A.

B.

"No one sees the barn," he said finally.
A long silence followed.
"Once you've seen the signs about the barn, it becomes impossible to see the barn."
He fell silent once more. People with cameras left the elevated site, replaced by others.
We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies."
There was an extended silence. The man in the booth sold postcards and slides.
"Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism."
Another silence ensued.
"They are taking pictures of taking pictures," he said.
He did not speak for a while. We listened to the incessant clicking of shutter release buttons, the rustling crank of levers that advanced the film.
"What was the barn like before it was photographed?" he said. "What did it look like, how was it different from the other barns, how was it similar to other barns?"

C.

D.

Make it a double. Live a little.

E.

F.

G.

H.

On approaching the other it has lost its own self, since it finds itself as another being; secondly, it has thereby sublated that other, for this primitive consciousness does not regard the other as essentially real but sees its own self in the other.

I.

J.

K.

L.

M.

N.

O.

Woodwinds
2 Flutes
2 Oboes
2 Clarinets (in C, B-flat, or A)
2 Bassoons
Brass
2 or 4 Horns (in any key)
2 Trumpets (in any key)
Percussion
Timpani
Strings
6 Violins I
6 Violins II
4 Violas
3 Violoncellos
2 Double basses

P.

Q.

R.

Precisely, it is about what five people think this reality consist of. How an incident happens may reflect nothing about the incident itself but it must reflect something about the person involved in the happening and supplying the how.
Five People interpret an action and each interpretation is different because, in the telling and in the retelling, the people reveal not the action but themselves.

S.

By the late eighteenth century, however, ivory reliefs were being reproduced in forms and materials that effaced many, if not most, of the characteristics of the originals and obscured rather than celebrated the names and reputations described as atomization of the author into a social… practice in which neither authorship nor originality have any function.

T.

I placed the bedding in a quiet well-lit kitchen, drawing silently
soft sleepiness that comes with saturated sadness not relieved by
tears. I fell asleep wrapped in a blanket like Linus.

Steeped in a sadness so great I could barely cry, shuffling softly in
gentledrowsiness, I pulled my futon into the deathly silent, gleaming
kitchen.Wrapped in a blanket, like Linus, I slept.

U.

V.

W.

X.

Y.

Z.