage left.
Note on text ( reminder about characters) – this is a vehicle – it is in motion. It breaks the illusion that it’s reality – not when the text is recognized by the characters in the audience that it is a text.
Director’s notes to self – Scene one action opens with the Game as it begins with the release of the Hearing’s findings, those left see the point of corresponding situations between the audience and the characters . Remember, like Husserl and Heidegger, Sartre distinguished ontology from metaphysics and favoured the former.
If the text is not recognized as a text :
- The fourth wall is the agreement-upon boundary between audience and performers.
- Sartre agrees with the tradition that “being” or “to be” is not a concept.
The objective is blurring the boundaries between the fictional world and the real world – the stars my destination.
I have seen the director’s notes – it opens in the action of the Game. The audience participates when the scene begins with a Hearing that releases the stage from the rest of the fictional population; the Public are symbolized by the Key. The corresponding characters respond – please refer to the stock responses of the situation. These are found between archetypes and cliches.
Empty stage waiting –
Characters exit – action –
Play commences now.
Playing with some random shots of book-case shelves, I blended them with a tropical screen composition. They are aptly called the Paper Jungle pieces.
Note that the title, The Moon Pool, is very visible in the second image. The novel, by Abraham Merritt (1884–1943), is considered a classic example of the early science-fantasy or science-romance genre that laid the foundation of science fiction and would inspire H.P. Lovecraft’s Cthulhu Mythos. Remnants of a lost civilization in the Pacific islands guard a terrible metaphysical creature, The Dweller in the Moon Pool.
Merritt’s two short stories “The Moon Pool” (1918) and its sequel, “Conquest of the Moon Pool” (1919) originally appeared in All-Story Weekly .
Merritt then reworked them into a novel released in 1919. The various covers for the book reflect the times and perceived target audience for the novel. Most covers are typically pulpy, suggesting sex (while the narrative actually portrays a very chaste romance), exotic or strange realms and all sorts of adventurous action. Notice both the 70s cover on the left and the 40s on the right feature the beautiful white female in exotic undress and amphibian bipedal figures. The girl from the 40s wears some sort of knitted swim suit and is in need of rescuing by manly men. The lady on the 70s cover is more exotic and seems to be in command , ordering the guard/warrior creature as she surveys the exotic landscape. Different expectations for a different generation of readers.
Interestingly, the cover of the novel (1993) that I have in my possession , appears to better represent another one of Merritt’s works, The Snake Mother (1930).
Besides the above links, which provide more information, you can read the novel online or if you prefer, listen to it from Librivox. Both are free; many of Merritt’s works are available for free online.
These pieces visually represent the change in Media Literacy & the consumption of text. As we shift from printed text to digital text, our reading behaviour is altered. As various reading tablets make digital text more portable & accessible in different environments, the printed text is replaced by digital text. Currently, sales of e-books are exceeding those of printed books ; even the comic book is becoming a digital commodity. So what happens to the reading lamp ? Will it become as quaint as the phone dial and vinyl record ? Perhaps in future museums & dusty libraries only highly trained specialists will understand how to turn the lamps on, open the books, and flip the pages.