art
On the Camera Arts and
Consecutive Matters
The Writings of Hollis Frampton
EDITED WITH AN INTRODUCTION BY
BRUCE JENKINS
As Hollis Framptons photographs and celebrated experimental films
were testing the boundaries of the camera arts in the 1960s and
1970s, his provocative and highly literate writings were attempting
to establish an intellectually resonant form of discourse for these
critically underexplored fields. It was a time when artists working in
diverse disciplines were beginning to pick up cameras and produce
films and videotapes, well before these practices were understood
or embraced by institutions of contemporary art. This collection
of Framptons writings presents his critical essays (many written
for Artforum and October) along with additional material, includ-
ing lectures, correspondence, interviews, production notes, and
scripts. It replacesand supersedesthe long-unavailable Circles
of Confusion, published in 1983.
Frampton ranged widely over the visual arts in his writing,
and the texts in this collection display his distinctive perspectives
on photography, film, video, and the plastic and literary arts. They
include critically acclaimed essays on Edward Weston and Eadweard
Muybridge as well as appraisals of contemporary photographers;
the influential essay For a Metahistory of Film, along with scripts,
textual material, and scores for his films; writings on video that con-
stitute a veritable prehistory of the digital arts; a dialogue with Carl
Andre (his friend and former Phillips Andover classmate) from the
early 1960s; and two inventive, almost unclassifiable pieces that
draw on the writings of Borges, Joyce, and Beckett.
Hollis Frampton (19361984) was a filmmaker, artist, and writer.
Among his best-known works are (nostalgia), Zorns Lemma, and the
unfinished epic film cycle Magellan. He was one of the founders of
the Digital Arts Lab in the innovative Center for Media Study at SUNY
Buffalo. Bruce Jenkins is Professor of Film, Video, and New Media at
the School of the Art Institute of Chicago.
Writing Art series
Front cover: Filmstrip details from Zorns Lemma, 1970.
16mm color film. Scanned and assembled by Bill Brand.
Estate of Hollis Frampton.
Back cover: Marion Faller, untitled (portrait of Hollis Frampton), 1977.
Color photograph. Collection Anthology Film Archives.
2007 Estate of Hollis Frampton.
978-0-262-06276-3
Printed and bound in Spain
T HE M I T PRESS M A SS A C H U SE T T S INS T I T U T E O F T E C HN O L O G Y
On the Camera Arts and
Frampton
Consecutive Matters
At long last, a near complete collection of Hollis
Framptons idiosyncratic, scholarly, recondite, funny The Writings of Hollis Frampton
writings, which might justly be called Offbeat Ways
to Think About Everything. A cursory look at a few essay
titlesTime, Space, Causality, The Invention Without
a Future, Segments of Eternity, Inconclusions
Consecutive Matters
On the Camera Arts and
reveals the astonishing breadth and brilliance of a
EDITED WITH AN INTRODUCTION BY
mentor to many. This book is an invaluable resource
for artists, pedagogues, autodidacts, and anyone who
BRUCE JENKINS
enjoys being intellectually provoked.
Yvonne Rainer, author of Feelings Are Facts
Bruce Jenkins has combed Hollis Framptons published
and unpublished texts and from them has composed a
meticulously edited and exhilarating sequence of
essays, letters, notes, jottings, scripts, interviews, pro-
posals, narratives, and occasional pieces. Framptons
writing is a torrent of eloquence, by turns philosophi-
cal, brooding, practical, witty, allusive, playful, opin-
ionated, densely learned, and relentlessly provocative.
This indispensable volume reintroduces us to the
idiosyncratic sensibility and dazzling intelligence of
the artist who gave us such masterworks as Zorns
Lemma and (nostalgia).
Alfred Guzzetti, Osgood Hooker Professor of Visual Arts,
Harvard University
Bruce Jenkins should be thanked profusely for bring-
ing the voice of filmmaker Hollis Frampton back into
the domain of thinking about cinema and media at
this crucial moment in the transformation of the cin-
WRITING
ematic institution. Framptons quirky and manifestly
brilliant essays develop a sustained meditation on
the relation of life and media that transcends any
narrow-minded polarization of analog and digital,
ART
film and code, experience and representation. This
SERIES
meditation manifestly positions Frampton as one of
the most innovative visionaries of the present and
future of media. How fortunate are we to have access
once again to so novel and inspirational a corpus of
writing by such a singular artist!
Mark Hansen, the Program in Literature and ISIS:
Information Science and Information Studies,
Duke University, author of New Philosophy for New Media
C A M B RI D GE , M A SS A C H U SE T T S 0 2 1 4 2 H T T P : / / M I T PRESS . M I T. E D U
WRITINGART SERIES
On the Camera Arts and
Consecutive Matters
The MIT Press Writing Art series, edited by Roger Conover

Art After Philosophy and After: Collected Writings, 19661990,

by Joseph Kosuth [out of print]
Rock My Religion: Writings and Projects 19651990,
by Dan Graham [out of print]
Continuous Project Altered Daily: The Writings of Robert Morris (October Books),
by Robert Morris [out of print]
Remote Control: Power, Cultures, and the World of Appearances,
by Barbara Kruger
The Daily Practice of Painting: Writings 19601993,
by Gerhard Richter
Reasons for Knocking at an Empty House: Writings 19731994,
by Bill Viola
Out of Order, Out of Sight. Volume I: Selected Writings in Meta-Art 19681992,
by Adrian Piper
Out of Order, Out of Sight. Volume II: Selected Writings in Art Criticism 19671992,
by Adrian Piper
Imaging Desire,
by Mary Kelly
Destruction of the Father / Reconstruction of the Father: Writings and Interviews,
19231997, by Louise Bourgeois
Critical Vehicles: Writings, Projects, Interviews,
by Krzysztof Wodiczko
Two-Way Mirror Power: Selected Writings by Dan Graham on His Art,
by Dan Graham
Imaging Her Erotics: Essays, Interviews, Projects,
by Carolee Schneemann
Essays on Art and Language,
by Charles Harrison
Conceptual Art and Painting: Further Essays on Art and Language,
by Charles Harrison
Leave Any Information at the Signal: Writings, Interviews, Bits, Pages (October Books),
by Ed Ruscha
Foul Perfection: Essays and Criticism,
by Mike Kelley
Please Pay Attention Please: Bruce Naumans Words: Writings and Interviews,
by Bruce Nauman
Decoys and Disruptions: Selected Writings, 19752001 (October Books),
by Martha Rosler
Minor Histories: Statements, Conversations, Proposals,
by Mike Kelley
The AIDS Crisis Is Ridiculous and Other Writings, 19862003,
by Gregg Bordowitz
Cuts: Texts 19592004,
by Carl Andre
Museum Highlights: The Writings of Andrea Fraser,
by Andrea Fraser
Language to Cover a Page: The Early Writings of Vito Acconci,
by Vito Acconci
Feelings Are Facts: A Life,
by Yvonne Rainer
Solar System and Rest Rooms: Writings and Interviews, 19652007,
by Mel Bochner
On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton,
by Hollis Frampton
On the Camera Arts and
Consecutive Matters
THE WRITINGS OF HOLLIS FRAMPTON

EDITED WITH AN INTRODUCTION BY

BRUCE JENKINS

E@7B7<5/@B A3@73A

THE MIT PRESS

CAMBRIDGE, MASSACHUSETTS
LONDON, ENGLAND
 2009 Massachusetts Institute of Technology

Texts and images by Hollis Frampton

Estate of the Artist, 2009

All rights reserved. No part of this book may be

reproduced in any form by any electronic or
mechanical means (including photocopying,
recording, or information storage and retrieval)
without permission in writing from the publisher.

MIT Press books may be purchased at special quantity

discounts for business or sales promotional use.
For information, please e-mail special_sales@
mitpress.mit.edu or write to Special Sales Department,
The MIT Press, 55 Hayward Street, Cambridge,
MA 02142.

This book was set in Filosoa and Solex by Graphic

Composition. Printed and bound in Spain.

Library of Congress Cataloging-in-Publication Data

Frampton, Hollis, 19361984.
On the camera arts and consecutive matters :
the writings of Hollis Frampton /edited with an introduction
by Bruce Jenkins.
p. cm. (Writing art)
Includes bibliographical references and index.
ISBN 978-0-262-06276-3 (hardcover : alk. paper)
1. Motion pictures. 2. Cinematography. 3. Photography.
4. Arts. I. Jenkins, Bruce, 195 II. Title.
PN1995.F692009
791.43dc22
2008029245

10 9 8 7 6 5 4 3 2 1
A Reminder from Reasonable Facsimiles, 1971
Collage on color xerograph. Collection Walker Art Center,
Minneapolis, Clinton and Della Walker Acquisition Fund, 1993
Courtesy Walker Art Center
 CONTENTS

qipuphsbqiz
ix Collecting His Thoughts: Remarks on 5 Some Propositions on Photography
the Writings of Hollis Frampton,
9 Digressions on the Photographic Agony
by Bruce Jenkins
22 Eadweard Muybridge:
xix Acknowledgments
Fragments of a Tesseract
xxi List of Illustrations
33 Incisions in History / Segments of Eternity
51 A Talk on Photography and History:
Time, Space, and Causality
58 Meditations around Paul Strand
67 Impromptus on Edward Weston:
Everything in Its Place
88 Lecture Notes on Edward Weston
89 Erotic Predicaments for Camera
95 Fictcryptokrimsographology
100 Pictures, Krimss Pictures, PLEASE!
103 Notes on Marion Fallers Photographs
105 Proposal for ADSVMVS ABSVMVS
106 ADSVMVS ABSVMVS
 gjmn wjefp!boe!uif!ejhjubm!bsut
125 A Lecture 261 The Withering Away of the State of the Art
131 For a Metahistory of Film: 269 Proposal: Hardware and Software for
Commonplace Notes and Hypotheses Computer-Processed and -Generated Video
140 A Pentagram for Conjuring the Narrative 272 About the Digital Arts Lab
149 Notes on Composing in Film
157 Letter to Stan Brakhage uif!puifs!bsut
159 Letter to Donald Richie 279 Letter to Enno Develing
163 Letter to the Editor, Artforum 285 Preface: 12 Dialogues 19621963
166 Film in the House of the Word 286 On Plasticity and Consecutive Matters
171 The Invention without a Future 290 A Note on Robert Huots Diaries
183 Interview at the Video Data Bank 292 Inconclusions for Patrick Clancy
190 Notes on Filmmakers 296 Comic Relief
192 Zorns Lemma: Script and Notations 296 Two Left Feet
203 (nostalgia): Voice-Over Narration for 297 Letter to Macalester College
a Film of That Name
298 Notes: By Any Other Name
224 Notes on (nostalgia)
225 Envoi
ufyut
226 Statement of Plans for Magellan
303 A Stipulation of Terms from
230 Phrases.Mag
Maternal Hopi
232 Talking about Magellan: An Interview
308 Mind over Matter
253 Text of Intertitles for Gloria!
255 Mental Notes
323 Index
COLLECTING HIS THOUGHTS: REMARKS ON THE WRITINGS OF HOLLIS FRAMPTON
Bruce Jenkins

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[ ]

xii
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xiii
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oftt!pg!ijt!bobmzujdbm!tuzmf-!boe!jo!uif!qjfdf!sfqspevdfe!ifsf-!if!tqfdjft!xibu!
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dpvstjoh!uispvhi!nvdi!pg!ijt!ptufotjcmz!dsjujdbm!ejtdpvstf!fnfshft!gvmm!cmpxo!
jo! b! qbjs! pg! xsjujoht! jo! uif! Ufyut! tfdujpo/! Psjhjobmmz! jodmvefe! jo! Djsdmft! pg!
Dpogvtjpo!bt!b!dsjujdbm!fttbz-!B!Tujqvmbujpo!pg!Ufsnt!gspn!Nbufsobm!Ipqj!jt!
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xv
oe!pg!dbdift!pg!!qspup.!Bnfsjdbo!bsujgbdut/!Ju!qsftfout!Gsbnqupo!uif!foujdjoh!
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qsjnbsz!dpowfzps!pg!cfmjfgt-!lopxmfehf-!nzui-!boe!ijtupsz/!Njoe!pwfs!Nbuufs!
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pg!dujpo/!B!tqsbxmjoh!tfu!pg!bmmfhpsjft-!ju!cz!uvsot!efmjhiut!boe!qfsqmfyft-!
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[ ]

Xijmf! Gsbnqupo! xspuf! gps! b! efdjefemz!qptu.!Cbsuiftjbo!sfbefsb! dpoejujpo!

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upst!pg!Gsbnqupot!ufyut;!uif!sbdpoufvs-!uif!qijmpmphjtu-!uif!dvmuvsbm!ijtupsjbo-!!
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ufyuvbm!jousjdbdz-!tffnt!eftjhofe!up!beesftt!bo!jnqpttjcmz!mfbsofe!sfbefs/:!
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Gsbnqupo!wjfxfe!uiftf!xsjujoht!opu!pomz!bt!uif!gsvjut!pg!ijt!pxo!lopxmfehf!
boe! mbcps-! boe! b! uifpsfujdbm! ufnqmbuf! gps! ijt! qfstpobm! bsujtujd! qsbdujdf-! cvu!
frvbmmz!bt!b!dbmm!up!bdujpo!gps!uif!ofyu!hfofsbujpo!pg!bsujtut-!uifpsjtut-!boe!xsjufst-!
cfmjfwjoh!uibu!tvdi!b!dibmmfohf!njhiu!cf!b!opu!xipmmz!vosfxbsefe!fyqfdubujpo/!
If!ibt!opu!cffo!ifsf!up!xjuoftt!uif!dpoujovbujpo!pg!uiftf!fggpsut/!Pof!dbo!ipqf-!
ipxfwfs-!uibu!if!jt!joeffe!fokpzjoh!uibu!esfbnfe!bgufsmjgf!if!fowjtjpofe!bxbju.
joh!ijn!jo!tpnf!wfstjpo!pg!Ebouft!mjncp;!J!tipvme!ipqf!up!tqfoe!uif!cbmbodf!
pg! fufsojuz! jo! uif! dpnqboz! pg! wjsuvpvt! qbhbot! /!/!/! fohbhfe! jo! !njmmjpo.!zfbs!
bgufsoppo!dpowfstbujpot!xjui!Bsjtupumf!ps!uif!Fnqfsps!Dijo!Tiji!Ivboh!Uj-!
cvjmefs!pg!uif!Hsfbu!Xbmm!pg!Dijob-!ps!xjui!Ifhfm/!If!fwfo!efjhofe!up!efwpuf!b!
qpsujpo!pg!ijt!ujnf!jo!uiftf!qsfdjodut!up!dpoujovjoh!ijt!joufssphbujpo!pg!uif!
dbnfsb! bsut;! Pof! tvdi! bgufsoppo! J! xpvme! qspqptf! up! tqfoe! xjui! Fexbse!
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cz!opx-!if!ibt!hpuufo!uif!cfuufs!pg!uifn!bmm/

xvi
Notes
1.!Djsdmft!pg!Dpogvtjpo;!Gjmn-!Qipuphsbqiz-!Wjefp<!Ufyut!2:792:91-!gpsfxpse!cz!Boofuuf!
Njdifmtpo!)Spdiftufs-!O/Z/;!Wjtvbm!Tuvejft!Xpsltipq!Qsftt-!2:94*/!
2.!Bo!Bsujtu!Xsjuft!up!Dpssfdu!boe!Fyqmbjo-!Ofx!Zpsl!Ifsbme!Usjcvof-!Efdfncfs!38-!
2:6:-!tfd/!5-!q/!8/!Uif!jodjefou!jt!sfdpvoufe!jo!Ibssz!Dppqfs!boe!Nfhbo!S/!Mvlf-!
Gsbol!Tufmmb;!2:69-!fyijcjujpo!dbubmphvf!)Ofx!Ibwfo-!Dpoo/;!Zbmf!Vojwfstjuz!Qsftt-!
3117*-!q/!38/
3.!Gspn!Uif!Kpvsobm!pg!Fvhof!Efmbdspjy-!usbot/!Xbmufs!Qbdi!)Ofx!Zpsl;!!Dpwjdj.!Gsjfef-!
2:48*-!rvpufe!jo!Tfshfj!Fjtfotufjo-!Uif!Gjmn!Tfotf-!fe/!boe!usbot/!Kbz!Mfzeb!)Ofx!
Zpsl;!Ibsdpvsu-!Csbdf!boe!Xpsme-!2:58*-!q/!yj/
4.!Bo!Pygpse!Fohmjti!Ejdujpobsz!boe!b!tfu!pg!uif!Fodzmpqbfejb!Csjuboojdb!bsf!pgufo!
iboez!xifo!tmfvuijoh!gps!uif!tpnfujnft!bsdbof!sfgfsfodft!jo!Gsbnqupot!xsjujoh/!
Uif!nfbojoh!pg!uif!ujumf!pg!ijt!psjhjobm!qsfgbdf!up!Djsdmft!pg!Dpogvtjpo!jo!2:94Py!
Ipvtf!Dbnfm!Sjwfsnpvuifmvefe!nf!gps!efdbeft-!voujm!bo!bddjefoubm!gpsbz!
uispvhi!bo!pme!fodzdmpqfejb!sfwfbmfe!uiftf!up!cf!uif!tfu!pg!sfbm.!xpsme!dpssfmbujwf!
tzncpmt!gps!uif!stu!gpvs!mfuufst!pg!uif!Qipfojdjbo!bmqibcfu!)B-!C-!D-!E*/!Uif!dvsj.
pvt!sfbefs!xjmm!op!epvcu!vofbsui!nboz!npsf!tvdi!hbnft-!qv{{mft-!boe!bmmvtjpot!jo!
uif!dpvstf!pg!sfbejoh/
5.!Bt!uif!bsujtu!Njdibfm!Topx!opufe!gps!b!nfnpsjbm!qsphsbn!gpmmpxjoh!Gsbnqupot!
efbui!jo!uif!tqsjoh!pg!2:95-!If!xbt!uif!nptu!fyusbpsejobsz!dpowfstbujpobm!boe!
qvcmjd!tqfblfs!Jwf!fwfs!lopxo/!Tff!Po!Ipmmjt!Gsbnqupo-!jo!Uif!Dpmmfdufe!
Xsjujoht!pg!Njdibfm!Topx!)Xbufsmpp-!Poubsjp;!Xjmgsje!Mbvsjfs!Vojwfstjuz!Qsftt-!2::5*-!
q/!352/
6.!Dpowfstbujpot!jo!uif!Bsut;!Ipmmjt!Gsbnqupo!Joufswjfxfe!cz!Ftuifs!Ibssjpuu-!
Tubuf!Vojwfstjuz!pg!Ofx!Zpsl!bu!Cvggbmp-!2:8:/!
7.!Disjtupqifs!Qijmmjqt-!Xpse!Qjduvsft;!Gsbnqupo!boe!Qipuphsbqiz-!Pdupcfs!43!
)Tqsjoh!2:96*;!74/
8.!Jo!ifs!cppl.!mfohui!tuvez!pg!uif!qjpoffsjoh!qipuphsbqifs-!uif!xsjufs!boe!dsjujd!
Sfcfddb!Tpmoju!ibjmt!uijt!bsujdmf!cz!Gsbnqupo!bt!uif!cftu!fttbz!fwfs!xsjuufo!po!
Nvzcsjehf/!Tff!Sfcfddb!Tpmoju-!Sjwfst!pg!Tibepxt;!Fbexfbse!Nvzcsjehf!boe!uif!
Ufdiopmphjdbm!Xjme!Xftu!)Ofx!Zpsl;!Qfohvjo-!3115*-!q/!95/
9.!Gfefsjdp!Xjoeibvtfo-!Xpset!joup!Gjmn;!Upxbse!b!Hfofbmphjdbm!Voefstuboejoh!
pg!Ipmmjt!Gsbnqupot!Uifpsz!boe!Qsbdujdf-!Pdupcfs!21:!)Tvnnfs!3115*;!:6/

xvii
ACKNOWLEDGMENTS

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jotusvnfoubm!jo!uif!qsfqbsbujpo!boe!dpnqmfujpo!pg!uijt!cppl/!Gjstu!boe!gpsf.
nptu!jo!cpui!sfhbset!jt!uif!qipuphsbqifs!boe!fevdbups!Nbsjpo!Gbmmfs-!xip!ibt!
tvqfswjtfe!uif!pshboj{bujpo!boe!dpotfswbujpo!pg!ijt!xpsl!boe!qspwjefe!sjhiut!
up!uif!foujsfuz!pg!uif!bsujtut!xsjujoht/!Gbmmfst!hfofsptjuz!boe!dpnnjunfou!bsf!
nbudife!pomz!cz!ifs!nfujdvmpvtoftt!boe!dpnqbttjpo/!Uif!sfhvmbs!qbsdfmt!tif!
tfou!dpoubjojoh!xsjujoht!boe!epdvnfoubujpo-!ifs!gsfrvfou!dpowfstbujpot!boe!
dpssftqpoefodf-! boe! ifs! tbhf! dpvotfm! boe! bewjdf! xfsf! jowbmvbcmf/! Xjuipvu!
ifs!hppexjmm!boe!bdujwf!fohbhfnfou!bu!fwfsz!tubhf!pg!dpodfqujpo!boe!fyfdvujpo-!
uijt!cppl!xpvme!opu!fyjtu/
Bouipmphz!Gjmn!Bsdijwft-!xifsf!Gsbnqupo!efqptjufe!nboz!pg!ijt!qsp.
evdujpo!opuft-!nbufsjbmt-!boe!sfdpset!)b!qsbdujdf!Gbmmfs!ibt!dpoujovfe*-!hfofs.
pvtmz!qspwjefe!bddftt!up!jut!dpmmfdujpo!pg!mft-!bvejpubqft-!boe!sfdpset/!Uibolt!
bsf!evf!up!Kpobt!Nflbt!boe!Spcfsu!Ibmmfs-!xip!ibwf!ejmjhfoumz!pwfstffo!uijt!
nbufsjbm!gps!nboz!zfbst-!boe!up!uif! dvssfou!ufbn!pg!Boesfx!Mbnqfsu-!Kpio!
Nijsjqjsj-!boe!Xfoez!Epstfuu/!
Tfwfsbm!tdipmbst!ibwf!cffo!pg!mpoh.!tuboejoh!tvqqpsu!up!uiptf!pg!vt!xip!
ibwf!cffo!fohbhfe!jo!uif!tuvez!pg!Gsbnqupot!xpsl/!Boofuuf!Njdifmtpo-!b!gps.
nfs!fejups!bu!Bsugpsvn!boe!b!dpgpvoefs!pg!Pdupcfs-!tvqqpsufe!uif!qvcmjdbujpo!
pg!nvdi!pg!Gsbnqupot!nptu!jnqpsubou!xsjujoht-!boe!ifstfmg!xspuf!uif!effqmz!
qspwpdbujwf!Gpsfxpse!up!Djsdmft!pg!Dpogvtjpo/!Tif!xbt!Gsbnqupot!dmptf!gsjfoe!
boe!b!mpohujnf!dibnqjpo!pg!ijt!mnt!boe!xsjujoh/!Hfsbme!PHsbez-!xip!cspvhiu!
Gsbnqupo!up!ufbdi!jo!uif!2:81t!bu!ijt!wjtjpobsz!Dfoufs!gps!Nfejb!Tuvez!bu!uif!
Tubuf!Vojwfstjuz!pg!Ofx!Zpsl!bu!Cvggbmp-!ibt!cffo!b!ejmjhfou!dispojdmfs!pg!uif!
foujsf!dpsqvt!pg!Gsbnqupot!xpsl!boe!ibt!hfofspvtmz!qspwjefe!bddftt!up!uijt!
hspxjoh!bsdijwf/!Tdpuu!NbdEpobme!dpoevdufe!b!tfsjft!pg!tvctuboujwf!joufswjfxt!
xjui!uif!bsujtu!boe!hsbdjpvtmz!tibsfe!nbufsjbm!gspn!uiptf!tfttjpot/!
Uif!qjpoffsjoh!xpsl!pg!puifs!tdipmbst-!jodmvejoh!Njdibfm![sze-!Cjmm!Tjnpo-!
boe!Lfo!Fjtfotufjo-!ibt!tfswfe!bt!bo!jnqpsubou!sftpvsdf<!bt!dpmmfbhvft-!uifz!
ibwf!hsbdjpvtmz!tibsfe!uifjs!opuft-!sfdpmmfdujpot-!boe!bewjdf/!Bdlopxmfehnfou!
jt!evf!bt!xfmm!up!uif!dpmmfdujpot!bu!uif!Ibswbse!Gjmn!Bsdijwf-!Dbncsjehf-!boe!
Xbmlfs!Bsu!Dfoufs-!Njoofbqpmjt<!uif!Wjefp!Ebub!Cbol-!Dijdbhp<!boe!Spcfsu!
Hbseofs-!xip!nbef!bwbjmbcmf!up!nf!ijt!jmmvnjobujoh!ejbmphvf!xjui!Gsbnqupo!
uibu!xbt!qbsu!pg!uif!mpoh.!svoojoh!Tdsffojoh!Sppn!ufmfwjtjpo!tfsjft/!

xix
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pshboj{fe! cz! Tv! Gsjfesjdi-! Lfjui! Tbocpso-! boe! Q/! Bebnt! Tjuofz-! cspvhiu!
uphfuifs!b!ovncfs!pg!bsujtut!boe!tdipmbst!bdsptt!ejwfstf!ejtdjqmjoft<!uif!mjwf.
mjoftt!pg!uifjs!ejtdvttjpo!dpousjcvufe!hsfbumz!up!uif!wjtjpo!pg!uijt!qspkfdu/
Uibolt!bsf!evf!up!uif!bsujtu!Spcfsu!Ivpu-!b!dmptf!gsjfoe!boe!dpmmfbhvf!pg!
Gsbnqupo-!gps!ijt!txjgu!sftqpotf!up!nz!rvfsjft!pg!ijtupsjdbm!gbdu/!Uif!wjefp!bsu.
jtut!Xppez!boe!Tufjob!Wbtvmlb-!xip!xpslfe!dmptfmz!xjui!Gsbnqupo!bu!uif!Tubuf!
Vojwfstjuz!pg!Ofx!Zpsl!bu!Cvggbmp-!xfsf!tjnjmbsmz!hsbdjpvt!jo!qspwjejoh!jogpsnb.
ujpo!boe!sfdpmmfdujpot/!J!bn!bmtp!joefcufe!up!Lfjui!Tbocpso-!Spcfsu!Dphhftibmm-!
boe!Kpio!Njolpxtlz!gps!uifjs!bttjtubodf!jo!usbdljoh!dsjujdbm!jogpsnbujpo/
Gps!uif!jmmvtusbujpot-!uibolt!bsf!evf!up!Nbsjpo!Gbmmfs-!Xbmlfs!Bsu!Dfoufs!
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n
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pg!uijt!cppl-!boe!Nbsd!Mpxfouibm!qspwjefe!bnqmf!eptft!pg!tbhf!bewjdf!boe!
hfoumf!qbujfodf!jo!hppe!nfbtvsf/!Uifz!bcmz!hvjefe!uif!cppl!uispvhi!bmm!tubhft!
pg!qspevdujpo/!Tboesb!Njolljofo!boe!Cfwfsmz!I/!Njmmfs!qspwjefe!uipvhiugvm!
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Gjobm!uibolt!bsf!evf!up!b!gsjfoe!pg!Gsbnqupo!boe!nz!pxo!qspgfttjpobm!
boe!qfstpobm!qbsuofs!pg!nboz!zfbst-!Kbofu!Kfoljot-!xip!opu!pomz!ifmqfe!up!
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jotjhiut!po!uif!xsjujoh/

Csvdf!Kfoljot

xx
 ILLUSTRATIONS

frontispiece A Reminder from Reasonable Facsimiles

2 Untitled from The Secret World of Frank Stella
107 121 Untitled IXIV from ADSVMVS ABSVMVS
122 Untitled from A Visitation of Insomnia
210 223 The (nostalgia) Portfolio
258 Protective Coloration
276 782. Apple advancing (var. Northern Spy) from
Sixteen Studies from VEGETABLE LOCOMOTION
300 Chili Bean Brand Blue Boys and Peeled Tomato Brand Pine Cones
from By Any Other Name
Untitled from The Secret World of Frank Stella,
19581962. Black-and-white photograph. Collection Walker
Art Center, Minneapolis. Estate of Hollis Frampton
Courtesy Walker Art Center
 qipuphsbqiz

5 Some Propositions on Photography

9 Digressions on the Photographic Agony
22 Eadweard Muybridge:
Fragments of a Tesseract
33 Incisions in History / Segments of Eternity
51 A Talk on Photography and History:
Time, Space, and Causality
58 Meditations around Paul Strand
67 Impromptus on Edward Weston:
Everything in Its Place
88 Lecture Notes on Edward Weston
89 Erotic Predicaments for Camera
95 Fictcryptokrimsographology
100 Pictures, Krimss Pictures, PLEASE!
103 Notes on Marion Fallers Photographs
105 Proposal for ADSVMVS ABSVMVS
106 ADSVMVS ABSVMVS
Some Propositions on Photography

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ibe!dbmmfe!qipuphsbqiz!uif!qspdftt!ps!bsu!pg!qspevdjoh!qjduvsft!cz!nfbot!pg!uif!
difnjdbm!bdujpo!pg!mjhiu!po!b!tfotjuj{fe!mn!po!b!cbtjt!pg!qbqfs-!hmbtt-!nfubm-!
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5
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6
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7
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[ ]

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op!ijhifs!bncjujpo!up!bozpof/

I/G/!
Ofx!Zpsl!
Opwfncfs!2:76

Unpublished manuscript, 1965

8
Digressions on the Photographic Agony

This is the end of art. I am glad I have had my day.

J. M. W. Turner, 1839 / 40

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9
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10
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11
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12
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13
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dijfg!tpdjbm!gvodujpo!pg!qipuphsbqiz/

14
 Uif!nptu!btupvoejoh!uijoht-!ju!tffnt-!ibwf!cffo!qipuphsbqife;!uif!hsfbu!
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[ ]

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npophsbqi-!Gftutdisjguboe!uif!tpmwfou-!mpoh!dpoufnqmbujpo/

There is no substitute for critical tradition: a continuum of understanding, early commenced.

Rmy de Gourmont surmised that the Iliad discovered today in the ruins of Herculaneum
would produce only some archaeological sensations . . . illustrative of some vanished
civilization. Precisely because William Blakes contemporaries did not know what to make
of him, we do not know either, though critic after critic appeases our sense of obligation to
his genius by reinventing him. . . . In the 1920s, on the other hand, something was immedi-
ately made of Ulysses and The Waste Land, and our comfort with both works after 50 years,
including our ease at allowing for their age, seems derivable from the fact that they have
never been ignored.2

15
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joh!izqp/!Uif!sftvmut!xfsf!jnbhft!pg!pofjsjd!gpsdf;!cvu!pof!dboopu!ifmq!btljoh!

16
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17
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18
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This led me to reect on the inimitable beauty of the pictures of natures painting which the
glass lens of the Camera throws upon the paper in its focus . . . creatures of a moment, and
destined as rapidly to fade away . . . how charming it would be if it were possible to cause
these natural images to imprint themselves durably, and remain xed upon the paper.3

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19
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20
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Notes
1.!Uif!sfgfsfodf!jt!up!Bmgsfe!Tujfhmju{t!hspvoecsfbljoh!Hbmmfsz!3:2!)psjhjobmmz!dbmmfe!
uif!Mjuumf!Hbmmfsjft!pg!uif!Qipup.!Tfdfttjpo*-!xijdi!pqfofe!jo!Ofx!Zpsl!Djuz!jo!2:16!
bu!3:2!Gjgui!Bwfovf!boe!dmptfe!jo!2:28/!Uif!hbmmfsz!jouspevdfe!xpsl!cz!dpoufnqpsbsz!
Bnfsjdbo!qipuphsbqifst!bt!xfmm!bt!uibu!pg!nboz!tjhojdbou!Npefsojtu!qbjoufst!boe!
tdvmqupst/!)C/K/*
2.!Ivhi!Lfoofs-!Uif!Qpvoe!Fsb!)Cfslfmfz;!Vojwfstjuz!pg!Dbmjgpsojb!Qsftt-!2:82*/
3.!Xjmmjbn!Ifosz!Gpy!Ubmcpu-!Uif!Qfodjm!pg!Obuvsf!)Mpoepo;!Mpohnbo-!Cspxo-!Hsffo-!
boe!Mpohnbot-!2955<!sfqsjou-!Ofx!Zpsl;!Eb!Dbqp!Qsftt-!2:7:*/
4.!Boupo!Xfcfso-!Uif!Qbui!up!uif!Ofx!Nvtjd-!fe/!Xjmmj!Sfjdi-!usbot/!Mfp!Cmbdl!!
)Cszo!Nbxs-!Qfoo/;!U/!Qsfttfs-!2:74<!sfqsjou-!Mpoepo;!Vojwfstbm!Fejujpo-!2:86*/!!
Uif!sfnbsl!jt!gspn!uif!mfduvsf!ebufe!Gfcsvbsz!5-!2:44/!

Artforum 11, no. 3 (November 1972): 4351. Reprinted in Circles of Confusion (Rochester, N.Y.:
Visual Studies Workshop Press, 1983), pp. 177191.

