Gemini

Twin films, both very fast-moving rhythmic animations of junk objects and flat layouts, which almost jump out of the screen space into the theater. In fact, that was one of the effects I attempted: to transmit through the eye to the heart a blood rhythm that is, in essence, a dance. Both films are also attempts to ‘make the camera see correctly ’. That is, neither film is edited, or in anyway changed, from the order the frames were recorded in camera. The knowledge beforehand that the film must be rhythmically concise as it is shot forces a compression of energy which I have found no other way to achieve. As to content in these films, the represent the first off a long series Rorschach-like suggestive images, intended to spark almost hallucinatory reactions and responses in the viewer, rather than transmit information or cognition. To take the viewer farther along the chain of archetypal associations is more the intention that to propel any semblance of literary narrative. The inevitable value of this method is, to me, to allow the viewer to see (from the additions pulled from their own psyches) more than is really on the film. Thus it is a situation of the viewer getting in touch with the viewer rather then that of the viewer getting in touch with the film maker.

1963

16 MM

Black & White

6 Minutes

Sound