I Might Be There (I Won't)

Radical recurrences & rancorous requests raze my daze.

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

Two men. Friends? Enemies? Lovers? Brothers? One is nothing, success or failure depends on two.

As a family struggles to survive in rural isolation during the Great Depression, their daughter's secret affair begins a journey into the unknown.

A psychedelic montage of home movie footage gives way to a silent western story.

1 minute experimental film.

A 'reversal' of Jean-Léon Gérôme's 1872 painting Pollice Verso.

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

Return to 'burn' only to find out you're already in that urn.

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.

On the Clickity-clack Express it's clear I'm always under duress, unless I forget.

Hiding inside&out, writhing about, taken out&in.

From a small cabin in the mountains of New York, Nina Breeder and Massimilian Breeder begin a journey across the United States. California is just the initial destination, but just as the edge of the surrounding landscape expands, so does their ultimate destination. A contemplation of nature and time along a raw journey in the American landscape.

Shadows frighten what one oughtn't be gripping (that thing before/hind you).

Locked away but not away; somewhere nearby but unreachable, a periphery so notfaroff it's always in sight.

(Some of us) Still run down the same [mental&emotional] streets we revered/reproached/replaced as children.

Calangros: Um faroeste sobre o terceiro mundo

I really hope this is well-received. I really hope there's some sort of reprieve.

Experimental film fragment made with the Edison-Dickson-Heise experimental horizontal-feed kinetograph camera and viewer, using 3/4-inch wide film.

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.