RespondingtotheSub/ect:ASpecialObjectRichardSteinbergwaswaryofcomingto
quickconclusionsaboutthe
mannequin,sensingthathisfirstresponsemightbe
wrong.Thepicture
oppositewasthere-sultofacarefulthoughtprocess,which
hedescribedinthefollowingway:"You
lookatthisdummyandhecangiveyouthecreeps.Youthinkhecancomealive,
ormaybehehassome
kindofsupernatu-ralpowersthatwecanneversee,be-causeheexercisesthosepowerswhenheisaloneinaroom.Oryoumightfanta-sizethatifyouputachildonthedum-my'slap,thechildwouldbeabletotalksomesecretmumbo-jumbolanguagetoit.ButIwantthetruth—notwhatsome-
thingappearstobe"Itrytothinkaboutwherethingscomefrom,theiroriginsandevolution Ithinkaboutthedummy'smother—
atreethatwasalivewithcells,generativepowers,brancheslikeganglia,andbarkwiththepatternandgroovesofvariationandliferhythm.Somebodycarvedit,putitto-getherandrubbedit"It
wasatransformationofapieceofwoodintoareplicaofman'souterform,butthedummyisalsountransformed.Heistherealthing—
notareplica.Heisstillpartofalifeforce.Withoutlookingathisouterform
butlookingathisinnerform,weseehismother'sbranches,theflowfromthick
tothin,theorganiclayeringthatgivesthegramaflowandpatternAndsoIshowyouthatourdummyhaslife—
anorganiclife.Ihaverejecteditsoutwardhumanformbyreducingittopureblackandwhite,ashadowofitsformerself"Makingthepicturewascomplicated.First,Steinbergplacedthemannequinonawoodenflooranddirectedtwolightsonit,fromleftandright.Usingan 8 x 10cameraloadedwithblack-and-whitefilm,heexposedatf/64for 10 secondsHemadeacontactprintofthenegative(giv-inghimapositiveimage),andthencop-iedtheprintonhigh-contrastcopyingfilm(givinghimanegative).Next,thetreewasshotwitha 4 x 5 camera,andthenegativewascontact-printeddirect-lyontocopyingfilm,yieldingapositivetransparency.Hetonedthetransparencywithbrowndyesandcutitinhalf.Finally,heassembledthethreefilmelementsonaglassplate,withtheman-nequin'suntoned,negativeimageinthemiddleandmadethepicture«9