21
Eadweard Muybridge: Fragments of a Tesseract

It is the artist who is truthful and it is photography which lies,

for in reality time does not stop.
Auguste Rodin, 1911

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22
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23
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24
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25
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26
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djofnb<!ijt!tuvejft!dpotjtu!pg!tfsjbm!fyqptvsft!nbef!po!b!tjohmf!qmbuf/!Uif!qip.
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qpsbmjuz!pg!uif!tujmm!qipuphsbqi!bt!if!ibe!joifsjufe!ju/!If!nbz!ibwf!nfbou!up!ep!
tp<!bo!jnqfsgfdujpo!pg!ijt!nbufsjbm!sbo!dpvoufs!up!tvdi!joufoujpot/!Uif!dpmmp.
ejpo!qmbuf!xbt!tmpx-!fyqptvsft!mpoh-!uif!jnbhf!pg!bozuijoh!npwjoh!cmvssfe/!Zfu!
Nvzcsjehf-!jo!tpnf!pg!ijt!fbsmjftu!mboetdbqf!xpsl-!tffnt!qptjujwfmz!up!tffl-!
pg!bmm!uijoht-!xbufsgbmmt-!mpoh!fyqptvsft!pg!xijdi!qspevdf!jnbhft!pg!b!tusbohf-!
hiptumz!tvctubodf!uibu!jt!jo!gbdu!uif!ufttfsbdu!pg!xbufs;!xibu!jt!up!cf!tffo!jt!opu!
xbufs!jutfmg!cvu!uif!wjsuvbm!wpmvnf!ju!pddvqjft!evsjoh!uif!xipmf!ujnf.!joufswbm!

27
pg!uif!fyqptvsf/!Ju!jt!dfsubjo!uibu!Nvzcsjehf!xbt!opu!uif!stu!qipuphsbqifs!up!
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uif!fssps!boe!uifo-!tztufnbujdbmmz-!up!difsjti!ju/
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zfbst!mbufs/
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qipuphsbqit-!pg!wbszjoh!jnqmjfe!efqui-!uif!tqbdf!jt!qspqfmmfe!cbdlxbse!boe!
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uif!fehft!pg!uif!joejwjevbm!fmfnfout!boe!uif!hsbqijd!mjoft!pg!uzqf-!xijdi!nblf!
vt!dpotdjpvt!pg!tffjoh!nbslt!po!b!tvsgbdf-!ufoe!up!dpnqsftt!uif!jnbhf!joup!
uif!tibmmpx!jogfsfoujbm!tqbdf!qspqfs!up!Dvcjtn/!Cvu!uif!bssbohfnfou!pg!qip.
uphsbqit!xjuijo!uif!jnbhf!jt!efmjcfsbuf-!boe!xibu!xf!ep!jogfs!jt!uif!tfrvfodf!
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uif!ujumf!qbhf!gps!uif!Dfousbm!Bnfsjdbo!bmcvn!jttvfe!jo!2986-!uif!mbshftu!ovncfs!
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npwjoh!hvsft!)bhbjo-!if!bdlopxmfehfe!uif!jnbhft!boe!bttvnfe!sftqpotjcjmjuz!
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bhbjotu!xijdi!uifz!bsf!tffo!jt!sfoefsfe!xjui!dbopojdbm!tibsqoftt/
Gjobmmz-!jo!uif!hsfbu!Tbo!Gsbodjtdp!qbopsbnb!pg!2988!if!dpoefotft!bo!
foujsf!spubujpo!pg!uif!tffjoh!fzf!bspvoe!uif!ipsj{po!)bo!bdujpo!uibu!nvtu!ublf!
qmbdf!jo!ujnf*!joup!b!tjnvmubofjuz!uibu!jt!bu!podf!dpnqmfufmz!qmbvtjcmf!boe!qfs.
gfdumz!jnqpttjcmf<!ju!jt!bt!jg!b!xpsl!pg!tdvmquvsf!xfsf!up!cf!tffo!uvsofe!jotjef!
pvu-!cz!tpnf!qspejhz!pg!upqpmphz/
[ ]

28
Nvzcsjehf!sfuvsofe-!uifo-!up!Qbmp!Bmup!boe!ijt!tfrvfodft/!Uif!ofx!buufnqut!
xfsf!jnnfejbufmz!tvddfttgvm-!boe!uif!xpsl!dpoujovfe-!gps!ofbsmz!uxp!efdbeft-!
jo!b!efmjsjvn!pg!jofypsbcmf!mphjd!boe!xjui!mjuumf!npejdbujpo-!tzouiftjt!gpmmpx.
joh!bobmztjt<!uif!sftvmut-!bu!mfbtu!jo!fydfsqu-!bsf!lopxo!up!fwfszpof!xip!bttpdjbuft!
bozuijoh!bu!bmm!xjui!uif!obnf!pg!Fbexfbse!Nvzcsjehf/!
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rvjdlmz!fnqujfe!ijt!jnbhft!bt!ofbsmz!bt!if!dpvme!pg!fwfszuijoh!fmtf/!Ijt!bojnbmt-!
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gpsnjoh!uifjs!cbobmjujft-!qvshfe!pg!esbnb!jg!opu!pg!pddbtjpobm!ipstfqmbz-!cfgpsf!
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dispopnfuszuibu!bmtp!eftuspzt!bmm!tfotf!pg!tdbmf!)uif!hvsft!dpvme!cf!qbhbo!
dpotufmmbujpot!jo!uif!tlz*!boe!vuufsmz!pcmjufsbuft!uif!ubdujmf!qbsujdvmbsjuz!uibu!jt!
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nptu!gbnjmjbs!boe!joupmfsbcmf!gfbuvsft!pg!pvs!esfbnt/
Cfzpoe!uibu-!uifsf!jt!b!mjuumf!uibu!Nvzcsjehf-!mppljoh!gspn!dmptf!vq-!dpvme!
opu!ibwf!tffo/!J!bn!bmxbzt!bxbsf-!mppljoh!bu!uif!tfrvfodft-!uibu!uif!cpejft!pg!
Nvzcsjehft!bdupst!bsf!tpnfipx!tusbohfmz!vomjlf!pvs!pxo-!bt!jg!tmjhiumz!pctpmft.
dfou;!uif!nfo!tffn!up!cf!!ifbwz.!evuz!npefmt<!boe!bmm!cvu!uif!tupvuftu!xpnfo!bsf!
s! pvoe.!ijqqfe-!xjui!tnbmm!ijhi!csfbtut!uibu!sfnjoe!nf!pg!Dsbobdit!Kvehnfou!
pg!Qbsjt/!Uifjs!qptuvsft-!hftuvsft-!hbjut!bsf!opu!rvjuf!pvst!fjuifs-!boe!tffn!up!
nfbo!tpnfuijoh!b!mjuumf!ejggfsfou/4!Uif!dijmesfo-!cjset-!epht!ibwfou!dibohfe!
nvdi/! Uif! ipstf! jt! opubcmf! dijfz! gps! bqqfbsjoh! xjui! xibu! bu! stu! tffnt!
!vodbmmfe.!gps!gsfrvfodzvoujm!pof!sfdbmmt!uibu!uifsf!xbt!podf!b!ujnf!)hfpmphj.!
dbmmz!sfnpuf!jo!gffmjoh!gspn!pvs!pxo*!xifo!uif!ipstf!sfqsftfoufe!wfsz!nvdi!
npsf!uibo!uif!sbuifs!nboofsfe!sfdsfbujpo!xf!lopx!upebz/
Boe!ju!xbt!pwfs!Nvzcsjehft!qipuphsbqit!pg!uif!ipstf-!pg!bmm!uijoht-!uibu!
b!hsfbu!tupsn!pg!dpouspwfstz!csplf!jo!ijt!pxo!ujnf/!Qbjoufst-!ju!tffnt-!xfsf!
bctpscfe!jo!sfoefsjoh-!xjui!qfsgfdu!wfsjtjnjmjuvef!/!/!/!uif!ipstf"!Fnpujpot!
sbo!ijhi-!boe!tp!gpsui-!boe!tp!po/!J!ibwf!ofjuifs!tqbdf!ops!jodmjobujpo!up!qvs.
tvf!uif!bshvnfou!ifsf/!Qbvm!Wbmsz-!jo!uif!njetu!pg!b!ejtdvttjpo!pg!Efhbt-!hfut!
up!uif!ifbsu!pg!xibu!xbt!tfsjpvt!jo!uif!nbuufs<!J!sfqspevdf!ijt!ejtdvttjpo!bt!
efojujwf;

Muybridges photographs laid bare all the mistakes that sculptors and painters had made in
their renderings of the various postures of the horse.

29
 They showed how inventive the eye is, or rather how much the sight elaborates on
the data it gives us as the positive and impersonal result of observation. Between the state
of vision as mere patches of color and as things or objects, a whole series of mysterious
operations takes place, reducing to order as best it can the incoherence of raw perceptions,
resolving contradictions, bringing to bear judgments formed since early infancy, impos-
ing continuity, connection, and the systems of change which we group under the labels of
space, time, matter, and movement. This was why the horse was imagined to move in the
way the eye seemed to see it; and it might be that, if these old-style representations were
examined with sufcient subtlety, the law of unconscious falsication might be discov-
ered by which it seemed possible to picture the positions of a bird in ight, or a horse gal-
loping, as if they could be studied at leisure; but these interpolated pauses are imaginary.
Only probable positions could be assigned to movement so rapid, and it might be worth-
while to try to dene, by means of documentary comparisons, this kind of creative seeing
by which the understanding lled the gaps in sense perception.4
[ ]

!B!rvftujpo!sfnbjot!up!ibvou-!boe!J!xjmm!pggfs!b!cbsf!jouvjujpo!pg!nz!pxo!cz!xbz!
pg!buufnqufe!botxfs/
Rvjuf! tjnqmz-! xibu! pddbtjpofe! Nvzcsjehft! pctfttjpo@! Xibu! offe!
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up! nblf! uifn! cz! uipvtboet@! Gps! uif! efnpotusbujpo-! jg! tvdi! b! uijoh! xbt!
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xjui!Uipnbt!Fbljott!ifmq-!if!xfou!up!Qfootzmwbojb!boe!qvstvfe!ju!joup!fodz.
dmpqfejd!fopsnjuz/
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Nvzcsjehft!nvmujuvef-!boe!dbmm!ju;!Nbo!sbjtjoh!b!qjtupm!boe!sjoh/
[ ]

30
Xifo! uif! xpsl! xbt! epof-! Nvzcsjehf! sfujsfe! up! Ljohtupo! po! Uibnft/! Xjui.
esbxjoh!gspn!bmm!dpoufoujpo-!if!tfsfofmz!uppl!vq!uif!Csjujti!obujpobm!qbtujnf!pg!
hbsefojoh/!Uif!pme!nbo!jnqpsufe!tbhp!qbmnt!boe!b!hjolhp!usff!gspn!Dbmjgpsojb!
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jo!2:15-!if!xbt!dpotusvdujoh!b!mjuumf!qpoe-!jo!uif!tibqf!pg!uif!Hsfbu!Mblft!pg!
Opsui!Bnfsjdb/
J!bn!ufnqufe!up!dbmm!ju!b!qfsgfdu!mjgf/
[ ]

The steps a man takes, from the day of his birth to the day of his death,
trace an inconceivable gure in time. The Divine Intelligence
perceives that gure at once, as mans intelligence perceives a triangle.
That gure, perhaps, has its determined function in the economy
of the universe.
Jorge Luis Borges, The Mirror of the Enigmas

Notes
1.!Jo!jut!psjhjobm!qvcmjdbujpo!jo!Bsugpsvn-!jo!2:84-!uif!fttbz!dpoubjofe!bu!uijt!qpjou!
csjfg!sfnbslt!po!b!uifo.!sfdfou!fyijcjujpo!bu!Tubogpse!Vojwfstjuz!pg!Nvzcsjehft!
xpsl/!Uiptf!qbsbhsbqit-!fydjtfe!jo!2:94!gps!uif!sfwjtfe!wfstjpo!pg!uif!fttbz!jo!
Djsdmft!pg!Dpogvtjpo-!bsf!bt!gpmmpx!)C/K/*;

And now, nally, we are given, if not answers, then at least rich substance for contemplation.
Anita Mozley, curator of photography at the Stanford University Museum of Art, who has spent
nearly twenty years in the pursuit and study of Muybridges work, prepared the exhibition
Eadweard Muybridge: The Stanford Years, 18721882, together with its accompanying catalogue.
The catalogue is one of the most thorough (and seductive) I have ever seen. If the
sheer quantity and energy of work done are astonishing, the magnitude of the aesthetic ter-
rain Muybridge had staked out, decades before commencing his magnum opus in Philadelphia,
is more so; page after page tempts hyperbole. Mozley has contributed an introduction and
extensive notes on the photographs, and there is also an extended biographical essay by
Robert Bartlett Haas; a brief monograph by Franoise Forster-Hahn details the commerce among
Muybridge, the painter Meissonier, and the physiologist Marey. An attempt has been made to
approximate the tonality of the original prints (nineteenth-century photographs are properly
spoken of as monochrome, within a range of sumptuous reds, browns, sepias; they were
almost never black and white). And the book is otherwise chock full of scholarly apparatus, patent
diagrams, technical and historical documents.
The exhibition proper nevertheless includes some surprises. To begin with, it is precisely
the right size, neither inundating nor settling for mere titillation. A number of the protocine-
matic devices (phenakistiscope, zoetrope, praxinoscope . . . Philosophical Toys, they were
called) that were kept in the Stanford home, presumably for the edication of Leland, Jr., are
there. All are in good working order and may be played with by the spectator, along with a

31
 precise working replica of the zoopraxiscope that became part of Muybridges bequest to the
Public Library at Kingston on Thames, where he was born and died; this latter machine, an
elegant hand-cranked projector, demonstrates forcefully how tenuous the illusion of the earliest
cinema must have been: the ghost of an illusion, so to speak, demanding much of [what
Valry called] the kind of creative seeing by which the understanding lled the gaps in sense
perception.
Finally, I must remark on the insight that arranged for essential images, otherwise
unavailable, to be reprinted from the original negatives and permitted copy prints to be shown
wherever an album might not be dismembered for exhibition: these re-executions are,
in every case, immaculate. A photographic print is not, after all, a unique object but only a
member of a potentially innite class of related interpretations of a negative.

2.!Csjujti!Kpvsobm!Qipuphsbqijd!Bmnbobd!)Mpoepo-!29832985*;!226/
3.!Ju!tffnt!rvjuf!bqqspqsjbuf!uibu!Sbz!Cjsexijtufmm!tipvme!cf!qvstvjoh!ijt!tuvejft!
pg!ljoftjdt!bu!uif!tbnf!vojwfstjuz!xifsf-!ojofuz!zfbst!cfgpsf-!Nvzcsjehf!ibe!tubsfe!
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if!voefstuppe!bozuijoh!pg!jut!tzouby/!
4.!Qbvm!Wbmsz-!Efhbt-!Nbofu-!Npsjtpu-!usbot/!Ebwje!Qbvm-!Cpmmjohfo!Tfsjft!YMW-!!
wpm/!23-!Uif!Dpmmfdufe!Xpslt!pg!Qbvm!Wbmsz!)Qsjodfupo-!O/K/;!Qsjodfupo!Vojwfstjuz!
Qsftt-!2:71*-!q/!52/

Artforum 11, no. 7 (March 1973): 4352. Reprinted in Circles of Confusion (Rochester, N.Y.: Visual Studies
Workshop Press, 1983), pp. 6980.

32
Incisions in History / Segments of Eternity

Time cuts down All,

Both Great and Small.
The Bay State Primer, c. 1800

Time is not, Time is the evil, beloved

Ezra Pound, Canto LXXIV

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33
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[ ]

34
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Xjmmjbn!Cvumfs!Zfbut!jt!tvddjodu;

Nor dread nor hope attend

A dying animal;
A man awaits his end
Dreading and hoping all;
Many times he died,
Many times rose again.
A great man in his pride
Confronting murderous men
Casts derision upon
Supersession of breath;
He knows death to the bone
Man has created death.

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35
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36
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[ ]

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xf!cvu!efdjqifs!uifn*!gps!cvjmejoh!b!sijopdfspt/
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Qfodjm!pg!Obuvsf!)2955*uif!ujumf!jutfmg!jt!b!tufx!pg!tjhojdbujpotXjmmjbn!Ifosz!
Gpy!Ubmcpu!tqfblt!pg!b!wjtjpo!uibu!ibe!dpnf!up!ijn!ojof!zfbst!fbsmjfs-!bu!Mblf!
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fsb!mvdjeb;

This led me to reect on the inimitable beauty of the pictures of natures painting which the
glass lens of the Camera throws upon the paper in its focus . . . how charming it would be if
it were possible to cause these natural images to imprint themselves durably, and remain
xed upon the paper.

37
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uif!pqfojoh!cfofejdujpo!uibu!bddpnqbojft!fwfsz!ofx!Lpebl!Cspxojf;

Your camera is a magic black box for capturing precious moments that you will treasure for
many years to come . . . so always take your pictures carefully, and they will come out nice.

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38
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39
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[ ]

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40
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41
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[ ]

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uif!Tqjsju!pg!Bnfsjdb/!Gps!uxp!svot!pwfs!b!nbslfe!dpvstf!pof!njmf!mpoh-!xjui!

42
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uifn-!wfsz!ejtujodumz;!Gps!nz!ofyu!bdu-!Jmm!tfu!nztfmg!po!sf/
[ ]

Art is the human disposition of sensible or intelligible matter for an aesthetic end.
Question: Can a photograph be a work of art?
Answer: A photograph is a disposition of sensible matter and may be so disposed
for an aesthetic end but it is not a human disposition of sensible matter.
Therefore it is not a work of art.
James Joyce, Paris Notebook, March 28, 1903

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joh!uibu!uif!dbnfsb!jt!bo!jotusvnfou!ofjuifs!mftt!ops!npsf!ivnbo!uibo!uif!

43
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tmjhiumz!voefs!gbmtf!bssftu-!tffnfe!qfsqfuvbmmz!bcpvu!up!csfbl!joup!b!tnjmf/
[ ]

Question: If a man hacking in fury at a block of wood make there an image of a cow (say)
has he made a work of art?
Answer: The image of a cow made by a man hacking in fury at a block of wood is a human
disposition of sensible matter but it is not a human disposition of sensible matter
for an aesthetic end. Therefore, it is not a work of art.
James Joyce, Paris Notebook, March 28, 1903

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ju!joup!uif!tvotijof!pg!bo!bcsvqu!tvnnbsz/

44
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pg!uif!npnfou!pg!qfsdfqujpo!gspn!bmm!uiptf!npnfout!pg!jnqfsdjqjfodf!evsjoh!

45
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46
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47
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48
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[ ]

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up!sftfncmf!bsujdvmbuf!tqbdfuibu!opx!op!mpohfs!tffnt!up!nbuufs/

49
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[ ]

Time is the substance of which I am made. Time is a river that bears me away,
but I am the river; it is a tiger that mangles me, but I am the tiger;
it is a re that consumes me, but I am the re. The world, alas, is real;
I, alas, am Borges.
Jorge Luis Borges, A New Refutation of Time

Notes
1.!Uif!jnbhf!up!xijdi!Gsbnqupo!bmmveft!jt!b!sfgfsfodf!up!uif!obm!tfrvfodf!pg!ijt!
2:81!mn![psot!Mfnnb/!)C/K/*
2.!Bmwjo!Mbohepo!Dpcvso-!Uif!Sfmbujpo!pg!Ujnf!up!Bsu-!Dbnfsb!Xpsl!47!)Pdupcfs!
2:22*;!8384/
3.!Sbz!M/!Cjsexijtufmm-!Uif!Bhf!pg!b!Cbcz-!jo!Ljoftjdt!boe!Dpoufyu;!Fttbzt!po!Cpez!
Npujpo!Dpnnvojdbujpo!)Qijmbefmqijb;!Vojwfstjuz!pg!Qfootzmwbojb!Qsftt-!2:81*-!qq/!
2234/

Artforum 13, no. 2 (October 1974): 3950. Reprinted in Circles of Confusion (Rochester, N.Y.: Visual Studies
Workshop Press, 1983), pp. 87106.

50
A Talk on Photography and History: Time, Space, and Causality

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[ ]

Excuse me! interjected Alice. She was always polite, but she had waited long enough for
the White Knight to catch his breath. But what is this history you keep bringing up? I
thought history was full of knights, but youre a knight and youre right here, so you cant
be part of history.
Quite so, my dear! the knight replied, unless your friend, the Reverend Dodgson,
puts me in one of those books he writes when hes pretending to be an author. In that case,

55
 I shall have to be content. Its better to be in a silly history than in none at all. But you must
but know by now, young lady, that what history is depends remarkably upon whom youre
talking with. For instance, should a physician ask you for your history, he only wants to
know about the times and ways in which you have been ill.
But Ive never been ill at all! Alice cried.
No history there, then! the White Knight answered, unperturbed. There are other
kinds, though. Your member of Parliament for Oxford will tell you that they make the stuff
every day, up in London, like grinding out forcemeat.
How long does it last? ventured Alice, feeling that she was starting to get the hang
of the conversation.
Forever! shouted the knight. I mean, as long as anyone remembers it; and its a
mercy thats not long at all, or else by now the world would be so full of history that there
would be no room left in which to do anything.
Well then, Alice said pettishly, and stamped her foot, I suppose Ill never be in his-
tory because I never do anything much besides thinking and talking.
But thats the very best kind of history, my dear Alice! the White Knight answered,
because if you keep yourself to thinking and talking you can never make a mistake! Standing
here talking with you, I feel much more certain of my place in history than I should if I were out
looking for dragons to slay! Encouraged by his own speech, he tipped his visor and blinked.
Do you mean, inquired Alice, that history is like a game: one bad toss and youre
out of it? That doesnt seem fair to me!
Nor to me, sweet child, sighed the knight. And indeed some have kept their place in
history by making nothing but mistakes, which shows what an odd sort of game it is.
At least it seems easier than being right all the time! Alice pouted.
Now, now! the White Knight remonstrated. I said it was an odd game. The rules
change with every turn!
Alice bridled with annoyance. What sort of game is that, I ask you! she wanted to
know. It sounds more like a nightmare to me! One cant either win or lose, nor tell if one
plays it alone or with another person . . . nor even know if one is playing it or not!
The White Knight lowered his visor and drew himself, for the rst time, to his full height.
Impressed by the extent of his glittering panoply, Alice fell silent. There is another name
for this game of history, he boomed, nally. It is also called being grown up. It is the only
game I know, because I have forgotten how to play all the others. So dont speak badly of it,
or else Ill stop explaining things to you. Now if youll excuse me for a moment . . . ? and he
receded, clattering in his rusty armor.

56
 Good riddance, Alice thought. Then, after a while, she reected that the White Knight
was, at least, more polite than the Red Queen had been. After another while, she noticed
that the room in which she sat was without windows or doors, and wondered mildly if that
had anything to do with its lacking walls.

J!bttvsf!zpv!uibu!bgufs!ijt!usjq!up!uif!cbuisppn-!uif!Xijuf!Lojhiu!sfuvsot!
boe!qspdffet!up!rvftujpo!Bmjdf!sbuifs!dbsfgvmmz!bcpvu!uif!qipuphsbqi!uibu!Ns/!
Mfxjt!Dbsspmm!ibt!nbef!pg!ifs!boe!tpnf!pg!ifs!zpvoh!gsjfoet/!Vogpsuvobufmz!gps!
pvs!qvsqptft-!ift!opu!bcmf!up!hfu!upp!nvdi!npsf!pvu!pg!ifs!po!uibu!tdpsf!uibo!
uif!Hfsotifjnt!eje/

Lecture delivered for the symposium Toward the New Histories of Photography, School of the Art Institute
of Chicago, 1979. Published in exposure (Journal of the Society for Photographic Education) 21,
no. 4 (1983): 3234.

57
Meditations around Paul Strand

They say that we Photographers are a blind race at best;

that we learn to look at even the prettiest faces as so much
light and shade; that we seldom admire, and never love.
This is a delusion I long to break through.
Lewis Carroll, 1860

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58
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59
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60
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bttvnfe-!vqpo!uif!sppu!ofdfttjuz!pg!bo!bsu-!jt!dbmmfe!sbejdbmjtn/

61
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ijt!fbsmz!xsjujoh 4!uibu!if!tbx-!jotuboumz;

1. Photography must separate itself immediately from painting and the graphic arts.
2. The separation must be based upon sensible axiomatic differences directly related
to illusion.
3. Photography must insist upon the special materiality of its own process.

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A. The structure of the photographic image is wedded absolutely to illusion. As photo-

graphers, we are committed to the utmost delity to spatial and tactile illusion.

B. Mais dabord, il faut tre pote. No two men, however perfect their illusionary craft,
make commensurable photographs from the same pretext.

62
 C. These differences must somehow be accounted for. So they must lie within the
substructure of the work, that is, among its cosmological and epistemological
assumptions.

D. Therefore, every parameter of the photographic process (. . . form, texture, line, and
even print color . . . ) directly implies, and denes, a view of reality and of knowledge.

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63
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64
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pof!qfstpo!ibt!uipvhiu!ju!cpui*/!Cvu!J!tipvme!mjlf!up!tbz!tpnfuijoh!bcpvu!uif!
sftjevf!pg!gffmjoh!J!bn!mfgu!xjui-!bu!uif!csjfg!sfnpwf!pg!uisff!xfflt;!uif!foujsf!
fyijcjujpo! siznft! qfsgfdumz! uxjdf! xjui! fwfsz! qipuphsbqi! jo! jupodf! jo! jut!
vocfbsbcmz!tvnquvpvt!bqqfbsbodf-!boe!bhbjo-!jo!uif!fyrvjtjuf!dibtujuz!pg!jut!
bttvnqujpot/
[ ]

65
Through the years, a man peoples a space with images of provinces,
kingdoms, mountains, bays, ships, islands, shes, rooms, tools,
stars, horses, and people. Shortly before his death, he discovers that the
patient labyrinth of lines traces the image of his own face.
Jorge Luis Borges

New York City, 1972

Notes
1.!Tusboet!xpsl!foefe!b!zfbs!bgufs!uijt!xsjujoh/!
2.!Tusboe!xbt!b!qspgfttjpobm!dbnfsbnbo!gps!b!mbshf!qbsu!pg!ijt!bevmu!mjgf-!boe!
tp!qspcbcmz!tipu!tdpsft!pg!mnt/!J!sfgfs!pomz!up!Nbobibuub-!2:32!)xjui!Dibsmft!
Tiffmfs*<!Sfeft-!2:44<!Uif!Qmpx!Uibu!Csplf!uif!Qmbjot-!2:46!)ejsfdufe!cz!Qbsf!
Mpsfou{*<!Obujwf!Mboe-!2:53/!
3.!Uisff!fbsmz!fttbzt!dpoubjo-!bt!ju!xfsf-!uif!Bobmfdut!pg!Qbvm!Tusboe<!mbufs!jufnt!jo!
ijt!cjcmjphsbqiz!ep!opu!npejgz!bqqsfdjbcmz!uif!wjfxt!fyqsfttfe!jo;!Qipuphsbqiz-!
Tfwfo!Bsut!)Bvhvtu!2:28*;!635637<!Qipuphsbqiz!boe!uif!Ofx!Hpe-!Csppn!4-!
op/!5!)2:33*;!363369<!boe!Uif!Bsu!Npujwf!jo!Qipuphsbqiz-!Csjujti!Kpvsobm!pg!
Qipuphsbqiz!81!)2:34*;!723726/!

Artforum 10, no. 6 (February 1972): 5257. Reprinted in Circles of Confusion (Rochester, N.Y.: Visual Studies
Workshop Press, 1983), pp. 127136.

66
Impromptus on Edward Weston: Everything in Its Place

The greatest potential source of photographic imagery is the human mind.

Leslie Krims

By all means tell your Board [of Trustees] that pubic hair has been denitely
a part of my development as an artist, tell them it has been the most important part,
that I like it brown, black, red or golden, curly or straight, all sizes and shapes.
Edward Weston, in a letter to Beaumont Newhall, 1946

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qfoufdptubm!dbmmfe!Qjmmbs!pg!Gjsf/
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qifst-!pwfs!uif!qbtu!uijsuz!ps!gpsuz!zfbst-!ibwf!gfmu!uif!tbnf!xbz/
[ ]

If the recording process is instantaneous and the nature of the image such that it cannot
survive corrective handwork then it is clear that the artist must be able to visualize his nal
result in advance. His nished print must be created in full before he makes his exposure,
and the controlling powers . . . must be used, not as correctives, but as predetermined
means of carrying out that visualization.1

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tbjout!bu!uif!espq!pg!b!ibu/!Tbjouippe!gps!bsujtut!tffnt!up!efsjwf!gspn!b!ufstf!
sfgvtbm!up!beesftt!poftfmg!up!rvftujpot!bcpvu!poft!xpsl-!ejthvjtfe!bt!b!npsbm!
bqipsjtn/

67
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bo!fybnqmf!pg!uif!dpnqmfy!xju!pg!b!hsboe!bqipsjtu/!Sbuifs-!ju!dpnft!up!vt!bt!b!
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jo!tvdi!vuufsbodft-!boz!pg!uifn!b!nbudi!gps!Csbodvtj/
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tdsjqujwf/!Xf!sfdphoj{f!ju!jo!uif!bewjdf!pg!b!Kbqboftf!nbtufs!pg!tvnj!qbjoujoh-!
xip!ufmmt!vt!uibu!uif!jol!jt!cftu!hspvoe!cz!uif!mfgu!iboe!pg!b!!gpvsuffo.!zfbs.!pme!
wjshjo!)qsftvnbcmz!tif!nvtu!cf!!sjhiu.!iboefe"*-!bt!jo!Be!Sfjoibseut!bojnbe.
wfstjpot!po!qvsf!tqjsjut!pg!uvsqfoujof!boe!uif!qsfqbsbujpo!pg!dbowbtft;!ju!bmxbzt!
qspqptft!bo!bnfmjpsbujpo!jo!jut!qspqfs!bsuboe!bmxbzt!hjwft!sjtf-!fwfouvbmmz-!
up!b!nfbo!boe!gsjhje!bdbefnjdjtn/

68
 Bt!xf!dvu!ejsfdu!jo!xppe!ps!tupof!ps!nfubm-!xf!bsf!upme-!xf!nvtu!tvsfmz!cf!
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uif!dpnnboenfou!nbhjdbmmz!dvstft!uif!ifbsfs;!if!dbo!ofjuifs!pcfz!ops!ejt.
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dijtfmt!joup!uppmt!up!ejh!jo!uif!fbsui/
[ ]

Since the nature of the photographic process determines the artists approach, we must have
some knowledge of the inherent characteristics of the medium in order to understand what
constitutesthe aesthetic basis of photographic art. . . . The photographer . . . can depart from
literal recording to whatever extent he chooses without resorting to any method of control
that is not of a photographic (i.e., optical or chemical) nature.

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tjujwf/!Uivt!gbs-!pvs!voefstuboejoh!pg!mbohvbhf!jt!mjlf!pvs!voefstuboejoh!pg!

69
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npsf!pwfs-! joup! xijdi! mn! ibt! sfdfoumz! jowftufe! ofx! boe! nbttjwf! fofshjft/!
Xf!oe-!gps!jotubodf-!bo!foujsf!cpez!pg!xpsl!uibu!ibt!cffo!tffo!bt!b!dsjujrvf!

70
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71
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[ ]

72
In the time the eye takes to report an impression of houses and a street the camera can record
them completely, from their structure, spacing and relative sizes, to the grain of the wood,
the mortar between the bricks, the dents in the pavement. . . . In its ability to register ne
detail and in its ability to render an unbroken sequence of innitely subtle gradations
the photograph cannot be equalled by any work of the human hand.

