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The Spectre of Theater

By Tricia Lawless Murray

Masochism is itself an aesthetic formation. The only place where its contradictions and impossibilities can be reconciled is that specific zone that modern aesthetic philosophy, from Kant to Lyotard, has identified as the sublime, that unique and illogical experience that carries with it both pleasure and pain.
—Nick Mansfield

Victor Cobo

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Zoniers, Porte de Choisy, 1913By Stephen Longmire, Afterimage, May 2001It has been 20 years, amazingly enough, since New York City's Museum of Modern Art (MoMA) launched its landmark cycle of exhibitions of the work of French photographer Eugene Atget (1857-1927), who spent his last 30 years documenting the architectural record of Paris and its surroundings at the beginning of the last century.

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Roppongi Hills 2, 2005Adrift in the city of superflatBy Marc Feustel, Originally published in FOAM Magazine, brought to ASX by FOAMDuring the extraordinarily turbulent and dynamic post-war period , Tokyo became a great photographic city: a city with a distinctive, immediately recognizable photographic aesthetic. Just as Paris’s visual identity became intrinsically linked to the humanist

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