The building is built and is a fact.

John Hejduk, 1999

The building is built and is a fact.
Inhabitants enter and leave.
Each living their lives and inner lives.
The building takes colour depending on light,
How is the soul of a building seen... sensed?
What are its memories before its fact existence?
Are previous events recalled in the building?
How is the fleeting moment of a thought of a time
We see the body... do we get a glimpse of the soul?
In what way through what medium?
The essence is distilled through black and white
Photography which penetrates into the silent soul
Of the building's pre-existence thoughts upon previous

The photo must go beyond the fact.
The photo is an opaque x-ray.
You have the fact before you, but it hides things.
The great photographer observes the fact's body.
She must move her thought into a cross over.
She must hear the object's inner sound, inner calling.
She must through her sense... connect with an evasive
Ethereality... or more contained sense that flickers
Momentarily... through what the materiality is as a
Profound revelation.

Colour interferes or at the very least blanks out
Depth camouflages the fragility of the souls
Yearning of past sorrows.
To express this the photographer must constantly
Filter existing fact... must capture in less than a
Second the immensity of times volume of air and the
Nature of a lament.

We are able to take certain blocks of thought
Trough the photographs eyebrain/thought/sense and
Place before the viewer of the photo past time although the
Photo of a present fact building is before us or the
Shot has been taken recently.

Through Helene Binet's photos of Zvi Hecker's
Building thought (the Jewish school in Berlin)
We see past senses... they come trough the
Apparent fact. The fact must first be muted,
That is in order for the soul sense of the
Building to get trough there must be an abstraction
And the photo must be in black and white and
That which is photographed must be felt out or
Sensed in.

Zvi Hecker's undertone is revealed after
Breaking through the building fact. What do we
See in these split second shots... we see the
Memory of the past tragedy, the past horrors,
And the Binet photos insist on us not to forget.
She records the anguish of the souls through silent
Photo recoding and precise recording.
She is looking at the buildings soul and the soul
Is looking back at her and eventually us.

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