<transcript><audio_75>execution by her cousin Elizabeth I what is very striking particularly for somebody who knows Wilson's work well is the way in which this density and the</transcript><transcript><audio_76>focus the concentration are all ways of actually letting be felt the emotions that are in some ways related to the situation and the figure speaking and</transcript><transcript><audio_77>moving this is a kind of filling in the form again um and when I say emotion let's be clear emotion for up as for Wilson as for myself</transcript><transcript><audio_78>certainly myself speaking here about Wilson emotion does not mean emotive it doesn't mean histrionics and it doesn't mean acting emotion or acting out</transcript><transcript><audio_79>emotion or straining emotion to make it appear it's a very different process this process of filling in the form which the performer fills in a way that is quite personal</transcript><transcript><audio_80>since we don't get into the performer's head and don't know what this person is working with I think finally what I want to say here is that the soral quality of the</transcript><transcript><audio_81>whole is also a means for eliciting emotion not only in the performer but also in The Spectator and if I'm stressing this perhaps a little more than I intended it's because there has</transcript><transcript><audio_82>been a long sometimes overtly stated myth that either speaks of Wilson's work as being icy cold or simply says that there is no emotion ever in it I think that's not all together</transcript><transcript><audio_83>accurate let me just finally say that I noticed thinking about this as I've noticed before writing on Wilson that there are very subtle shifts and changes in perspective and means the means don't look like they're the same</transcript><transcript><audio_84>in many ways the elements that he uses artistically those aesthetic elements are very much the same but the means shift slightly and what shifts quite significantly at least from my point of view as a spectator and Scholar of</transcript><transcript><audio_85>Wilson is is that the intricacy which was so fascinating in Orlando in 1993 when you wasn't the famous star she is today she was an upand cominging famous but now she's</transcript> execution by her cousin Elizabeth I what is very striking particularly for somebody who knows Wilson's work well is the way in which this density and the focus the concentration are all ways of actually letting be felt the emotions that are in some ways related to the situation and the figure speaking and moving this is a kind of filling in the form again um and when I say emotion let's be clear emotion for up as for Wilson as for myself certainly myself speaking here about Wilson emotion does not mean emotive it doesn't mean histrionics and it doesn't mean acting emotion or acting out emotion or straining emotion to make it appear it's a very different process this process of filling in the form which the performer fills in a way that is quite personal since we don't get into the performer's head and don't know what this person is working with I think finally what I want to say here is that the soral quality of the whole is also a means for eliciting emotion not only in the performer but also in The Spectator and if I'm stressing this perhaps a little more than I intended it's because there has been a long sometimes overtly stated myth that either speaks of Wilson's work as being icy cold or simply says that there is no emotion ever in it I think that's not all together accurate let me just finally say that I noticed thinking about this as I've noticed before writing on Wilson that there are very subtle shifts and changes in perspective and means the means don't look like they're the same in many ways the elements that he uses artistically those aesthetic elements are very much the same but the means shift slightly and what shifts quite significantly at least from my point of view as a spectator and Scholar of Wilson is is that the intricacy which was so fascinating in Orlando in 1993 when you wasn't the famous star she is today she was an upand cominging famous but now she's
{"source": "grass-yt-cc-by.1UwFDx_R9ek|shard_1001_15|create_multimodal_data.extract_yt_and_generate_transcripts.58|shard_1001|create_multimodal_data.generate_captions.58|shard_1001|create_multimodal_data.generate_captions.58", "params": {"id": "1UwFDx_R9ek", "channel_id": "UC-8ID1fxMapLBg5hpfnOs8Q", "duration": 3332, "view_count": 52, "age_limit": 0, "chapters": [{"start_time": 0, "end_time": 660.0, "title": "<Untitled Chapter 1>"}, {"start_time": 660.0, "title": "a.m. EDT (New York, UTC -4)", "end_time": 3332}], "like_count": 1, "channel_follower_count": 5350, "license": "Creative Commons Attribution license (reuse allowed)", "uploader_id": "@HowlroundTV", "yt_tar_file": "/leonardo_work/EUHPC_E03_068/audio/fixed_download/grass-yt-cc-by//shard_1001/1UwFDx_R9ek.tar.gz"}}