The desire to speak and to touch informs the narrative and its successive digressions at every frame and every syllable. The voice has a shape and the corpse has a voice, and the two interlocutors face each other in an undefined space, like analyst and analysand, facets of the same character at different stages of being - alive and dead. The internal monologue of the presumed narrator is externalized in the corpse of a suicide victim, who addresses his own self in the past. The stories that emerge revolve around the narrator's sensual desires - to touch and to speak. There is always a mixture between man and machine.
Continuity is against the fragment. - as with advertising it makes use of an information overload.
Bick's contribution has a hypnotic consistency in harmony with Hollander's punctuationless flow, similarly controlled so as to encompass complexity within an overt stylistic device, using sections of black and white images as an equivalent to the slightly deadpan writing style, and determining points of added focus by means of roughly drawn ovals sketched with what looks like a felt-tip pen.