Sharits #3, or: the retinal screen

---[original interests]

the recreation of personal feelings, stress moods, anxiety – experiences of bleakness, non-linear, temporal suspension, loss of “objective” mind set

---[attraction to home movies]

(grey, grainy, claustrophobic – highly filmic, a black and white landscape)

attempt to realize these emotions in EVENT (1963)

narrative-dramatic emphasis since, at this point, the experiences emerged from those systems. later, with RAY GUN VIRUS, “drama” is, hopefully, created rather than recreated, direct, empty, intense, non-humorous, non-serious feeling (what concerned malevich ... his “desert”) the mundane rather than the dream or fantastic.


(a "feature" of the psychedelic experience is the immense strangeness of the everyday object & situation.) my idea has been to charge the ordinary thru editing, to create something that is, as a whole, very different than any of its single parts, to make something out of nothing.

---[reading eisenstein in 1963]

differing from "montage" of eisenstein insomuch as he felt that the emergent images arising from juxtaposition must relate directly back to the films' literal narrative content. i would have liked to have had the "emergents" as the whole of the film. this was never accomplished although i believe it was approximated in EVENT. STORY was quite narrative, but the narrative was of very simple, slight value. in it i wanted to simply find kinaesthetic and imagistic metaphors of what was occurring literally, in WINTERCOURSE: machine to bare tree; trees to human; machine to sex act; automobile orgasm; etc. past continually in the present, penetration of the past with the present; blurring of past and future (i.e., the NOW line of division) results in no time, or presence, even though summer is counterposed to winter (warm - cold ... obvious symbolic values), i was concerned that this relationship be (imagistically, concretely) filmic, rhythmic; tonally the doubleday book of interior decorating albert kornfield all inclusive guide. illustrated in color. (pub. edition, 11.95).

---[this is being written under the influence of pot. the reason for this is to enable myself to write in the present. intercutting all relevant data leaves float. directness is established, disjarring of temporality, recurrence, departing to nowhere, just what i would like of my films. this then is relevant and will get to the REALITY & HEART of the situation: i am not being anarchistic. honest.y]

when i made the first three films i was involved with "non-objective" painting & sculpture. the films were more meaningful to me because i was not non-objective by nature.

---[experiential directness (and directness of media projection tangible "form")]

so the films, since it was necessary to do them, were more reflective of me, i was reading about zen & wanted to make haiku movies. i saw other persons' films; started film society; an image does not have a tangible, rather sensible ... no it is sensible ... "existence" - it exists in someone's nervous system ... memory cells is its physical analogue.



an image could be defined as a non-referential symbol. combine what does not make sense if you want an image. but do not reveal to the viewer the senselessness of these combinations. what is more invisible than a relationship? conflict of mundane content and senseless relationships. editing was, until recently, supreme. with the new work the program for structuring the system becomes ultra-supreme; then art is free to be not-art but actuality. it would be whatever it might just be. john cage and his random music are very important at present. but also burroughs who does not live in "the happy land" - this leads to a conflict that needs to be resolved not by dissolution of the problem, or by choosing one or the other, but to synthesize both into one. that is mondrian. and i also feel what mondrian felt. tibetan art is of great interest to me; however, they, like fellini, only literally hint, represent the energy flow, matter-antimatter, plus-, siva-sakti, yab-yum, the many and the one, yogic films.

---[herman greer askren]

burroughs is in happyland only thru cut-up, cut-in ... but not happy thru chicken liver.

---[re-edited IMAGES]

8mm sketches of color flicker with and without image. this is post-lsd. that world cannot be described. everything and nothing have changed. colors that are pure light, are made up of levels of other colors - molecular, atomic, electrical. time : present. ILLUMINATION ACCIDENT TO HAPPEN TO AUDIENCE. i would like to have total nonunderstanding and its consequence - involvement. mental orgasm.

---[reality visions]

nerve ending music/"tranart" (leary): does what everybody has tried to represent.


change to remove redundancies; to penetrate with white light; to physiologicalisize. deepen gap or effort to do so. burroughs does it - he takes you on a wave trip: in-out, thru, beneath, etc. ... but in waves of slowness & you lose location. the lose location is presence. when you lose location you become Located. and re-located; very quickly; it is over when you are finally able to

---[phosphorus 37%]

(mis)understand it. to happen before one can see it happen because they are happening with it. this THE TRUE PAUL SHARITS STATEMENT.

---[riboflavin 5%]

this writing becomes a movie ... paper movie. lash out at the old sentimentality program by slash.

---[iron 30%]

lite slash. actualize the auditorium showing everyone where they are at. n:o:t:h:i:n:g (in progress) is very involved with the programming stage; models are from "mandalas", "mantras", majikwheels, "yantra movie."

---[vitamin b1 11%]

to stimulate the audience nervous system into disslocation. the retinal screen. i wanted to see how the visual fugue form would work visually so here the necessary procedure is not to know what you are talking about but to keep thinking as you go further out into non-knowledge and not resolve thoughts as this is dangerous and "maya."

---[niacin 45%]

dual screen and extremely rapid cutting creating mental afterimages of thought syndromes. not a uni but a bioverse. there is too much to talk about too many levels word language is dead language a tired language. speak between the words and you have presence. having presence is exactly like not being present. nirvana is everyday life. splice those meanings together without film and project it on emptiness and you know what is being said herein. typewriter is a language before it types words. "all out of time into space" says hassan i s.

now it seems that everything that can be said has been said.

--Paul Sharits, "Movie Cookbook", 1966, Film Culture 65-66, 1978, p. 109-112. Formatting tweaked a little.

T,O,U,C,H,I,N,G - Paul Sharits, 1968, 16mm

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