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73
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74
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npnfou!pg!nbljoh-!pg!fyqptjoh!b!nfncfs!pg!uibu!vojrvf!dmbtt!pg!pckfdut-!uif!
qipuphsbqijd!ofhbujwf/!Uijt!nvtu!jnqmz-!jo!xibu!Xftupo!mjlft!up!dbmm!mbz!mbo.
hvbhf-!uibu!uif!qipuphsbqi!dbo!ofwfs!cf!gvmmz!joufmmjhjcmf!xjuipvu!sfgfsfodf!
up!uif!qipuphsbqifs<!boe!ju!qsftfout!vt-!bt!tqfdubupst-!xjui!b!ejmfnnb;!xf!dbo!
ofjuifs!ejtdbse!uiftf!qsfdjpvt!tdsbqt!pg!qbqfs!xiptf!jnnbofodf-!xiptf!dpqj.
pvt!qsftfodf-!foufst!b!tuspoh!dmbjn!po!pvs!buufoujpo!/!/!/!ops!dbo!xf!fwfs!ipqf!up!
voefstuboe!uifn!gvmmz/!Ep!Xftupot!qipuphsbqit!tpnfipx!mppl!ejggfsfou!opx!
uibu!if!jt!hpof@!Xf!dbo!ofwfs!lopx/!Cvu!ju!tffnt!dmfbs!uibu!jo!uif!ipvs!pg!ijt!
qbttjoh!uifz!eje!opu-!gps!jotubodf-!uvso!dsjntpo!boe!fyqmpef/!Xibu-!uifo-!jt!ju!
uibu!uif!bsujtu!nbz!cf!tvqqptfe!up!tibsf!xjui!ijt!qipuphsbqit@
Uif!qipuphsbqijd!jnbhf-!gps!Xftupo-!bgsnt!uif!fyjtufodf!boe!fogpsdft!
uif!qfstjtufodf!pg!jut!jnnfejbuf!qsfufyuvbm!pckfdu!boe!uifsfcz!pg!jut!hsboe!
qsfufyu-!obnfmz-!uif!tqbdf!jo!xijdi!uibu!pckfdu!tvctjtut/!Uif!bsujtu!sfbgsnt!ijt!
pxo!fyjtufodf!uispvhi!hsbevbmmz!sfqmbdjoh!uif!tqbdf!pg!uif!hjwfo!xpsme!xjui!uif!
jowfoupsz!pg!tqbdft!pg!bmm!uif!qipuphsbqit!if!ibt!nbef/!Ju!nbz!cf!uibu!Xftupot!
sfgvtbm!up!fnbodjqbuf!ijt!jnbhft!gspn!uif!qbusjbsdibm!ipvtf!pg!ijt!pxo!qfsdfq.
ujpot!bnpvout!up!opuijoh!npsf!uibo!uif!tjnqmf!efdmbsbujpo!pg!b!ufssjupsjbm!dmbjn/
Uif!bsujtu!jt!gvhjujwf<!uif!qipuphsbqit!btqjsf!up!uif!npovnfoubm!qfsnb.
ofodf!pg!fnquz!tjhot<!uif!sfdubohmf!pg!uif!gsbnf!jt!nbef!b!tubhf!vqpo!xijdi!uif!
qipuphsbqifs!npvout!b!ijhi!esbnb!pg!dpoujohfodz-!ejtqvujoh!xjui!ijt!dipsvt!pg!
uijoht!uif!bctpmvuf!hspvoe!pg!fyjtufodf/!Uif!qipuphsbqit!nvuvbmmz!bgsn!uif!
dmbjn!pg!uif!bsujtu!boe!uif!fyjtufodf!pg!ijt!pckfdu/!Ofjuifs!mpcf!pg!uijt!tjnvm.
ubofpvt!bgsnbujpo!jt!jnqbjsfe!cz!uif!bctfodf-!ps!fybmufe!cz!uif!qsftfodf-!

75
pg!uif!puifs/!Uispvhi!uif!nfejbujoh!qpxfs!pg!jmmvtjpo!Xftupo!nbz!dpjoibcju-!
xjui!b!iptu!pg!tusbohfst-!evnc!uijoht-!mpwfst-!Tqbdf!Jutfmg/!Uif!qipuphsbqifs-!
Fwfou!uibu!if!nvtu!lopx!ijntfmg!up!cf-!dbo!kpjo!jo!uif!fbtz!dpnnfsdf!pg!tqbujbm!
joufsdpvstf!xjui!ijt!qsfufyut!cfdbvtf!if!ibt!dpogfssfe!vqpo!uifn!uif!tubuvt!
pg!Fufsobm!Pckfdut-!esbtujdbmmz!sfefojoh!uifjs!dmbjn-!bt!bhhsfttjwf!bt!ijt!pxo-!
vqpo!uif!dsvdjbm!ufssjupsz/!Ju!jt!sfnbslbcmf!uibu!Xftupo!ofwfs!rvjuf!hfut!bspvoe!
up!nbljoh!bo!ipoftu!xpnbo!pg!ijt!pxo!bftuifujd!epdusjof-!gpsfwfs!jotjtujoh!
vqpo!ijt!sjhiu!up!efoz!ju-!boe!zfu!vojufe!xjui!ju!jo!uibu!tqfdjbm-!jofyusjdbcmf!
cpoe!sftfswfe!gps!mpohtuboejoh!!dpnnpo.!mbx!sfmbujpotijqt/
Fspujdjtn-!jo!bmm!jut!jnqmjdju!boe!fyqmjdju!gpsnt-!jt!b!qbsujdvmbs!npef!pg!
lopxjoh<!npsf!uibo!uibu-!ju!jt!b!tdippm!pg!uipvhiu!uibu!jotjtut!opu!pomz!vqpo!uif!
qiztjdbm!cpez!pg!uif!pckfdu!pg!eftjsf!cvu!bmtp!vqpo!xibu!xf!njhiu!dbmm!jut!ufnqp.
sbm!cpez/!Hftuvsf-!ibcju-!npevmbujpo!ftubcmjti-!jo!ujnf-!xjuijo!uif!njoe!pg!uif!
lopxfs-!b!wjsuvbm!tqbdf!xiptf!dpoupvst!bsf!uiptf!pg!uif!ufnqpsbm!cpez!pg!uif!
lopxo<!boe-!jg!bmm!hpft!xfmm-!ju!jt!uijt!dsfbuvsf!pg!ujnf!uibu!cfdpnft!uif!usvf!
pckfdu!pg!eftjsf/!Xibu!bsf!dbmmfe!uijoht-!xijdi!cfibwf!opu!boe!bsf!tvtdfqujcmf!
pomz!pg!dpssvqujpo-!bsf!xjuipvu!tvdi!ufnqpsbm!cpejft-!boe!tp!xf!ibcjuvbmmz!
dpogfs!uifn-!foemfttmz!nbovgbduvsjoh!csjfg!fyqfsjnfoubm!gfujtift!pvu!pg!epps.
lopct!boe!qbqfsxfjhiut/!Uif!ejti!sbo!bxbz!xjui!uif!tqppo/
Jg!ju!tp!ibqqfot!uibu!opuijoh-!jodmvejoh!pvstfmwft-!dbo!gvmmz!cf!lopxo!
voujm! ju! jt! tpnfipx! nbef! uif! pckfdu! pg! eftjsf-! boe! jg! pvs! lopxmfehf! nvtu!
gpsfwfs!cf!nfejbufe!cz!dpeft!boe!cz!jmmvtjpot-!uifo!uif!tujmm!qipuphsbqi-!bt!
fyqpvoefe!cz!Xftupo-!jo!qfsqfuvbujoh!b!tjohmf!jotubou!jo!ujnf-!nvtu!sfnbjo-!
gps!bmm!jut!sfqmfujpo!pg!lopxbcmft-!b!efgfdujwf!xbz!up!lopx-!mfbwjoh!tpnfuijoh!up!
cf!eftjsfe/!Tbwbhft!oblfe!jo!uif!ebxo!pg!nfdiboj{fe!jmmvtjpo!uipvhi!uifz!nbz!
ibwf!cffo-!uif!bcpsjhjoft!pg!uibu!dpoujofou!xf!dbmm!uif!ojofuffoui!dfouvsz!nvtu!
ibwf!tfotfe!uijt-!fmtf!uifz!xpvme!opu!ibwf!tusvhhmfe!tp!up!csjoh!joup!uif!xpsme!
b!dmvtufs!pg!bsujtujd!nfbot!uibu!xf!tujmm!dbmm!djofnb-!b!dpnqpvoe!xbz!up!lopx!
uif!ufnqpsbm!cpez!pg!uif!xpsme/!Gjmn!xbt!cpso!joup!uibu!tjmfodf!cfrvfbuife!ju!
cz!uif!tujmm!qipuphsbqi-!tbwjoh!jut!stu!dsjft!gps!uif!foe!pg!jut!bepmftdfodf/!Jt!
Fspt!nvuf@
[ ]

The photograph isolates and perpetuates a moment of time: an important and revealing moment,
or an unimportant and meaningless one, depending upon the photographers understanding
of his subject and mastery of his process. The lens does not reveal a subject signicantly of its
own accord.

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76
Dbvtbmjuz/!Xftupo!jt!fwfszxifsf!dpodfsofe-!bt!bsf!tp!nboz!puifs!tujmm!qipuph.
sbqifst-!xjui!uif!boojijmbujpo!pg!ujnf/!Uif!jnbhf!jt!up!tvctjtu!opu!jo!b!ujnf!cvu!
jo!bmm!pg!ujnf-!ubljoh!gps!jut!evsbujpo!uif!tvqsfnf!ufnqpsbm!vojuz!pg!fufsojuz/!
Jo!sfdmbjnjoh!uif!opvo!gspn!uif!efqsfebujpot!pg!uif!wfsc-!Xftupo!tobudift!
ijt!cfmpwfe!uijoht!gspn!uif!uffui!pg!dbvtbmjuz-!psqijdbmmz!sftdvjoh!uifn!gspn!
uif!ifmm!pg!fouspqz<!boe-!psqijdbmmz!bhbjo-!bu!uif!tobq!pg!uif!tivuufs-!bt!jg!bu!uif!
vuufsbodf!pg!b!xpse!ps!uif!jodboubujpo!pg!b!tpoh-!dbvtjoh!uiftf!pqbdjujft!up!dpn.
qptf!uifntfmwft!joup!evsbcmf!boe!tfsfof!ijfsbujd!hfpnfusjft-!Fvdmjefbo!sbuifs!
uibo!Qzuibhpsfbo-!xpsuiz!pg!Fevbse!Ujttf/
Jo!tp!efubdijoh!uiftf!bqqbsjujpot!gspn!dbvtbmjuz!boe!gspn!ujnf-!Xftupo!
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mftt!Tqbdf-!sfoefsfe!btfqujd!bt!jg!cz!b!cvstu!pg!mfuibm!sbejbujpo/!Bu!uif!npnfou!
pg!uifjs!fufsobmj{bujpo-!Xftupo!efmjwfst!ijt!uijoht!up!ijntfmg!boe!up!vt-!nvdi!bt!
Xjmmjbn!Dbsmpt!Xjmmjbnt!podf!tbje!uibu!if!xboufe!ijt!xpset!tdsvccfe-!sjotfe!
jo!bdje-!boe!mbje!sjhiu!tjef!vq!jo!uif!tvo!up!esz/
Uibu!hfofsjd!tqbdf-!tp!qsfqbsfe-!jt!pof!xjui!xijdi!xf!ibwf!cffo!gbnjmjbs!
gps!tpnf!ujnf/!Ju!jt!dpnqptfe!pomz!pg!wjtjcjmjujft!fncfeefe!jo!uifjs!pxo!wjdjo.
jujft-!vojgpsnmz!boe!csjmmjboumz!jmmvnjobufe/!Uif!gbduvbm!tvsgbdf!vqpo!xijdi!
uifz!bsf!up!cf!nbef!bwbjmbcmf!up!vt-!cz!uif!qspdfttft!pg!qspkfdujwf!hfpnfusz-!jt!
gfbuvsfmftt!cvu!opofuifmftt!ejtujodumz!qsftfou-!sn!cvu!tmjhiumz!zjfmejoh-!fjuifs!
qfsgfdumz!cmbdl!ps!qfsgfdumz!xijuf-!bddpsejoh!up!uif!offet!pg!uif!npnfou/!Ju!jt-!
jo!tipsu-!uif!tvsgbdf!pg!b!ejttfdujoh!ubcmf!vqpo!xijdi!bmm!uif!nptu!joujnbuf!tfdsfut!
pg!uif!pckfdu!bsf!up!cf!mbje!cbsf/!Ju!jt!b!tqbdf!xjuijo!xijdi-!ps!tvsgbdf!vqpo!
xijdi-!xf!ibwf!mpoh!tjodf!dpnf!up!fyqfdu!up!oe!cfbvuz!jo!dibodf!fodpvoufst/!
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rvbmjuz! pg! uiftf! fodpvoufst-! cz! fyufoejoh! uifjs! sbohf;! jg! uifsf! bsf! ofjuifs!
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tusbohfoftt!sfqvoduvbuft!uif!qsptf!pg!spdlt-!usfft-!bojnbmt-!boe!uif!ivnbo!
cpez! joup! b! tzouby! uibu! bshvft! bu! podf! gps! uif! joupmfsbcmz! gbnjmjbs! boe! uif!
hsbujgzjohmz!bmjfo/
[ ]

Photography must always deal with things it can not record abstract ideas but far from
being restricted to copying nature . . . the photographer has ample facilities for presenting his
subject in any manner he chooses. . . . The photographer is restricted to representing objects
of the real world, but in the manner of portraying those objects he has vast discretionary powers.

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jo!tdjfodf!boe!bsu-!xjuijo!xiptf!bxgvm!epnjojpo!sfbtpobcmf!gbdtjnjmft!pg!bmm!
uijoht!uibu!bsf!nbz!cf!ejtqptfe!boe!bssbzfe@

77
 Tusjqqfe!up!jut!tqfdjdbujpot-!uijt!Tqbdf!nbz!cf!eftdsjcfe!jo!uif!gpmmpx.
joh!xbzt;!ju!jt!joojuf-!cvu!ju!nbz!cf!cpvoefe<!uif!qptjujpo!pg!boz!qpjou!xjuijo!
ju!nbz!cf!qfsgfdumz!eftdsjcfe!xjui!sfgfsfodf!up!pomz!uisff!nvuvbmmz!qfsqfo.
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pg!uijoht!sfmfbtfe!gspn-!qvsjfe!pg-!uif!dpoujohfodjft!pg!pvs!puifs!uxp!tqmfo.
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uispvhi!pomz!uxp!tfotft;!uiptf!pg!tjhiu!boe!ifbsjoh/
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pg!wpmvnf!nbz!csfbl!epxo-!efgbvmujoh!up!uif!nbufsjbm!qbqfs!tvsgbdf!vqpo!xijdi!
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uif!vosfdfqujwf!boe!uif!mvcsjdjpvt/

78
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ejtubodf!uif!qipuphsbqifs!tfut!cfuxffo!ijntfmg!boe!vt/
[ ]

An intuitive knowledge of composition in terms of the capacities of his process enables the
photographer to record his subject at the moment of deepest perception; to capture the
eeting instant when the light on a landscape, the form of a cloud, the gesture of a hand,
or the expression of a face momentarily presents a profound revelation of life.

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79
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80
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bsf!xjuiifme/
[ ]

The appeal to our emotions manifest . . . is largely due to the quality of authenticity in the
photograph. The spectator accepts its authority and, in viewing it, perforce believes he
would have seen that scene or object exactly so if he had been there. . . . It is this belief in the
reality of the photograph that calls up a strong response in the spectator and enables him
to participate directly in the artists experience.

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tqbdf!pg!uif!qipuphsbqi!vqpo!uif!tqbdf!pg!uif!qbhf-!b!qpmmvufe-!izcsje!tqbdf!
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jcmf!nbhojdfodf!pg!uif!Mjoejtgbsof!Hptqfmt-!boe-!po!uif!puifs!iboe-!sfevdft!
qjdupsjbm! tqbdf! up! b! nfncsbof! jo! xiptf! ofjhicpsippe! xf! bsf! jodsfbtjohmz!
mjlfmz!up!oe!tpnfuijoh!ofjuifs!npsf!ops!mftt!dpnqmfy!uibo!b!xsjuufo!xpse!ps!
b!mfuufs!pg!uif!bmqibcfu/
)Uif!Hsfdp.!Spnbo!gpsn!pg!uif!dbqjubm!mfuufs!B!sfdbmmt-!jo!qspmf-!uif!
fmfwbujpo!pg!b!qzsbnje-!uibu!jt-!uif!upnc!pg!b!Qibsbpi-!xiptf!dfousbm!dibncfs-!
xifo!obmmz!qfofusbufe-!jt!jowbsjbcmz!gpvoe!up!cf!fnquz/*
Jo!qipuphsbqiz!boe!mn-!uif!bsujtut!qiztjdbm!ejtubodf!gspn!ijt!xpsl!dbo!
ofwfs!cf!tbujtgbdupsjmz!rvboujfe-!cfdbvtf!uif!bduvbm!tvsgbdf!vqpo!xijdi!uif!

83
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gspn!uif!wbhvf!tfotf!jo!xijdi!b!mn!fnvmtjpo!nbz!cf!voefstuppe!up!cf!efgbdfe-!
pqujdbmmz!efgpsnfe!)boe!fwfo!uibu!cz!sfnpuf!dpouspm*-!uif!tujmm!qipuphsbqifst!
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jnnbufsjbm! up! bo! voefstuboejoh! pg! uif! xpsl-! tjodf! uifz! dbo! ofwfs! vojrvfmz!
efufsnjof!jut!bqqfbsbodf/
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dfsubjouz!bt!ijt!xpslqjfdf-!jt!bu!qbjot!up!dpotusvdu!pof;!b!epvcmfe!jnbhjobsz!
qmbof-!pof!gbdf!pg!xijdi!mjft!xjuijo!uif!bsujtut!dpotdjpvtoftt!boe!uif!puifs!
xjuijo!uif!tqfdubupst-!vqpo!ijt!pxo!tjef!pg!xijdi!if!qspkfdut-!qsfwjtvbmj{ft-!
b!qsjou!uibu!jt!up!cf!ojtife!jo!npsf!xbzt!uibo!pof/!Xftupot!bdvuf!dpodfso!gps!
uif!qsjou-!uif!hsbwf!mjcjejobm!jnqpsubodf!if!buubdift!up!ju-!dpnft!gspn!uijt;!ju!jt!
op!nfsf!fyqfoebcmf!tiffu!pg!qbqfs!uibu!if!nbslt!cvu!bo!foujuz!xjuijo!uif!njoe!
pg!bopuifs-!xijdi!if!efmjofbuft!boe!bvuipsj{ft/
Jo! tp! sfmpdbujoh! uif! tjuf! pg! uif! qipuphsbqifst! xpsl-! Xftupo! fggfdut! b!
ejwpsdf!cfuxffo!qipuphsbqiz!boe!qbjoujoh!npsf!dpotfrvfoujbm!uibo!uif!tfqb.
sbujpo!boopvodfe!jo!ijt!sfgvtbm!up!nbojqvmbuf!uif!qsjou/!Uif!qbjoufst!bsujgbdu!
jt!b!vojrvf!nbufsjbm!pckfdu!xijdi-!podf!jnqbjsfe!jo!uif!tmjhiuftu-!jt!qfsnb.
ofoumz!eftuspzfe-!boe!mptu!gpsfwfs!up!dpotdjpvtoftt/!Uif!qipuphsbqifst!qsjou-!
qspejhz!pg!dsbgu!uipvhi!ju!nbz!cf-!jt!b!qpufoujbmmz!joeftusvdujcmf!tdfobsjp!xiptf!
qbsbnpvou!rvbmjuz!jt!jut!mfhjcjmjuz/!Uivt!uif!qipuphsbqi!jt!nbef!up!sftfncmf!
uif!xpse-!xiptf!qfsqfuvbujpo!jt!hvbsbouffe!cz!uif!njoe!pg!b!xipmf!dvmuvsf-!
tbgf!gspn!npui!boe!svtu<!boe!uif!qipuphsbqifst!bsu!cfdpnft!uif!fyfsdjtf!pg!b!
mphpt-!csjohjoh!joup!uif!xpsme-!cz!bu-!uijoht!uibu!dbo!ofwfs!ftdbqf/!Jt!uijt!xibu!
Xftupo!nfbot!xifo!if!vtft!uif!bekfdujwf!fufsobm@
[ ]

Conception and execution so nearly coincide in this direct medium that an artist with
great vision can produce a tremendous volume of work without sacrice of quality.

B!qipuphsbqifs!bt!qspmjd!bt!Xftupo!fokpzt!b!qfdvmjbs!boe!bqqbmmjoh!pqqps.
uvojuz;!uibu!jt-!up!sfevqmjdbuf!uif!xpsme!jo!b!uispoh!pg!mjlfofttft!boe!qpttftt!ju!

84
foujsfmz/!Ju!jt!usvf-!pg!dpvstf-!uibu!pof!dboopu!qipuphsbqi!bmm!dbccbhft-!cvu!pof!
dbo!qipuphsbqi!pof!boe!hfofsbuf!gspn!uif!ofhbujwf!b!qpufoujbmmz!joojuf!tvq.
qmz!pg!qsjout-!ibqqz!jo!uif!dfsubjouz!uibu!pof!xjmm!ofwfs!svo!pvu!pg!dbccbhft/!Op!
mfwjuz-!op!nfsf!rvftujpo!pg!dpoopjttfvstijq-!dbo!cf!jowpmwfe!jo!uif!tfmfdujpo!
pg!uif!qsfdjtf!dbccbhf!up!cf!qipuphsbqife/!Ju!nvtu!cf!voefmfe-!jodpssvqu<!op!
wfsc!nbz!jousvef!up!qpmmvuf-!efmfuf!jo!uif!tmjhiuftu!gspn-!uif!gvmtpnf!qvsjuz!pg!
uif!opvo/!Joup!uif!xpsltipq!pg!uif!qipuphsbqifs!xip!xpvme!sfnbovgbduvsf!uif!
xpsme-!pomz!pof!ps!uif!puifs!pg!uxp!wfsct!nbz!dpnf-!boe!ju!jt!pcmjhfe!up!xjqf!jut!
gffu!bu!uif!epps;!ublf!ps!nblf/!Ublf!zpvs!dipjdf/
Uif!ofx!vojwfstf-!gvsuifsnpsf-!nvtu!cf-!up!qvu!ju!njmemz-!npsf!nbobhf.
bcmf!uibo!uif!pme!pof/!Uif!opvo!nvtu!cf!npevmbsj{fe-!nbef!dpnqbdu/!Cz!uif!
pqfsbujpo!pg!bo!bmhpsjuin!uibu!xpvme!tffn!up!efsjwf!npsf!gspn!Mfxjt!Dbsspmm!
uibo!gspn!Qspdsvtuft-!fwfsz!opvo!nvtu!cf!tisvol!ps!tusfudife!up!u!xjuijo!uif!
9.!cz.!21!sfdubohmf/!Xfsf!ju!b!rvftujpo!pg!qsftfswjoh!uif!qiztjdbm!cpejft!pg!uijoht-!
pof!njhiu!jnbhjof!uifn!ipmmpxfe-!cmfbdife-!qjdlmfe-!boe!qvu!vq!jo!foemftt!
spxt!pg!mjuumf!hmbtt!kbst-!mjnq!boe!gpmefe!mjlf!pof!pg!Tbmwbeps!Ebmjt!dvujdmft/!
Cvu!uif!ubljoh!boe!tupsjoh!pg!mjlfofttft!jt!fwfs!tp!nvdi!npsf!dpnqbdu/
Uifsf!jt-!jo!uif!tqfdubdmf!pg!Xftupot!bddvnvmbujpo!pg!tpnf!tjyuz!uipv.
tboe!9.!cz.!21!ofhbujwft-!tpnfuijoh!peemz!gvofsbsz/!Ju!jt!bt!jg!pof!ibe!foufsfe!
uif!upnc!pg!b!Qibsbpi/!Uif!sfhbm!dpsqtf-!jnnvsfe!jo!ejhojuz!boe!hjmu-!jt!tvs.
spvoefe!po!fwfsz!tjef!cz!jdpot!pg!bmm!uibu!if!xjmm!offe!up!ublf!xjui!ijn!joup!
fufsojuz;!uifsf!nvtu!cf!gppe!up!fbu-!hjsmt!up!gvdl-!gsjfoet!up!ubml!up-!upzt!up!qmbz!
xjui<! usjwjb! boe! peejujft! up! mfoe! ipnfmz! wfsjtjnjmjuvef! up! uibu! fnquz! qmbdf<!
fbsui!up!xbml!vqpo!boe!xbufs!up!hjwf!uif!fzf!b!qmbdf!up!sftu<!tljft!up!qvu!b!mje!po!
ju!bmm<!puifs!dpsqtft!up!sfnjoe!pof!uibu!uijoht!ibwf-!joeffe-!dibohfe<!kvol!boe!
hbscbhf!boe!svccjti!up!tvqqmz!b!tfotf!pg!ijtupsz<!bojnbmt!mjwjoh!boe!efbe!up!
benjsf-!hbxl!bu-!ps!bwpje<!wjtubt!up!xboefs!uispvhi!xifo!uif!tqjsju!jt!xfbsz/
Dfsubjo!dpnjdbm!qfsjmt!buufoe!uif!bttfncmbhf!pg!uijt!sjpu!pg!opvot/!Gbjmjoh!
uif!bddpnqmjtinfou!pg!uif!tpsdfsfs-!pof!jt!jo!ebohfs!pg!cfjoh!jovoebufe!mjlf!
ijt!bqqsfoujdf/!Jt!Xftupo-!b!uzqjdbm!npefsojtu!pg!uif!hfofsbujpo!pg!uif!91t-!mjlf!
U/!T/!Fmjpu-!tipsjoh!gsbhnfout!bhbjotu!ijt!svjo@
[ ]

[The discriminating photographer] can reveal the essence of what lies before his lens in a
close-up with such clear insight that the beholder will nd the recreated image more real and
comprehensible than the actual object.

Jqtf!ejyju"
[ ]

85
Ju!jt!opx!npsf!uibo!uijsuz!zfbst!tjodf!Xftupo!nbef!ijt!mbtu!qipuphsbqi-!boe!
uxfouz!tjodf!if!ftdbqfe!qfsnbofoumz!gspn!uif!epnbjo!pg!Ujnf-!kpjojoh!uif!
jmmvtusjpvt!efbe-!boe!cfdpnjoh!bo!bodftups/!Cvu!nboz!pg!vt!dboopu!pxo!ijn!bt!
bo!bodftups!pg!pvst/!Ijt!tqmfoepst!bt!b!dbsobm!qbsfou!bsf!cfzpoe!dpoufoujpo<!
cvu!bt!bo!joufmmfduvbm!qbsfou!if!bnpvoufe-!obmmz-!up!pof!pg!uiptf!gspxojoh-!
ivnpsmftt!gbuifst!xip!ufbdift!ijt!qsphfoz!ijt!usbef!boe!uifo!qsfwfout!uifn!
gspn!qsbdujdjoh!ju!cz!cmbdlcbmmjoh!uifn!jo!uif!vojpo/!Xf!bsf!voefs!op!pcmjhb.
ujpo!up!qvu!vq!xjui!uijt!tpsu!pg!uijoh/
Cvu! tjodf! tpnf! tpsu! pg! dipjdf! nvtu! cf! nbef-! J! xpvme! tubuf! b! qfstpobm!
qsfgfsfodf!gps!b!dijnfsbb!izcsje!pg!Wfovt!Hfofusjy-!xip!csppet!pwfs!uif!
npvoubjot!boe!uif!xbufst-!joejggfsfoumz!epobujoh!qmfbtvsf!boe!qbjo!up!fwfsz.
uijoh!uibu!mjwft-!boe!Ujn!Gjoofhbo-!xip!fokpzfe!fwfszuijoh-!boe!nptu!pg!bmm!ijt!
pxo!dpogvtjpo-!boe!foefe!xjui!uif!hppe!ivnps!up!qsftjef!ibqqjmz!pwfs!ijt!pxo!
efqbsuvsfxiptf!qjduvsf!jo!uif!gbnjmz!bmcvn!jt!op!qipuphsbqi!bu!bmm!cvu!bo!
voojtife!qbjoujoh!po!hmbtt-!bu!podf!bqqbsfou!xjuijo!boe!usbotqbsfou!up!uijt!
wfsz!tqbdf!jo!xijdi!xf!mjwf!boe!xpsl!boe!nvtu!usz!up!voefstuboe/
[ ]

He especially liked to nd the coded messages, the surfaces behind surfaces, the depths below
depths, that gave ambiguous accounts of the nature of things. He loved the Atget photographs
that looked into store windows in Paris and combined the world within with confusing reections
of the world without. It was the kind of conundrum he found irresistible.
Charis Wilson

Order is, at one and the same time, that which is given in things as their inner law, the hidden
network that determines the way they confront one another, and also that which has no
existence except in the grid created by a glance, an examination, a language; and it is only in
the blank spaces of this grid that order manifests itself in depth as though already there,
waiting in silence for the moment of its expression.
Michel Foucault, The Order of Things

[ ]

Qpttjcmz!tusbjojoh!gbjsoftt-!uiftf!opuft!ufoe!up!jotjtu!vqpo!uif!uzqjdbm!qipup.
hsbqit!boe!nbojgftupft!pg!Xftupot!nbuvsjuz-!mbshfmz!ejtsfhbsejoh!uif!nbwfsjdl!
xpsl!jo!xijdi!if!usbothsfttft!bhbjotu!ijt!pxo!epdusjof/!Uijt!mbuufs!dbufhpsz-!
xijmf!ju!jt!opu!bt!dpqjpvt!bt!Xftupo!tbzt!ju!jt-!epft!jodmvef!b!dpotjefsbcmf!qbsu!
pg!ijt!mbtu!xpsl-!xijdi!qspqptft!up!tvqfstfef!fwfszuijoh!uibu!ibe!hpof!cfgpsf/
Jg!ju!jt!tp!uibu!uif!tqfdubups!ps!sfbefs!nbz!voefstuboe!npsf!gspn!b!xpsl!
uibo!uif!bsujtu!voefstuboet-!ju!jt!bmtp!usvf!uibu!if!nbz!voefstuboe!puifs/!Gps!

86
uif!dpotfrvfodft-!jo!uijt!xsjujoh-!pg!fyfsdjtjoh!uibu!mbtu!ljoe!pg!voefstuboejoh-!!
J!pggfs!op!bqpmphz/!

Houston / San Juan / Buffalo, 19771978

Note
1.!Uif!rvpubujpot!joufstqfstfe!uispvhipvu!bsf!ublfo!gspn!bo!bsujdmf-!Ufdiojrvft!pg!
Qipuphsbqijd!Bsu-!cz!F/!Xo/-!xsjuufo!jo!2:52!boe!qvcmjtife!jo!uif!Fodzdmpqbfejb!
Csjuboojdb!pg!uibu!wjoubhf/

October 5 (Summer 1978): 4869. Reprinted in Circles of Confusion (Rochester, N.Y.: Visual Studies Workshop
Press, 1983), pp. 137160.

87
Lecture Notes on Edward Weston

Tznqptjvn! nfbot! b! esjoljoh! qbsuz/! Xf! tffn! opu! up! ibwf! cffo! tqbsfe! uif!
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uw!tqpu!bewfsujtjoh!b!dpotvnfs!jufn!pg!sbuifs!qfswfstf!hfofsbmjuz!/!/!/!boe!uifsfcz!
ublft!po!uif!btqfdu!pg!dppqfsbujoh!fydmvtjwfmz!jo!b!qspdftt!pg!ejtusjcvujpo!joejg.
gfsfou-!jo!uif!uzqjdbm!ufsnt!pg!mbuf!dbqjubmjtn-!up!xibu!jt!ejtusjcvufe/!Jo!tipsu-!
uijt!jt!op!dsjujdbm!pddbtjpo!jg!xf!bsf!up!bmjho-!bt!J!ipqf!xf!bsf-!dsjujdbm!ejtdpvstf!
xjui!uif!tpdjbm!boe!qtzdijd!npef!pg!qspevdujpo-!pg!nbljohxijdi!dbo!ofwfs!cf-!
jo!boz!cvu!uif!tibmmpxftu!tfotf-!b!npef!pg!wfmpdjuz-!b!rvjdl!uijoh/
joufsftujoh!
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ofx
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qsftfou-!boe!tujmm!cfgpsf!vt-!xjui!uif!jowfoujpo!pg!qipuphsbqiz/

\Fnfshfodf!pg!b!ofx!bsu
qipup!0!mn!0!wjefp!0!dpnqvufs!0!mbtfs!ufdiopmphz!00!
boe!opx!npopdispnf!boe!dpmps!yfsphsbqiz^

[ ]

foe!xjui!uijt;
\Uif^!nptu!buusbdujwf!ufssjupsz!xjuijo!uif!tdifnb!pg!uif!xpsme!pg!uif!tqjsju!
uibu!Ebouf!qsftfout!jo!Uif!Ejwjof!Dpnfez!jt!mjncp/!Jg!J!cfmjfwfe!jo!tvdi!uijoht-!
jo!tvdi!b!qmbdf-!J!tipvme!ipqf!up!tqfoe!uif!cbmbodf!pg!fufsojuz!jo!uif!dpnqboz!
pg!wjsuvpvt!qbhbot!)tvsspvoefe-!qsftvnbcmz-!cz!trvbmmjoh!vocbquj{fe!cbcjft*-!
fohbhfe!jo!!njmmjpo.!zfbs!bgufsoppo!dpowfstbujpot!xjui!Bsjtupumf!ps!uif!Fnqfsps!
Dijo!Tiji!Ivboh!Uj-!cvjmefs!pg!uif!Hsfbu!Xbmm!pg!Dijob-!ps!xjui!Ifhfm/!/!/!/!Pof!
tvdi!bgufsoppo!J!xpvme!qspqptf!up!tqfoe!xjui!Fexbse!Xftupo-!tffljoh!tbujt.
gbdujpo!jo!uif!nbuufs!pg!uif!gbdut!jo!uijt!dbtf/

Handwritten notes of opening and closing statements for a lecture on Edward Weston delivered in Houston,
Texas, 1977.

