Shirking; Shrieking Specter

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.

'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.'

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

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.

Global Groove was a collaborative piece by Nam June Paik and John Godfrey. Paik, amongst other artists who shared the same vision in the 1960s, saw the potential in the television beyond it being a one-sided medium to present programs and commercials. Instead, he saw it more as a place to facilitate a free flow of information exchange. He wanted to strip away the limitations from copyright system and network restrictions and bring in a new TV culture where information could be accessed inexpensively and conveniently. The full length of the piece ran 28 minutes and was first broadcasted in January 30, 1974 on WNET.

Hand painted directly onto film stock by Margaret Tait, this film features animated dancing figures, accompanied by authentic calypso music.

This abstract video art piece was made for the purposes of being a backdrop to a semi-improvisational three person dance piece and live spoken word monologue in collaboration with other artists of various fields. Blurring the line between tradition and creating something new- this work looks at the evolution of artistic practice. Hazy visuals enter the process of creative ideas with such art forms as dancing, drawing, and photography. At an audio standpoint, the score goes through a similar creation by being a recording of a guitar pluck being altered into an atmospheric synth and overlaid with field recordings of art making. The piece takes into account the various ideas and thoughts that go into artistry, and lead the viewer from the traditional aspects of preparation and through to the breaking of tradition to create something unique and personal to the artist.

A story of a group of humanoid rabbits and their depressive, daily life. The plot includes Suzie ironing, Jane sitting on a couch, Jack walking in and out of the apartment, and the occasional solo singing number by Suzie or Jane. At one point the rabbits also make contact with their “leader”.

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.

Abandoning the Abaddon-loathed abandoner opens plenty of reclaimed... everything(s).

Rather pointless, rather stilted, fetid; not what we want us going after.

It's time the times met each other over & over.

Don't ask me why, but I feel we're about to cry trying.

Say Om as you reach home only to realize you never really left/stopped saying Om.

Shortly before his death, Romitelli together with his friend Paolo Pachini and the poetess Kenka Lèkovich, resurrected the dream of a total scenic art (a furnace of sensations, they called it, an_ initiation rite_) in the manner of the Futurists: rhythms and gleams of light striking metals (for the video part), poems in iron and chrome singing of fusion with matter (Kenka Lekovich), acoustic/electric music highly amplified, filtered, spatialised, in as artificial a manner as possible. An Index of Metals bears vigorous witness to this determination to go beyond: sizzling orchestration, electric and psychedelic; a voice which plays on effects, murmurs with reverb, cackles into a megaphone, screams like a pop star; and an electric guitar score of a kind that no ‘serious’ composer has ever written, sliding across an infinite range of tones with a lightness of touch and blurring of contours.

Performance video about a holiday romance at St Ives, Cornwall.

An animated film made from approximately 1700 laser printed photo(collage)s, manipulated by hand.

The film takes us through the working day of protagonists, factory workers. Their basic working tool is their body, ready to execute strenuous manual tasks. Day after day the same story, the same faces, the same spaces, the same tasks. Feeling confined, they seek a sheet anchor, a way out, an escape. They venture into the unknown, dance, drift and float in the air.