Savran describes the video footage in L.S.D. by saying that the televisions exist as windows that remind us there is an elsewhere, an entire “world outside” which we are currently separated from.  Similarly, the photos that pepper Savran’s essay serve to make the reader feel distance, absence.  However, it is the distance across time and our absence from the performance.

The cinematic film-strip quality of the Shoe Dance photos (pg. 215) makes nothing more apparent than the lack of dancing that they show.  The breathing, whirling body reduced to its “high points” of frozen pose leaves the viewer acutely aware of the missing information and craving the low points, the transitions from image to image.  Rather than simply illuminating the written words by providing us with fuel for a more accurate imagination of the piece, these images and the other pictures in Savran’s essay give the reader a greater understanding of how inaccurate any imagination is doomed to be.

These pictures stand as an unflinching testament to how much of L.S.D. (...Just the High Points....) we have missed.