In lieu of an abstract, here is a brief excerpt of the content:

44 The Collected Writings of Michael Snow printed stickers and rubber stamp to make dispersed and lost compositions. Some of these had a time aspect: that one might see a part (printed sticker) in the Sheridan Square subway stop, find another on the stairs, then find another in the 8th Street Bookstore (1962). Unfinished film made with Ben Park. Hope to finish someday. Spring, summer '64 shot New York Eye and Ear Control. Think it's great too and was happy that Richard Foreman, Ken Jacobs, and Andy Warhol thot so too when it was first shown at Cinematheque. This film is a true determinate simultaneity.It is all (about/is) polarities, opposites, supposed opposites. If Wavelength is metaphysics, Eye and Ear Control is philosophy and will be physics. I think now it was a bit unfair to show you and Jonas in its raw state. Quite a lot of it is still in my mind although all the material exists. As a move from the implications of Wavelength it attempts to transcend through motion more than light. There will be less paradox and in a way less drama than in the other films. It is more "concrete" and more objective. Eye and Ear is analytical,all the parts are dealt with, inspected separately. You are given backgrounds then later foregrounds, for example. It is perhaps more linear than the others. is sculptural.It is also a kind of demonstration or lesson in perception and in concepts of law and order and their transcendence . It is in/of/depicts a classroom. When it is finished I think it will be seen to present a different, possibly new, spectator-image relationship. My films are (to me) attempts to suggest the mind to a certain state or certain states of consciousness. They are drug relatives in that respect. will be less comment and dream than the others . You aren't within it, it isn't within you, you're beside it. is sculptural because the depicted light is to be outside, around the solid (wall) which becomes transcended /spiritualized by motion-time, whereas in Wavelength it is more transcended by light-time. However, involves one's neck as well as one's mind-eyes. Sound yet to come. During our conversation I wanted to talk more about the issue of "story" that came up in Jonas' column referring to Ernie Gehr's films and to Wavelength. Now: one of the subjects of or one of the things Wavelength attempts to be is a "balancing" of different orders, classes of events and protagonists. The image of the yellow chair has as much "value" in its own world as the girl closing the window. The film events are not hierarchical but are chosen from a kind of scale of mobility that runs from pure light events, the various perceptions of the room, to the images of moving human beings. The inert: the bookcase that gets carried in, the corpse, as seen, dying being a passage from activityto object. Inertia. It is precise that "events take place." The various kinds of events imply or demonstrate links which are, more or less, "stories." We tend to make a strong human event link between the death and the phone call. It is the beginning of what we conventionallycall a "story." Before the man dies to after he dies the "story" changes levels and one "reads" relationships. His entry (He is not seen. Behind you?) is announced/preceded by breaking glass etc. sounds as well as image-colour fluctuations. The sound is "representational," "realistic" as he is seen, walks in, dies. This is against the "abstract" sine-wave glissando . When he dies the "realistic" sound stops and is now seen. The colour-image waves which on other occasions are sensed as light events tied to what-is-happening -to-the-room (?!) belief are now sensed as ripples of life-heart struggles or the reverberations of hitting the floor. It is a very involved subject to try to write about. The "story" is on different levels of belief and identification. On Wavelength 45 I mentioned Cezanne in a comment about the illusion/reality balancing act in painting. Tho many many other painters have worked out their own beautiful solutions to this "problem," I think his was the greatest and is relevant because his work was representational. The complicated involvementof his perception of exterior reality, his creation of a work which both represents and is something, thus his balancing of...

pdf

Additional Information

ISBN
9780889206045
Related ISBN
9780889202436
MARC Record
OCLC
180704522
Pages
293
Launched on MUSE
2012-01-01
Language
English
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.