Slide and Preciousness of Description http://www.alansondheim.org/slide.jpg http://www.alansondheim.org/slide.mp4 Cars in parking lot, swaying camera, foreground shifts, just a couple of times, sloppy conceptualism. It's poorly done. It reminds me of when you cum hard and develop that headache on the right side of the brain and it's hard to focus. But the cars get away from that, away from what happens when you're climbing stairs fast and that ringing in your ears blocks everything you might hear normally, the ground sways from under you, your eyes recede and everything's moving around. That's an issue in this fake affine geometry as if there were a stable world outside the window, one in which the cars behave as if they were clean and proper, and everyone obeyed the law. What's here when it shifts seems to be the same as what's there; the window frames (there are no secrets here) frame the parking lot, 'you lot of cars,' more or less a momentary arrangement on a plateau on this particular planet. The clean and proper body (Kristeva) ex-tends into the technological, car and camera machinery, and what you yourself witness here, the presence of the screen, that fixation which sutures over everything, body and chora and phenomenon as well. So one, myself, shifts perhaps four meters to the left or right, depending on the vector, carrying what in film theory might be considered an apparatus, holding the frame, creating this video on the run or slow walk. The clouds are from Hurricane Irma, exhausted remnants; they create a pall (" To become vapid, tasteless, dull, or insipid; to lose strength, life, spirit, or taste; as, the liquor palls.") over the scene, which transforms into the murmur of nostalgia just beneath the surface of the pavement where the cars reside. Everything of a size reminiscent of the living resides within these spaces and movements; so much is forgotten, eliminated, literally and quietly banned to the dustbin of history. So the flat plane of the world veers and whirls, in and out of focus; there are moments of ecstasy here that dissolve like ink in water, water in ice, ice in glass, glass in quartz and diamond. This is poetic fancy, but what drives one to film or video cars more or less stationary (look, there's one going), the camera in footstep's arcs, and above all, those black or at least dark brown frames breaking up the scene, and returning all of this peregination back into daily life. --- 22c22 < into the technological, car and camera machinery, and what you ---
into the technological, car and camera marchinery, and what you
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