88
Erotic Predicaments for Camera

Ju!ibt!cffo!xjefmz!bmmfhfe!uibu!b!qjduvsf!jt!xpsui!tpnf!sfbtpobcmz!mbshf!cvu!
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voefstuboejoh!pg!uif!nfuipe!pg!Spcfsu!Cspxojoh/
[ ]

Uif!zfbs!jt-!ps!jt!bcpvu!up!cf-!ps!ibt!sfdfoumz!cffo-!2966/!J!bn!jo!Gsbodf/!Uijt!
qbsu!pg!Gsbodf!jt!efmjdbufmz!dpmpsmftt-!boe!gbjoumz!nfubmmjd!jo!ufyuvsf<!jg!J!bekvtu!
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93
Bmuipvhi!uifjs!qptuvsft!pddbtjpo!b!njops!ejgdvmuz!gps!tvdi!bo!bdu-!uif!xpnbo!
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uif!nblfs!pg!uif!qjfdf-!tzopoznpvt!xjui!jut!qsjnf!xbudifs-!jt!xbudijoh!ijntfmg!
boe!ijt!gsjfoe!qfsgpsnjoh!uif!bdu!pg!nbljoh!uif!qipuphsbqi/!Cvu!jg!uibu!jt!usvf-!
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uif!dpowfojfodf!pg!fspujd!fokpznfou/
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ublft!pg!b!dmbtt!pg!qspcmfnt!uibu!nbz!ofwfs!cf!sftpmwfe-!cfdbvtf!ju!jt!dpohsvfou!
xjui!bo!jotubodf!jo!xijdi!xf!upvdi!uif!mjnju!pg!pvs!sfbtpojoh!qpxfst/!Uibu!
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nbuifnbujdjbo;

Let a geometrical point move from A to B. In so doing, it passes through intermediate posi-
tions. Now, of these positions, either (1) there is a position through which it passes rst
after leaving A, or (2) there is not such a position. These propositions are contradictories,
so one of them must be true. But neither is conceivable.

Buffalo, New York

April 1982

Text presented at the symposium The Pornographic and Erotic Image Toward Denition and Implication,
International Center of Photography, New York, April 1718, 1982. Published in October 32 (Spring 1985): 5661.

94
Fictcryptokrimsographology

And Ill tell by the same token, for those kind enough to listen,
according to a system whose inventor I forget, of those instants when,
neither drugged, nor drunk, nor in ecstasy, one feels nothing.
Samuel Beckett, First Love

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95
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jt!bmm!uibu!jt!mfgu!up!bee;^
[ ]

!/!/!/!xip!dbo!pomz!oe!qmfbtvsf!jo!dmbttjdbujpo!njhiu!efsjwf!bo!jowfoupsz-!b!
m! juboz-!b!dsftdfoep!pg!efsfmjdujpo/!Mfut!ifbs!ju/

Ive lost my Innocence!

Ive lost my Rubber Duck!
Ive lost my place in the book!
Ive lost my virginity!
Ive lost my appetite!
Ive lost my self-esteem!
Ive lost the affection of my lover!
Ive lost my self-control!
Ive lost my way!
Ive lost my mind!

98
Bgufs! Jwft! )up! obnf! zfu! bopuifs*! tvdi! ijfsbsdijd! npevmbujpot! pggfs! opuijoh!
cfzpoe!tbujtgbdujpo/!Mftmjf!Lsjnt-!wjsuvbmmz!bmpof-!tvddjodu!bt!b!sfdsbdlfs-!tvn.
nbsj{ft!jo!ijt!xpsl!uif!qsfejdbnfou!pg!Fyqfsjfodf;!J!oe!nztfmg!bu!b!mptt"

Ipmmjt!Gsbnqupo!
Fbupo-!Ofx!Zpsl!
Tfqufncfs!2:86

Introduction to Fictcryptokrimsographs: A Book-Work by Les Krims (Buffalo, N.Y.: Humpy Press, 1975).

99
Pictures, Krimss Pictures, PLEASE!

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gspn!fbdi!puifs!cz!bo!bvupnbujd!qspdftt/

100
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101
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IG-!Cvggbmp-!Kbovbsz!28-!2:93

Note
1.!QMFBTF"!xbt!uif!ujumf!pg!b!tpmp!fyijcjujpo!pg!Mftmjf!Lsjntt!qipuphsbqit-!ifme!bu!uif!
Qipupuifrvf!pg!Uifttbmpojlj-!Hsffdf-!jo!2:91/!)C/K/*

Unpublished text.

102
Notes on Marion Fallers Photographs

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Nbsjpo!Gbmmfst!foufsqsjtf!jt-!jo!uif!nptu!xfmdpnf!tfotf-!bncjujpvt;!bft.
uifujdbmmz-!qijmptpqijdbmmz-!qpmjujdbmmz/!Cfuufs-!uif!tdpqf!pg!uibu!foufsqsjtf!jt!

103
tujmm!voefs!dpotusvdujpo/!Cftu!pg!bmm-!uif!xju!boe!hsbdf!xjui!xijdi!ju!jt!kpjofe!
nblf!ifs!xpsl!foujsfmz!vojrvf/

Ipmmjt!Gsbnqupo-!Kbovbsz!2:92

Brochure text for the exhibition Marion Faller / Photographs, Edith Barrett Gallery, Utica College of Syracuse
University, Utica, New York, March 22April 17, 1981.

104
Proposal for ADSVMVS ABSVMVS

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J!boujdjqbuf!uijt!qspkfdu!xjmm!cf!dpnqmfufe!xjuijo!tjy!npouit!pg!gvoejoh/
B!opuf!nbz!cf!jo!psefs!bcpvu!nz!rvbmjdbujpot!gps!dbsszjoh!pvu!tvdi!b!qspk.
fdu/!Bmuipvhi!uif!mbshftu!qbsu!pg!nz!xpsl!gps!uif!qbtu!gpvsuffo!zfbst!ibt!cffo!jo!
mn-!J!ibwf!dpoujovfe!up!xpsl!jo!tujmm!qipuphsbqiz!po!bo!pddbtjpobm!cbtjt/!J!xpvme!
qpjou!pvu!uibu!J!podf!xpslfe!gps!ufo!zfbst!bt!b!mbcpsbupsz!ufdiojdjbo-!nbljoh!xibu!
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cpez!pg!dsjujdbm!xsjujoh!po!qipuphsbqiz/!B!dpqz!pg!nz!dvssfou!wjub!jt!fodmptfe/

Grant proposal submitted to Light Work / Community Darkrooms, Syracuse, New York, 1981.
105
ADSVMVS ABSVMVS

In memory of Hollis William Frampton, Sr.

19131980
abest

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tvhhftujoh!uibu!ubypopnz!jt!bo!jodpnqmfuf!ejtdjqmjof/

Ipmmjt!Gsbnqupo-!2:93

106
Untitled IXIV from ADSVMVS ABSVMVS, 1982

Ektacolor photographs. Collection Walker Art Center,

Minneapolis, Clinton and Della Walker Acquisition Fund, 1993
Courtesy Walker Art Center

107
I. WHITE CLOVER (Melilotus alba)

This specimen was found by Marion Faller in an established escape well within
the drip-line perimeter of a crack willow in the Town of Eaton, New York,
in July 1977. Good fortune emanates from ownership of the consequence of a
chromosomal ambiguity in this leguminous herb. As the number of leaves
is incremented, luck increases exponentially. For related but inferior species,
that increase is merely arithmetic. Even numbers greater than three
govern cards, odd numbers, love. The nectar is edible, but disappointingly
weak considering the exercise required to extract it.

108
II. JELLY (Physalia physalis)

This remnant of a specimen was purchased by the author in February 1982 from
J & S Oriental Grocery on Erie Boulevard in Syracuse, New York. The stinging
coelenterate, not a true jellysh, is perfectly congruent with the virulent Portuguese
Man OWar of the Atlantic and is shed for food in the Sea of Japan. Only the
otation bladder is available at market, since the jellyshermen reserve for their
own households the nest portion, the mouth parts, which they call the head.
Once desalinated and rehydrated, the bladder is sliced into strips and eaten raw,
alone, or perhaps with cold chicken, juliennes of cucumber, and a light pure
of sesame. In appearance and rst texture, this food resembles classic india rubber
bands, but it retrieves for the palate something of the childish adventure of
jumping on beached bell jellies after a hard sea storm: ever so momentarily, they
resist, and then, suddenly, pressed, liquefy and vanish, leaving behind an
everlasting sensation.

109
III. CUTTLEFISH (Rossia mastigophora)

This specimen, one of a pair costing $1.39, was purchased by the author at King
Chong Company, Bayard Street, Manhattan, in November 1981. Its chalky or
calcrous braincap, called ossa sepia, has been excised for sale to the canary trade,
as well as the little sac in which it carried with it a calamitous portable tint of
night. The esh of the genus is more savory, more pensive, less yielding to the
teeth than that of other cephalopods, who invite being eaten carelessly,
with quick, ashing bites.

110
IV. CHIMRA (Callorhynchus capensis)

This specimen was purchased by the author at a marine curio shop on Fishermans
Wharf, San Francisco, in April 1980, for ve dollars. Its stated provenance
was Hong Kong, and we may conjecture that the genus appears as an adulterant
among edible catches dragnetted in easterly efuents from the Indian Ocean.
The present apparition is an articial fetish, made by incising the sh along its
dorsal edge. It is then opened like a pamphlet, drawn, dried, varnished, and
the result prepared for hanging as a wall decoration by twisting a noose of thin
copper wire about what passes for a neck. That wire has been removed: its presence
implied a false narrative, since sh are never garroted or executed by hanging.

111
V. LOTUS (Nelumbo nucifera)

These specimens were purchased by the author in June 1980 from J & S Oriental
Grocery on Erie Boulevard in Syracuse, New York, as part of a packet of fourteen
costing seventy-nine cents. The species is prized only for the edibility of the
immature tuber represented here; unlike the sort from Gondwanaland, it never
harbors jewels. The ancient euphoric psychotropic of the Nile valley derived from
the fruit of a tree, Zizyphus lotus, of the buckthorn family.

112
VI. MIDSHIPMAN (Porichthys notatus)

This specimen, one of a pair costing $1.49, was purchased by the author at Williams
Market in Mattydale, New York, in October 1979. Its tail is bowdlerized, having
been surreptitiously gnawed some months later by Maxwell, a cat. The species, a
notorious whistler and a schooler of subtropical shallows, is customarily seined,
by hand or from rowboats, in Thai waters, where it is often chopped or shredded and
pickled in a sour, peppery escabeche. From anatomical evidence, it is clear that
this sh subsists on a diet of smaller sh and possesses only moderate vertical
mobility. It was mislabeled, though, as pollack (Pollachius virens), a commercially
important codlike sh of the North Atlantic, shaped less like a cudgel, which
appears at table even more seldom than hake.

113
VII. OYSTER SHELL (Pleurotus ostreatus)

These specimens were gathered, among a vast recurrent troop, by the author, in the company of Gerald Church,
Postmaster in the village of Eaton, New York, on a raw morning at the beginning of November 1981. Fresh or
dried and reconstituted, the abundant meat of this fungus is of unusual tensility. At least three races may be
distinguished by the tone of the slightly viscid cap, which may vary from opalescent white through pale gray
to a strong yellowish beige. Invariably, the gills of mature bodies are foraged by a small beetle whose presence
is positively diagnostic of a choice species well distributed throughout the North temperate zone. It is one of two
fully domesticated edible fungi, the other being a strain of Agaricus campestris propagated on beds of clay and
composted horse dung in the abandoned anthracite mines of Pennsylvania. In Japan, this Pleurotus is domesticated
on rotting elm logs. The author has obtained it wild, as well, from senescent maples and from standing beech (Fagus
americana) in seeming health; but the establishment of its mycelium is always a sign of pathology in the host.

114
VIII. COMMON GARTER (Thamnophis sirtalis) and EASTERN COACHWHIP
(Masticophis flagellum)

Vacated winter skins, found in the summer of 1980, in a vegetable garden in

the Town of Eaton, New York, are proposed as standards for a new system of
measurement. These benign reptiles, insectivore and constrictor respectively,
are alleged to hear through their tongues. They are enjoyed by diurnal
predatory birds and universally deprecated by fools.

115
IX. GARDEN TOAD (Bufo americanus)

This specimen was donated by Mary Emmaline Bryant, then of Poolville, New York,
in August 1979. The author suspects that her gift was prompted by the creatures
imaginary tactile symmetry with certain grotesque or exotic fungi, of indeterminate
identity, which he had gathered on that pleasant day, whereafter he stopped in
Poolville to show them to her family and drink a bottle of beer. Constantin Brancusi
maintained that toads are more handsome than Michelangelos statues, but he
referred to the modest French park toad. The drug bufagin, a cardiac stimulant and
vasodilator, brewed from Chinese toads during the Chou and Former Han, and
rediscovered in the West in the early 1950s, has never been synthesized and may
have fallen into medical desuetude or disrepute. Its scarcity in puried form is
pendant to the deserved unpopularity of toad catching as an adult vocation: toads
defend themselves in a perennially surprising way.

116
X. PEPPER (Capsicum longum)

These specimens, dried at various ages, were grown by Marion Faller in her
vegetable garden in the Town of Eaton, New York, during the summer of 1981.
This preservative method steals something of the peppers piquancy, but it
enhances their essence and imparts to them a lucency of unexcelled saturation.
Because it is a triumph to raise jalapeos on the Allegheny Plateau, where
the growing season is barely a hundred days long, we determined to celebrate
the rst big harvest with a feast. For an afternoon, I parched and ayed,
she stuffed with three farces, we sauced and baked. Ah!

117
XI. GRASS FROG (Rana pipiens)

This specimen was discovered by Will Faller, Jr., in May 1981, on the shoulder
of a macadam road in Randallsville, Town of Lebanon, New York. The timid soprano
amphibian becomes highly vocal under collective sexual arousal, improvising
stochastic nocturnal choruses of considerable elegance. It is nominally edible
but meager.

118
XII. MOURNING DOVE (Zenaidura macroura)

This immature specimen was found by Bill Brand during the demolition of a wall
in the Town of Eaton, New York, in July 1975. The genus is never iridescent, but
it is soothing in appearance as in voice and graceful in its habits. The squabs are
reputedly delicious but are rarely to be gathered in quantity.

119
XIII. BROWN RAT (Rattus rattus)

This young adult specimen, enhanced by two spray applications of a cellulose

acetate xative, was discovered by Adam Mierzwa in May 1973 in the course
of partially dismantling a house in the Town of Eaton, New York. The cause of its
virtually total depilation is unknown. A rural pest, graminivorous by preference,
the species constitutes the permanent North American reservoir of bubonic plague,
and must not be confused with Rattus norvegicus, its urban counterpart. Inedible
by custom, the genus Rattus is prized as a delicacy in Easter Island, whither it
was brought by European explorers. The author wishes that its site of delectation
might have been displaced to Yap, in proximity to superior megaliths.

120
XIV. ROSE (Rosa damascena)

This specimen was taken by the author as a keepsake from a funeral wreath at
Millersburg, Ohio, on March 5, 1980. The mature fruit, a hip, anatomically
cognate with apples and pears but unusual among most cultivars of this species,
is edible and contains appreciable quantities of ascorbic acid. Formerly, petals
were smoked by the Queen of Siam and offered for that use to guests during
royal audiences; when strewn in the paths of the brilliant, or of heads of state,
they are a sign of acclaim.

121
Untitled from A Visitation of Insomnia, 19701973
Black-and-white photograph. Collection Walker Art Center,
Minneapolis. Estate of Hollis Frampton
Courtesy Walker Art Center
 gjmn

125 A Lecture
131 For a Metahistory of Film:
Commonplace Notes and Hypotheses
140 A Pentagram for Conjuring the Narrative
149 Notes on Composing in Film
157 Letter to Stan Brakhage
159 Letter to Donald Richie
163 Letter to the Editor, Artforum
166 Film in the House of the Word
171 The Invention without a Future
183 Interview at the Video Data Bank
190 Notes on Filmmakers
192 Zorns Lemma: Script and Notations
203 (nostalgia): Voice-Over Narration for
a Film of That Name
224 Notes on (nostalgia)
225 Envoi
226 Statement of Plans for Magellan
230 Phrases.Mag
232 Talking about Magellan: An Interview
253 Text of Intertitles for Gloria!
255 Mental Notes
A Lecture

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125
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128
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129
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Qmfbtf!uvso!po!uif!mjhiut/

Ofx!Zpsl!Djuz-!2:79

Text of lecture, Hunter College, October 30, 1968. Published in Avant-Garde Film: A Reader of Theory and
Criticism, ed. P. Adams Sitney (New York: New York University Press, 1978), pp. 275280. Reprinted in
Circles of Confusion (Rochester, N.Y.: Visual Studies Workshop Press, 1983), pp. 193199.
For this lecture / performance, Frampton prerecorded his text on audiotape, using the voice of lm-
maker Michael Snow. A 16mm projector set to silent speed, a red gel and a pipe cleaner, the audio playback
equipment, and a large screen were installed in the room. Frampton started the tape recorder and retired
to the back of the hall to operate the projector. The version of the text used here follows minor revisions that
appeared in its 1983 publication in Circles of Confusion. (B.J.)

130
For a Metahistory of Film: Commonplace Notes and Hypotheses

The cinematograph is an invention without a future.

Louis Lumire

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131
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[ ]

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[ ]

137
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[ ]

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[ ]

138
Gjmn!ibt!obmmz!buusbdufe!jut!pxo!Nvtf/!Ifs!obnf!jt!Jotpnojb/

I/G/!
Fbupo-!Ofx!Zpsl!
Kvof!2:82

Notes
1.!Uif!rvpubujpo!jt!b!sfgfsfodf!up!Kpshf!Mvjt!Cpshftt!2:4:!tipsu!tupsz!Qjfssf!
Nfobse-!Bvuips!pg!Epo!Rvjypuf-!jo!xijdi!Cpshft!eftdsjcft!uif!)dujpobm*!!
dibsbdufs!Nfobset!buufnqut!up!fydffe!uif!bdu!pg!nfsf!usbotmbujpo!cz!qspevdjoh!b!
ufyu!uibu!xpvme!dpjodjefxpse!gps!xpse!boe!mjof!gps!mjofxjui!uiptf!pg!Njhvfm!
ef!Dfswbouft/!Bddpsejoh!up!Cpshft-!Uif!ufyu!pg!Dfswbouft!boe!uibu!pg!Nfobse!
bsf!wfscbmmz!jefoujdbm-!cvu!uif!tfdpoe!jt!bmnptu!joojufmz!sjdifs/!Tff!Gjddjpoft-!fe/!
Bouipoz!Lfssjhbo!)Ofx!Zpsl;!Hspwf!Qsftt-!2:73*-!q/!63/!)C/K/*
2.!Upoz!Dposbet!Uif!Gmjdlfs!)2:77*-!Qfufs!Lvcfmlbt!Votfsf!Bgsjlbsfjtf!)2:722:77*-!
Lfo!Kbdpctt!Upn-!Upn-!uif!Qjqfst!Tpo!)2:7:*-!boe!Njdibfm!Topxt!Mb!Shjpo!Dfousbmf!
)2:82*!xfsf!mnt!nbef!cz!Gsbnqupot!dpoufnqpsbsjft!uibu!fyqmpsfe!uif!nbufsjbmjuz!
pg!uif!nfejvn/!)C/K/*
3. Uijt!jt!bo!fbsmz!sfgfsfodf!up!Gsbnqupot!nbttjwf!mn!dzdmf!Nbhfmmbo-!xijdi!if!
cfhbo!jo!2:83-!uif!zfbs!bgufs!if!xspuf!uijt!fttbz/!Nbhfmmbo!sfnbjofe!voojtife!bu!
uif!ujnf!pg!ijt!efbui!jo!2:95/!)C/K/*

Artforum 10, no. 1 (September 1971): 3235. Reprinted in Circles of Confusion (Rochester, N.Y.: Visual Studies
Workshop Press, 1983), pp. 107116.

139
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pggfs!uif!qjpvt;

A Pentagram for Conjuring the Narrative

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bgufs-!tif!ejft-!rvjfumz-!jo!ifs!tmffq/

140
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bopuifs/!Fwfszpof!xip!wfouvsfe!tpvui!pg!uif!Xbmm!cfdbnf-!jo!ujnf-!Dijoftf/
Nbsdfm!Evdibnq!jt!tqfbljoh;!Hjwfo;!2/!uif!xbufsgbmm<!3/!uif!jmmvnjobujoh!
hbt/!)Xip!mjtufot!boe!voefstuboet@*2
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tubcmf!qbuufsot!pg!fofshz!efufsnjojoh!uif!cpvoebsjft!pg!b!dibsbdufsjtujd!tfotjcmf!
tibqf!jo!tqbdf!boe!ujnf/!Uif!xbufsgbmm!jt!qsftfou!up!dpotdjpvtoftt!pomz!tp!

142
 mpoh!bt!xbufs!pxt!uispvhi!ju-!boe!uif!bnf-!pomz!tp!mpoh!bt!uif!hbt!dpoujovft!
up!cvso/!Uif!xbufs!nbz!cf!gsfti!ps!tbmu-!gvmm!pg!ti-!dpmpsfe!xjui!cmppe<!uif!hbt-!
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dpoejujpo;!obssbujwf/
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efwpmwft!vqpo!b!nfubqips!esbxo!gspn!nvtjd/!Cvu!J!gfbs!ibwjoh!nz!uispbu!dvu!cz!
Pddbnt! sb{ps-! tp! Jmm! tujdl! up! b! hvsf! pg! nz! pxo-! tubujoh-! bt! dpnqbdumz! bt!
qpttjcmf;

143
 BRAKHAGES THEOREM: For any nite series of shots [lm] whatsoever there exists in
real time a rational narrative, such that every term in the series, together with its position,
duration, partition, and reference, shall be perfectly and entirely accounted for.

(An example: consider for a moment the equation

p = 30

which may be expanded to yield

p p p p
p= + + + +6
3 5 6 10

Here is a rational narrative that accounts for the expansion: A necklace was broken
during an amorous struggle. One-third of the pearls fell to the ground, one-fth stayed on
the couch, one-sixth was found by the girl, and one-tenth recovered by her lover: six pearls
remained on the string. Say of how many pearls the necklace was composed. Such was the
algebra of the ancient Hindus.)

Bo!bmhpsjuin!efsjwfe!gspn!Csblibhft!Uifpsfn!ibt!bmsfbez!cffo!uftufe!
po!b!ovncfs!pg!ejgdvmu!dbtft-!jodmvejoh!Lvcfmlbt!Bsovmg!Sbjofs-!Dposbet!Uif!
Gmjdlfs-!boe!uif!mnt!pg!Kpsebo!Cfmtpo/!Bmm!ibwf!sftqpoefe/!Bu!uijt!xsjujoh-!
obssbujwf!bqqfbst!up!cf!byjpnbujdbmmz!jofwjubcmf/
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dvtupn!tpnfuijoh!mjlf!hsbwjubujpobm!nbtt/!/!/!/
Ju!jt!qsfdjtfmz!vojwfstbm!hsbwjubujpo!uibu!nblft!uif!tljmmt!pg!uif!bdspcbu!ps!
bfsjbmjtu!cpui!qpttjcmf!boe!nfbojohgvm/!Uif!mfwjubujpo!pg!pvs!esfbnt!dposnt!
uif!hsbwjuz!pg!pvs!xblfgvmoftt/

IV!
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benju*!xf!tibsf!bu!mfbtu!pof!ivnjmjbujoh!usbju;!xf!bsf!bmm!xbjujoh!up!ejf/!Nbmpof!
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J!jt!uif!Fohmjti!gbnjmjbs!obnf!cz!xijdi!bo!votqfblbcmz!jousjdbuf!ofuxpsl!
pg!dpmmpjebm!djsdvjutps-!bt!tpnf!sfbtpo-!uif!hbssvmpvt!ufnqpsbsz!joibcjubou!pg!
uibu!ofyvtbeesfttft!jutfmg<!pddbtjpobmmz-!fujrvfuuf!qfsnjuujoh-!ju!fwfo!dbmmt!

144
jutfmg!uibu!jo!qvcmjd/!Ju!mjft-!dpngpsubcmf!cvu!jnnpcjmf-!jo!b!ifnjfmmjqtpjebm!
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ofdfttjujft!pg!uif!tqjsju/!Xifsfbt!sfdfjwfe!pqjojpo!tffnt!bmxbzt!up!sfqsftfou!
uif!tupszufmmfs!bt!jotjovbujoh!ijt!wjfxt!joup!uif!njoe!pg!bopuifs!qbsuz-!qsfgfs.
bcmz!gps!dpnnfsdjbm!qvsqptft/

145
V
One cannot escape the feeling that these mathematical formulae have an independent
existence and an intelligence of their own, that they are wiser than we are, wiser even than
their discoverers, that we get more out of them than was originally put into them.
Heinrich Hertz

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Gertrude Stein: x =x

c b
Rudyard Kipling: x =
a
2c ( c b)
Ambrose Bierce: x = 3
a2
2c (c 2 2bc + 2b2 )
Henry James: x =
c 3 3bc 2 + 3b2 c b3

Boz!tdippmcpz!bmhfcsbjtu!xjmm!sfbejmz!tff!uibu!bmm!gpvs!bsf!cvu!wbsjbujpot!vqpo!
uif!tbnf!ibdlofzfe!qmpu;

ax + b = c

xijdi!nbz!bmtp!cf!tpmwfe!gps!uif!wjfxqpjou!pg!boz!pg!jut!puifs!nbjo!dibsbdufst-!
uivt;

cb
a= !ps-!b = c ax!ps-!c = ax + b
x

146
ps!gps!uibu!pg!uif!Tvqsfnf!Vojuz;

 c b
1
 x
 a 

Nbojqvmbujpo!xjmm!fwfo!zjfme!vt!uif!vocjbtfe!tqfdubups;

cb
0=
ax

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y! !y!!1

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ifs!pxo!jejpn/*
Uif!bmhfcsbjd!frvbujpo

ax + b = c

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fwfsz!gbdfu!sfqsftfout!b!tupsz/

147
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)C/K/*

Form and Structure in Recent Film, ed. Dennis Wheeler (Vancouver: Vancouver Art Gallery, 1972),
unpaginated. Reprinted in Circles of Confusion (Rochester, N.Y.: Visual Studies Workshop Press, 1983),
pp. 5968.

148
Notes on Composing in Film

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152
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[ ]

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154
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155
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[ ]

And I will tell, by the same token, for those kind enough to listen,
according to a system whose inventor I forget, of all those moments when,
neither drugged, nor drunk, nor in ecstasy, one feels nothing.
Samuel Beckett, First Love1

Note
1.!Uif!psjhjobm!2:87!qvcmjdbujpo!pg!uijt!ufyu-!jo!Pdupcfs-!vtfe!bo!bmufsobujwf!rvpuf!
buusjcvufe!up!Cfdlfuut!Gjstu!Mpwf;

It had something to do with lemon trees, or orange trees, I forget, that is all I remember, and for
me that is no mean feat, to remember it had something to do with lemon trees, or orange trees,
I forget, for of all the other songs I have ever heard in my life, and I have heard plenty, it being
apparently impossible, physically impossible, short of being deaf, to get through this world,
even my way, without hearing singing, I have retained nothing, not a word, not a note, or so few
words, so few notes, that, that what, that nothing, this sentence has gone on long enough.

Text delivered at the Conference on Research and Composition, State University of New York at Buffalo,
October 1975. Published in October 1 (Spring 1976): 104110. Reprinted in Circles of Confusion (Rochester,
N.Y.: Visual Studies Workshop Press, 1983), pp. 117125.

156
 Letter to Stan Brakhage

Eaton, New York

January 26, 1972

Dear Stan,

Had I but world enough and time, I should right now be excogitating a rigorous critical essay under
the title The Act of Seeing The Act of Seeing with Ones Own Eyes with Ones Own Eyes.1 But time
enough would extend analysis beyond the bounds of this particular work, into lms very much
earlier (I see surfacing concerns implicit at least as far back as Wedlock House: An Intercourse,
for instance, or Nightcats) and also forward into work that you are doing (already, in my greedy
imagination) years from now.
And then world enough must take me sprawling past the edges of the most strenuously
nite belles lettres into . . . what? Well, naturally, Ive gotta use words when I talk to you; but I think
the answer to that question is: into lm. Let me, if I am able, explain how I feel that.
A friend said to me once that the great natural poem about anything was its name. The lyricism
of that statement is not altogether insipid: for any process within the passionate weather of the
beholding intellect is surely as much a thing as is a boot or a pie. From that vantage, if I may be
pardoned a jump-cut, Finnegans Wake is also a name . . . for something which has no other name.
A difculty seems to arise (Could any poet agree with me?) from within language itself. Like
a soap bubble, it is most iridescent and tense at its bursting point, that is, at the extreme limit
of its elastic acceptance of the inspiration that formed it in the rst place. But the bubble of lan-
guage bursts in extreme slow motion. I recall a puzzlement from 2400 years ago: Aristotle, turned
henhouse robber, attempts to deal precisely, in words, with the embryology of the chicken.
That was something poor old Arry saw with his own eyes, and the result of his effort to
describe it (presumably he wasnt trying for art) amounts to a major cultural disaster. He needed,
at the least, a draughtsmans skill. And isnt it curious that the Greeks, who took such pride in
illusions, in encaustic fruit that could charm birds from the trees, couldnt spare one calorie to
document! Their plastic art was aimed, like voodoo dolls, at manipulating the universe; the
tasks of investigation and discovery were left to mere prose.
Long dissolve to: Andreas Vesalius.
After centuries of perfervid disputation, a single man dissected the corpses of dead paupers
and hanged murderers. We still live with his drawings offspring. Vesalius saw with his own eyes,
and most assuredly they were scarcely ours: for instance, his drawing of a womb looks so like a
penis that the resemblance has drawn comment ever since.

157
 Vesalius drawings surpass Aristotles abstract prose in their capacity to include, tersely.
(When it comes to containment, to comprehension, in that words ancient sense, all our arts bubbles
tremble with the colors of innity.) But something still is not in these drawings: I mean the utter
particularity that draws our sensibilities to photographic images.
The fair Greek probably believed entirely that he found All Chickens inside his every egg, just
as he saw all triangles in each. And the man of the Renaissance was a scientist, which is to say that
he was given to deriving curves from as few points as possible, whereas the curves (and axes as
well) of art must coalesce as luminous knots in a web that is all the discoverable qualities of all the
things of the world. (The web weaves ourselves into itself.)
A second long dissolve, then, to Stan Brakhage, entering, with his camera, one of the forbidden,
terric locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished,
for it exists to afrm that no one of us may die without our knowing exactly why. All of us, in the
person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling
particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires
the names and faces of others.
This last is a process that requires a witness; and what idea may nally have inserted itself into
the sensible world we can still scarcely guess, for the camera would seem the perfect Eidetic Witness,
staring with perfect compassion where we can scarcely bear to glance.
What was to be done in that room, Stan? and then, later, with the footage? I think it must have
been mostly to stand aside; to clear out, as much as possible, with the baggage of your own
expectations, even, as to what a work of art must look like; and to see, with your own eyes, what
coherence might arise within a universe for which you could decree only the boundaries.
Well now. Earlier on I said that The Act of Seeing with Ones Own Eyes leads directly back
into lm. Now the reason seems quite simple: this lm is the rst completely clear enunciation
(to my hearing) of the family name of a process within thought that may have other given
names. But they are not to be sought in (even) the most illuminated palaver. Decades ago, Ezra
Pound wrote that the most intense criticism is in new composition.
I think this new work merits intense criticism; and that is what we shall all of us, willy-nilly,
have to undertake.

Benedictions,
[signed Hollis Frampton]
H.F.

Note
1.!Csblibhft!mn!Uif!Bdu!pg!Tffjoh!xjui!Poft!Pxo!Fzft!)2:82*-!tipu!jo!b!npshvf!jo!
Qjuutcvshi-!efqjdut!uif!qspdftt!pg!bvupqtz!jo!tubsl!efubjm/

Typewritten letter. Reproduced in Millennium Film Journal, nos. 16 / 17 / 18 (FallWinter 19861987): 212213.

158
 Letter to Donald Richie

Eaton, New York

January 7, 1973

Mr. Donald Richie

Curator of Film
The Museum of Modern Art
11 West 53 Street
New York, New York 10019

Dear Donald:

I have your letter of December 13, 1972, in which you offer me the honor of a complete retrospective
during this coming March. Let me stipulate at the outset that I am agreed in principle, and more:
that I appreciate very deeply being included in the company you mention. I am touched to notice
that the dates you propose fall squarely across my thirty-seventh birthday. And I am attered by
your proposal to write notes.
But, having said this much, I must go on to point out some difculties to you.
To begin with, let me put it to you squarely that anyone, institution or individual, is free at
any time to arrange a complete retrospective of my work; and that is not something that requires
my consent, or even my prior knowledge. You must know, as well as I do, that all my work is distrib-
uted through the Film-Makers Cooperative, and that it is available for rental by any party willing to
assume, in good faith, ordinary responsibility for the prints, together with the price of hiring them.
So that something other than a wish to show my work must be at issue in your writing to me.
And you open your second paragraph with a concise guide to what that something is when you say:
It is all for love and honor and no money is included at all. . . .
All right. Lets start with love, where we all started. I have devoted, at the nominal least, a
decade of the only life I may reasonably expect to have, to making lms. I have given to this work
the best energy of my consciousness. In order to continue in it, I have accepted . . . as most artists
accept (and with the same gladness) . . . a standard of living that most other American working
people hold in automatic contempt: that is, I have committed my entire worldly resources, whatever
they may amount to, to my art.
Of course, those resources are not unlimited. But the irreducible point is that I have made the
work, have commissioned it of myself, under no obligation of any sort to please anyone, adhering
to my own best understanding of the classic canons of my art. Does that not demonstrate love? And
if it does not, then how much more am I obliged to do? And who (among the living) is to exact that
of me?

