Photographing or re-photographing photographs is reckless.
Film has a natural ability to appropriate and pirate.
Published pictures are available to anyone who cares to use them and
re-photographing a published image is making a new picture effortlessly.
Re-photographing a previously available picture is making a
Making a less de-referentialized picture has the possibility of making
connection with more than one person.
Re-photographed pictures that have been previously available to the public
are, in effect, ‘ordained’, and weight significantly more than the spiritual
displacement they sometimes suggest.
Artificial intelligence, like fiction, whether displayed or fabricated, makes
reference to the ‘particular’. These particulars, these feeling, existing
within the picture, contain ‘sensory detail’. These details can be terrifyingly
Though there’s little one can do to existing imagery to make it any more
interesting than it already is – its transposition can sometimes be
unsuspecting and unpredictable.
The fact that the appropriated image has possibly been observed or
unconsciously collected by persons other than oneself, in effect defines its desires and threats.
This prior availability verifies the images’ transformation into fiction and
helps cool down any reference to an observable reality.
Instructions For Filming (Re-Take) 1979
Pictures that try to establish a relationship with a condition that cannot
possibly be controlled is a picture that knows nothing of the practical and
serious ways of a practical and serious world. These pictures have become
more real because reality has become more abstract. These pictures are
truer than they really are.
‘Ordaining’ a posture (detailing, by filming, a pose repeatedly), that
manifests a mood or an emotion or carries an intention or purpose, whether
unconsciously or intentionally, whether instinctively or pre-structured, is
fundamentally an elemental attitude.
Any picture containing multiple images of excessive similarity, or ‘sameness’
or conditions to that effect, no matter how questionable the posture,
is a benevolently powerful picture.
Any picture that is a movie to most but a reality for some is a picture
with subtracted theatrics.
This treatment requires an enumeration of the supernatural to be leveled with
the objectiveness and precision of naturalism so that at times the fiction
seems to become, or suggests what appears to be ‘authentic’ representation.
Instructions for The New Home Entertainment 1980
Recently I visited my friend Dan Lawson and he showed me an edited version of
‘Animal Crackers’, one of the Marx Brothers films. He tape recorded it off
of commercial television and on to a commercially available Sony betamax.
His precise words before the presentation were- “you have to look at my new
movie”. I have known Dan Lawson for seven years and to the best of my knowledge he has never indicated or exhibited any desire to represent himself or otherwise, by way of concrete design.
Looking under rocks will be helpful in a society where individual ownership of an orbiting satellite is becoming increasingly desirous.The new home entertainment
will soon be financially accessible and readily adaptable to individual needs, and routines, moods, and the fluxation of a history of dispirited chemicals that prey upon the complexities of human behavior.Portable subscriptions to ‘cables’ now and in the future have the enormous advantage of being ‘domestically centered’.
The translationships pirated from subscription pictures will re-define the notion
of ‘home-made’.The degrees between pro and amateur may disapear in the new home entertainment center. Not so much as to the question of quality of
design, but more to the question about the terms of control and how those controls will affect one’s participation in, and attitude towards, representation. Within the new home entertainment center, the fiction will be left up to the subscriber. A simple cable subscription and recording device will create new supplementary habits and frequently subvert a picture’s singularity, i.e., property value. The automatic adjustments to the desires and threats of the new home entertainment will be more like a chemistry and less like a compound. The elemental attitude will be a lot like the chemistry one experiences when selecting a favorite record and playing that record on a record player. Somehow the song sounded better on the radio, at the party, and in the nightclub.
Instructions for True Stories 1979
True stories are an insult to the intelligence. I pirated that from the
movie, “Lolita”. But it’s true. Fiction feels good and recanting causes stress.
Like lying (in the physiological sense), the telling of a true story is an
unnatural act that relies heavily on the convenience of hindsight and
expectation and revisionism. They are, in most cases, cooperative
concentrations burden by trappings of conceptual notions, that is to say, notions from the pedestal position. They tell you nothing that you don’t already know,
and to some degree are accountable for hearts of a single dimension and eyes of glass. Condescending makes the nose grow, not some fictive air that
usually in the end turns out to be real (true).