"Points of control" are, paradoxically, also "cross roads of freedom" : we think of the artist as the one most "free" : but what if he or she is the one most imprisoned? : the artist assumes (at outset, onset, and in post-production) that he must decide, determine, and direct : however, the viewer need not, of necessity, be implicated in these systemic restraints and, even when nonetheless choosing to 'witness' from the standpoint of system or methodological rigor, the viewer may do so with a far greater degree of impartiality or, in some cases, even 'grace' : yet the artist must either partially or wholly retire from his director's chair on "the set" in order to experience the same freedom, or else walk in the light of a greater knowing that can eclipse his own, all of his employers', and his society's dutifully registered notions.
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