159
 Now, about honor: I have said that I am mindful, and appreciative, of the honor to myself. But
what about the honor of my art? I venture to suggest that a time may come when the whole history
of art will become no more than a footnote to the history of lm . . . or of whatever evolves from lm.
Already, in less than a century, lm has produced great monuments of passionate intelligence. If we
say that we honor such a nascent tradition, then we afrm our wish that it continue.
But it cannot continue on love and honor alone. And this brings me to your: . . . no money is
included at all. . . .
Ill put it to you as a problem in fairness. I have made, let us say, so and so many lms. That
means that so and so many thousands of feet of raw stock have been expended, for which I paid
the manufacturer. The processing lab was paid, by me, to develop the stuff, after it was exposed in
a camera for which I paid. The lens grinders got paid. Then I edited the footage, on rewinds and a
splicer for which I paid, incorporating leader and glue for which I also paid. The printing lab and the
track lab were paid for their materials and services. You yourself, however meagerly, are being paid
for trying to persuade me to show my work, to a paying public, for love and honor. If it comes off,
the projectionist will get paid. The guard at the door will be paid. Somebody or other paid for the
paper on which your letter to me was written, and for the postage to forward it.
That means that I, in my singular person, by making this work, have already generated wealth
for scores of people. Multiply that by as many other working artists as you can think of. Ask yourself
whether my lab, for instance, would print my work for love and honor; if I asked them, and they
took my question seriously, I should expect to have it explained to me, ever so gently, that human
beings expect compensation for their work. The reason is simply that it enables them to continue
doing what they do.
But it seems that, while all these others are to be paid for their part in a show that could not
have taken place without me, nonetheless, I, the artist, am not to be paid.
And in fact it seems that there is no way to pay an artist for his work as an artist. I have
taught, lectured, written, worked as a technician . . . and for all those collateral activities, I have
been paid, have been compensated for my work. But as an artist I have been paid only on the rarest
of occasions.
I will offer you further information in the matter:
Item: that we lmmakers are a little in touch with one another, or that there is a grapevine,
at least, such as did not obtain two and three decades ago, when the Museum of Modern Art (a dif-
ferent crew then, of course) divided lmmakers against themselves, and got not only screenings
but rights of one kind and another, for nothing, from the generation of Maya Deren.
Well, Maya Deren, for one, died young, in circumstances of genuine need. I leave it to your
surmise whether her life might have been prolonged by a few bucks. A little money certainly would
have helped her work: I still recall with sadness the little posters begging for money to help her

160
nish The Very Eye of Night that were stuck around when I was rst in New York. If I can help it, that
wont happen to me, nor to any other artist I know.
And I know that Stan Brakhage (his correspondence with Willard Van Dyke is public record) and
Shirley Clarke did not go uncompensated for the use of their work by the Museum. I dont know about
Bruce Baillie, but I doubt, at the mildest, that he is wealthy enough to have traveled from the West
Coast under his own steam, for any amount of love and honor (and nothing else). And, of course, if
any of these three received any money at all (it is money that enables us to go on working, I repeat)
then they received an innite amount more than you are offering me. That puts us beyond the pale,
even, of qualitative argument. It is simply an unimaginable cut in pay.
Item: that I do not live in New York City. Nor is it, strictly speaking, convenient for me to be
there during the period you name. Ill be teaching in Buffalo every Thursday and Friday this coming
spring semester, so that I could hope to be at the Museum for a Saturday program. Are you suggest-
ing that I drive down? The distance is well over four hundred miles, and March weather upstate is
uncertain. Shall I y, at my own expense, to face an audience that I know, from personal experience,
to be, at best, largely unengaging and, at worst, grossly provincial and rude?
Item: it is my understanding that lmmakers invited to appear on your Cineprobe programs
currently receive an honorarium. How is it, then, that I am not accorded the same courtesy?
Very well. Having been prolix, I will now attempt succinctness. I offer you the following points
for discussion:
1. It is my understanding, of old, that the Museum of Modern Art does not, as a matter of policy,
pay rentals for lms. I am richly aware that, if the museum paid us independent lm artists, then it
would be obliged also to pay rentals to the Hollywood studios. Since we all live in a free-enterprise
system, the Museum thus saves artists from the ethical error of engaging in unfair economic com-
petition with the likes of Metro-Goldwyn-Mayer. (I invite anyone to examine, humanely, the logic
of such a notion.) Nevertheless, I offer you the opportunity to pay me, at the rate of one-half my
listed catalog rentals, for the several screenings you will probably subject my prints to. You can call
the money anything you like: a grant, a charitable gift, a bribe, or dividends on my common stock in
Western Civilization . . . and I will humbly accept it. The precise amount in question is $266.88, plus
$54. in cleaning charges, which I will owe the Film-Makers Cooperative for their services when my
prints are returned.
2. If I am to appear during the period you propose, then I must have round-trip airfare, and
ground transportation expenses, between Buffalo and Manhattan. I will undertake to cover whatever
other expenses there may be. I think that amounts to about $90., subject to verication.
3. If I appear to discuss my work, I must have the same honorarium you would offer anyone
doing a Cineprobe. Correct me if Im wrong, but I think that comes to $150..

161
 4. Finally, I must request your earliest possible reply. I have only a limited number of prints
available, some of which may already be committed for rental screenings during the period you
specify. Since I am committed in principle to this retrospective, delay might mean my having
to purchase new prints specically for the occasion; and I am determined to minimize, if possible,
drains on funds that I need for making new work.
Please note carefully, Donald, that what I have written above is a list of requests. I do not speak
of demands, which may only be made of those who are forced to negotiate. But you must under-
stand also that these requests are not open to bargaining: to bargain is to be humiliated. To bargain
in this, of all matters, is to accept humiliation on behalf of others whose needs and uncertainties
are greater even than mine.
You, of course, are not forced to negotiate. You are free. And since I am too, this question of
payment is open to discussion in matters of procedure, if not of substance.
I hope we can come to some agreement, and soon. I hope so out of love for my embattled art,
and because I honor all those who pursue it. But if we cannot, then I must say, regretfully, however
much I want it to take place, that there can be no retrospective showing of my work at the Museum
of Modern Art.

Benedictions,

Hollis Frampton

Unpublished typewritten letter, 1973.

The retrospective of Framptons lms took place as proposed on March 812, 1973, with program notes
written by Donald Richie. This was not Framptons rst critique of institutional practices at the Museum of
Modern Art. He attended meetings of the Art Workers Coalition beginning in 1969 and was a signatory to an
early statement on museum policies. See Andrea Fraser, Museum Highlights (Cambridge, Mass.: MIT Press,
2005), pp. 5876. (B.J.)

162
Letter to the Editor, Artforum

To the Editor:

One of your reviewers seems to be proceeding under the familiar (and barbaric) assumption that the
text of lm art is coterminous with his experience of it. I refer to Alan Moore, who writes (January
1975, p. 68), in the midst of some remarks about Frank Gillettes recent video show at The Kitchen:

The disjunction of audio and visual, I would guess, derives from Jean-Luc Godards
Brechtian non-coincidence of action and mood music in lms like Weekend (1967).
It has been continued in the work of many lmmakers as just such an indication of the
act of artice, or, as in Hollis Framptons Nostalgia (1971), to discourse on the nature
of memory in time.

Guess again! Mr. Moore is correct in his surmise that I do not hold a patent on disjunction,
whatever role it has played throughout my work; indeed, that very disjunction that Moore notices
rst in Godards lms of the late 1960s has always struck me as a fundamental strategy of modernism.
If Godard invented audio-visual disjunction, that fact belongs in the same chapter of our universal
almanac with the conquistadores discovery of gold in the Americas . . . long after the Incas had
dug it out of the ground. But Godard need not have gone to America for his discovery, nor, even, so
far aeld as the epic drama of Brecht. A suggestion, even an injunction concerning disjunction, was
already there to be mined from the primordial tradition of his own art.
THE FIRST EXPERIMENTAL WORK WITH SOUND MUST BE DIRECTED ALONG THE LINE OF ITS DISTINCT
NON-SYNCHRONIZATION WITH THE VISUAL IMAGES. I quote, of course, from privileged discourse:
a single sentence from a statement written by Sergei Eisenstein, co-signed by two such strange
bedfellows as Alexandrov and Pudovkin, and published in Zhizn Iskusstva on August 5, 1928 . . .
nearly forty years before the making of Weekend. Eisenstein extends into the domain of the sound
lm his axiomatic view of human thought as dialectical; the montage-structures that were to instan-
tiate the process of thought must necessarily be congruent with the dialectic.
Need I remark that Godard, a Marxist of a later rhetorical cast, everywhere gives evidence of
a thorough knowledge of the lm tradition, and of its history of written polemic? I encountered
Eisensteins writings on sound in about 1950; I rst saw Alexander Nevsky in the same year, and the
collision of text and lm produced in me a malaise that was long in departing. Godard, a few years
older than myself and coming to young adulthood and his rst work in a milieu that was intellec-
tually active, politically just utterly different, would have been able to learn more efciently from
the Soviet master. Derive is not an informative verb . . . but I would gladly assent to a suggestion

163
 that whatever I myself have thought about sound can be charted against axes rst laid out in 1928.
To this day, no lmmaker known to me (Eisenstein included) has given full and systematic atten-
tion to the questions raised at that time (unless I am to be confounded by Kirsanovs Rapt, which I
have not seen).
Eisensteins primary concern was that language (and especially staged drama, a linguistic
mode that had strongly contributed to his own formation) was about to engulf the new art. Now
spoken language might be said to lie at one end of an auditory spectrum, at the other end of which
we nd music . . . and the typical silent lm was not silent at all, as are, for instance, the lms of Stan
Brakhage. Musical accompaniment was ubiquitous, and it was tacitly accepted for the most part;
on exceptional occasions, specially composed scores replaced the piano-players improvisations.
And music in the sound lm, except in the special case where its acoustical origins are visible on the
screen, must by denition be disjunct from the visual image since all sound is so disjunct when
it originates in off-screen space and is not narratively explained (i.e., causally related to) what is
simultaneously seen. Elaborate sound stages, perfectly degraded acoustical universes, are built in
order to keep such disjunctions at bay. So it would seem, at rst thought, that to apply the epithet
disjunct to non-coincidence of action and mood music is to speak in tautologies.
The phrase mood music brackets a musical typology so low on the entropic scale as to lie
beyond even the fearless artistic metabolism of a Charles Ives. In the entertainment lm industry
it has two main functions. First, it is an inhibitor of random communication, masking the shufing,
crackling, and coughing of a crowd of spectators . . . and thus effectively isolating the individual
viewer in the presence of the projected image. The second, and more important, function of such
music is the crude sequestering of a single meaning out of the welter of signicances, semantic
and affective valences, by which images may combine and come to articulation among themselves.
(Consider an example from a standard Western. In shot #1, the wary settlers have formed their
Conestoga wagons into a redoubt. Splice. In shot #2, we are given a bald, scrubby hill that might be
in Wyoming, Spain, Korea. In silence, the imagination bathes in the energies radiating from this
collision. But no: there is sound. Galloping hooves and bugles signal the cavalry. Alternate scenario:
the heathen tom-toms of the dreaded . . . )
The musical stereotype, as surely as the spoken word, adheres limpetlike to its coeval image.
We need not look far in this engineered adhesion for a fundamental principle of alienation, which
addresses us at once in the terms of a gross contempt for our capacity to participate in that artic-
ulation of consciousness which is a work of art . . . and again, in the terms of a vulgar irreverence
toward that intricacy which is the most noticeable trait of everything, and of which film art
deeply partakes.
In annihilating the customary (for how long?) bond between banal music and banal image,
Godard calls both into question. Eisenstein would agree, I think, that this factoring of the condition
of alienation, secreted at the very center of a popular art, is not only a formal insight, and it is not

164
also a formal insight, but rather that the two are the same thing. Is this what Godard meant when
he spoke of making a lm that was a political act? If it is, I believe your reviewer has, paradoxically,
detected a moment when he did so.

Hollis Frampton
Eaton, New York

Letter dated January 21, 1975, published in Artforum 13, no. 7 (March 1975): 9.

165
Film in the House of the Word

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uif!bsut/

167
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168
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uibo! mbohvbhf-! uibu! njhiu-! foufsjoh! joup! ejsfdu! dpnqfujujpo! xjui! mbohvbhf-!
usbotdfoe!jut!tqffe-!bctusbdujpo-!dpnqbduoftt-!efnpdsbdz-!bncjhvjuz-!qpxfs
b!qspkfdu-!npsfpwfs-!xiptf!vmujnbuf!qspnjtf!xbt!uif!dpotujuvujpo!pg!bo!fyufsobm!
dsjujrvf!pg!mbohvbhf!jutfmg/!Jg!tvdi!b!uijoh!xfsf!up!cf-!b!dpotfrvfou!dfmftujbm!
nfdibojdt!pg!uif!joufmmfdu!njhiu!qjduvsf!b!cpez!dbmmfe!Mbohvbhf-!boe!b!cpez!
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ujdbm!npujpo/
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pg!dpogspoubujpo/
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bmmz!hvbsbouffe!uif!tubhobujpo!pg!uif!tpvoe!usbdl!bt!bo!joefqfoefou!boe!dpfwbm!
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jnnfejbuf!eftjho!boe!dbuifyjt!cvu!cz!xbz!pg!bo!ijtupsjdbm!qspdftt!pg!uif!fyibvt.
ujpo!pg!jut!bmufsobujwft-!uif!efgfssfe!esfbn!pg!uif!tpvoe!mn!qsftfout!jutfmg!up!
cf!esfbnfe!bhbjo/
[ ]

B!nbo!dpoefnofe!up!efbui!cfhhfe!Bmfyboefs!up!qbsepo!ijn-!wpxjoh-!hjwfo!b!
zfbst!sfqsjfwf-!uibu!if!xpvme!ufbdi!Cvdfqibmvt!)xip!bmsfbez!tqplf!Cvmhbsjbo-!
Gbstj-!boe!Hsffl*!up!tjoh/!Xifo!ijt!gsjfoet!efsjefe!ijn!gps!b!gppm!xip!nfsfmz!
qptuqpofe!uif!jofwjubcmf-!if!sfqmjfe;!B!zfbs!jt!b!mpoh!ujnf/!Uif!ljoh!nbz!ejf<!!
J!nbz!ejf/!Ps!/!/!/!xip!lopxt"!/!/!/!nbzcf!uif!ipstf!xjmm!mfbso!up!tjoh"

Cvggbmp-!Ofx!Zpsl-!Bqsjm!2:92

169
Notes
1.!Uif!nbojgftup!po!uif!tpvoe!mn-!ujumfe!Tubufnfou-!xbt!kpjoumz!jttvfe!cz!
Fjtfotufjo!boe!uif!ejsfdupst!Wtfwpmpe!Qvepwljo!boe!Hsfhpsj!Bmfyboespw!jo!uif!
Mfojohsbe!nbhb{jof![ij{o!Jtlvttuwb!jo!2:39!boe!bqqfbsfe!jo!Fohmjti!usbotmbujpo!!
jo!uif!Ofx!Zpsl!Ifsbme!Usjcvof-!uif!Ofx!Zpsl!Ujnft-!boe!uif!Mpoepo!nbhb{jof!!
Dmptf!Vq!jo!uif!tbnf!zfbs/!Ju!xbt!Gsbnqupot!cfmjfg!uibu!uif!tubufnfou!sfqsftfoufe!
Fjtfotufjot!uijoljoh!boe!xsjujoh-!eftqjuf!uif!qsftfodf!pg!uif!puifs!tjhobupsjft/!)C/K/*
2.!Uif!qptufs-!efqjdujoh!uif!bsujtu!xjui!b!qbjs!pg!tqppot!qmbdfe!mjlf!hphhmft!pwfs!ijt!
fzft!)Qppot!0!Tqppot*-!xbt!cbtfe!po!b!qipuphsbqi!uibu!Gsbnqupo!ibe!nbef/!)C/K/*
3.!Uif!sfgfsfodf!jt!up!E{jhb!Wfsupwt!2:3:!mn-!bo!vscbo!qpsusbju!uibu!dpncjoft!
opodujpo!xjui!tvdi!kbdltusbxt!bt!tupq.!npujpo-!epvcmf!fyqptvsf-!tmpx!npujpo-!
boe!puifs!fggfdut/!)C/K/*

October 17 (Summer 1981): 6164. Reprinted in Circles of Confusion (Rochester, N.Y.: Visual Studies
Workshop Press, 1983), pp. 8185.

170
The Invention without a Future

Nz!ufoubujwf!xpsljoh!ujumf!xbt!Uif!Jowfoujpo!xjuipvu!b!Gvuvsf/!Bt!uif!ebuf!
ibt!esbxo!ofbsfs!uif!usvf!ujumf!ibt!hspxo!mpohfs!boe!opx!qspcbcmz!tipvme!cf!
B!Qbsujbm!Ejtbttfncmjoh!pg!bo!Jowfoujpo!xjuipvu!b!Gvuvsf;!!Ifmufs.!Tlfmufs!boe!
Sboepn!Opuft!jo!xijdi!uif!Qvmmfzt!boe!Dphxiffmt!Bsf!Mzjoh!bspvoe!bu!Sboepn!
Bmm!pwfs!uif!Xpslcfodi/!Ju!tffnt!ejgdvmu!up!nblf!uijt!foujuz!dpohfbm!joup!pof!
ps!b!ep{fo!fybdu!sfqsftfoubujpot!ps!fybdu!uiftft/!Uif!npsf!J!mppl!bu!ju-!jo!qbs.
ujdvmbs!uif!npsf!J!mppl!bu!uibu!ejbfsftjt!jo!uif!fouspqz!pg!uif!bsut!evsjoh!uif!mbtu!
dpvqmf!pg!dfouvsjft!uibu!xf!dbmm!uif!fbsmz!djofnb-!uif!npsf!ju!mpplt!mjlf!b!ljoe!
pg!hpptfcbhhz!npotufs/!Tp!uijt!jt!bmm!foujsfmz!b!ufoubujwf!qspkfdujpo!jo!xijdi!J!
xjmm!cfhjo!cz!sfdjujoh!bo!fqjhsbqi/!Uijt!fqjhsbqi!jt!b!rvpubujpo!uibu!dpvme-!ju!
tffnt-!ibwf!cffo!xsjuufo!bu!bmnptu!boz!npnfou!gspn!uif!cfhjoojoh!pg!uif!
Joevtusjbm!Sfwpmvujpo-!ps!bu!mfbtu!jut!wfsz!fbsmz!zfbst-!up!xjuijo-!mfut!tbz-!opu!uif!
qbtu!xffl!cvu!uif!cfhjoojoh!pg!uif!qbtu!efdbef;!

Our ne arts were developed, their types and uses were established, in times very different
from the present, by men whose power of action upon things was insignicant in compari-
son with ours. But the amazing growth of [our] techniques, the adaptability and precision
they have attained, the ideas and habits they are creating, make it a certainty that profound
changes are impending in the ancient craft of the Beautiful.

Xfmm-! up! vtf! uibu! qisbtf! jo! uif! qsftfou! ujnf! J! uijol! xf! xpvme! ibwf! up!
tusbjo! dfsubjo! dpowfoujpot! pg! ufsnjopmphz/! Cfbvujgvm! jt! fwfo! dbqjubmj{fe/!
Ofwfsuifmftt-!pof!tujmm!ifbst!uif!xpse!vtfe/

In all the arts there is a physical component which can no longer be considered or treated
as it used to be, which cannot remain unaffected by our modern knowledge and power. For
the last twenty years neither matter nor space nor time has been what it was from time
immemorial. We must expect great innovations to transform the entire technique of the
arts, thereby affecting artistic invention itself and perhaps even bringing about an amaz-
ing change in our very notion of art.

Boe!gspn!b!mjuumf!gbsuifs!po!jo!uif!tbnf!fttbz;!

Just as water, gas, and electricity are brought into our houses from far off to satisfy our needs
in response to a minimal effort, so we shall be supplied with visual or auditory images, which
will appear and disappear at a simple movement of the hand, hardly more than a sign.

171
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xjui!bo!jotjhiu-!ofxmz!jnqmjfe!jg!opu!psjhjobm-!bcpvu!ijtupsz/!Gspn!b!dfsubjo!
qpjou!pg!wjfx!ju!xbt!jnqpttjcmf!bu!uif!cfhjoojoh-!bt!Mvnjsf!tbje!mfu!uifsf!cf!
mjhiu-!gps!uif!djofnbuphsbqi!up!ibwf!b!gvuvsf!cfdbvtf!ju!eje!opu!ibwf!b!qbtu/!
Opx!uif!gvuvsf!jt-!bgufs!bmm-!tpnfuijoh!uibu!xf!nbovgbduvsf/!Xf!dbo!cf!xjmmgvm!
bcpvu!ju!boe!qfswfstf-!jg!xf!xjti-!cvu!ofwfsuifmftt!fwfo!pvs!xjmmgvmoftt-!fwfo!
pvs!qfswfstjuz!jt!psejobsjmz!voefstuppe-!J!uijol-!up!cf!tvctvnfe!cz!b!ufnqpsbm!
nbdijof-!dpoubjojoh!boe!psjhjobufe!boe!hvjefe!cz!ivnbo!cfjoht-!dbmmfe!ijtups.
jdbm!qspdftt/!Voujm!tvdi!ujnf!bt!uifsf!jt!b!qbtu!pg!tpnf!tpsub!ijtupsz-!gvsuifs.
npsf-!pg!tpnf!tpsub!qbtu!xijdi!ibt!cffo!fybnjofe-!ibt!cffo!tvckfdufe!up!
b!dsjujdbm-!b!uifpsfujdbm!bobmztjt-!uifsf!dbo!cf!op!gvuvsf-!cfdbvtf!uifsf!jt!op!
bqqbsbuvt!gps!qsfejdujpo!boe!gps!fyusbqpmbujpo/
J!ep!opu!nfbo-!pg!dpvstf-!uibu!ijtupsz!jo!boz!fybdu!tfotf!jt!tpnfuijoh!uibu!
jt!hvbsbouffe!cz!uif!qpttfttjpo!pg!b!qbtu/!Pomz!jut!qpttjcjmjuz!jt!hvbsbouffe/!Cvu!
uif!stu!xpsl!pg!uif!!qspup.!djofnb-!jo!uibu!mjhiu-!xbt!up!cfhjo!up!qspwjef!mnt!
xjui!b!qbtu/!Xfmm-!ifbwfo!lopxt-!ju!ibt!epof!tp/!Jo!gbdu-!ju!ibt!rvjuf!b!gfx!qbtut/!
Uifsf!jt!opx!uif!hsbevbm!tlfudiz!ejtdfsonfou!pg!tpnfuijoh!uibu!xf!njhiu!dbmm!

180
b!ijtupsz/!Uifsf!jt!bmtp!uibu!rvjuf!sfhvmbs!qbtu!uibu!fwfszuijoh!ibt-!xijdi!jt!b!
cjh!qjmf!pg!svccjti/!Uifsf!xbt!b!mpoh!qfsjpe!jo!cfuxffo!evsjoh!xijdi!mn!bt!b!
hfofsbm!qsbdujdf!fwfo!ibt!obmmz!nbobhfe!up!bdrvjsf!jut!tibsf!pg!hvjmu!cz!ibwjoh!
xpslfe!cpui!tjeft!pg!fwfsz!tusffu!ju!dpvme!oe/
Tp!uibu!ju!jt!pomz!opx-!J!uijol-!uibu!ju!cfhjot!up!cf!qpttjcmf!up!jnbhjof!b!
gvuvsf-!up!dpotusvdu-!up!qsfejdu!b!gvuvsf!gps!mn-!ps!gps!xibu!xf!nbz!hfofsjdbmmz!
bhsff!up!dbmm!mn!boe!jut!tvddfttpst-!cfdbvtf!ju!jt!pomz!opx!uibu!xf!dbo!cfhjo!
up!dpotusvdu!b!ijtupsz!boe-!xjuijo!uibu!ijtupsz-!b!ojuf!boe!psefsfe!tfu!pg!npov.
nfout-!jg!xf!xjti!up!vtf!U/! T/!Fmjput!ufsnt-!uibu!jt!up!dpotujuvuf!b!usbejujpo/!Bgufs!
b!dfouvsz-!ofwfsuifmftt-!ju!jt!tujmm!usvf!uibu!op!pof!lopxt!fwfo!ipx!up!cfhjo!up!
xsjuf!uif!tpsu!pg!uijoh!uibu!mn-!uispvhi!jut!bgmjbujpo!xjui!uif!tdjfodft-!njhiu!
fyqfdu!pg!jutfmg-!uibu!jt-!b!Qsjodjqjb!Djofnbujdb-!qsftvnbcmz!jo!uisff!gbu!wpmvnft!
foujumfe-!jo!psefs;! J/!Qsfmjnjobsz!Efojujpot<! JJ/!Qsjodjqmft!pg!Tfrvfodf<! JJJ/!
Qsjodjqmft!pg!Tjnvmubofjuz/!Uif!xjti!gps!tvdi!b!uijoh!jt!tpnfxibu!mjlf!uif!xjti!
pg!b!dfsubjo!bqipsjtu!xip!tbjeJ!cfmjfwf!ju!xbt!uif!mbtu!pg!ijt!bqipsjtnt-!ps!bu!
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cppl!uibu!xjmm!fwfs!cf!qvcmjtife/
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tipvme!tupq!dbmmjoh!pvstfmwft!ofx/!Xf!bsf!opu/!Uifz!xfsf!ofx/!Xf!bsf!pme-!boe!
xf!ibwf!opu!ofdfttbsjmz!bhfe!bt!xfmm!bt!xf!tipvme/!Up!djuf!Fmjpu!bhbjo;!if!sfqpsut!
ijntfmg!bt!botxfsjoh!tpnfpof!xip!pckfdufe!up-!J!tvqqptf-!Tiblftqfbsf-!Ebouf-!
boe!Ipnfs!po!uif!hspvoet!uibu!xf!lopx!npsf!uibo!uifz!eje!cz!sfqmzjoh-!zft-!
xf!ep-!boe!uifz!bsf!qsfdjtfmz!xibu!xf!lopx/!Xf!bmtp!lopx!npsf!uibo!uibu!
wfsz!fbsmz!djofnb!eje/!Vogpsuvobufmz-!uifz!bsf!opu!qsfdjtfmz!xibu!xf!lopx/!Xf!
bsf!pomz!cfhjoojoh!up!qfofusbuf!uif!qiboupn-!uif!dujpo!pg!uif!dpqjpvt!boe!
uif!sfbejmz!bwbjmbcmf-!up!qplf!bspvoe!jo!evtuz!buujdt-!joup!uif!tpsu!pg!nbvtpmf.
vnt!hvbsbouffe!cz!b!sbqbdjpvt!dpqzsjhiu!tztufn-!gps!fybnqmf-!boe!up!sfusjfwf!
ifbwfo!lopxt!xibuqspcbcmz!opu!Tiblftqfbsf-!Ebouf-!boe!Ipnfs!)ju!xpvme!
cf!ojdf!up!lopx!xip!uif!Ipnfs!pg!mnt!xjmm!vmujnbufmz!cf!qfsdfjwfe!bt-!cz!uif!
xbz-!mfu!bmpof!uif!Ebouf*!cvu!bu!mfbtu!tpnfuijoh!pg!uif!dpoufyu!jo!xijdi!uiptf!
ufyut-!jg!uifz!vmujnbufmz!bsf!fyivnfe-!xjmm!cf!qfsdfjwfe/
Up!uibu!foe-!uifo-!J!ibwf!cspvhiu!bmpoh!uijsuz!njovuft!ps!tp!pg!tvdi!svccjti-!
xijdi!qsftvnbcmz!dpoubjot!fncfeefe!jo!ju!b!Tusbejwbsjvt!ps!b!tdbsbc!ps!tpnf.
uijoh!qsjdfmftt/!Uijt!jt!tjnqmz!b!spmm-!vqpo!xijdi!J!xpou!dpnnfou!bu!bmm-!gspn!
uif!Qbqfs!Qsjou!Dpmmfdujpo!bu!uif!Mjcsbsz!pg!Dpohsftt/!J!xpvmeou!cf!tvsqsjtfe!jg!
puifs!tvdi!uijoht!ibwf!cffo!fyivnfe!bu!uijt!qbsuz!fbsmjfs!jo!uif!xffl/!Nz!qsjo.
djqmf!pg!tfmfdujpo!jt!tp!fncbssbttjoh!uibu!J!epou!qspqptf!up!ufmm!zpv!bozuijoh!
bcpvu!ju!bu!bmm-!cvu!ju!efnpotusbuft!tpnfuijoh!pg!uibu!qbtu!xijdi-!mjlf!bmm!qbtut-!
jt!tfmg.!qspdmbjnjoh-!sfqfujujwf-!sfevoebou-!obvhiuz-!tpnfujnft!btupojtijoh-!

181
boe-!jo!uijt!dbtf-!po!uif!qsjodjqmf!uibu!opuijoh!nvdi!xbt!nbef!pg!ju!bu!uif!ujnf-!
fttfoujbmmz!jnqfofusbcmf!up!vt/!Ju!jt!cz!uibu!nfdibojtn!uibu!uijt!cpez!pg!nbuf.
sjbm-!xibufwfs!ju!jt-!uifo!jnqptft!vqpo!vt!uif!sftqpotjcjmjuz!pg!jowfoujoh!ju/!

Notes
1. Uif!stu!uxp!rvpubujpot!bqqfbs!bt!uif!fqjhsbqi!up!Cfokbnjot!Uif!Xpsl!pg!Bsu!
jo!uif!Bhf!pg!Nfdibojdbm!Sfqspevdujpo-!jo!Jmmvnjobujpot-!fe/!boe!xjui!bo!jousp.
evdujpo!cz!Iboobi!Bsfoeu-!usbot/!Ibssz![pio!)Ofx!Zpsl;!Tdipdlfo-!2:7:*-!q/!328/!
Uif!mbtu!rvpubujpo!bqqfbst!po!q/!32:/!Uif!rvpubujpot!bsf!ublfo!gspn!Wbmszt!2:39!
fttbz!Uif!Dporvftu!pg!Vcjrvjuz-!jo!Bftuifujdt-!usbot/!Sbmqi!Nbooifjn!)Ofx!Zpsl;!
Qbouifpo-!2:75*-!qq/!336-!337/
2.!Uif!dpogfsfodf!xbt!ifme!bu!uif!Joufsobujpobm!Nvtfvn!pg!Qipuphsbqiz!bu!uif!
Hfpshf!Fbtunbo!Ipvtf-!jo!Spdiftufs-!Ofx!Zpsl-!po!Opwfncfs!21!boe!22-!2:8:-!!
jo!dpokvodujpo!xjui!uif!fyijcjujpo!Fmfduspxpslt-!xijdi!gfbuvsfe!tpnf!361!bsuxpslt!
qspevdfe!xjui!dpqzjoh!nbdijoft/!)C/K/*
3.!Uif!sfgfsfodf!jt!up!Tfshfj!Fjtfotufjot!Uif!Pme!boe!uif!Ofx-!bmtp!lopxo!bt!!
Uif!Hfofsbm!Mjof!)2:3:-!Tpwljop-!vtts*/
4.!Uif!sfgfsfodf!jt!up!Cpshftt!tupsz!Uif!Esfbn!pg!Dpmfsjehf-!jo!Puifs!Jorvjtjujpot-!
2:482:63-!usbot/!Svui!M/! D/!Tjnnt!)Ofx!Zpsl;!Tjnpo!boe!Tdivtufs-!2:76*/

Transcription of an audio recording (now lost) of a lecture for the series Researches and Investigations
into Film: Its Origins and the Avant-Garde, Whitney Museum of American Art, New York, November 17, 1979.
Published in October 109 (Summer 2004): 6475, edited and annotated by Michael Zryd.

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Interview at the Video Data Bank

ADELE FRIEDMAN: When did you meet Ezra Pound?

