ideology and its price." Here projection is also "deflected." One merely observes the "price." Storr writes that these "cool black-and-white photo-based-images" depict in wholly indeterminate (blurred) ways the "controversial lives and deaths of four German social activists turned terrorists." The first exhibitions in America were accompanied by documentary details of the years leading to the German Autumn, with copies of the original images (television, newspaper, and police archive) from which Richter worked. While Richter insisted on the paintings being received as paintings, he also understood that the reception required the apparatus of the actual events leading to the series. This latter supplement is typically repressed, and constitutes a portion of the transcendental field of art insofar as it is reconstituted from memory or, as is often the case,indisputable that she sustained pain and suffering, and very clear that the jury did not intend to compensate her for them....
(Footnote omitted.) In Ide, the trial court granted a new trial on the basis the award of damages was inadequate. The Supreme Court affirmed the trial court's decision. The court noted that "any award less than [$500] for general damages [pain, suffering, and disability,] would be so inadequate as to shock the conscience of the court." Ide, 47 Wash.2d at 850, 289 P.2d 1007. The court described the plaintiff's injuries: "[S]he suffered a scalp laceration which bled profusely and the closing of which required several stitches, and ... suffered numerous bruises and contusions. While in the hospital, she was nervous and cried frequently; some shock and emotional upset