Lynch’s Industrial Symphony No. 1 possesses an immersive quality, which is here ascribed to intermedial practices of a performative nature based on the senses and meant to reinforce the viewers’ conscience thereof. A parallel is made with Gene Youngblood’s “synaesthetic mode” of expanded cinema.
The author accompanied a poet and street vendor on the streets of Berlin over a two-week period. The text collage discusses the phenomenon of ’loitering’ in urban public spaces in two parallel discourses.