HOLLIS FRAMPTON: Well, I was twenty-one; Pound was seventy-one or seventy-two.1 At that time
he had nished the part of the Cantos called Section: Rock-Drill and was working on Los Cantares
95109. And he was of course involved in trying to get out of the funny farm, more so than he usually
had been in previous years. There was an incessant stream of visitors, some of whom were interest-
ing, some of whom were remarkable in other ways. One in particular [Marcella Spann] was a female
disciple a couple of years older than I was with whom Pound in fact collaborated on an anthology
called Confucius to Cummings at about that time: a young woman from Texas, for whose uplifting
education, enlightenment, or what have you, Pound undertook to read aloud and to footnote live or
to make oral scholia on the entirety of the Cantos the whole shooting match. And it was mostly
through that that I sat, and it was indeed an extraordinary experience.
If very much of modernist poetics rests upon an extension of the rhetorical gure called
metonymy, the substitution of the part for the whole, the Cantos is the supreme test of that. It is the
vastest of all metonymic works. In its failure and I believe that as a poem, as a whole work of art, it
is a failure, as Pound believed it represents an incredible catastrophe within modernist poetics. It
is one of the supreme attempts, and it is one of the supreme failures. It is an immense catastrophe.
I dont think that its possible and I suppose here my theoretical Marxist leanings begin
to emerge, at least possible or feasible to bring off a project of those dimensions without a
theory of history, in a word. And I dont think Pound had one. Thereby unfortunately depends the
anti-Semitism. Pound didnt have a theory of history; he had a childs view of history namely, that it
was quite clear that everything was going downhill. And he set out to look for the culprit. And, of
course, he found the culprit, because when one sets out to look for the villain of the piece, one
always nds that villain. And that villain, of course, was not the Jew; that villain was a kind of
recurrent state of mind that Pound came to call usury.
I can also understand and sympathize with how that came about. And I think that that is very
sad. Imagine a relatively young man. He was thirty (twenty-nine in 1914, at the beginning of the
First World War) and had imagined, as only a young Romantic from the Idaho wilderness (but more
of course from Philadelphia) enamored with European culture could have imagined, a new
Renaissance. There was an extraordinarily brilliant group of people, immensely gifted, faced with
what all of them perceived in all the arts, at the very least, as a kind of tabula rasa. It was virtually
impossible by the eve of the First World War even for Browning, let alone Algernon Charles Swinburne
and Milton and Wordsworth, to have very much claim on the attention of the young poet any more
than it was possible for Brahms to have an absolute claim on the attention of such a composer as
Schoenberg, for instance. The world, as it were, lay all before them; it seemed fairly clear what was

183
to be done. And then of course came the War, and, in a sense that has been explained so often by so
many people of that generation and half a generation earlier, the world ended. As it had been slowly
constructed from, let us say, the Renaissance through the Enlightenment and on into the period of
the Industrial Revolution and the formation of the great empires of that period, that order ceased to
exist. It seemed like a major collapse within Western civilization, and indeed it was. Most particu-
larly, there was the personal loss of at least two very close personal friends of Pound: Henri Gaudier
[Gaudier-Brzeska, the Vorticist sculptor] and T. E. Hulme [the British poet and critic]. Of Gaudier it
would be premature I think to say very much; he was very young. Of T. E. Hulme, on the other hand,
it is fair to say that critical thought of the philosophy of art sustained a very critical loss at the time.
And what really happened to Pound after that time (he had been before then, after all, an aesthete
with ying hair talking about Dante and so forth) was that he became a pacist. And being the person
he was, as a pacist, set out to retrieve the origins of war, which he considered, as we all consider,
supremely evil. He then retrieved those origins, as we now feel, incorrectly.

AF: How did you become interested in art?

HF: I was an adolescent poet because it was the thing to be. Abstract Expressionism, or let us say New
Yorktype painting, while I was in secondary school, had begun to show real muscle. That moment,
which was as we know quite extended, still strikes me as extraordinary; it did then, and I tried off
and on for a while to be a painter as well. But it simply was not as Gertrude Stein said to William
Carlos Williams my mtier. I nally had to admit that it was something I simply didnt like to do. I
didnt like paint. I didnt nd any pleasure in smearing gooey substances over at surfaces, which is
after all what painters do. Somewhere I continue to maintain that there has to be something deeply
attractive in the idiot level of whatever you do or its impossible to sustain it, you see.

AF: What were your aspirations toward filmmaking?

HF: It could not be done; one had to be a millionaire and so forth. However, I did take the view that
it could be done eventually, maybe with luck in some way; I had no idea how. The nearest place to
embark, to acquire, say, a journeymans knowledge of something that tended toward lm, was the
still photograph.

AF: What was the environment like in New York at this time?
HF: To try to be a still photographer in the late 50s and on into the middle 60s in New York was to
live in a kind of vacuum. Still photographers were people like [Richard] Avedon or something like
that. In other words, they were people who corresponded more or less to Hollywood directors. They
were beautiful people who took pictures of rather snotty-looking other beautiful people for the
magazines.

184
 There was no photographic milieu, or virtually none that I thought could be taken seriously.
There was one very small gallery on East Tenth Street (I dont remember what it was called). It was
kind of two rooms painted white, and it was very much a kind of coterie situation. The photographs
werent very interesting. And a guy named Norbert Kleber, who lived under the stairs in the Village
and had a very long front hallway that led back into his apartment, opened something called the
Underground Gallery, which was this hallway.
That was it. The rest was MoMA, and MoMA was then, as it is now except that it was [Edward]
Steichen instead of [John] Szarkowski, and it was The Family of Man instead of what have you the
current product there. From the point of view of the museum, it was . . . photographers were scarcely
landed gentry any more than they are now.

AF: Were you influenced by other photographers?

HF: In my then still perennial search for the father gure, I opted for Weston more or less climbed
the coconut tree of view-camera, zone-system stuff. I never had too much stomach for [Minor] White,
thank you. Having done that, I really couldnt very well handily nd my way down out of that tree. I
didnt really like the work that I thought was my best work. I liked the stuff that I didnt like a lot more.

AF: What was the dialogue like within your community of artists?

HF: There I was, essentially having fallen amongst sculptors and painters in New York, among sculp-
tors and painters who were my direct peers, and in a couple of cases at least school chums: Carl Andre
and Frank Stella, in particular, who were in the nature of the thing dogmatic anti-illusionists. And I
found myself in the very peculiar and uncomfortable situation of being a committed illusionist.
And of course they had reason on their side, you see. I mean they could marshal not only their
own arguments, which were excellent, but those of the venerable Clement Greenberg and so forth.
It left one very little room for being the devils advocate. Because, if anything, I felt myself to be
not the advocate but the devil himself.

AF: How did you move into filmmaking?

HF: Eventually what I found in making still photographs was that I was working not only in series
and / or in sequences but was imagining sequences of photographs that were time-regulated. Now
that is impossible to enforce. You have things up on a wall and you would like to say to someone,
Now go back to photograph number thirteen and look at it for eight seconds. All right. At that point
within the work I was doing, the vehicle more or less collapsed, and I was tossed out of it into lm
whether I wanted to or not.
Then there was some problem in my mind about trying to purge my own work, or at least the internal
geometry of my frame, of the still photograph. That process is still going on in Zorns Lemma [1970].

185
 I spent a long time, of course, theoretically paying my debts to still photography. Then, as at
least one friend remarked, the Weston essay [Impromptus on Edward Weston: Everything in Its
Place] was the ritual murder of the father, which I then of course had to, being a grown man, at least
decently bury with my own hands. At the same time I did want to do Weston the service of offering
that body of work some criticism, some critical attention, rather than lighting simply another
candle at the shrine of Wildcat Canyon or something like that.
I dont think that lm and photography are two halves of something. My sensation now, right
now, is that they are both parts of something for which we do not have a name at the present time
it would be amusing to try to give it a name which thing, once it is fully constituted, will I expect
nally to constitute a kind of counter-machine for the machine of language. That is to say that I
suspect that the intellect of the West at least has been struggling for quite some time to invent a
natural counterbalance for language as a way of accounting for the world, a way of doing it through
images. And it has done so with its usual hysterical enthusiasm of productivity, with its usual con-
dence, and with its usual clumsiness. It is interesting to note, for instance, that at least primitive
very, very primitive cinemas predate the invention of photography not by long, mind you, but by
a few years, that it was quite some time before the two things united, the one in this case as the
tool of the other. I think its very clear for lots of reasons (I could give a few) that in the sense that
we have had them since the 1830s and the 1890s, respectively, both still photography and lm are
obsolete and are going to vanish.

AF: What filmmakers have influenced you?

HF: I am in point of gratitude to quite a number of people who rst hacked their way through the
jungles of independent lm. And if there had not been the encouragement by example of quite a
few people who had somehow managed to make lms . . .

AF: Would you care to mention them?

HF: Sure, of course. Glad to. First and foremost, Stan Brakhage, without question. They didnt have to
be lms that I agreed with, you understand, but it was nevertheless work of the rst interest made
with integrity and conviction. Then it had been done, and Im sure that Brakhage would not agree
with the phrase, by a classic gesture of seizing the means of production. But others as well, less
prolic than Brakhage, very clearly: [Robert] Breer, Kenneth Anger, I suppose, who had certainly
persevered against extraordinary odds. Most of all perhaps, in maintaining a space in which it was
possible to entertain the notion of making lm independently, Jonas Mekas. I knew none of those
people at that time. I went to their screenings and so forth.
There was then something called the [Film-Makers] Cinematheque in New York, which became
a kind of hangout. I met other people who were trying to make lms: Joyce Wieland, Michael Snow,

186
Ken Jacobs, Ernie Gehr after a while, although he was somewhat younger. Later on Paul Sharits, who
was at that time living in Baltimore.
And there existed at least for a time, and that time lasted for some years in New York City, a
kind of constant contact among us. One might almost almost venture to call it a sense of being
united in some way, probably by the conviction that there should be good lms. Preferably lms so
good that they hadnt been made yet. That the intellectual space open to lm had not entirely been
preempted. There had to be some lms worth making or interesting to make that had not been made
even by the master of Rollinsville [Colorado, where Brakhage then lived] or what have you. So that
there was in that a kind of encouragement. There was a dialogue, in a word. All right, there was a
dialogue that had not existed in still photography.

AF: What is the role of narrative in film?

HF: Just because it is possible to invent a narrative excuse for the way something presents itself
doesnt, I think, mean that it is narrative. I dont want to be stuck that closely to the summary joc-
ularities of the Pentagram for Conjuring a Narrative. It was possible, for instance, to imagine the
patterning of static, of white noise in Peter Kubelkas Arnulf Rainer as the breathing of a heavy and
unwieldy man constantly running up and down stairs, which was Brakhages actual invention, by the
way, to account for that. At one time I didnt have very much difculty in suddenly detecting in the
kind of double-bell-curve rate-of-change structure in Tony Conrads The Flicker a thickening and
thinning of density of event, which is very much like the abstract curve, lets say, of a short story
by Chekhov, in which, for instance, one has a crisis where two people or a family are separated. All
right, thats the main bell-curve, typical Chekhov situation. And then years later theres a secondary
peak of density of event in which they are reunited, after which the curve slopes back out to zero. So
that I was seeing even there a kind of very rareed trace of a narrative structure . . . about as much
narrative, say, as there is hydrogen between galaxies, or something like that . . . quite a bit, anyway.
But it requires a fairly delicate measuring instrument to detect it, or you have to be very observant,
you have to be tuned to the radio band that those hydrogen atoms are giving off, and then theyre
everywhere. And so if you start looking for narrative out of curiosity, not as a disease, some kind of
unspeakable ancestral disease, tertiary syphilis lets say which was something like what painters
of my generation recoiled from when they detected an illusionist reference in an abstract painting,
as if from someone whose nose has just fallen off or something like that, some fright but simply
out of some question as to whether it was escapable or not, quite parallel to the question of whether
or not illusionist reference is absolutely escapable in painting . . . I contend that probably its not.
The decision never was, in my case, whether to make or not to make narrative lms. I contend
(this is simply, of course, the voice of the author, another imperfect reader) that all my work and
that includes Magellan, includes even the portions of Magellan that have been made and released
are perverse or oblique narratives. Its possible, after all, to have a narrative account of a very brief

187
period of time, for instance, and to expand that brief period of time until its unrecognizable, and to
fragment it and to rearrange it, and so forth. Nevertheless, I think its possible always, if it seems
relevant to do so, to expend that kind of diligence to retrieve the standard of the rational narra-
tive which accounts for it in some way or other. To take an example that is by no means extreme,
let me turn the tables and ask you if you believe, for instance, that [Alain Resnaiss] Last Year at
Marienbad is a narrative lm. Well it is, of course. [Alain Robbe-Grillets] A Project for a Revolution
in New York is a narrative book; it is a narrative ction. In the case of both of them, one is directed
constantly toward an effort to retrieve the uninected account of the events as they actually were,
whatever they were, because one perceives immediately that they are highly inected. And part of
the process of seeing that Resnais lm with its scenario by Robbe-Grillet, or reading that novel of
Robbe-Grillets, is a process of trying to retrieve the actual events, whatever they were. Then they
may turn out to be not very interesting.
The things Im doing now are sometimes more and more, sometimes less narrative-like. If you
read the Weston text in October, then its possible that you read the issue of October following that,
which has a group of seven short ctions called Mind over Matter, all of which are, in a manner of
speaking, narratives though in part what those are about is the transparency or opacity of the text
relative to the event. None of them are very clearly writing at degree zero or, heaven help us, what
Sartre commended in Camus, criture blanche, white writing. They deviate in the direction of ultra-
violet in that regard. But narratives indeed they are, of some kind or another.

AF: How do your opinions about narrative differ from those of Brakhage?

HF: Theres a suggestion or utterance of Brakhages some years ago, which I nd very problematical,
with which indeed I take issue, although not very extensively here. I remember his saying that as an
example of something in a lm of his own, a certain queen sent forth a certain knight of the Round
Table on a search for the Holy Grail. In the tale of that quest one is . . . it is set on mythic ground; that
is to say, that story seems to be the eshed-out general type of a class of stories. Stan then asserted
on that occasion that if in a work of art, let us say a lm, a woman says to a man, Will you please go
over there and get me a glass of water? . . . because it is a situation in which a woman sends a man
on a journey to fetch a container out of which one might drink, that situation, that moment, occu-
pies the same mythic ground as the quest for the Grail. One has therefore a blank reenactment of
the myth. Its a curious insight into what Brakhage means by myth. I doubt it. Aside from doubting
it, I would just say very momentarily that it is a curiously Jungian or kind of hyper-Jungian view of
the thing one is looking at: that one understands it according to whether its segments or compo-
nents constitute a peg that ts more or less perfectly into a mythic hole of the proper shape. Or that
all human action, however casual and ordinary, is stamped out by a set of mythic cookie-cutters
that cut the cookies of Oedipus or Agamemnon or what have you. I hope not, you see, because that

188
journey across the room then to fetch the lady a glass of water is not something that I want to make,
because clearly there are too many sharp things to fall on when one stumbles over the footstool
or something like that. And when one gets to the table and nds that the table is not your regular
table but a high altar suffused with violet light and defended by bats with baby faces and so forth,
in the ordinary world you are likely to say, Oh fuck it, she dont get no water. Get your own god-
damn cup. Im just not sure that its possible to live the quotidian life in terms of such high tone
quite all the time.

AF: Where do you see media heading in the future?

HF: People, I suppose, still think of computers as being enormous IBM mainframes in rooms blaz-
ing with uorescent lights and full of roaring cabinets. But in fact thats not true; they are little and
cheap. I think that it is fair to say that within two years we will have intelligent toasters, for instance,
that will always brown your toast to exactly the way you want it, you understand. Because the giant
computer of twenty years ago is now a little integrated circuit, its a little chip that looks kind of like
a porcelain Band-Aid and costs about nine dollars. So if you want a really smart toaster, let alone a
Waring blender or an intelligent frying pan that will ip the omelet at exactly the right time, you are
going to have it. And in fact, of course, its probably going to be difcult to have anything else quite
soon. And I suspect that that is going to have social consequences and consequences with regard
to the fate of the counter-machine of language the image machine at least as far-reaching as
video has, as broadcast television has, and probably more so eventually.

Notes
1.!Jo!2:67-!xijmf!b!tuvefou!bu!)Dbtf*!Xftufso!Sftfswf!Vojwfstjuz-!Gsbnqupo!cfhbo!!!!
xsjujoh!up!Qpvoe-!xip!ibe!cffo!dpnnjuufe!up!Tu/!Fmj{bcfuit!Iptqjubm!jo!
Xbtijohupo-!E/D/-!tjodf!2:57/!Uif!gpmmpxjoh!zfbs-!Gsbnqupo!npwfe!up!Xbtijohupo!
boe!wjtjufe!uif!qpfu!bmnptu!ebjmz/!)C/K/*

Transcription of a videotaped interview by Adele Friedman for the Video Data Bank, School of the Art Institute
of Chicago, 1978. The tape, titled Hollis Frampton: An Interview, is available on DVD as part of the On Art and
Artists collection from www.vdb.org.

189
Notes on Filmmakers

ERNIE GEHR
Pg!b!mn!tffo!po!nz!uijse!cjsuiebz-!J!sfdbmm!pomz!uijt;!b!esfodijoh!sbejbodf-!
mjlf!uif!tvot-!nbef!tpnfipx!dbsobmmz!joujnbuf/!Uijsuz!zfbst!mbufs!J!sfdpwfsfe!
uibu!fdtubtz!jo!uif!mnt!pg!Fsojf!Hfis/
Uibu!mnbmm!mnjt!bcpvu!mjhiu!jt!bo!pqfsbujpobm!dpnnpoqmbdf/!Jo!
Fsojf!Hfist!mnt-!mjhiu!tffnt!bo!bctpmvuf!rvbmjuz!pg!uif!jnbhf/!Mjhiu!jt!jo!uif!
jnbhf/!Uijt!mjhiu!jt!opu!nfsfmz!uif!fofshz!cfbnfe!gspn!uif!qspkfdups-!cz!xijdi!
uif!mn!jt!tffo<!ju!jt!uif!fofshz!tusfbnjoh!gspn!Fsojf!Hfist!mvdje!tfotjcjmjuz-!
cz!xijdi!wjsuvf!xf!tff/

ROBERT HUOT
Tpnf!qbjoufst!boe!tdvmqupst!bqqspbdi!pvs!bsu!xjui!b!ljoe!pg!dibvwjojtujd!bssp.
hbodf/!Uifjs!vtf!pg!mn-!ipxfwfs!joufsftujoh!bt!epdvnfoubujpo-!jt!gvoebnfo.
ubmmz!fyqmpjubujwf/!Spcfsu!Ivpu!ibt!cffo!pof!pg!uif!nptu!jowfoujwf!boe!sjhpspvt!
pg!uif!zpvohfs!hfofsbujpo!pg!sbejdbm!qbjoufst/!If!csjoht!uif!tbnf!buusjcvuft!up!
mn-!bmpoh!xjui!bo!jorvjtjujwfoftt!uibu!jt!cz!op!nfbot!dbvujpvt/!If!usjft!opu!
up!fyqmpju!mn!cvu!up!oe!pvu!xibu!mn!jt/!Ivput!mnt!xjmm!tffn!tjnqmf!up!
nboz/!Jo!gbdu-!if!jt!epjoh!cbtjd!xpsl!uibu!xf!mnnblfst!pvhiu!up!ibwf!epof!gps!
pvstfmwft!efdbeft!bhp-!xpsl!uibu!jt!cpui!bo!beejujpo!boe!b!sfqspbdi!up!mn!bsu/
\Jo^!Cmbdl!boe!Xijuf!Gjmn!\b^!ovef!xpnbo!jt!sfwfbmfe-!boe!uifo!pcmjufsbuft!
ifstfmg!foujsfmz-!jo!fyusfnf!tmpx!npujpo/!Uijt!mn!jt!bcpvu!qbjoujoh/!Pvutjef!
pg!qbjoujoh!jutfmg-!ju!jt!uif!pomz!sfbmmz!joufotf!dsjujdjtn!J!ibwf!fwfs!tffo/

MICHAEL SNOW
Bmm!uibu!tvswjwft!foujsf!pg!bo!fqpdi!jt!jut!uzqjdbm!bsu!gpsn/!Gps!jotubodf;!qbjoujoh!
)jo!bmm!jut!fopsnjuz*!dpnft!up!vt!joubdu!gspn!uif!Ofx!Tupof!Bhf/!Gjmn!jt!tvsfmz!
uif!uzqjdbm!bsu!pg!pvs!ujnf-!xibufwfs!ujnf!uibu!jt/!Jg!uif!Mvnjsft!bsf!Mbtdbvy-!
uifo!xf!bsf-!opx-!jo!uif!Fbsmz!Ijtupsjdbm!Qfsjpe!pg!mn/!Ju!jt!b!ujnf!pg!jowfoujpo/!
Pof!pg!mjuumf!npsf!uibo!b!ep{fo!mjwjoh!jowfoupst!pg!mn!bsut!jt!Njdibfm!Topx/!
Ijt!xpsl!ibt!bmsfbez!npejfe!pvs!qfsdfqujpo!pg!qbtu!mn/!Tffo!ps!votffo-!ju!
xjmm!bggfdu!uif!nbljoh!boe!voefstuboejoh!pg!mn!jo!uif!gvuvsf/!Uijt!jt!bo!btupo.
jtijoh!tjuvbujpo/!Ju!jt!mjlf!lopxjoh!uif!obnf!boe!beesftt!pg!uif!nbo!xip!dbswfe!
uif!Tqijoy/

190
JOYCE WIELAND
Uif!uipvhiu!pg!tpnf!Qvshbupsz!xifsfjo!J!njhiu!cf!efqsjwfe!pg!tffjoh!Kpzdf!
Xjfmboet!mnt!nblft!nf!sfhsfu!nz!fwfsz!tjo!boe!efsfmjdujpo/
\Jo^!Dbugppe\b^!dbu!fbut!jut!nfuipejdbm!xbz!uispvhi!b!qpmznpsqipvt!ti/!
Uif!qspkfdups!efwpvst!uif!sjccpo!pg!mn!bu!uif!tbnf!sbuf-!nfuipejdbmmz/!Uif!Mbz!
pg!Hsjnojs!nfoujpot!b!xjme!cpbs!xiptf!nbhjdbm!fti!xbt!ojhiumz!efwpvsfe!cz!uif!
ifspft!jo!Wbmibmmb!boe!njsbdvmpvtmz!sfhfofsbufe!ofyu!npsojoh!jo!uif!ljudifo/!
Uif!ti!jo!Xjfmboet!mn-!boe!uif!njsbdvmpvt!fti!pg!mn!jutfmg-!bsf!sftvs.
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bt!uif!Xftu-!pg!jnnfotf!tusfohui/!Podf!xf!tff!uibu!uif!ti!jt!uif!qspubhpojtu!pg!
uif!bdujpo-!uijt!nfubqips!sfwfscfsbuft!up!jodboeftdfodf!jo!uif!njoe/
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mbshf!tqbdf;!jo!gbdu-!jo!b!dpoujofou/!Ju!jt!qbjogvm-!cfdbvtf!tvdi!bo!fyqfsjfodf!ejt.
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cfdbvtf!usvf!qbusjpu!mpwf-!b!sfbtpobcmf!qbttjpo-!dbo!dpoubjo!ju-!bgufs!bmm/!Cvu!
xibu!jt!sfnbslbcmf-!gps!nf-!jt!uibu!bmm!jut!vshfodz!jt!mvdjemz!dbvhiu-!cpvoe!bt!ju!
xfsf!difnjdbmmz-!jo!uif!tvctubodf!pg!mn!jutfmg-!sfrvjsjoh!op!fyufsjps!bshvnfou/

Film-Makers Cooperative Catalogue, no. 5 (New York: New American Cinema Group, 1971).

191
Zorns Lemma: Script and Notations

Part I: Narration, Bay State Primer (c. 1800)1

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Xf!tjooe!bmm/ Jo!Ujnf!pg!Tqsjoh/

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Hpet!Cppl!buufoe/ Uibu!tbwe!ijt!spzbm!Nbkftuz/

Uif!Dbu!epui!qmbz- Qfufs!efojft
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Uif!Fbhmft!Gmjhiu Sbdibfm!epui!npvso
Jt!pvu!pg!Tjhiu/ Gps!ifs!stu!cpso/

Uif!jemf!Gppm Tbnvfm!bopjout
Jt!xijqu!bu!Tdippm/ Xipn!Hpe!bqqpjout/

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Nbot!mjgf!epui!qbtt/ Cpui!hsfbu!boe!tnbmm/

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Tibmm!ofwfs!qbsu/ Nbef!Ebwje!tffl!ijt!mjgf/

Kpc!gffmt!uif!Spe- Xibmft!jo!uif!Tfb
Zfu!cmfttft!Hpe/ Hpet!Wpjdf!pcfz/

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Xbt!txbmmpxe!vq/ Boe!tp!nvtu!zpv!boe!J/

Uif!Mjpo!cpme Zpvui!gpsxbse!tmjqt-
Uif!Mbnc!epui!ipme/ Efbui!tppoftu!ojqt/

Uif!Nppo!hjwft!mjhiu [bddifvt-!if
Jo!Ujnf!pg!Ojhiu/ Eje!dmjnc!uif!Usff-
Ijt!Mpse!up!tff/
192
Part II: Images (subset B)2

A  turning pages of a book

B  frying an egg

C  red ibis apping its wings

D  cutting star-shaped cookies from a sheet of dough

E  two halves of a womans face speaking at different rates

F  a single winter tree (static shot)

G  hands washing themselves

H  a man walks one block and turns the corner (handheld)

I  grinding hamburger

K  painting a green wall white

L  child on a swing

M  three men digging a hole

N  dried beans gradually ll the frame

O  a man bounces a ball (quadruple superimposition)

P  hands tying shoes

Q  steam escaping from a street vent

R  hands assemble a Tinkertoy chain

S  two rhinoceri

T  changing a tire

V  peeling and eating a tangerine

W  passing side streets at night (trucking shot)

X  a raging re (handheld)

Y  a stand of cattails (trucking shot)

Z  sea waves breaking backwards

193
\iboexsjuufo!opuf^;!Xjui!uif!fydfqujpot!opufe-!bmm!xfsf!dbsfgvmmz!gsbnfe!usjqpe!
tiput/!J!xboufe!Mvnjsft!tubujd!dbnfsbgps!xijdi!bmm!djofnbuphsbqijd!jnbhft!
xfsf!ovnjopvt!boe!sfqmfuf/

Part III: Narration, On Light, or the Ingression of Forms by Robert Grosseteste, Bishop of Lincoln
(as translated and edited for Zorns Lemma by Hollis Frampton)3

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joup!Nbuufs/!Cvu!Mjhiu!jt!pg!b!npsf!opcmf!boe!npsf!fydfmmfou!fttfodf!uibo!bmm!
cpejmz!uijoht/
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hsfbufs!ps!mfttfs!nvmujqmft!pg!Vojuz/

194
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uif!Ovncfs!Gpvs/
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Ovncfs!Gpvs/
Boe!ju!jt!opu!qpttjcmf!up!bee!b!gui!cfzpoe!uiftf!gpvs/
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fwfsz!dpnqptjujpo!tufbegbtu/!Uifsfgpsf!pomz!uiptf!wf!sbujpt!fyjtu!jo!nvtjdbm!
nfbtvsft-!jo!ebodft!boe!sizuinjd!ujnft/

Notes on the Film [handwritten manuscript]

Title: Zorns Lemma Itself

J!ibwf!hspxo!bddvtupnfe!up!bmmvejoh!up![psot!Mfnnb!)xijdi!jt!efnpotusbcmz!
jefoujdbm!xjui!uxp!puifs!nztufsjpvt!nbuifnbujdbm!foujujft!dbmmfe!Uif!Byjpn!pg!
Dipjdf!boe!Uif!Xfmm.!Psefsfe!Qsjodjqmf*!cz!pof!pg!jut!dpspmmbsjft-!wj{/;

Every partially ordered set contains a maximal fully ordered subset

Zpv!nbz!nvmujqmz!jotubodft!bu!zpvs!mfjtvsf/
Gps!pof!ps!npsf!uijoht!up!cf!psefsfe-!uifz!nvtu!tibsf!b!qfsdfquvbm!
)qspwbcmf*!fmfnfou/!Tp!uifsf!bsf!nboz!psefsfe!tvctfut!xjuijo!uif!tfu!pg!bmm!
fmfnfout!uibu!nblf!vq!uif!mn-!f/h/-!bmm!tiput!dpoubjojoh!uif!dpmps!sfe/

195
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bsujdvmbujpo/
Cfzpoe!uibu-!uifsf!jt!uif!qvmtf!pg!!uxfouz.!gpvs!gsbnft!qfs!tfdpoe-!xijdi!
jt!usvmz!uif!nbyjnbm!gvmmz!psefsfe!tvctfu!pg!bmm!mntboe-!pcmjrvfmz-!pg!pvs!
qfsdfqujpot-!tjodf!uibu!jt!uif!uisftipme!bu!xijdi!uifz!gbjm!vt/
Cvu;
[psot!pxo!Mfnnb!xbt!boe!jt!opu-!bt!zpv!tvhhftu-!b!uifpsz!gps!eftdsjc.
joh!bmm!uif!qpttjcmf!sfmbujpot!xjuijo!b!/!/!/!tfu/!Uibu!jt!qspcbcmz!uif!xipmf!ubtl!
pg!nbuifnbujdt!bu!mbshf;!up!eftdsjcf!bmm!uif!qpttjcmf!sfmbujpot!bnpoh!uif!dmbtt!
)ps!tfu*!pg!bmm!ovncfst/
[psot!Mfnnb!jt-!sbuifs-!ijfsbsdijd-!jo!uibu!ju!qspqptft!b!qpttjcmf!nfbojoh.
gvm!upvs!pg!bmm!fmfnfout!xjuijo!b!tfu!xjui!sfhbse!up!pomz!pof!pqfsbujpoejtdfso.
nfou!pg!uifjs!psefsjoh-!ps!uif!sfmbujwf!qsfqpoefsbodf!pg!uifjs!tibsfe!rvbmjujft/

The German noun

Zorn
means rage, anger

Words:

Uif!mn!ibe!jut!cfhjoojoht!jo!qsfpddvqbujpo!xjui!ufotjpo!cfuxffo!hsbqijd!boe!
qmbtujd!0!bu!wfstvt!jmmvtjpojtujd!fmfnfout!jo!\uif^!tbnf!tqbdf/!Uifsf!xfsf!npsf!
uibo!uxp!uipvtboe!!cmbdl.!boe.!xijuf!tujmmt!nbef!jo!2:73!0!74-!xijdi!J!qspqptfe!
up!!tuboe.!bojnbuf/
Jo!uif!mn!bt!ju!xbt!nbef-!bmm!xpse!tiput!bsf!iboeifme!boe!bt!nboz!bt!
qpttjcmf! dpoubjo! npwfnfou! xjuijo! uif! gsbnf! bt! xfmm/! J! xfou! gps! nbyjnvn!
wbsjfuz!pg!tqbdf-!tvsgbdf-!fud/!Uifsf!bsf!dpotdjpvt!sfgfsfodft!up!fwfsz!qbjou.
joh-!esbxjoh-!boe!qipuphsbqijd!tuzmf!J!dpvme!nbobhfuipvhi!uifz!bsf!epvcu.
mftt!tvcumf!jo!ufsnt!pg!!uxfouz.!gpvs.!gsbnf!wjfxjoh!ujnf/!Uifsf!bsf!ivoesfet!
pg!tiput!xijdi!sfgfs-!tfdsfumz-!up!dibsbdufsjtujd!qptuvsft!wjt.!.!wjt!tqbdf-!dpmps-!
fud/!xjuijo!uif!ijtupsz!pg!mn<!j/f/-!tuzmjtujd!ufoefodjft!pg!puifs!ejsfdupst-!nptumz!
xjuijo!uif!obssbujwf!dbopo/
Obuvsbmmz-!J!ibe!up!xpsl!xjui!uif!pqqpsuvojujft!qsftfoufe!up!nf!xjuijo!
Nboibuubo/+

196
 +fydfqujpot;
Gpy;!Cspplmzo
Fyju
Ivncmf! Tvnnju!boe!Nfejob!dpvoujft-!Pijp
Zjfme!

The Word was made Flesh . . .

John, I

Uif!mn!jt!b!ljoe!pg!mpoh!ejttpmwf-!opu!rvjuf!uif!xbz!Xbwfmfohui!jt!b!{ppn-!cvu!
ofwfsuifmftt!/!/!/

Elements of autobiography:

a) that I received the same Judaeo-Christian upbringing as nearly everyone else in my

culture: rote learning, by authority, in the dark, full of obscure threats of death,
moral maxims, exotic animals anthropomorphized, tales of obtuse heroes pointing
doubtfully to arcane wisdom.

b) that my adolescence and early adulthood were concerned primarily with words and
verbal values. I fancied myself a poet; studied living and dead languages hence my
early contacts with, for instance, Ezra Pound.

c) that thirteen years in New York saw a gradual weaning away of my consciousness from
verbal to visual interests. I saw this as both expansion and shift.

d) that I began, during the making of the lm, to think about leaving the city. Part III is
prophetic, in that sense, by about ve months.

e) note that the lm was begun in late 1962 . . . and the growth of the work on the
conceptual level quite literally mimes the shift described in (c). The necessities of this
lm, and of others that rehearsed it, also accelerated the process the lm simulates.

Subclasses within the class of all word images:

Sfbtpojoh;!jo!uif!dpvstf!pg!nbljoh!boz!mpoh-!efotf-!boe!jg!zpv!xjmm-!bncjujpvt!
xpsl!pg!bsu!uibu!gvodujpot!xjuijo!ujnf!boe!jutfmg!sfrvjsft!nvdi!ujnf!up!nblf-!b!
ovncfs!pg!njtgpsuvoft!bsf!cpvoe!up!pddvs/!J!ublf!uif!Ejwjof!Dpnfez!pg!Ebouf!bt!
nz!npefm-!cvu!nboz!puifs!xpslt!xpvme!ep!bt!xfmm/!)Wfscbm!fqjdt!nblf!b!dmfbsfs!

197
dbtf!cfdbvtf!uifz!tibsf!b!dibsbdufsjtujd!xjui!nz!mn;!npevmbsjuz!\b!xpse!!b!
tipu^/*!Uif!njtgpsuvoft!bsf;

1) Metric errors. Lines that simply will not scan within the parameters of the normal
overall metric scheme.

2) Omissions. Information necessary to intelligibility denitely left out.

3) Errors. Mistaken words. Errors of fact and syntax. Solecisms and other grammatical
monstrosities.

