1972 The Benign Videograph
I entered a Radical Pluralist phase devoted to the Utopian faith in pop culture’s enhanced ability to adapt,(transcend its context). Prescient, the world of human usage. Seeing through semiotic rather than the esthetic lenses. The notion of authorship and originality became like Darwinianism in reverse. I link disjunctive entities to experimental filmmaking. Transparency merely amplifies existing anomalies—a world sliding out of sync. Systems that engage science and methods of calibration reveal the underlying logic of nature and supersedes the visible world to achieve a transcendent ideal. Our access to an object is never pure, but instead refracted by historical vectors and points of view. I draw upon existing predigested two-dimensional accounts like a snorkel to the air In a cultural cross-reference, I use clock faces in reference to our internal clock and echo of detachment semiotic orbit of photography. Those who cannot remember the past are condemned to repeat it.
I became aware of Alfred Jarry “UBU PLAYS” which was the key to Duchamp’s renunciation of painting, but also Joyce’s radical transformation of the English language in Finnegan’s Wake.
Mentors include, Dr.Gerald O Grady, Jonas Mekas, Kubelka, Stan Brakage, Hollis Frampton, James Blue, Paul Sharits, Bob Creeley, Woody and Staina Valsuka.
41. MAN IN A HAMOCK
A film of an actual hammock also refers to the grid as an artistic motif. The representation of water surfaces evoke rather than depict the image, a use of language function in the grip of forces beyond control “agon permeated culture” Most impressed with Hollis Framton, self-taught and an understudy of Ezra Pound. I started reading Ezra Pound. I started bringing together motifs and themes from all literary history. I used pattern, fore grounding the issue of mechanical reproduction. Form deals with the irrational and instinctive. Do the psychological effects triggered by narcotics belong more to the realm of nature or culture? A circular tourism, wears itself, like a watch, visual elaborate sign systems, became intrigue to the Cultural cannibalism of an appropriationist as deconstructionist.
The retreat from semantic instability in an agitprop mode, the second hand experience implies a dialectic critique of originality. Neither the original in question, nor a direct expression of the translator, but a hybrid, oscillating—between synchronicity and anachronism. Seduction shows us to be objectified, illuminating our roles as both accomplice and victim. Its theme was individual salvation achieved by triumph over adversity and the resulting change in life direction.
