paris in sète. he and she live in paris, he grew up in sète. they vacation in sète. they are outsiders in sète. though they are in sète, they are sometimes in paris in sète. they hardly touch the lives of sète. he and she, and them.

agnès varda’s 1955 film la pointe courte features two strings of narrative. one borders on the documentary, following the lives of ordinary families struggling to survive in this mediterranean village. the other narrative features the characters ‘he’ and ‘she,’ and centers around their faltering marriage. though they traverse what seem like kilometers of land in the course of the film, a much different inhabitation than the locals, he and she are so wholly removed from the site and its situations. they are conscious mostly just of themselves and the problems between them. they and the film in which they are described are self-absorbed and self-conscious.

double/multiple

narratives.

survival.

thresholds.

relativity.

dross.

endeavor.

the value of the

image.

underneath the reading of the site situated in sète, france is laid a mapping of trajectories of images. this site is paris. photographs taken digitally, uploaded and geotagged are featured as lines across the parisscape. much like the tracings of our own numerous and varied experiences of the cities in which we live, this mapping encapsulates the fact of attention. much unlike the tracings of our own numerous and varied experiences of the cities in which we live, this mapping does not encapsulate the fact of inattention. yet by placing this leaf under the map of sète, it becomes apparent the relation of our diurnal attentions when we are confronted with a new setting.

the value of memory.

the value of

expectation and expectation lost,

these fictions.