803
92.2 Looking Out or Looking In?
Consider all of the treehouses, caves, yurts, igloos, tepees, and other shelters, open
space, old neighborhoods, and hamlets we have collectively cohabited, and extrapolate from the myriad occupations, if it were possible, the multitudinous ethnographic
gleanings from the inside looking out: a sensory and ideological bifurcation point
forever separating the individual from the collective; the collective from all other
collectivities. And still, as ecologist/geographer Yi-Fu Tuan has written, “yet we
say, ‘Kublai Khan built Cambaluc,’” meaning, the overpowering political circumstances, patronizing and inviting art, have nothing to do with the actual revelatory
inside story of such art. There is a divide, insufferable and distant, as those alienating
Fig. 92.1 “The Vision of St. Eustace,” from photographs of engravings, etc., of Albrecht Dürer
from the Pinnacothek at Munich, 1879. (Private Collection). (Photo © M.C. Tobias)
92.2 Looking Out or Looking In?
92.2 Looking Out or Looking In?
Consider all of the treehouses, caves, yurts, igloos, tepees, and other shelters, open
space, old neighborhoods, and hamlets we have collectively cohabited, and extrapolate from the myriad occupations, if it were possible, the multitudinous ethnographic
gleanings from the inside looking out: a sensory and ideological bifurcation point
forever separating the individual from the collective; the collective from all other
collectivities. And still, as ecologist/geographer Yi-Fu Tuan has written, “yet we
say, ‘Kublai Khan built Cambaluc,’” meaning, the overpowering political circumstances, patronizing and inviting art, have nothing to do with the actual revelatory
inside story of such art. There is a divide, insufferable and distant, as those alienating
Fig. 92.1 “The Vision of St. Eustace,” from photographs of engravings, etc., of Albrecht Dürer
from the Pinnacothek at Munich, 1879. (Private Collection). (Photo © M.C. Tobias)
92.2 Looking Out or Looking In?