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										Stefanie Allyn Bayley
 
 
 
 
	To myself, I am thought superimposed on sensation.  My background
 
is one of color and sound, art and music, my mother being a painter and
 
my father being a composer.  But there is yet another framework in which
 
my family is involved in the arts.  It is the incorporation of technology,
 
the calculability of certain aspects of production in artworks.
 
	Being aware and being capable are not always synchronous. I spent
 
much time trying to interpret myself and the world through various media:
 
drawing, ceramics, and, especially, writing, which came closest to 
 
conveying my thought to others.  With my writing I eventually came to
 
explore film, mostly from a visual and a somewhat personal psychological
 
perspective.  This endeavor left me with an accumulation of over 75 pages
 
of, if not analysis, criticism of l5 films and the realization that I had
 
encountered the embodiment of what I feel is me.  I continued to refine 
 
my definitions of film as a medium unto itself through work for the
 
Telecommunications Department of the college I was attending.  I compiled
 
a bibliography of  35 books, with a short review of each, about and by
 
directors.
 
	My first production work was a 4-person effort in creating a
 
20 minute documentary on the third largest municipal park in the nation.
 
a tri-fold look at the geologic and recorded histories and its current
 
awesome offerings, we employed many technical devices and produced a
 
rather decent film.  The support shown by my co-workers for my hesitant
 
filming was instrumental in my efforts to realize the "working", or
 
"expressed", dimension of film.  Interpretation of my ideas became feasible.
 
Work in still photography confirmed that, although the image was a vital
 
part, I felt compelled to control its accessability by others (ie: duration

of viewing.)  My production work reflects my intent to explore the material
 
and the medium, myself and the world.  In some films, I have tried to
 
expose scientific theory parallel to visual input: the beauty in science

and the science in beauty.  Others have revealed the material aspect and
 
capabilities of film.
 
	In feeling the necessity of continued pursuit, I had to plan a move
 
to an area/center where I could educate myself to the elements of film
 
theory and production that were lacking in my environment at the time.
 
My impressions were, that to fulfill my needs, an institution which had
 
some integration of production and theory, and possibly an acceptance of
 
non-narrative production, would not only be conducive to my growth,
 
but, also to my health.  (The idea of going to L.A. was repulsive.)   
 
San Francisco State seemed to offer the educational opportunities I sought.
 
My interests in perception by a personal and a collective mind, as it 
 
relates to film, could be studied in scientific and artistic terms.
 
Since arriving at San Francisco State I have actively sought to expand
 
my knowledge in all areas (sociological, historical, political, psychological,
 
aesthetic, etc.) to that end.