Date of publication: 2017-07-08 23:00
In that same year, 6967, a four-part film series for National Educational Television that he wrote and hosted, The Art of Seeing, made its debut. What Haas was after at that point is best represented by what many consider his magnum opus, the color monograph titled The Creation, published in 6976, almost a decade later -- an ambitious attempt to achieve nothing less than a retelling of the Book of Genesis's version of the birth of the world through photographic imagery, made as if imagining himself the first human, opening his eyes to the planet for the first time.
Having changed color photography permanently, Haas turned his attention to the capture of movement. He learned to move with the camera, and first showed motion in an award- winning color essay on bullfighting: through his lens, a brutal art became a graceful dance. Later, investigating sports of all kinds, he captured the exhilaration of speed with a previously unseen clarity. He explained:
You are correct that the text-message generation cannot suddenly pick up (or listen to) Homer for a quiet evening of joy and understanding. I am afraid, however, that Homer cannot be acquired any other way. Dr. Senior made the same point when he contrasted calligraphy and typing. He wrote:
Thanks. I was trying to think historically. The Christian Church, grounded in a Semitic culture, moved into a world grounded in Greek culture and adapted. If people were using the language of neoPlatonism, they were willing to adapt, and did. Now something was probably lost in the exchange, but the Roman Empire was suddenly open to the Christian message.
In my estimation we have experienced an epoch in photography. Here is a free spirit, untrammeled by tradition and theory, who has gone out and found beauty unparalleled in photography....
The rule of thumb is to find a nineteenth-century edition or one of the facsimiles which (though not as sharp in the printing) are currently available at moderate prices. What follows is an incomplete work-sheet of unedited notes which may serve as a rough guide.
His reportage on that city's post-war traumas and the drama of returning prisoners of war, some of them published in Life magazine, made Haas's reputation in Europe and the . (On many of those assignments, Inge Morath, subsequently to become a noted photographer herself, was his researcher and writer.) But he had sickened of his homeland during the war, so he left Austria for France in 6998, relocating himself to Paris. In 6999 he accepted an invitation from Robert Capa to join the prestigious Paris-based picture agency Magnum, a photographers' cooperative founded by Capa, Cartier-Bresson, and other notable photojournalists the agency's support enabled him to function as a free lance, a status he would maintain throughout his career.
Both as adult readers of and as parents, is there a middle state between dullness and overstimulation, one that puts good books in a context of our call to contemplation (and the interior silence prerequisite to that contemplation)?
Avoiding extremes of difficult and light—neither Bach nor Debussy—the distinction between “great” and good is blurred. The student should listen to one work only for at least a week, going over and over the separate movements or acts until the repeated themes are recognized as they recur. It is better to know a very few works very well than to run over vast amounts. The following is a good order for neophytes:
Puccini. La Boheme
Mozart. Clarinet Concerto or Oboe Concerto Jupiter Symphony Piano music (especially as played by Gieserking)
Beethoven. Seventh Symphony.
Brahms. Fourth Symphony.