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Objects in the media cast a shadow on the retina. If opaque they case a black shadow. If semi-transparent but denser than the media, they cast a bright area surrounded by a darker rim, while if semi-transparent but of light density, they cast a shadow with a darker centre than the rim. 1
Rhyme and Reason has much to do with elision and refraction and more still to do with Holly Golightly and postcards. Margaret Morgan, as Autodidact, brushes up with Kr isteva, Eco , Barthes, Bataille, glazing a collection of canvas puzzles in Canberra via New York, film archives, urban sets, the shades of Hopper et alia.
Such and such loving speech that we view as being in a state of uncertainty and metaphorical condensation reveals the continuity of the narcissistic economy, and this includes the "insignificant" love experience that does not dare express itself differently from what is on the surface, does not venture to seek its logic from beyond the looking glass where lovers bewitch each other.
Crosswords, fiddle -sticks, poker, scrabble, changing channels ; pastimes/pastimes are Morgan-stuff as she holds the fort up at Edit and Program. In myriad mises en abime she makes imaging collusive, loose, non-replicable , tricky, sexy. Meanings play catch-if-catch-can.
The rustle is the noise of what is working well. From which follows this paradox: the result denotes a limit-noise, an impossible noise, the noise of what, functioning to perfection has no noise; to rustle is to make audible the very evaporation of noise; the tenuous, the blurred, the tremulous are received as the signs of an auditory annulation.3
Messages in mirrors, a writer mirrored, mirror images, the room and