The Alan Sondheim Mail Archive

November 10, 2002


The economy of the special effects apparatus from the 1930s gives way to
the digital; the digital isolates those moments of the image that speak
all too easily, as if they weren't speaking at all.

The beautiful woman is isolated and framed by a device capable of addition
or subtraction of the potential screen, the imaginary, positioned. The
apparatus as in Godard displays itself, inhales/exhales the graphic-in-

This is the smallest conceivable way to waylay the wayward viewer. One
looks over the shoulder of the apparatus; hopefully the framing is still a
long way off - the result clearly one of an infinite field of the social,
of perception itself - or, in a sense, the inverse of the vanishing-point
in perspectival configurations.

(The social reveals itself, an emblem.)


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