Cut-up of Elizabeth Cowie’s essay “Rear Window Ethics” draft.

Desiring demands a fascination tangled with anticipation overlooking a back which time enters in

time becomes us between levels and notes to find verisimilitude, which provides contrast achieving perfect suspense.

The castration blinds one signaling denouement while love follows spatialization which produces referentiality before mastering desire by transformed repetitions to understand contrast in someone voluptuous

holding something glamorous invokes excitement within the window of desire implying a world to experience as being a blind glass to the self.

The camera realizes the romantic violence of cuts with material accompanied by a convention like flowers but then enjoying self-consciousness and breakfast. Nevertheless, desire declares tomorrow that’s phallic, rich, and seduced to imagined lengths in reversals of want, assuming desire is ‘castration’ hidden outside conversation

(narrative begins with mirroring, framing, love—revealing a room and him which noted his drives to want suspense instead of jumping in Lisa’s musical window)

Pleasure is a Rear Window, a mere requirement that introduces understanding in disempowerment to acknowledge her gaze while dancing draws phallic themes (brings our unconscious) localized in loneliness (now noises) referred to as close-up dangers opposed by narrative objects to see, not to be seen, while the gaze is limited, called sensuality, wheels of disempowerment (enclosed in everyone)

celebrated looking as exterior to ourselves to suddenly reverse this large want score its connotations paralleling pleasure in two lonelyhearts. Love closely, kiss quickly, and come swooping around a door

showing such different mannerisms behind a half-lit window where pleasure eats under a body to be explored, recognized, between curiosity and burial

adjoining in recognition of opposition beginning as doubt transformed in the anxiety of creation revealed as sounds mirroring boundaries—

Here love me all firm back into being contrasting pleasures or characters to the opposite window

so if lack is extensions in phones pointing to romance, here the dilemma offered is reversals of potent lonelyhearts.

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Filed under Eastern Michigan University, Essay, Experiment, Poems, Prose, Reading, The Temporal Arts Collective

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