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The classic riddle was meant to be heard of course. Its answers are contained in its questions; and on the smallest piece of itself this possibility depends upon SOUND - 'utterly,' like they say ... the pun is pivot. Therefore, my Riddle of Lumen depends upon qualities of LIGHT. All films do, of course. But with The Riddle of Lumen the 'hero' of the film is light itself. It is the film I'd long wanted to make - inspired by the sense and specific formal possibility of the classical English Language riddle ... only one appropriate to film and, thus, as distinct from language as I could make it. – Stan Brakhage
Godard: “It was Hitchcock that said if you have something to say, say it twice”
Memory pulls away the stone. Hereafter, a place within a place, twice remembered once seen. One world is covered in gauze and a strange luster, the other is located a breath away, disguised to look like something we already know, even if we have never seen it before. Frottage. Moving in between, fold upon fold. A glissade in the cross –currents. At eye level the air is dizzy. Shadowing Carlotta. Searching for our chromatic opposite. Following Madeleine. Somewhere in there… I was born and fell to earth suspended in soft emulsions. One century grazes against another like a grave rubbing. We have reached the approximate time of death. Detecting on the lip of an impatient hole that would bury the clouds in the ground (while on-looking trees, always the same, sway overhead,) the air that rushes in and brings color to our faces. Alive again. But no living word is dreamt of as the colors change. - Mark McElhatten
A woman moving in the water and the gaze of a man, both seen from beneath the water, elaborated by the vectorizing force of sound, lead the viewer toward an effervescence of feeling – a desire for merge among the knowledge of separateness. - Leighton Pierce
Luminous and concise this beautifully structured film weaves back and forth between the participants (Stan and Jane Brakhage, James Tenney and Carolee Schneeman)creating a web like the string figure game of “Cat’s Cradle.”
This and This, is digital immediacy splendor where images of nature
cannot be merely innocent. Ideas about the natural and the mechanical are
being toyed with, in varying degrees of wetness, scale, compressed states
and expectations. - Vincent Grenier
A carefree glaucoma brought on by playful interference renders wheeling zodiacs of sunburst leisure into tell- tale wisps and streaks. - Mark McElhatten
Clear Blue Sky is the study of movements, colors, shapes and their relation to sound. Visual effects are created through, not a lens, but an adjustable slit, which was attached in front of the image sensor chip of a DV camcorder, while shooting at Washington Square, San Francisco. - Tomonari Nishakawa
man.road.river introduces a space that is viscous and indeterminate. An image is an aspic, and an adhesive in which an event is held in a optical resemblance that creates difference according to its luxuriance or degradation, its infidelities to the original event. There is always something missing as well as added, insinuated into the copy. The quality and character of movement in a moving image is redefined by its residence inside the given texture of the medium and the precise nature of the shot. Passing time moves with and against that texture and within the length of a shot builds up it’s own “cabin pressure.” Its natural measure attenuated by minute resistances and frictions and the grade of the slope, just as we might swim or climb depending on the medium we are confronting. This friction in turn perturbs or compounds the texture through its force and abrasion. In man.road.river different bodies and mediums come into contact. The man fords the shallows of an overflowing river and walks thorough a compressed depth of field without altering his course or increasing his limited awareness of the image to which he contributes a central energy. Elements cohere or at least cling in confusion and the witnessed event is rendered as something else, a version of what occurred and the concretization of a mirage, something that never occurred (externally) until it passed through the lens. The ephemeral saved and held in captivity is made to repeat itself in terms that are natural enough but unevenly translated. A recognizable shape but unidentified man emerged from a walking chrysalis ( globular soft focused and near sepia )into greater definition and scale. The man continues unimpeded down the road. Out of frame, out of mind. – Ana Silviera
Just barely a whisper.
The minimum density, the slightest shape. A series of measurements,
an equation for living. The edge of what matters, the contours of an
idea. A selection of coordinates for finding one's way back. Space,
time and temperature. The name of the most important person. – David Gatten
"To be at a loss and to return there, saying things and speaking, its
started to rain. He paints a woman's face the color of the sea but
portrays someone else as an empty chair. Then he learns to erase four
words each day." - Michael Palmer, Notes for Echo Lake
Song and Solitude was conceived and photographed with the kind and generous help of Susan Vigil during the last year of her life. Its balance is more toward an expression of inner landscape, or what it feels like to be, rather than an exploration of the external visual world as such. - Nathaniel Dorsky
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Sat Oct 7: 5:30
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