(to watch in full screen, 17:50)A New Life (1988-98). In 1988,
under the inspiration of George Kuchar, I bought an 8mm camcorder.
The single-system 16mm camera on which I had shot PLAGIARISM,
RADIO ADIOS, & MONEY
had died of stress and I thought this would allow me to
pursue synch ideas. Unfortunately video editing at that
time involved bumping the footage up to 3/4" U-matic and
paying $12.50/hour to work on 2 decks with a controller; it was cheaper
to shoot 16mm and get a workprint. The conceit of the abandoned
project was to create artist couples (people that had never before
met) and have them discuss relationship issues and love. Participating
artists include Joe Gibbons, Lee Katz, Emily Breer, Robert
Hilferty, Eve Heller, and Roberto Juarez. Alongside this footage
was an ongoing discussion with Charles Bernstein on the implications
of working in video as opposed to film. Plus, one cold morning
when nothing was working out, I addressed the camera directly in
a (what seemed at the time desperate and harrowing but now seems Woody-Allen-ish)
scene that is central to the final edit. The footage sat
on my shelf haunting me for a decade and I decided in 1998 to
use it to free myself from the past while at the same time
learning to use home computer editing software. As my major
appearance in my own work, it's perhaps endearing.
is punctuated with 3/4" footage recording the December 1985 "live
MONEY at Roulette, with John Zorn on birdcalls and alto,
Cyro Baptiste on Brazilian percussion, the late Tom Cora
on cello, Charles Noyes and Ikue Mori on drums, Jim Staley
on trumbone, Butch Morris on cornet, Christian Marclay on turntables,
and Alan Davies and Diane Ward on vocals, with movement by
Pooh Kaye and Sally Silvers.
(to watch in full screen, 14:27)Money (1985) is a manic collage film from the mid-80s when it still seemed that Reaganism of the soul could be defeated. Filmed primarily on the streets of Manhattan for the ambient sounds and movements and occasional pedestrian interaction to create a rich tapestry of swirling colors and juxtaposed architectural spaces in deep focus and present the intense urban overflowing energy that is experience living here. MONEY is thematically centered around a discussion of economic problems facing avant-garde artists. Discussion, however, is fragmented into words and phrases and reassembled into writing. Musical and movement phrases are woven through this conversation to create an almost operatic composition. Give me money!
Starring: John Zorn, Diane Ward, Carmen Vigil, Susie Timmons, Sally Silvers, Ron Silliman, James Sherry, Peter Hall, David Moss, Mark Miller, Christian Marclay, Arto Lindsay, Pooh Kaye, Fred Frith, Alan Davies, Tom Cora, Jack Collom, Yoshiko Chuma, Abigail Child, Charles Bernstein, Derek Bailey, and Bruce Andrews. More information on the film
(to watch in full screen, 10:28)RADIO ADIOS (1982) is a monologue in 12 plaited strands; an extremely precise, condensed and intensely rhythmic Busby Berkeleyish spectacle of an examination of conversational and literary language over a fair range of vocal timbre, microphones, volume settings and single-system sync peculiarities and its dissolution into music to the accompaniment of simultaneous Manhattan ambiances punctuated by fragments of jazz, personalized handheld camera movement, movement from cut to cut--juxtapositions of scale, pulsating changes in light intensity, a varying pallette of various filmstocks, generations, etc., at an appropriately furious pace and in strict one-track sync,.offering simultaneously several levels of apprehension or interpretation to encourage multiple viewings.
(to watch in full screen, 1:42)KINO DA! (ah, key, key) KINO DA!/The Dead die die dada low king quanto zhong/MOVE! (ur, ur)/Grey todays it-a clear to the quick ear, quicker z'heels/The Poe (pay, po, pee, pick-pick), nuf of "D" yet/Call Vertov/(beep, beep)/Eisenstein even/& viterulably cheeness of a ram innerwear/(airs; when)/Time, Time, Money/d-d-d/ junk rock did travel & falls/(spring)/Fall/Spring is the simplest inflationary dime.///Be in everything Joy, in experimental & proletarian & wwea air of airs/at this school of poetry-painting/CUT! "To know/toe/no! no! MONTAGE (nadazha), in any instant (instant) of the writing of Stein & the facts of that (tle) kind./FEEL (the steak)/yes, ache, in trends & whatevers./Mmmm-pah-ah, Cops, man, in case (nnn), man (nnn)./(KO) be-a mayu po pony; (KO) be-a what?) o-long kind.//GO! (be what) OM, prose, Pentacost; be what this there the (pause) & (serious pause) the neb with a gram of ire illia-it's still justs Jah.//Viparko r-rrr re ad adici, yes!/YES!//ssssssssssane! /mmmm vidda pot re-a-uschious of a ship. Viparko Roma Schoma Schlav keybo z'Krushchev. (wink) More information on the film