Message-ID: <Pine.NEB.4.44.0206070152480.607-100000@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.aol.com>,
"WRYTING-L : Writing and Theory across Disciplines" <WRYTING-L@LISTSERV.UTORONTO.CA>
Subject: Itg1s
Date: Fri, 7 Jun 2002 01:53:02 -0400 (EDT)
In the garden: 1'02" silent: she looks at the camera, removes her shirt, looks up, the camera's already left her she looks at the camera, removes her shirt, looks up, the camera's already left her LUMINANCE TRANSPARENCY BROADBAND she's totally nude, looks up, the camera's swinging out of the way she looks at the camera, removes her shirt, looks up, the camera's already left her LUMINANCE TRANSPARENCY NARROWBAND she's totally nude, looks up, the camera's swinging out of the way aiming upward towards the bridge above aiming upward along the tracks of the bridge aiming upwards towards the bridge above aiming upward along the beams and tracks of the bridge she looks at the camera, removes her shirt, turns away LUMINANCE TRANSPARENCY NARROWBAND film leader countdown title: the stranger on the bridge the garden mmii title: the stranger on the bridge the garden mmii a. See Incident at Owl Creek Bridge. b. Too much voyeurism/nudity in the current work. c. There is no man on the bridge. d. Other title: Stranger on the Bridge. e. No mention of the wilderness beneath the bridge: riparian/marshland/ woodland thicket. f. Doubling producing dream-like landscape. g. Is this the usual staking-out of the female body. h. Attitude of the female. i. Male equivalence in future work. j. Text/performance forthcoming: Sex Seduced by Text. k. she's totally nude, looks up, the camera's swinging out of the ways--of course, associations are multiple and> >called the style "el aiming upward towards the bridge aboveontinuous.: Then he mentions a key te aiming upward along the tracks of t l. the gardenry m. "the transference, comes in. In Lacan we have a distin" she's totally nude, looks up, the camera's swingin n. Filename to write: zzemotional machin _