dadoodoflow

joereorda:

Suling Wang
River Loops (Shakadang), 2005
Oil and acrylic on canvas
200 x 185 cm
78 3/4 x 72 7/8 in

joereorda:

Suling Wang
River Loops (Shakadang), 2005
Oil and acrylic on canvas
200 x 185 cm
78 3/4 x 72 7/8 in

The Third Tableau

(Middle shot)

Bedroom. Love making.
Outside the window
Is Hollis Frampton
Watching you fuck.

(Dissolve to…)

Hollis Frampton is watching you fuck.

(Still from “Poetic Justice” 1972)

Hollis Frampton is watching you fuck.

(Still from “Poetic Justice” 1972)

Why is Hollis Frampton Watching Me Fuck?

 Hannah Weiner told me today she saw words so that she wouldn’t have

to have instincts.

(Bernadette Mayer, April, 1981, letter to Bill Berkson)

mirrorfloatinginwater:

The only other version of Kubelka’s Arnulf Rainer on youtube is of very low quality so I uploaded a better one.

”The greatness of cinema is not that you can repeat natural light with natural sound, but that you can separate it. In nature no lightning can occur without thunder, no thunder without lightning, but I can separate it.”

-Peter Kubelka

"He has even created a film (called ARNULF RAINER) whose images can no more be ‘turned off’ by the closing of eyes than can the soundtrack thereof it (for it is composed entirely of white frame rhythming thru black inter-spaces and of such an intensity as to create its pattern straight thru closed eyelids) so that the whole ‘mix’ of the audio-visual experience is clearly ‘in the head,’ so to speak: and if one looks at it openly, one can see one’s own eye cells as if projected onto the screen and can watch one’s optic physiology activated by the sound track in what is, surely, the most basic Dance of Life of all (for the sounds of the film do resemble and, thus, prompt the inner-ear’s hearing of its own pulse output at intake of sound). "These films must, very truly, be seen and very truly seen and heard to be believed!

-Stan Brakhage

~

From the book “Dreams of Chaos, Visions of Order: Understanding the American Avant-garde Cinema” by James Peterson:

In 1973, after the screening of three Frampton films, during which the audience were decidedly restless, a woman asked the filmmaker if he thought his films communicated to an audience. Frampton responded:

"If you mean, do I think I communicated to those in the audience who tramped indignantly out of my films, the answer is no, but I think there is a problem with your idea of communication. You seem to work on the assumption that you have this hole and I have this thing, and you want me to put my thing in your hole and that will be ‘communication’. My idea of communication is very different. It involves my trying to say something I think is important and into which I have put all my thought and substantial labor. Neccessarily, what I have to say will be difficult to apprehend, if it is original enough to be worth saying at all. That is my half of the communicative process. Yours must be to sensitize and educate yourself fully enough to be able to understand. It is only when two people - filmmaker and viewer in this case - can meet as equals that true communication can take place."

(Not that I completely agree with this, I’m suspicious of demanding the audience do their homework. At the same time I wish the audience would do their homework.)

God made the illusion look real and He made the real look as if it didn’t exist. He covered the sea but revealed the foam. He concealed the wind but revealed the dust.
The world’s an old sorcerer, selling moonlight as silk for the gold and silver of your life. When you come to your senses you see there is no silk and all your gold and silver pieces are gone.
From this magic market you can only take refuge in the Truth.

The metahistorian and The Tool, 1976

Hollis Frampton
The metahistorian and The Tool, 1976

Hollis Frampton

iguanodon:

Gunvor Nelson - My Name is Oona (1969)

thirdorgan:

Barbara Olmsted (America, 1915-2013)

S/T  c.1935

thirdorgan:

Barbara Olmsted (America, 1915-2013)

S/T c.1935