RespondingtotheSub/ect:ASpecialObject
RichardSteinbergwaswaryofcomingto
quickconclusionsaboutthe
mannequin,
sensingthathisfirstresponsemightbe
wrong.Thepicture
oppositewasthere-
sultofacarefulthoughtprocess,which
hedescribedinthefollowingway:"You
lookatthisdummyandhecangiveyou
thecreeps.Youthinkhecancomealive,
ormaybehehassome
kindofsupernatu-
ralpowersthatwecanneversee,be-
causeheexercisesthosepowers
when
heisaloneinaroom.Oryoumightfanta-
sizethatifyouputa
childonthedum-
my'slap,thechildwouldbeabletotalk
somesecret
mumbo-jumbolanguageto
it.ButIwantthetruth—notwhatsome-
thing
appearstobe
"Itrytothinkabout
wherethingscome
from,theiroriginsandevolution Ithink
aboutthedummy's
mother—
a
treethat
wasalivewithcells,generativepowers,
brancheslike
ganglia,andbarkwiththe
patternandgroovesofvariationand
life
rhythm.
Somebodycarvedit,putitto-
getherandrubbedit
"It
was
atransformationofapieceof
woodintoareplica
ofman'souterform,
butthe
dummyisalsountransformed.
He
istherealthing
—
nota
replica.Heisstill
partofalifeforce.Withoutlookingathis
outer
form
butlookingat
hisinnerform,
weseehismother'sbranches,theflow
fromthick
to
thin,theorganiclayering
thatgivesthegramaflowandpattern
AndsoIshowyouthatourdummyhas
life
—
anorganiclife.Ihaverejected
its
outwardhumanformbyreducingitto
pureblackandwhite,ashadowofits
formerself
"
Makingthepicturewascomplicated.
First,Steinbergplacedthe
mannequinon
awoodenflooranddirectedtwolightson
it,from
leftandright.Usingan 8 x 10
cameraloadedwithblack-and-whitefilm,
heexposed
atf/64for 10 secondsHe
madeacontactprintof
thenegative(giv-
inghimapositiveimage),andthencop-
iedtheprinton
high-contrastcopying
film(givinghimanegative).Next,the
treewasshotwitha 4 x 5 camera,and
thenegativewascontact-printed
direct-
lyontocopyingfilm,yieldingapositive
transparency.Hetoned
thetransparency
withbrowndyesandcutitinhalf.
Finally,heassembledthethreefilm
elementsonaglassplate,
withtheman-
nequin'suntoned,negativeimageinthe
middleandmade
thepicture
«9