Well-Swept Yard

Among recent works exhibited by Ege Kanar is a remarkable series of portraits on glass called Mortals . Kanar is a photographer steeped in theory and philosophy. His work explores being, existence and the unfathomable relationship that photography has to being. He writes How can photography, a tool that is presumably incapable of depicting what is beyond the visible, that which lies not on the surface but beneath it, possibly be used to contribute to the formation of a new transcendent representative state, a hypothetical real, which exists beyond dualities such as visible or invisible? Mortals immediately reminds one of nineteenth century portraiture, that time when Europe and America celebrated the surface and rarely questioned what the surface really meant. I find that Kanar's Mortals journey back, taking with them the questions that should have been asked but were not. Because the surface ideas of photography's beginnings remain with us, Kanar's work is releva

As best I understand the game rules for abandoning daylight savings time, at 2:00 AM on a given Sunday, the clock must be turned back to 1:00 AM. The likelihood that most folk in America make the turn back earlier or later than 2:00 AM does not change the rules. The rule specifies that at 2:00 AM on the given Sunday the clock must be turned back to 1:00 AM. The problem with the procedure mandated by the rule is obvious. If the given-Sunday clock declares 2:00 AM, turn back the clock. Each time one turns back the clock to 1:00 AM, one establishes that the clock will need to be turned back by in another hour. When the clock reaches 2:00 AM the second time, the rule instructs us to turn back the clock. If one plays by the rule time will not stand still, but it will consist of an unrelenting circle of just one hour, the hour that lapses between 1:00 AM and 2:00 PM on the given Sunday.