4) Lapses of taste. Overt phoniness, vulgarity, archness, artiness, etc., which apparently
proceed from the artists character rather than his aesthetic stance (i.e., they are
not tactical).

5) Faking. The use of a nominal or merely adequate locution to nd ones way out of an
uncritical node or impasse.

6) Breaches of decorum. Wherein the artist, by design or otherwise, breaks the rules he
has himself set up for operating upon the elements of the work.

Tjodf!bmm!uiftf!njtbewfouvsft!xfsf!cpvoe!up!pddvs!up!nf!jo!nbljoh![psot!
Mfnnb-!J!efdjefe!up!jodpsqpsbuf!uifn!efmjcfsbufmz/!Uifo!bu!mfbtu!J!xpvme!lopx!
xifsf!uifz!xfsf/!Ju!ibe!up!cf!epof!jo!dpef-!up!cf!tvsf-!boe!pof!uibu!ibe!tpnf!
sfmbujpo!up!mn!bt!J!fydfso!jut!usbejujpo/!Uijt!jt!uif!tdifnf!J!bepqufe;

1) Metric Errors. All shots in the main section (your Part II) or matrix are 24 frames long,
except for twenty-four: twelve are only 23 frames, and twelve are 25 frames. Their positions
were determined by another party (my key grip, David Hamilton) by chance operations
specied by me, and he then destroyed the record of their location (without informing me).

2) Omissions. As if I had thought later of some words that should be in the lm, e.g.,
dulcet, aspirin, lute, etc. These are burn-in titles, superimposed in white. Since I did not
wish to break the architectural decorum at this point, they are supered on shots of Lower
Manhattan buildings.

3) Errors. I decided to encipher these as though the cinematographer had used the
wrong color lter. A group of black-and-white graphic collages were prepared and shot on
color stock, on a stand; several were made through each of the additive and subtractive
primaries: red, green, blue, cyan, magenta, yellow.

198
 4) Lapses of taste. A scattered category [of] real words (not at animation material)
obviously hoked up in the studio. The hand un-writing xylophone backwards is one
example among many.

5) Faking. A large group. Color collages pasted up from magazines, instead of

being found in the environs. Homages to many, but chiey Rosenquist.

6) Breaches of decorum. Encoded as still black-and-white photographs, at stuff, amid

the welter of color; these are from the original 1962 / 63 shooting and so are the oldest
material in the lm. Each has a sentimental or outrageous real (colored) object lying on
top of it (a green toothbrush on wig, matches on fuck, etc.).

Uiftf!bnpvou-!bmuphfuifs-!up!bcpvu!pof.!tjyui!pg!uif!xpset-!tp!uifz!bsf!opu!
b!ofhmjhjcmf!hspvq/!Uifz!cfdpnf!nvdi!npsf!wjtjcmf!po!sfqfbufe!wjfxjoht/
Uifz! bsf! pg! dpotjefsbcmf! jnqpsubodf! up! nz! pxo! wjfx! pg! uif! mn-! boe!
sffdu!gpsxbse!up!uijoht!opx!pomz!ibmg.!qmboofe/

Replacement Images

Xpse.!jnbhft!bsf!bmm-!cz!efojujpo-!nbo.!nbef/!Uifz!bsf!foujsfmz!vonbojq.
vmbufe!epdvnfout!)j/f/-!jo!nz!djofnbuphsbqiz*/
Uif! sfqmbdfnfoutobuvsbm! jnbhftbsf! ofbsmz! bmm! nbojqvmbufe/!
Fy!dfq!ujpot;!C-!D-!R-!T/
J!nbef!bcpvu!uxjdf!bt!nboz!jnbhft!bt!J!vtfe/!Uifsf!jt!op! mppqjoh-!j/f/-!
bmm!xfsf!tipu!jo!sfbm!ujnf!boe!bsf!tffo!jo!sfbm!tfrvfodf!)tpnf!bsf!fmjefe!ps!
fmmjqujdbm*/
Dsjufsjb!xfsf!fttfoujbmmz!uisff;

1) Banality. Exceptions: S, C.

2) Sculptural as distinct from painterly (as in the word images) work being done, i.e.,
the illusion of space or substance consciously entered and dealt with, as against mimesis
of such action. Exceptions: D, K.

3) Cinematic, or paracinematic, reference, however oblique. To my mind any

phenomenon is paracinematic if it shares one element with cinema, e.g., modularity
with respect to space and time. Consider also the problems of alternating scale,
and maintaining the fourfold Hopi analysis: convergent vs. non-convergent / rhythmic
vs. arhythmic.

199
Notes on specic images:

A: Turning pages. A new cycle, new day, etc. Secret correspondence: the particular book
is the Old French version of Antonio Pigafettas diary of the voyage of Magellan, which
gures in a future lm. The pages were turned to the beat of a metronome at one page
per second.

B: Frying egg. Note that you see the egg being cracked. Egg  usual cosmological bullshit
but a real and vivid image. A new historical cycle, a new epoch: a new phoenix egg.

C: Red ibis. The only shot not made specially for Zorns Lemma. Kowtow to exoticism;
a rarity, and the rarest shot in the lm, or 1 second in 3,606 [seconds].

D: Cookies. Immediate reference to at-screen vs. illusionist space, via the passage
from gure to ground. Annette M. [Michelson] thought the woman was laying black
stars on the table. Of course star means something in lm history.

E: Split face. Talking, silently. Two times in the same space. The rst person (in fact the
schoolmarm of Part I, reciting the same text by halves).

F: Tree. A leap forward to Part III. A (dormant) vegetative world of slow rhythms. The only
static shot among [the] replacements.

G: Hands washing. The rst nominal ritual. Manipulated through direction (Now begin
to rinse, etc.).

H: Walking a block. Simile for the whole lm = expenditure of an artifact of xed physical
length. Use of telephoto lens, without change of focus, passes shot from deep space
through at and back to deep again. Giving the artice away at the very end. I had the
cowboy hero, who appears from nowhere and then disappears, specically in mind.

I: Grinding meat. Another simile this time, the deformative analytical process to
which I subject all the material in this lm, and to which cinematography subjects the
ow of real processes. The camera is a meat grinder.

K: Painting a wall. Another simile: starting something and nishing it through human
work. The space ends up white; the wall is the lm frame. In the course of the shot,
I repeatedly breathed on the lens to fog the image, which then repeatedly clears.

L: Child swinging. The early history of lm scale within a single shot the passage from
cogitative to contemplative distance within one second: paracinematic modularity.

200
M: Digging a hole. Expenditure of the artifact  attrition of the artifact. One shovelful 
one shot.

N: Beans. The lm (the frame) as a container. When it is full, ample, replete, the task is
done. The beans are anonymously modular, like leader frames. If you look closely,
a mirrored image (in the background) of the beans being poured is gradually obscured by
the beans themselves.

O: Bouncing ball. Four different attempts to perform a modular act (in four different
times) seen simultaneously. (Every pair of superimposed spaces also is presented
two different times).

P: Hands tying shoes. A performance. Fourteen takes to do it in exactly ten seconds.

Q: Steam  air.

R: Tinkertoys. Paracinematic metaphor obvious. A childhood favorite. To make me look

competent, the sequence was shot in reverse at twelve frames per second, so that, actually,
I was taking the chain apart at a quite comfortable rate.

S: Rhinoceri: pure shock value. What other shaggy animals are up to in our era.
An alter ego image.

T: Changing tire. A simple, convergent sculptural act involving performance values.

Also homage to Brooklyn Bridge, q.v. in background.

V: Peeling and eating tangerine. Another convergent and sculptural act. But note radial
modular symmetry of tangerine vs. axial modular symmetry of striped background,
and illusion vs. atness.

W: Passing side streets. Deforming the real world via cinema. An allusion (oblique) to
kitsch underground images. I had formerly shot a Norenesque [cf. Andrew Noren]
sequence of endless breast-fondling for this slot (which didnt work at all).

X: Fire. Shot at twelve frames per second, handheld, long telephoto, while a friend
deliberately pushed me and told me jokes, to make the frames smear la Abstract
Expressionism.

Y: Cattails. N.B/: This is actually two shots alternating, one with the other, against the light.
Again a gure and ground, planar vs. illusionist alternation.

Z: Sea. Twelve frames per second reversed. The waves are only about six inches high!

201
Notes
1. Uif!pqfojoh!tfrvfodf!pg![psot!Mfnnb!dpotjtut!pg!b!cmbdl!tdsffo!boe-!po!uif!
tpvoe!usbdl-!b!xpnbot!wpjdf!sfbejoh!Gsbnqupot!usbotdsjqujpo!pg!b!!dpmpojbm.!fsb!
dijmesfot!qsjnfs/!)C/K/*
2. Jo!uif!dfousbm!tfdujpo!pg!uif!mn-!b!nbusjy!pg!jnbhft!)tvctfu!B*!dpoubjojoh!
xpset!)po!tupsfgspout-!tusffu!tjhot-!boe!xbmmt*-!psefsfe!bmqibcfujdbmmz-!jt!hsbevbmmz!
sfqmbdfe!cz!uif!jnbhft!eftdsjcfe!jo!uijt!mjtu!)tvctfu!C*/!)C/K/*
3. Uif!obm!tfdujpo!pg!uif!mn!dpotjtut!pg!uif!ufyu!cz!Hspttfuftuf!sfbe!jo!!wpjdf.!pwfs!
bt!uif!jnbhf!pg!b!dpvqmf!xbmljoh!bdsptt!b!topx.!dpwfsfe!svsbm!mboetdbqf!bqqfbst!!
po!tdsffo<!b!dipsvt!pg!gfnbmf!wpjdft!)jodmvejoh!uiptf!pg!bsujtu!boe!mnnblfs!Kpzdf!
Xjfmboe-!dipsfphsbqifs!Uxzmb!Uibsq-!boe!qbjoufs!Sptfnbsjf!Dbtupsp*!sfbet!fbdi!
xpse!jo!uvso/!Uif!Fohmjti!Tdipmbtujd!qijmptpqifs!boe!uifpmphjbo!Hspttfuftuf!!
)d/!22862364*!xspuf!po!nbuufst!sfmjhjpvt-!dpvsumz-!boe!epnftujd-!cvu!jt!cftu!lopxo!
gps!ijt!nboz!usfbujtft!po!tdjfodf!boe!uif!tdjfoujd!nfuipe/!Gsbnqupo-!jo!ijt!tdsjqu-!
ibt!cffo!dbsfgvm!up!opuf!ijt!pxo!spmf!jo!usbotmbujoh!boe!fejujoh!uijt!nfejfwbm!ufyu!
gspn!uif!psjhjobm!Mbujo/!Bddpsejoh!up!Gsbnqupot!iboexsjuufo!opuft-!ijt!wfstjpo!
sfqsftfout!bqqspyjnbufmz!31!up!36!qfsdfou!pg!uif!psjhjobm/!)C/K/*

Typewritten script elements and handwritten notes, undated, in the collection of Anthology Film Archives,
New York.
Certain elements of grammar and punctuation in the handwritten manuscripts have been amended.
In addition, Framptons methods for indicating emphasis (capital letters, underscoring) have been uniformly
transcribed as italics, and shorthand abbreviations (FPS, cd / , wch / ) have been spelled out. For an exact
transcription of the documents, see Scott MacDonald, Screen Writings: Scripts and Texts by Independent
Filmmakers (Berkeley: University of California Press, 1995), pp. 5369.

202
(nostalgia): Voice-Over Narration for a Film of That Name

Cmpxt!joup!njdspqipof;!Jt!ju!bmm!sjhiu@
Wpjdf!pgg!njlf;!Jut!bmm!sjhiu/2
Qbvtf/
Sfbet;!Uiftf!bsf!sfdpmmfdujpot!pg!b!ep{fo!tujmm!qipuphsbqit!J!nbef!tfwfsbm!
zfbst!bhp/
Qbvtf/!Cmpxt!joup!njdspqipof/!Qbvtf/!Epft!ju!tpvoe!bmm!sjhiu@
Wpjdf!pgg!njlf;!Zft-!zft-!qfsgfdumz/!Jut!of/
Qbvtf/
Sfbet;!Uijt!jt!uif!stu!qipuphsbqi!J!fwfs!nbef!xjui!uif!ejsfdu!joufoujpo!!
pg!nbljoh!bsu/3
J!ibe!cpvhiu!nztfmg!b!dbnfsb!gps!Disjtunbt!jo!2:69/!Pof!ebz!fbsmz!jo!
Kbovbsz!pg!2:6:-!J!qipuphsbqife!tfwfsbm!esbxjoht!cz!Dbsm!Boesf-!xjui!xipn!J!
tibsfe!b!difbq!bqbsunfou!po!Nvmcfssz!Tusffu/!Pof!gsbnf!pg!mn!xbt!mfgu!pwfs-!
boe!J!tvhhftufe!up!Dbsm!uibu!if!tju-!ps!sbuifs-!trvbu-!gps!b!qpsusbju/
If! jotjtufe! uibu! uif! qipuphsbqi! nvtu! jodpsqpsbuf! b! iboetpnf! tnbmm!
!qjduvsf!gsbnf!uibu!ibe!cffo!hjwfo!ijn!b!zfbs!ps!tp!cfgpsf!cz!b!hjsm!obnfe!
Opsui/
Ipx!uif!nfuspopnf!foufsfe!uif!tdifnf!J!epou!sfdbmm-!cvu!ju!nvtu!ibwf!
cffo!efmjcfsbufmz/
Uif! qjduvsf! gsbnf! sfbqqfbst! jo! b! qipuphsbqi! ebufe! Nbsdi! 2:74-! cvu!
uifsf!jtou!ujnf!up!tipx!zpv!uibu!pof!opx/!J!ejtdbsefe!uif!nfuspopnf!fwfouv.
bmmz-!bgufs!upmfsbujoh!jut!tzodpqbujpo!gps!rvjuf!b!xijmf/
Dbsm!Boesf!jt!uxfmwf!zfbst!pmefs!boe!npsf!bdujwf!uibo!if!xbt!uifo/!J!tff!
mftt!pg!ijn!opxbebzt!uibo!J!tipvme!mjlf<!cvu!uifo!uifsf!bsf!puifs!qfpqmf!pg!
xipn!J!tff!npsf!uibo!J!dbsf!up/
J! eftqjtfe! uijt! qipuphsbqi! gps! tfwfsbm! zfbst/! Cvu! J! dpvme! ofwfs! csjoh!
nz!tfmg!up!eftuspz!b!ofhbujwf!tp!jodsjnjobujoh/
[ ]

J!nbef!uijt!qipuphsbqi!po!Nbsdi!22-!2:6:/!Uif!gbdf!jt!nz!pxo-!ps!sbuifs-!ju!xbt!nz!
pxo/!Bt!zpv!tff-!J!xbt!uipspvhimz!qmfbtfe!xjui!nztfmg!bu!uif!ujnf-!qsftvnbcmz!
gps!ibwjoh!tvswjwfe!up!tvdi!sjqfoftt!boe!xjtepn-!tjodf!ju!xbt!nz!!uxfouz.!uijse!
cjsuiebz/
J!gpdvtfe!uif!dbnfsb-!tbu!po!b!tuppm!jo!gspou!pg!ju-!boe!nbef!uif!fyqptvsft!
cz!trvff{joh!b!svccfs!cvmc!xjui!nz!sjhiu!gppu/

203
 Uifsf!bsf!fmfwfo!npsf!qipuphsbqit!po!uif!spmm!pg!mn-!bmm!pg!dpnqbs!bcmf!
hsboefvs/!Tpnf!pg!uifn!fyijcju!nz!gfbuvsft!jo!npsf!tfotjujwf!ps!jnqptjoh!
nppet/
Pof!fyqptvsf!sfdpset!xibu!opx!mpplt!up!nf!mjlf!b!mffs/!J!tfou!uibu!pof!up!
b!wfsz!qsfuuz!boe!tfotjcmf!hjsm!po!uif!pddbtjpo!pg!uif!wfsobm!frvjopy-!b!ipmjebz!
J!ifme!jo!tpnf!ftuffn/!J!uijol!J!xspuf!ifs!tpnf!tpsu!pg!dszqujd!opuf!po!uif!cbdl!
pg!ju/!J!ofwfs!ifbse!gspn!ifs!bhbjo/
Bozipx-!qipuphsbqiz!ibe!pcwjpvtmz!dbvhiu!nz!gbodz/!Uijt!qipuphsbqi!
xbt!nbef!jo!uif!tuvejp!xifsf!J!xpslfe/!Ju!cfmpohfe!up!uif!xjgf!pg!b!gsjfoe/!J!
ebsftbz!uifz!bsf!tujmm!nbssjfe-!cvu!if!ibt!opu!cffo!nz!gsjfoe!gps!ofbsmz!ufo!
zfbst/!Xf!cfdbnf!ftusbohfe!po!bddpvou!pg!bo!pctdvsf!nvuvbm!fncbssbttnfou!
uibu!jowpmwfe!b!uijse!qbsuz!boe!uisff!ep{fo!fhht/
J!ublf!tpnf!dpngpsu!jo!sfbmj{joh!uibu!nz!foujsf!qiztjdbm!cpez!ibt!cffo!
sfqmbdfe! npsf! uibo! podf! tjodf! ju! nbef! uijt! qpsusbju! pg! jut! gbdf/! Ipxfwfs-! J!
voefstuboe!uibu!nz!dfousbm!ofswpvt!tztufn!jt!bo!fydfqujpo/
[ ]

Uijt!qipuphsbqi!xbt!nbef!jo!Tfqufncfs!pg!2:71/!Uif!xjoepx!jt!uibu!pg!b!evtuz!
dbcjofunblfst!tipq-!po!uif!xftu!tjef!pg!Xftu!Cspbexbz-!tpnfxifsf!cfuxffo!
Tqsjoh!Tusffu!boe!Xftu!Ipvtupo/
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sfkfdufe!ju!gps!sfbtpot!ibwjoh!up!ep!xjui!jut!ubtufgvmoftt!boe!jmmvtjpo!pg!effq!
tqbdf/
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upp!ibsti<!ps!uif!gsbnjoh!xbt!upp!ujhiu/!Podf!b!ipstf!xbt!sffdufe!jo!uif!hmbtt-!
bmuipvhi!J!epou!sfdbmm!tffjoh!uibu!ipstf/!Podf-!J!gpvoe!nztfmg!sffdufe-!xjui!
nz!dbnfsb!boe!usjqpe/
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xjui!tvdi!gfbs-!tvdi!vuufs!esfbe!boe!mpbuijoh-!uibu!J!uijol!J!tibmm!ofwfs!ebsf!up!
nblf!bopuifs!qipuphsbqi!bhbjo/
Ifsf!ju!jt"
Mppl!bu!ju"
Ep!zpv!tff!xibu!J!tff@

Notes
1. Uif!uxp!wpjdft!ifbse!bu!uif!cfhjoojoh!pg!Gsbnqupot!2:82!mn!)optubmhjb*!bsf!uiptf!
pg!uif!obssbups-!uif!Dbobejbo!bsujtu!boe!mnnblfs!Njdibfm!Topx-!boe!pgg.!njlf-!
Gsbnqupo/!)C/K/*
2.!Uif!qipuphsbqi!uibu!bqqfbst!po!tdsffo!bt!uif!obssbups!cfhjot!up!sfbe!uijt!ufyu!jt!
opu!uif!qpsusbju!pg!Dbsm!Boesf!cfjoh!eftdsjcfe!cvu!sbuifs!bo!vojefoujfe!jnbhf!!
pg!b!ebslsppn-!ejtqmbzfe!bupq!b!ipuqmbuf/!Ju!tmpxmz!dibst!boe!cvsot!bt!uif!eftdsjq.
ujpo!pg!uif!Dbsm!Boesf!qipuphsbqi!dpoujovft/!Uif!Boesf!qipuphsbqi!uifo!bqqfbst!
boe!cvsot!bt!uif!!wpjdf.!pwfs!cfhjot!up!eftdsjcf!Gsbnqupot!tfmg.!qpsusbju/!Uijt!!
ejtkvodujpo!pg!tpvoe!boe!jnbhf-!xijdi!dpoujovft!uispvhipvu!uif!mn-!fohbhft!uif!
wjfxfs!jo!uif!qspdftt!pg!sfdpmmfdujpo!pgufo!bttpdjbufe!xjui!uif!qipuphsbqijd!jnbhf-!!
boe!mjufsbmj{ft!uif!jefb!pg!uif!bctfodf!pg!uif!qipuphsbqijd!qsfufyu!uibu!Gsbnqupo!!
pgufo!jowplft!jo!eftdsjcjoh!uif!nfejvn/!Uif!obm!tfdujpo!pg!uif!mn!dvmnjobuft!
opu!xjui!bo!jnbhf!cvu!xjui!b!cmbdl!tdsffo/!)C/K/*
3.!Uif!sfgfsfodf!jt!up!Csvdf!Obvnbot!qipuphsbqi!Tfmg.!Qpsusbju!bt!b!Gpvoubjo!!
)2:77*/!)C/K/*
4. Uif!bsujtu!jt!Kbnft!Sptforvjtu-!xip!jodpsqpsbufe!uif!jnbhf!pg!tqbhifuuj!bt!b!npujg!
jo!b!ovncfs!pg!ijt!qbjoujoht!boe!mjuiphsbqit/!)C/K/*

Film script dated January 8, 1971. Published in Film Culture, nos. 5355 (Spring 1972): 105111.

209
The (nostalgia) Portfolio, 1971 (photographed 19591966)

Thirteen black-and-white photographs

Estate of Hollis Frampton

210
Untitled (photography darkroom), n.d.

211
Untitled (portrait of Carl Andre), 1959

212
Untitled (self-portrait), 1959

213
Untitled (dusty cabinetmakers shop), 1960

214
Untitled (A Cast of Thousands), 1961

215
Untitled (portrait of Frank Stella), 1963

216
Untitled (portrait of James Rosenquist), 1963

217
Untitled (bank window), 1963

218
Untitled (two toilets), 1964

219
Untitled (Franco-American Spaghetti), 1964

220
Untitled (Michael Snows studio), 1965

221
Untitled (portrait of Larry Poons), 1966

222
Untitled (appropriated newspaper photograph), n.d.

223
Notes on (nostalgia)

Uif!obssbujwf!bsu!pg!nptu!zpvoh!nfo!jt!bvupcjphsbqijdbm/!Tjodf!J!ibwf!ibe!mjuumf!
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nbef!evsjoh!ijt!bqqsfoujdftijq!up!uif!bsu!J!fyqpvoe/!Cfdbvtf!nz!sftvmut!xfsf!up!
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sftu!gps!mbufs!jowftujhbupst!xip!xpvme!cf!epvcmz!gpsuvobuf;!stu!jo!uifjs!tfoujnfou!
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pvu!pg!uifjs!xbz!up!dpnnfou!po!uif!qpps!nfdibojdbm!rvbmjujft!pg!uif!tpvoe!usbdl/
Jo!uif!foe-!xifo!J!tbx!uif!mn!nztfmg-!J!gfmu!uibu!J!ibe!nbef!bo!fghz-!bu!
mfbtu-!pg!ijt!pqbrvf!!zpvoh.!nbot!mjgf-!fwfo!jg!J!ibe!opu!xipmmz!fousbjofe!jut!
tbeoftt/

I/G/!
Fbupo-!Ofx!Zpsl!
Bqsjm!5-!2:82

Film Culture, nos. 5355 (Spring 1972): 114.

224
Envoi

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xijdi!fofshz!ibt!mfblfe!gspn!mn!bsu/!Uijt!mfblbhf!dbo!cf!efbmu!xjui/!Jg!ju!jt!dvt.
upnbsz!up!tbz!uibu!mn!jt!zpvoh!bnpoh!uif!bsut-!ju!jt!npsf!sftqpotjcmf!up!opujdf!
uibu!mn!jt!uif!stu!pg!uif!bsut!uibu!ibt!jut!spput!jo!dpotdjpvtoftt!bt!xf!lopx!ju/

I/G/!
Fbupo-!Ofx!Zpsl!
Kvmz!:-!2:84

Notes
1. Uif!mn!Qpfujd!Kvtujdf!dpotjtut!pg!b!!dmptf.!vq!pg!b!ubcmf!po!xijdi!uif!tvddfttjwf!
qbhft!pg!b!iboexsjuufo!tdsffoqmbz!bqqfbs/!)C/K/*
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!ejnfotjpobm!qspkfdujpot-!jojujbm!dibqufst!pg!xijdi!xfsf!ujumfe!Uif!Jnqpttjcmf/!)C/K/*
3.!Uif!sfgfsfodf!jt!b!mbzfsfe!pof;!up!Ebouf-!jo!xiptf!Jogfsop!)Dboup!37*!uif!jnbhf!pg!
Vmzttft!jo!uif!ipsofe!bnf!bqqfbst!boe!jo!xiptf!Qbsbejtf!uif!!uxfmgui.!dfouvsz!
Disjtujbo!nztujd!Sjdibse!pg!Tu/!Wjdups!nblft!bo!bqqfbsbodf<!cvu!bmtp!up!F{sb!Qpvoe-!
jo!xiptf!Dboupt!cpui!Ebouf!boe!Sjdibse!pg!Tu/!Wjdups!hvsf!qspnjofoumz/!)C/K/*

Preface to the screenplay of Framptons 1972 lm Poetic Justice, published as the book Poetic Justice
(Rochester, N.Y.: Visual Studies Workshop Press, 1973).

225
Statement of Plans for Magellan

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226
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vmbsmz!joufsftufe!jo!uiftf!efwjdft!jo!qspqpsujpo!bt!uifz!nblf!bwbjmbcmf!up!mn-!

227
xjuijo!b!gsbnfxpsl!uibu!ibt!tpnf!ejtdpwfsbcmf!sfmbujpo!up!sfbm!ujnf-!hfofs.
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uif!ivnbo!hfofujd!tvctubodf!fodpeft!pvs!foujsf!qiztjdbm!cpez/
[ ]

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dpotujuvuft!gps!uif!qfsdfjwfs!bo!fowjsponfou!jo!ujnf/!)J!bmtp!qmbo!gps!tipsufs!
wjfxjoh!tdifevmft/*!Tqfdjbm-!mpohfs!fqjtpeft!bsf!joufoefe!gps!uif!gpvs!hsfbu!

228
qbhbo!dfmfcsbujpot!pg!uif!frvjopyft!boe!tpmtujdft<!b!tqfdjbm!xpsl!jt!qmboofe!gps!
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bujpot!pg!sf.!sfdpsejoh-!boe!pg!evccjoh!cbdl!gspn!pqujdbm!tpvoe!usbdlt/
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jt!fyqfdufe!up!svo!bcpvu!uxfmwf!ipvst!jo!sfbm!tdsffojoh!ujnf-!jodmvtjwf!pg!jut!
gpsnbmmz!bqqspqsjbuf!djofnbujd!qsfyft-!tvgyft-!jofdujpot/
Tjodf!J!ibwf!cffo!fohbhfe!vqpo!uijt!xpsl-!tpnfuijoh!ibt!hpu!epof!jo!
fwfsz!qbsu!pg!uif!Nbhfmmbo!dzdmf-!xijdi!xjmm!sfrvjsf-!xifo!dpnqmfufe-!bcpvu!
!uxfouz.!gpvs!ipvst!pg!upubm!tdsffojoh!ujnf/!J!ibwf!dpnnjuufe!nz!dsfbujwf!fofshz-!
boe!nz!upubm!sftpvsdft-!up!uijt!xpsl!/!/!/!gps!bo!joefufsnjobuf!qfsjpe!pg!ujnf/

Typewritten manuscript of proposal, undated (c. 1978).

There are at least three versions of this proposal requesting support for various portions of the work,
including earlier submissions to the Creative Artists Program Service Inc. and the individual artist program of
the National Endowment for the Arts, and a later one to the Guggenheim Foundation. The agency to which this
particular proposal was submitted, with an appended budget of $9,250, is unknown. (B.J.)

229
Phrases.Mag

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gbdut!pg!mjgf!)Fbupo-!24!kvo!87*
tfdpoe!obuvsf!)Fbupo-!5!kvm!87*
mjwjoh!qsppg!)Ibnjmupo-!37!kvm!87*
jut!bmm!epof!xjui!njsspst!)Fbupo-!39!kvm!87*
ujnf!jt!po!pvs!tjef!)Ifbuispx!Bjsqpsu-!24!tfq!87*
b!nfbm!jo!jutfmg!)Fbupo-!37!tfq!87*
uif!qmpu!uijdlfot!)Fbupo-!25!pdu!87*
uvso!bcpvu!jt!gbjs!qmbz!)Fbupo-!25!pdu!87*
cfuufs!mbuf!uibo!ofwfs!)Fbupo-!35!pdu!87*
uif!cfofgju!pg!uif!epvcu!)Ofx!Zpsl-!36!pdu!87*
npsf!mjhiu!po!uif!tvckfdu!)Fbupo-!38!pdu!87*
npsf!uibo!nffut!uif!fzf!)Fbupo-!3:!pdu!87*
uif!tqvs!pg!uif!npnfou!)Fbupo-!42!pdu!87*
b!mjuumf!hpft!b!mpoh!xbz!)Joufstubuf!:1-!6!opw!87*
gpsfjho!cpez!)Cvggbmp-!6!opw!87*
gpsfjho!nbuufs!)Cvggbmp-!6!opw!87*
qfsjpejd!gvodujpo!)Fbupo-!:!opw!87*
b!tipu!jo!uif!ebsl!)Fbupo-!38!opw!87*
ujnf!bgufs!ujnf!)Ofx!Zpsl-!3:!opw!87*
uif!mbtu!xpse!)Cvggbmp-!3!efd!87*
up!hfu!ju!pvu!pg!nz!tztufn!)6!efd!87*
ujnf!po!nz!iboet!)Fbupo-!8!efd!87*
bmm!uif!ujnf!jo!uif!xpsme!)Cptupo-!9!efd!87*
gsfodi!dvswft!)Fbupo-!37!efd!87*
op!tppofs!tbje!uibo!epof"!)Fbupo-!37!efd!87*
gspn!ujnf!up!ujnf!)Fbupo-!39!efd!87*
ubljoh!b!ejn!wjfx!)Fbupo-!8!kbo!88*
tusbohf!cfegfmmpxt!)Fbupo-!28!kbo!88*
tjhiu!votffo!)Ofx!Zpsl-!26!gfc!88*
tqmjuujoh!uif!ejggfsfodf!)Fbupo-!2!nbs!88*
gjoejoh!ujnf!)Fbupo-!27!nbs!88*
nbljoh!ujnf!)Fbupo-!27!nbs!88*
ju!tqfblt!gps!jutfmg!)Fbupo-!2!bqs!88*
gps!uif!ujnf!cfjoh!)Fbupo-!2:!bqs!88*
b!sbdf!bhbjotu!ujnf!)Fbupo-!4!kvo!88*

230
uibut!pof!gps!uif!cpplt"!)Fbupo-!39!kvo!88*
tvnnbsz!fyfdvujpot!)Fbupo-!7!kvm!88*
esbxjoh!uif!mjof!)Fbupo-!8!kvm!88*
njttjoh!uif!qpjou!)Fbupo-!8!kvm!88*
up!nblf!b!mpoh!tupsz!tipsu!)Fbupo-!8!kvm!88*
csbjo!tupsn!)Cvggbmp-!9!tfq!88*
cjsuiebz!tvju!)Fbupo-!27!pdu!88*
tjnqmjdjuz!jutfmg!)Fbupo-!38!efd!88*
dpowfstbujpo!qjfdf!)Cvggbmp-!:!nbs!89*
b!ofswpvt!xsfdl!)Cvggbmp-!24!nbs!89*
b!cpof!pg!dpoufoujpo!)Fbupo-!2!bqs!89*
dpmmfdujoh!ijt!uipvhiut!)Fbupo-!9!bvh!89*

foe!pg!gjmf

Computer le, undated.

The computer le represents a diary Frampton kept of idioms and turns of phrase that caught his
attention as potential titles or themes for elements of his Magellan cycle. Of the phrases on this list,
at least one More Than Meets the Eye became the title of a completed lm in 1979. (B.J.)

231
Talking about Magellan: An Interview

BILL SIMON: I was wondering if we could start with the last film shown in the Whitney programs, the
one called Gloria!, which I found to be the most moving and otherwise most beautiful film that Ive
seen in years. The experience of seeing it was really very special, and I have a feeling that part of
the effect was that after seeing about five-and-a-half hours or so of the Magellan cycle, Gloria!
seemed like a very special work, involving an important shift in tone. I dont think I have a specific
question. I guess it was the very personal quality of the work that was so striking.
HOLLIS FRAMPTON: It is personal. At the same time I hope that it manages through one stratagem or
another or one obliquity or another to achieve some kind of equipoise. If the things at the Whitney
are in calendric order, nevertheless, as the tentative calendar will have informed you, it still doesnt
necessarily mean that the lms shown were contiguous. The previous segment shown was Tiger
Balm. The transition from there to Gloria! was pretty hard; its a pretty hard cut. The break in deco-
rum that you see between Tiger Balm and Gloria! will look a little smoother. Gloria! will be consid-
erably less isolated. Between the group of lms that Tiger Balm will be part of (the rest of which are
not done), there is a Lamentation, for which I have a certain amount of material, and then not one
but three dedications or, better, terminal pieces: an Alleluia, a Gloria, and a Hosanna. Each of them,
rst of all, has a dominant color. The three primaries that gured largely throughout the rest of the
lm the red, green, and blue are nally relinquished: the Alleluia is blue and Mallarm gures
rather largely in it; the Gloria is green; and the Hosanna is red.

