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'Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether birdsong, traffic or an r&b song playing in the background. In the recordings, de Berg remains enigmatic, the ghostly presence operating the machine.' (Introduction)
Notes
Editor's note : ‘Sydney Nolan interviewed by Hazel de Berg in the Hazel de Berg collection’
Courtesy of the National Library of Australia, TRC 1/58
Special acknowledgement to Duncan Felton, NLA Oral History & Folklore Branch
Publication Details of Only Known VersionEarliest 2 Known Versions of
'In ancient Greece ekphrasis was understood more broadly than in the contemporary world, indicating a complex genealogy for this term that encompasses so much fine poetry as well as many other forms of writing. For the ancients, the best ekphrastic poetry was prized because it presented an often dramatic picture in words, enabling the reader to ‘see’ and respond immediately to what was being described or evoked. Ekphrastic poetry provided a way of allowing readers or listeners to appreciate the imagistic and sometimes narrative content of poetry almost as if they might be looking at the object or objects being written about.' (Source : Editorial introduction)