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Information or Illusion: An Interview with Michael Snow 85 so that you can say that one aspect of it is imagination and another aspect, history or memory. Of course, we can't operate at all without memory. That's very important. On the other hand, there really isn't ever anythingexcept now and one is carrying this residue which makes it possible to go into the future. But all the contents of the mind that deal with the past can be described as fantasy in that they're unprovable. So, that's an aspect of information.... I just bought a book... I see you have The Blue and Brown Books . . . On Certainty . . . by Wittgenstein. It's really a riot. It's really very funny. It's about how impossible it is to be certain. That must appeal to you very much. Well, I don't feel as tortured by it as he did because his job was to try to be certain. I think it's an aspect of our existence that's interesting to discuss and that's no more or less relevant than any other. Sometimes, I just break up laughingreading Wittgenstein. It's very tragi-comic. Thinking how funny philosophy is partly was the background of Rameau's Nephew. Anyway,that sort of relates to the whole thing about information. At the same time, what medium information is presented in has its own aspect. In this case it's a visual aspect. Like photographs are visual. Wavelength has often been discussed as a narrative film or as a kind of equivalent for narrative movement. This just made me wonder what, if any, commercial filmmakers interest you? I'm not interested in any of them basically. My ideas about film, or even my interest in film doesn't have to do with seeing other films. I am interested in narrative as just one of the things you can do with film but I'm not interested in examples of it particularly . . . how it's been done. . . . In Wavelength I wanted to cover a scale of the possibilities, the connections that you make between events. And obviously the narrative one is a strong one. Because that's the way we get from point to point in life anyway . If you just tell a story, that's just one of the ways of moving in time; the musical way is another, and the way you use colors is another. In the exhibition, I was very interested in De La, especially the machine that you had used for the camera in La Region Centrale. Its presence in that show, I think, reveals preoccupations of yours on many levels, the most obvious being the isolation of something that had served you in a previous work. Of course in making the machine, the original intention was that it never be seen. It doesn't photograph itself and it makes the film. I knew the way I wanted the camera to move and I had a few ideas about how it could be done, but I'm not a technician. So the machine was produced in order to move the camera to make La Region Centrale. But when it existed I found it be a very beautiful thing, and I wanted to adapt it into another work so it could be seen. / made a comparison of some of the goals of your work to Leonardo's. Again, I'm reminded of the parallel in that the very basis of this work depended on actually creating a new machinery for its execution. Yes, this didn't exist. I've talked to people who were interested in the technology of it. For me, that's not irrelevant but whatever way I could get the images I visualized on the screen, I would have used. So De La is really completely different from La Region Centrale; it doesn't have very much connection. It doesn't have the same effect on you at all seeing those images. It's an interesting separation because you have the machine, on the one hand, and the camera, which is a kind of stand-in for the Well information has so many leveis Well information has so many leveis we describe our minds as being divided upwe describe our minds as being divided up 86 The Collected Writings of Michael Snow artist, that makes the images. He's the painter and you have the canvases (the TV monitors), in which the...


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MARC Record
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