But if Iraq did not tame the paper
How then shall we be obedient to our breakfast
Animals fry eggs and butter toasts
We do not ever understand
The art of leaving

Poor Little Rich Girl (Andy Warhol, 1965)

this evening i attended a screening and q&a on heinz emigholz’s schindler’s houses. these houses have always been part of my own mythological idealization of southern california. and it was really great to be allowed inside some of them through film. in emigholz’s films space is the protagonist. and as much as he claims to be looking at these spaces through a contemporary documentarian perspective, it is a highly poetic and personal perspective. he is somewhat allergic to video. which to me was curious since film doesn’t, in this epoch of kodak’s and polaroid’s continuous obsolescence of their product catalog, necessarily lend a contemporary view as much as video.

nonetheless its filmic quest of portraying 3d spaces in 2d got me thinking about a lot of issues pertinent to disembody. it was mentioned that film creates a 3rd space in some ways. there is the room you are sitting in while watching the film, the projected image of a space on the screen and how this image enables you to mentally inhabit this space through transposition forming a 3rd place. in his case this last aspect is largely accomplished by the almost absence of people in the frames and amazing sound design.

is it possible that disembody will further its ambition of being a work with poly authorship facets by offering the viewer this choice of spatial (re)placement?

His half-opened eyelids must be closing or vice versa
It occurs to him that time for the clock is hardly worth coming out of the closet
There is an expressionist fuss left on the table
Tracing lines in all the drawers
Pointing to the crock that’s not being proportional
Fretting over whether the pitcher is straight or not
Finally he finds the peace and dies

“In time,
No one will remember our work
Our life will pass like the traces of a cloud
And be scattered like
Mist that is chased by the
Rays of the sun
For our time is the passing of a shadow
And our lives will run like
Sparks through the stubble. I place a delphinium, Blue, upon your grave”

Blue (Derek Jarman, 1993)

still from Sedmikrasky (Daisies), 1966, Czechoslovakia

Kathryn finished the first hot pants yesterday, and Carol-Anne came over for a test run.

They are something else!