Beautiful writing! Sent from my iPhone
> On Aug 28, 2020, at 11:15 PM, David Baker <dbak...@hvc.rr.com> wrote: > > In An Anagram of Ideas, On Art, Form And Film, Maya Deren contrasts > "wholes which are the sum total of parts” > with "an 'emergent whole’… in which the parts are so dynamically related as > to produce > something new which is unpredictable from a knowledge of the parts”. > She states, > "The effort of the artist is towards the creation of a logic in which two and > two may make five, or, preferably fifteen; > when this is achieved, two can no longer be understood as simply two”. > > The Ito’s Divine Horsemen adds up. > I love the film. > I see it as an ethnographic frame or portal > as well as an intimation of an imperiled unknown quantity, > a visionary realm whose measure has yet to be taken, > held captive in old coffee cans. > > In the author’s preface to Divine Horsemen, > Maya writes, > "I had begun as an artist, as one who would manipulate the elements of a > reality > into a work of art in the image of my creative integrity; > I end by recording, as humbly and accurately as I can > the logics of a reality which had forced me to recognize its integrity, > and to abandon my manipulations.” > > I write only to alert this community to the existence > of something extraordinary in the realm of cinema > a capacitor with polyvalent vectors and super-natural authority. > The Unedited Haitian Footage must be considered as a discrete work of art. > I expect it will reveal itself on its own terms and in its own time. > > (Pip thank you for the information regarding Tavia. I was unaware of her > involvement.) > > >> On Aug 28, 2020, at 8:13 AM, Bernard Roddy <roddy...@gmail.com> wrote: >> >> When Chrissie Iles posted, it struck me as a diminution of the cause one >> might want to identify with, say a concern for Black film artists. But what >> David at Lake Ivan posted restores the question of interest, as I would like >> to see it. That question has to do with a conscience often belonging to >> documentary makers, and particularly white makers of an experimental bent. >> The narrative about a screening of a Deren film in Brooklyn reminds me of >> the significance of Edward Curtis photographs of Native Americans for me. I >> arrived in Oklahoma to teach film with a critical reading of Curtis' work, >> and it was there that I met an historian who devoted his career to Native >> American art (modern art, in particular). He said in passing once that he >> liked Curtis' photographs, and suddenly the colonial critique I would have >> found very natural no longer sailed of its own momentum. I love these >> questions, and actually found them addressed in Heidegger's Being and Time. >> It is European, and, it seems to me, it's not particularly resolved by >> casting our gaze at black bodies or advancing the careers of others. Here >> too I would raise the distinction between scholar and artist. What is an >> artist under these circumstances but someone prepared for a kind of >> initiation, in search of such enlightening? >> >> >> Bernie >> _______________________________________________ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> https://mailman-mail5.webfaction.com/listinfo/frameworks > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks
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