Pollice Verso Reverso

There is nothing left to do but complain.

WHAT YOU MEAN WE is a surreal short film by experimental artist Laurie Anderson.

Wax and wane until there is naught but boring pain.

Lines align during acclimated apexes, shadowy vertices, and bright burrows.

Shot in the abandoned buildings of Gary, Indiana and the cornfields of Western Illinois, The Twenty-One Lives of Billy the Kid presents a fractured historical narrative without any real protagonist, one in which the titular character goes mostly unseen - Billy the Kid as the always-off-screen assailant, as a ghost’s laugh, as a shadow on the road.

The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.

'It was in San Francisco at a punk festival. I was already high and the air was so thick in the rooms that you could cut it with a knife. I had a photograph camera with me; I stood in a corner of the entrance hall and took 36 pictures on slide film. At home I put the slides into a slide projector. I took out the lens and filmed the slides by filming directly from the projector - using single frames according to a certain plan.'

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Sourced entirely from YouTube, converted and edited using Windows Media Maker. A comprehensive list of video credits is available at pointnever.com Root Strata, 2009 Pro-duplicated DVD-R in a slimline DVD case with translucent colour cover and transparent insert. Limited to 250 copies.

Platitudes begin at peaks then rapidly descend and dismantle in order to ascend more acutely until they repeatedly and successively overwhelm.

Time plods along in spattered irregularities as anger and depression coalesce in confusing amalgamations.

Trite, closed memories flagrantly bleed into profuse openings mixed & held together by retaliatory colorations & obfuscations.

Beyond all human restraint lies one's lugubrious layers of paint.

As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.

James Sumner directs and animates the entire Dirty Projectors’ The Getty Address.

A film in five different sections, each containing a different soundscape by Ostrowski. Hand painted film, intense exposure, morphing textures and shapes into a seamless whole; geometrical games sabotaging themselves; and the incessant lure of the abstract paint drift. The soundscapes, of course, build up like fountains of picture, oscillating between contemplative sculptures with electronically manipulated strings and harsh noise attacks on our senses. Despite the use of sound as a central filmic element, Cyanonide stands as a proof of the enduring influence of Brakhage on american avant-film.

Centrist revelations abound among repetitions & revisitings.

Something I know or something I was told? When something scalding translates something to behold.

Pounding backbeats beaten by [(Don't Get)] warm[welcomes]th.

Slowed, stowed, achingly retold.