Lost Islands

The Aerodyne At the Art Cinema in Boulder, Colorado, the Sunday Associates staged an adaptation of Jane Brakhage's story of Caesar's invasion of Britain, "Caswallon the Headhunter." I contributed a hand-painted film loop, as part of the special effects, as well as making two films during rehearsals: 1) the first dance film I've made, DANCE SHADOWS BY DANELLE HELANDER and 2) a film which meditates upon the unique process of creativity engendered by Denise Judson and the Sunday Associates in production, THE AERODYNE (Webster: "heavier-than-air aircraft that derives its lift in flight from forces resulting from its motion through air") - the latter two films silent.

Aftermath "after + math (((mowing, crop))) a second growth crop" ... this my strongest attack on pop culture, the movies, TV, etc. - what CAN be done with it? / The idealism of moving-visual-thought-process, the very raw meat of brain, trying to absorb and transform "the unthinkable": this, then, that second harvest of healthier gain ... retrieving patriotism, even, from blasphemous commerce. (Quote Webster's 7 Coll.)

Nodes "nodus knot, node - more at NET) ... 4a: a point at which subsidiary parts originate or center ... 5: a point, line, or surface of a vibrating body that is free or relatively free from vibratory motion." In the tradition of SKEIN this hand-painted film is the equivalent of cathexis concepts given me by Sigmund Freud (in his "Interpretation of Dreams"), 30 years ago, finally realizing itself as vision. (Quote: Web. 7th). Preserved by the Academy Film Archive in 2006.

RR This film is a mix of landscape images seen from train windows and the patterned shapes and shifting tones of moving-visual-thought thus prompted; it was inspired by Robert Breer's FUJI.

Salome Portrait of the great chess master, aesthetician, human being, Eugene Salome.

Sexual Meditation #1: Mo... This film was originally photographed in 1970 in regular 8mm. It was, a decade later, blown up to 16mm so that it could join the rest of the Sexual Meditation series.

Sincerity IV This, the sixth film of the SINCERITY/DUPLICITY series, seems rooted in the earliest tradition of my work, Psycho-Drama, as well as in the most recent, Imagnostic, directions taken. It is remembrance as well as thought which fashions it in lonely hotel rooms, sincere return of the mind to that which is loved, ephemeral faces of children growing older, familiar objects interwoven with easy alien familiarity, the images of strangers in UNeasy identification, sexual posture and the lure of the Beloved as irreducible image.

@ The first film of mine which is so very much there where it's at THAT it deserves visual symbol as title and no further explanation from me at/et? all.

Duplicity II This, the second film of the continuing autobiographical Duplicity series, is composed of superimpositions much as the mind "dupes" remembered experience into some semblance of, say, composed surety rather than imbalanced accuracy - as thought may even warp "scene" into symmetry, or "face" into multitudinous mask. What will have been becomes what will be being. I've tried to "give the lie" to this genesis of all white-lying.

Duplicity I A friend of many years' acquaintance showed me the duplicity of myself. And, midst guilt and anxiety, I came to see that duplicity often shows itself forth in semblance of sincerity. Then a dream informed me that SINCERITY IV, which I had just completed, was such a semblance. The dream ended with the word "Duplicity" scratched white across the closed eyelids (as the title "The Weir-Falcon Saga" had been given to me). I saw that the film in question demonstrated a duplicity of relationship between the Brakhages and animals (Totemism) and environs (especially trees), visiting friends (Robert Creeley, Ed Dorn, Donald Sutherland, Angelo DiBenedetto and Jerome Hill among them) and people-at-large. I saw that the film shifted its compositions equally along a line of dark shapes as well as light, and that it did not progress (as did earlier Sincerities) but was rather a correlative of SINCERITY I. Accordingly I changed the title to "Duplicity."