Small, Medium, Large, Extra-Large

序幕 曾经，一座城市被分割成两部分。 一部分成为了“好的一半”，另一部分则成为了”坏的一半“。 ”坏的一半“的居民开始涌向”好的一半“，这迅速地发展成一场城市逃亡（urban exodus） 如果这种情况不被制止，那么”好的一半“的人口将翻倍，而”坏的一半“将变成幽灵城市。 在所有试图阻止这种恶性移民的尝试都失败后，坏政府用极端而粗暴的方式使用了建筑：他们建造了一道墙，将好的那部分城市围住，使移民完全无法接近。 这道墙是一个杰作。 起初，不过是一些可怜的铁丝网突然出现在那条想象的边界线上，它在心理和象征性上形成的影响力远大于实体。 ”好的一半“，现在只能跨过森严的障碍物站在令人痛苦的距离之外被遥望，变得更加不可抗拒。 这种受困，留在灰暗的”坏的一半“，发酵成对于无效的逃亡计划的痴狂。绝望笼罩了墙的另一边。 而在这段历史以前，建筑就常常是罪恶的制造绝望的工具。

Japanese pornography 99% about female resistance overwhelmed by repetitive insistence of male.

First commandment of Japanese censorship:pubic hair and genitals may not be shown. This generates intellectual issue:invention/development of possible substitutes, and sexual program:larger sensual impact through elimination of responsible parts.

First stylization is reduction of color scheme:black (hair), yellow (skin),lilac with,in the beginning, white (panties); for some reason,the frisson of racial mixing leaves Japanese cold(rare arena of doubt?).

Four techniques regulate living with(out) sex.(Ways of both transcending and maintaining taboos.)

1.Excision

Most radical in print: surgical elimination of offensive elements from image; in drawn material attention is pulled irresistibly to white areas;in photos to black absences.Transfer of importance from the defined to the residual:"open regions" inserted in areas of high specificity subject to continuous, heightened speculation. In unstable material (i.e., video and film) this tactic would be almost technically impossible: a kind of reverse animation of elimination.

2.Cover

"Everything" implied through (more or less flimsy)material; can bring its own suspense through, for instance, wetness or form changes;this low-tech, classical strategy is so effective that Japanese lovers often stay marooned indefinitely in state of semi-undress.

3.Burnout

When nakedness is achieved on video,camera may linger on inoffensive part of body, whose motions convey activity beyond the frame;in long shots bodies organized to shield actual points of engagement; explicitness means "hole"(of light)-a miniature bouncing "sun"—burned into image, always there where the action is, giving the potentially sordid an almost exalted dimension.(Buddhism?)Me, her, and the sun.

4.Digitization

Within the otherwise normal image appear gridded zones of varying size,each square a color:black, cafe-au-lait,pink in ever-shifting relationships; more subtle Mondrians. Sometimes, a momentary constellation suggests "the idea" of identifiable parts.

The fault line between the gridded censorship cloud and the conventional image, where the traditional world -expressions,intensities,suspense, love (?), desperation一yields to digitization, is a potent metaphor for this fin de siecle: prototype of possible traffic between real and virtualworlds, and utopian model, maybe,of their eventual coexistence.

Emerging from the pure abstractionof the censored zone:jets of sperm --white squares that turn into small blobs and land on real flesh.

Throughout this study, I have sought to identify moments in which modern urban scenes do not erase, but rather stage literary, cinematic, and spatial narratives of memory in the post-dictatorial Southern Cone. In the process, I intended to demonstrate that memory remains a vital aspect of everyday life and, therefore, continues to imprint the cityscape beyond those sites designated as official memorials. The works I have analyzed in this study demonstrate that memoryscapes recur among those landscapes previously dissociated from remembrance: places of transit and uniformity, repurposed places, entire cities on the brink of ruin. Emergent memoryscapes suggest complementary efforts to work through memories of the past and to understand with greater clarity its influence on the present, since space becomes a medium through which to articulate memory. As a consequence, those places most emblematic of the legacy of the Southern Cone dictatorships—places symbolic, more generally, of international commerce, mobility, and modernity—provide a staging ground for articulating memory.