BS: Is that Finnegan who comes out of the coffin and causes all the trouble?

HF: Oh, absolutely. Among other things, theres a lot of loose punning about Irishness in the whole
thing, which means certain things to me personally, but also has a certain avor within literary mod-
ernism. For me, the most important part of English-language literary modernism is Irish. I must say
that I am also somewhat moved by the lm; its relatively recent. Its not easy for me to get through
it with a completely dry eye, I suppose.

BS: I think that was very much part of my experience. It had such a personal level and at the same
time seemed to be touching on a lot of the largest themes of the entire work. Its obviously a film
about birth and death and it touches on other themes like . . .
HF: Language . . .

BS: I thought it was an amazing way to capsulize and to reframe the huge major themes of the whole
work, plus to do it on such a personal level. I think that is especially striking.

232
HF: There is a certain function within the whole of Magellan that I hope it has or will have, and that
is that I hope it will neutralize at least the monumentality of it, the sheer size of it, and haul that
down into some human scale, which is where I feel it ought to be. Theres also a reference of a dif-
ferent kind, which is a good deal homelier. As long as Ive known anything about Dante Alighieri
and The Divine Comedy, I have been at once touched and annoyed by the dedication of that huge
work to Beatrice Portinari, who presumably was an extremely attractive person. But Dante only saw
her once for sure, and she was nine years old, and its all very discorporate. And so Gloria! is also a
very alive and very cumbersome work that is dedicated to a woman, who is extremely important to
me but was by no means a spiritual and discorporate creature. She was my Irish Grandma with the
style of a drunken sailor, and I think my nal decision to do the Gloria at that place and in that way
devolved more heavily than anything else upon a conict that I had always felt about the dedica-
tion of The Divine Comedy. The very large work in any medium is a special case; its an odd case. I
didnt originally set out to undertake something this big. It grew upon a certain group of lms, and a
great deal of footage conspired among itself to begin to suggest the cycle. But having decided that
I was going to do it, Ive now spent a certain amount of time going over the problems of the mam-
moth work of whatever kind.

BS: One other thing about Gloria! that was especially striking relates to a comment you made to
Amy Taubin in your discussion in the Soho Weekly News to the effect that you had been struck, as
Mr. Joyce was at a certain point after the publication of Ulysses, that no one has commented on
its being a comic work . . .
HF: Yes.

BS: And one of the things I think about Gloria! and about many films that constituted the first pro-
gram was that they did strike me very much as comic . . .
HF: Good.

BS: . . . works. I laughed, though I laugh at strange things. The fact that Gloria! starts with the old
farcical film obviously cues the comedy. But then the propositions that you state in the film are done
in a somewhat portentous manner. And some of them are very personal and humorous. The language
that they are stated in adds to the humor. The moment when the propositions stop and the music
begins, which is the most moving transition, thats the part when the dry eyes arent dry anymore.
I tended to laugh then too, because, amongst other things, I tend to laugh when the structure of a
work comes together in a certain way or when theres a leap in the structure of a work. Theres a kind
of joyfulness at something like that.

233
HF: Its interesting to hear you trying to talk about it. There are things in what is now at the museum
that I, in my perverse manner, nd downright funny. But the difculty that you have at the moment
in saying why you laughed or why you perceive something as comical is not unlike the difculty I
have had in trying to say why I think Magellan is comical. Joyce, in fact, objected that after all the
furor about Ulysses and indeed the voluminous attention to it . . . he was annoyed that no one had
remarked that the book was funny. And of course, Ulysses is still funny. Some of the jokes havent
dated too badly, in fact.

BS: There are whopping belly laughs throughout.

HF: Yes, sure. I think there are two observations to be made: one is that after all this time, in lm
or outside, while we have a set of general theories of tragic art, we do not have a general theory of
comedy. Period. My own claim is to suggest that aside from the occasional joke, or giggle or guf-
faw, or that special gratication that can come at the moment when one perceives that a form has
fullled itself comic art resolves in favor of its protagonist. Now, the manner in which it does that
can be very, very complicated. Its the only possible justication, for instance, for my own pecu-
liar judgment that Oedipus at Colonus is a comedy and the only comedy that Sophocles ever wrote.
I cannot understand it as a tragedy at all. Its a nonesuch in any case. How in the world, in the Laurel
and Hardy sense, do you square the notion of comedy with the title of Dantes poem, since there
are very few real side-splitters in there? But, if you wish to accept my general axiom, that brings on
a second question, and I think that in the case of this lm its possibly a paramount question. And
that is, of course, to nd the identity of the protagonist, since there is none, you see. If you look for
a persona of the Renaissance explorer within the lm, you are not going to nd it. If you seek that
at the center, the center will be empty.

BS: In terms of the protagonist in Magellan, it seems to me that Ive seen two statements now:
one to the effect that the protagonist can be understood somehow as your consciousness, and the
other that the spectator is the protagonist. What are the relationships of those two senses of the
protagonist?
HF: The spectator is the protagonist when the work is done. I am the surrogate protagonist for the
making of the work; I have to be. Somebody has to do it. Presumably there has to be some locus
identied for the spectator throughout the making of the work. An important social function for the
one who makes the work, at the time of its making, is to occupy and guarantee the eventual space
of the spectator and then, presumably, to evacuate it, or to become, as Eliot said of The Waste Land,
just one more reader. For a time you have to be the only reader, and youre also a supremely cor-
rupt reader, because you can never be innocent to the work. You can never retrieve, for instance, the
exact moment when the making of the work began. All you can know is when its done, so to speak.

234
So it is in that very general sense that I would claim, or that Im advertising in advance, that Im
trying to make a comedy. That is to say, whatever labyrinths it involves itself in, I am proposing that
it will eventually resolve itself in favor of the protagonist and that the protagonist is the spectator
of the work. Theres going to be no moment when an identiable persona appears in the lm.

BS: That obviously makes for a very different experience for the spectator in terms of how the
spectator conventionally understands himself or herself in relation to most films.
HF: I think it offers to the spectator the possibility of a posture thats so active in relation to the work
that it borders on the utopian or it is utopian.

BS: Utopian in the sense that your expectation of what the spectator is to do for example, see it
calendrically is almost impossible to realize?
HF: I think that what is utopian about it is that it posits for the spectator a kind of willingness to see
the thing through and a resourcefulness in reading and a certain taste for the chase that has been
suggested certainly as a goal for lm, but I dont think has ever been pushed quite this far. In that
sense, its utopian. Obviously the successful utopian project for instance, I think Finnegans Wake
an entirely utopian project produces its own spectator, so to speak. It breeds a new genetic strain
that has learned from the work how to read the work. Lets take that particular book as a case in point.
Although it has to a great extent got bogged down in the back shops of the English Department, a lot
of which is very boring, of course, a lot of which plays exactly into Joyces hands since its something
he only could have anticipated with a certain grim relish, nevertheless, there is now a readership for
that book and that readership has learned from that book how to do it, nally. It simply is something
that takes time. One has to be pretty relaxed about that.

BS: Part of the utopianism, then, is involved with the length of the work and with the projected way
that a spectator is meant to see it, which is to see a certain amount of film for something like . . .
HF: Well, a year and some days is what it amounts to . . .

BS: The reason for calling that utopianism obviously is that it doesnt seem to be realizable in the
context of present-day distribution and exhibition circuits. So far, the work has been showing in
conventional kinds of programs, an hour at a time, two hours at a time. Now, it is being reshaped
and reworked, calendrically. In designing it to be shown calendrically, it seems to me, youre chal-
lenging the mass experience or the collective experience in which film has been conventionally
viewed. Does something like television make the project more realizable? It seems to me that
youre anticipating the revolution we are told is going to happen in film viewing, which is that
films will be viewed privately on television through various video forms. That way of seeing

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Magellan might prove practical, although it would sacrifice tremendously the visual and auditory
qualities of the work.
HF: There are a lot of questions there. First of all, I dont think it is possible to separate a mode of
production from its allied or associated mode of distribution. The scheme of lm distribution as we
have it its packaging strategies, its being set apart as a special occasion cannot in any way be
separated from lm as we have it. And that, of course, is something that grows, if anything, more
exaggerated at the present time. So it is difcult to imagine, rst of all, a lm which is distributed
through a very long period of time and has other stuff, mainly the spectators life, embedded in it,
being achieved without tremendous strain, without extremely anomalous effort, which of course
means extremely expensive effort.
Its interesting that you bring up television, because television is respired while lm is banquet.
I always nd it enormously interesting that Americans watch television now more than they work.
Really. If we assume a forty-hour work week, the average American watches television forty-eight
hours a week. Well, there are plenty of things I dont like about television if we talk about it as the
broadcast mass medium. I cant think of anything that I like about it. But if we talk about video and
what might be broadcast video, or widely available video, cheap video, permeant video, Im not
quite so offended. If screens were larger and if they had 2000-line resolution instead of 525-line
resolution I would be less upset. Its very easy coming from lm to feel snotty about the video image.
It is of low resolution. It superimposes that graphic raster on everything. It emanates from a piece of
furniture instead of something that is before one in an attentive situation. It sits there by itself and
does its thing and is surrounded by fake tulips and other furniture and cheese doodles and TV snacks.
Its a whole environment. But there is this to be said for television, and that is, it is seen. Which is a
matter of enormous importance. I was speaking with someone else this afternoon about Eisenstein
and in particular about some of Eisensteins more maverick pronouncements and interests and so
forth, some of which seemed a little fake. Consider, for instance, that Eisenstein was enchanted by
Harvey the Rabbit. I would like to know more about that. I would like to know more, if more were to
be known, about Eisensteins extreme interest in television. But we dont know if he even ever man-
aged to see any television except at the most primitive, experimental level. It seems possible at
least for him to have entertained a trade-off in order that his work would be seen.
Well, Ill entertain that, or its something that might experimentally interest me to look at. I
will go even a step further and say that Im testing the possibility in my mind, as the cost of practice
in the high technology of lm becomes astronomical, that rather than consign the work to another
one of those ruined formal gardens, Id consider nishing Magellan in video rather than to not
nish it at all. That, of course, would affect a radical and in some ways painful translocation of it.
The translocation would be more drastic than the translation of the written word from one natural
language to another.

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 On the other hand, of course, I cant imagine any possibility that I could single-handedly force
a change in the mode of lm distribution as we have it. But I do feel that I can suggest a critique of
that mode. If anyone considers it important that they see Magellan, then of course its improper t
with the modes of distribution as we have them immediately becomes apparent and becomes a part
of the over-subject of the work. Indeed, if it is possible to say of something like this that it has a
social or political inscription and I assume it is since I assume everything does then that
becomes one of its most important inscriptions. However, I think its also utopian to imagine or hope
for a mode of lm experience that is more allied with the use of the book than with the use of the
painting. One does pick a book up and set it down. Unless you happen to have the painting in your
house, seeing it involves, as seeing a lm involves, going to a special palace that is consecrated to
that use. The last thing I would think about imposing on anyone is some ecclesiastical duty, as it
were, of marching off to somewhere every day for a year to see what is typically two minutes of lm.
It would be extraordinary if the appropriate two minutes or forty minutes or whatever were some-
where in repertory along with, and typically very parenthetical to, whatever else was being shown.
But what about missing part of it? One of the most relaxing things I ever read about reading was a
remark by Borges that Proust was the most fortunate of authors because in subsequent readings of
Proust you never skip the same passages twice. Thus, eventually you actually manage to read Proust,
which admits at once that the fact that youre out to lunch a certain amount of the time is part of the
condition of reading the written word. Or you skip over passages. But that does not place a stigma-
tum of shame upon you. It simply states that it is part of the reading process.

BS: As someone who is certainly interested in seeing the whole work and as somebody who is
intrigued by the idea of seeing it in the calendrical form, in practical terms its much easier for me
to imagine myself having it in my home on a cassette that I can plug into my television than it is
going to Anthology Film Archives or Millennium or the Whitney to see the two minutes every day.
HF: Its impossible.

BS: So that I think the analogy with reading a novel or a book of poems or reading by chapters,
where you would pick it up at any point in the day when you wanted to . . .
HF: Or go back and read it over if you wanted to . . .

BS: Sure. Im certain that if I saw one that I really liked and I had ten minutes instead of one
minute, Id look at the one minute ten times.
HF: Which would in a way nally disturb the kind of canonical way of viewing lms. Because the
worshipers of Satan recite the Lords Prayer backwards in no way inects the canonical order of the

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words; it readjusts our understanding of what they mean to their reciters. No, the one thing that I
would hope to dislocate Magellan from permanently is the idea that there is going to be some hor-
rifying thirty-six-hour marathon, which is sadistic. I think that at the Whitney this collocation of
ordered fragments is probably about six hours. I think that that amount in one sitting is pushing it
very, very hard, and I hope that the audience has not felt clamped into the iron maiden of this thing
or that theyre attending one of those uninterruptible hushed rites among the porcelain teacups of
art. If they have to go to the toilet, they walk out. I have felt perfectly free to do that about my own
lms at my own screenings. I dont always sit through the lms myself. I obtain a certain intimacy
with them presumably, but there are also afternoons or evenings when I just dont feel like watch-
ing them. Six hours is the limit or else I think youd just OD. I believe I cultivate a certain endurance
for these things because Ive been interested in extended forms for a long time. I have sat through,
which nominally means I have seen, [Michael Snows 270-minute lm] Rameaus Nephew four or
ve times. That guarantees absolutely that I have been out to lunch during at least a third of every
one of the screenings. I may, like Borgess reading of Proust, have seen the lm once by now. And
there are parts I have seen four or ve times.

BS: The one last point about the idea of having the film at home and being able to read it like a book
is that the possibility of my affording it seems very unlikely.
HF: Oh, its impossible for a lm print. I think its worse than that. I think that when and if the time
comes that I nish the thing, it is unlikely, even under very special circumstances, that a single
institution could afford it. In 1980 dollars, were talking about a print purchase on the order of
seventy or seventy-ve thousand dollars. I do not own prints of these lms. I do not have them in
my house. The prints that are shown at the Whitney represent a chance encounter upon the dis-
secting table of that screen of prints that have never been together before. And a week from now,
those show-reels will be dismembered and theyll go ying off again. So that, literally, the Whitney
screening represents a brief intersection of Magellans physical object, which otherwise could not
have been done in any other way.

BS: I think thats defining a utopianism of a sort. How do you feel about that?

HF: It breaks my heart. To such an extent that if I had thought the whole thing through before I began
it I would have been discouraged from the beginning. Whats more, assuming that the Philips stan-
dard for video disc is adopted (which it probably now will be), then we will begin to see video disc,
which is an extremely cheap thing to produce and to own. And at least the video level has very, very
high delity and an almost incorruptible delity since it doesnt get scratchy like a record. Then
if a twelve-inch vinyl disc can be bought for four or ve dollars, which seems reasonable, and will
hold an hour of image material, you could have even a leviathan like this at the strain of spending

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a hundred and fty, two hundred dollars. Thats cheaper than the Encyclopaedia Britannica. Its
probably as much as what I consider to be the supreme work of scholarship of the twentieth century,
Joseph Needhams Science and Civilisation in China. Well, obviously not everyone wants to have
that set of books either for hard work or casual delectation. Its very special but you can squeak it out.
Its not impossible to make yourself a great present of it. And by that same token, if it were possi-
ble to have this lm with that kind of accessibility, then I think that the way in which one would tend
to see it would probably more resemble the way in which it was made than the experience of seeing
most lms resembles the way in which they were made.

BS: Im not sure what you mean by that. One of the things that I was struck by in the Whitney
screenings is that the structure of the whole work is changing a great deal. For instance, three or
four years ago, at Buffalo, you showed Magellan at the Gates of Death as a long consecutive piece,
and now it has been cut down into smaller individual segments. And what was previously called
Vernal Equinox is now in short segments under the title Ingenium Nobis . . .
HF: One of the reasons I was interested in this calendrical screening was that I had shown parts of
Magellan as I had made them, not as they t necessarily. It was always the case that Magellan at
the Gates of Death was in twenty-four parts. Each one, in fact, is to be seen twice, once right side up
and forwards, once upside down and backwards, in the course of the whole cycle. Showing them on
what I have called the storage reels as they were completed represents a very central binary choice.
Either I can hold everything until the entire work is done or I can show what I had and risk, thereby,
an essentially anomalous reading of the work. Figuring that this will take another six or seven years,
I chose the latter. I wasnt going to go into retirement and make periodic farts and groans and grum-
blings to the effect that I was working on some huge lm which no folks, isnt ready yet. You just
dont do that. Joyce made the same choice in the thirties in releasing parts of a book called at that
time Work in Progress to magazines like Transition, and so forth. The result was an immense
confusion and a very silly one, and some of the consequences were just bizarre. His only other alter-
native really was to afrm something that I suspect he did not believe, and I certainly do not believe,
and that was that the book or the painting or the lm was some kind of pearl formed within the
delicate tissues of that delectable oyster, the artist, which only appears when he is shucked. The
work is to be shared. It is made to be given to others nally. And it doesnt seem reasonable to
withhold it even if it is going to cause confusion. The act of withholding it even represents a kind
of paternalization I suspect.
The potential misreading in the case of Magellan at the Gates of Death is something that
Yvonne Rainer voiced very well two or three years ago when she saw it in a block. She said that the
method of the lm in that extension seemed so relentless and so obtrusive, or at least the effort to
hold on to its method seemed so obtrusive, that it nally began to submerge the lm. All I could say

239
at that moment was, Well, wait. I think that within a few years it will be possible to begin to see it
within its context, and I think that will very drastically change the thing.
The question with Ingenium Nobis . . . is a little more complicated. It was called Vernal Equinox
and was part of the four-lm Solariumagelani for the solstices and equinoxes. I liked the lm very
much, but I was not satised at all with its position there. It is clearly and drastically out of deco-
rum with the other three. Its twice their size, just to begin with, and its a completely different sort
of montage. Its a completely different part of some imaginable universe. So I decided to move it
elsewhere. There is a new Vernal Equinox, which is shot but not edited, that I am planning to hold
back for quite some time. Except that I will say that, quite appropriate to the season, I think it will
be judged to be quite pornographic. There are those who have held that Winter Solstice, the steel
mill lm, is somewhat pornographic. I consider it an erotic lm myself, almost inescapably so. I
once showed it to my own students by surprise on a double bill with [Eisensteins] The General Line,
and in those circumstances especially they seemed to be very readily getting a reading that was
not entirely industrial.

BS: Was that purposefully so? That one would get a pornographic or erotic or phallic reading?

HF: Ive always hoped so. Its also true, by the way, that given presumably a variety of options about
how steel can be worked, the culture has chosen a particularly phallic technology. It was other men,
other dreamers upon the phallus than myself, who built steel mills and inscribed that suggestion in
there. At the same time, just to dwell on that lm for a moment, it is a steel mill, as two of the other
lms are made on a dairy farm on the one hand and in a slaughterhouse on the other. I would deli-
cately point out that each is a pretextual locus dearly beloved of Sergei Mikhailovich [Eisenstein].
The notion of vertical montage is, after all, not a two-edged sword but a sort of many edged . . .

BS: I was thinking of Vertov more with the steel mill . . .

HF: Let us say that each is a pretextual locus dearly beloved by our Soviet predecessors . . .

BS: In the Vertov heavy industrial films, I am especially always struck by his handling of the
light quality of the molten metal. The light and color and texture in your steel mill film is also
extraordinary.
HF: If I talk about Eisenstein more than I talk about Vertov, it is probably because Eisenstein him-
self taught more than Vertov did.

BS: In your notes about the Magellan cycle, you continue to pose it in terms of your notions of the
metahistory of film. I say continue to pose it in those terms because you have also described at

240
least Zorns Lemma and Hapax Legomena in those terms. Are there more precise ways in which you
see Magellan as developing those notions that are summed up in the metahistory of film idea?
HF: That article [For a Metahistory of Film: Commonplace Notes and Hypotheses], which is nine
years old, was, in my mind, quite openly a manifesto for a work that I was at that moment thinking
quite seriously about undertaking, namely the Magellan project. If I can incorrectly cite a couple
of references to my own writings, there is one paragraph where he wrote that if the necessary
lms to constitute a full tradition do not exist, then they must be made. Another point very near the
end says: while it is perhaps not possible to generate the knights tour in chess, the absolute tour of
the board, it is possible to make a tour of tours, so to speak. In both of those cases, I now serve
notice that I was alluding to this project, to at least what I thought its concrete scope of ambition
could be. I cannot generate the innite cinema that I posited then. But I can generate a grammat-
ically complete synopsis of it.
Part of Magellans lm-historical content has to do with what now begins to appear on the
screen at the Whitney. That is, there is a great deal of allusion in it to other lms, but that allusion
is not necessarily at the surface level. I remember having a letter, an oddly apologetic letter, from
Lindley Hanlon about a rather quick and forceful and intuitive piece she wrote about Otherwise
Unexplained Fires.1 She recounted the experience of watching the lm and thinking at rst that she
might be looking at a Brakhage lm and gradually acquiring a sort of deep malaise about that feel-
ing. Finally she came to the conclusion that it was not a lm by Stan Brakhage but seemed to have
something to do with Brakhages lms and that it represented in her eyes a critique of a part of
Brakhagean montage. When I got the Xerox of her text, I was at once gratied on the one hand and
shocked on the other. The gratication caused me to send a page and a half of corroboration to her.
In fact, it is literally true that the chickens in that lm are Jane Brakhages chickens and they were
shot at Casa Brakhage in Colorado. On the other hand, the shock caused me to write to her that,
pleased as I was to see that someone had walked in on the thing and scored a bulls-eye with one
shot in a fairly difcult and kind of queasy reading problem, I also felt that if critical insight had
developed to that level at that speed, then I had better start covering my tracks a little better.
In Magellan, there is everything from overt homage and imitation and retesting cor-
roboration (in the scientic manner of repeating the experiment) to literal workings-out and
speculations-in-practice upon suggestions that were made a very long time ago and which have
not been acted upon for reasons that I wouldnt care to surmise on. Now as you clearly understood
from your piece on Zorns Lemma, nothing tickles me pinker than to take a suggestion literally and
to seek the consequences of the working out of a literal reading in detail.2 And the most interest-
ing single body of suggestions that I have found in lm theory which has not been worked out is the
rather vague and uncrystallized notion or suggestion or pre-vision of a vertical, as distinct from a
horizontal, montage. Now there is in my efforts to test such a thing, to try to nd out ways to make

241
a vertical montage, the most direct debt and the most direct homage probably not in the customary
artistic sense but in the scientic sense to Eisenstein and Vertov.

BS: I assume that this includes working with sound.

HF: It sure does.

BS: But there are still relatively few sound pieces in the Whitney show. In fact, one of the things
that put me in a special frame of mind for Gloria! was hearing the sound hum from the projector
and realizing there was going to be a sound film after many hours of silent film. But rather than
talk more about Gloria!, what was going on with sound in the Mindfall series was very interest-
ing. You talk in your notes about creating an acoustic image, in which the sound can create an
image of that which presumably produced the image. That notion was very interestingly realized
in one group in the Mindfalls, where the images are basically from nature grass, flowers, plants,
etc. and the sounds seemed largely mechanical or technological.
HF: More specically, by the way, where they are mechanical, they tend to be associated with
communication teletypes, printing presses, telephones.

BS: The clarity and precision of the sound was amazing. So I certainly heard / saw the acoustic
image. And the interrelationship of image and sound was fascinating. I remember one that started
with a drilling sort of sound over an image of a cactus plant. There was a level of correspondence
because the cactus is prickly. But then, while continuing the sound, you cut on the image track to
out-of-focus water, a very soft image. So over the course of the one sound, the images were chang-
ing the relations in complex ways.
HF: All right, there is the passage, for instance, in which the pneumatic drill is rst superimposed
upon the cactus. Now lets run through our Eisenstein paces just a bit on this one. Vertical montage
at least permits I would suggest, almost enforces the simultaneous availability of essentially
covalent chains of causal linkage of one kind or another. We have, on the one hand, a cactus, which
is prickly, irritating, an abrasive thing, set against the pneumatic hammer, which is generally, even
in the abrasive sonic environment of the city, a particularly noticeable, inescapable annoyance and
interruption, likewise abrasive. On the other hand, it is also true that the cactus is phallic in form and
thereby, because it is spiny, at least moderately sadistic in its implications. And the pneumatic
hammer, of course, is a penetrating agency, which disrupts what it penetrates and functions phalli-
cally in a painful and destructive way. But then, of course, the image cut crosses the sound cut and
one does have something like the gentle image of owing water. The valence of the sound immedi-
ately changes entirely. This kind of thing started my thinking for the sound in those two parts
of Mindfall.

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 For all that came out of the 1928 manifesto, its most important recommendation is to sus-
tain, maintain, insist upon the moveability, the portability, the malleability of the montage piece,
the shot, whatever it is. . . . And the author of that manifesto, who is, I think, very clearly Eisenstein
and not its other two signatories, speaks in terms of Newtonian mechanics of the consequences of
sound attaching itself to the image. He says it will increase the inertia of the montage piece so
that it cannot move, cannot couple itself into a new energetic environment as readily. It develops a
momentum which carries it and makes it impervious to other interpretations. He warns us that there
is a great peril, and then, of course, he offers us an open invitation when he says that the rst inter-
esting work that will be done in sound will involve its distinct desynchronization from the image.
That suggestion is certainly something that one would like to test at some length. But as you begin
to test it, or as I began to spend some time thinking about sound, there were a certain number of
things that I started to notice very sharply. The most unsettling concerns the notion of sync sound
itself. Because sync sound as we have it in the movies is an absolute artice that is concerned not
with generating synchronous sound but excluding synchronous sound. As we sit here, if there were a
camera on us, there would be a lip-sync component as we talk. But unless the microphone were very
narrowly focused, we would have proceeding from the same speaker, from the same nominal source,
the sound of police sirens going by outside. Now that is synchronous sound after all, and it is the
synchronous sound that the central nervous system lters out because it is a stimulus to which we
cannot properly respond if we are going to go about our business. If you start responding to every
stimulus, then you end up as a nerve-gas case, quite literally. All the neurons re at once. So what is
typically called sync sound transpires in a very special acoustical universe, and real sync sound con-
stantly produces astonishing, disquieting intersections that are absolutely worthy of Lautramont.
The question of synchronicity is a lot more obscure, a lot less clear.

BS: In the sound pieces that Ive heard and seen so far, its not clear to me that youre working with
that kind of thing. Is it something that you are working with in other sections?
HF: Yes, in one segment of Mindfall distinctly, Im tilting at the windmill of desynchronization.
Nevertheless, there is the tendency always to couple the sound with its image where possible, to
seek connection, to make connection.

BS: But I was also thinking in terms of what youve just said about the nervous system itself
filtering out certain kinds of sounds. In the sound films so far, youve performed that function in
the sense of there not being anything more than one sound at a time. Will there be films where
vertical montage on the sound track itself is operative?
HF: I think as it develops we will nd that it is already there. At the moment, because there is so little of
it theres only thirty-six minutes of Mindfall its sketchy. There are certain kinds of motifs, for

243
instance, that are taken up later and more densely. I made the two parts of the seven that will exist
rst because they were the easiest, they were the simplest. The sound in the intervening sections
rapidly grows a lot more complex and dense. And I dread editing them.

BS: Is it harder for you to edit sound?

HF: Very much so.

BS: Why?

HF: When Im editing sound, Im editing magnetic lm, full-coat recording, which has been made
from tape. Well, of course, there is no way of looking at the thing to know whats on it. You have to
run it through a reader. But you cant run a short piece of full-coat through a reader. You cant get at
the boundaries of the montage piece on the sound track because you have to mechanically main-
tain the integrity of the roll of full-coat, so that it takes ve or six or seven or eight passes through
in order to nally be able to pull out that thing that looks like a piece of lm. Its spliced in the same
way but its image is invisible. Locating a cut in sound is very, very hard. To locate it precisely you
have to slow the passage of the track down over the reader to the point that you cant identify what
it is anymore. So theres always that odd experience of learning to identify the minute features of
an acoustical image at very high and very low speeds.

BS: Youre explaining it in terms of the technical factors being so difficult that they would not lead
one to go into complex superimposition as you would on the image track.
HF: Its like playing three-dimensional chess. The combining problems of resolving references
between image and sound is geometrically more intricate, even in what are in some ways rela-
tively straightforward cases. In the parts of Mindfall that now exist, what I have called the acous-
tical images really are that; they are concise. Theyre dense in association but not particularly
dense in event. And I simply did nd it very hard work. Its not work that I object to; its delicious,
of course. I think we always knew that, taken seriously, the problem of sound, that Damoclean
sword, was going to be very complex and difcult to work with and, indeed, insofar as I have a
foot in that door, it has turned out to be. But it must be done.

BS: Can we turn back to Brakhage? Youve been citing the Soviets as the major sources of vertical
montage. It would seem to me that the other major source in terms of image, at least, because of
his uses of superimposition, would be Brakhage. Lindleys observation that Otherwise Unexplained
Fires is Brakhage-like seems to me almost inescapable in relation to that film and to a lot of your
more recent work. The reasons have to do with shooting procedures, camera procedures, the use

244
of superimposition. Also, it seems that everybody who has written about the slaughterhouse film
has not been able to write about it without citing The Act of Seeing with Ones Own Eyes. Theres a
sense that Brakhage virtually created a genre in terms of imagery by breaking the taboo, and that
once one steps into comparable imagery, the comparison has become inevitable.
HF: Well, as to The Act of Seeing with Ones Own Eyes I think the relevant lm of mine is Magellan
at the Gates of Death.

BS: Let me put it a little differently. In most of the discussion of your work Wanda Bershens
essay on Zorns Lemma is perhaps the most explicit but this is also central in Sitney your work is
posed in sharp contradistinction to a whole tradition that culminates with Brakhage.3 Consequently,
for people who see it that way, the importance of Brakhage in your work in the last five years has
seemed surprising, perhaps ironic or puzzling. It goes against the historical line. The question
perhaps is how does Brakhage figure? Do you accept my sense that, as with the Soviets, he figures
as much more than an allusion?
HF: I think there are a couple of distinctions to be made. First of all, there is an extremely ancient
principle in Roman law that was summed up in the phrase: Two may do the same and it is not the
same. I will just leave that as a cenotaph for my following remarks. I would like to expand upon the
differences. I think that within what is now being screened, the lm that most apostrophizes some
of those differences, again, is Otherwise Unexplained Fires. By framing a Brakhage-like and Ill
explain the word Brakhage-like in a moment lm segment within a context without saying any-
thing in particular about Brakhages cinematographic diction does call into question the rhetoric
of the surrounded presence of that diction. I hope it does that fairly forcefully. Now again, the
camera diction is in that case very overtly Brakhage-like. But to say that is to beg the question of
what Brakhages camera diction is like. I think it is very clear what that diction is like. It is like the
broad-brush diction of Abstract Expressionist painting. Although I would also say that Brakhage has
enlarged that diction, has revised it, has made it in some ways more versatile, more malleable, than
it was in the hands of the rst generation of abstract painters. Nevertheless, that is its fundamen-
tal afnity. Like de Kooning, like Kline, like Pollock, like a certain number of other people, Brakhage
not only does that, he does it all the time. He does it for plenty of reasons, but he does it, one would
suppose, out of some core conviction that that diction is the mediator, that it is the discipline of the
camera, that it is the center of the circle.
To carry the argument a step or two further, I think it may be worthwhile to distinguish camera
diction from montage. If such a lm for instance as Autumnal Equinox seems to have the kind of
camera diction that a Brakhage lm does, it might be worthwhile for me to suggest that perhaps
it is not Brakhages diction but the diction of Abstract Expressionism which is at stake. Unlike the

245
numerous students who make that body of poor-mans Brakhage which at least complements that
body of ersatz structural lm, I have had some contact with and reference to the primary source
material in question. I think its probably fairly easy to establish or to argue also that the montage
is entirely different, that it subjects the motor diction of the cinematography to a kind of challenge
and contradiction that Brakhage does not.
Otherwise Unexplained Fires is explicitly a lm that has to do with Stans work. It is even about
the same size as a normal Brakhage lm, with a typical Brakhagean sense of cadence. One of the
pleasures of making the lm was to work out the kind of high drama with an identiable portion of
the diegesis of the lm, which is the kind of thing that Stan routinely claims. Now that has nothing
to do with the mechanical horse or the Monterey pine trees or re, but it does have to do with the
chickens. It is an ordinary hen yard. That is to say that there is a rooster, one and only one sexually
viable male, immersed in an environment of sexually viable females. And the incessant play of the
chicken yard is rather like the incessant play of spiritual economy within the Brakhage household.
It seemed to me that there was a strong similarity between the two situations. Well, that drama is
about as visible as those dramas that Brakhage habitually nds. If you sample the history of
Brakhage show-and-tell about his lms, the suggestion would be that a dramatic situation of some
kind has been discovered within, excavated from, unearthed out of the fragments of this Abstract
Expressionist improvisational gesture made in some heat. So, in Otherwise Unexplained Fires we
have something of the same kind that was, in a certain sense, made in cold blood. I am completely
cognizant, I think, of a couple of things about Brakhages work. One is that in the warmest sense of
its importance, I feel nothing but sympathy and congratulations for the magnitude of that effort, its
relentlessness, its coherence. Another thing I recognize very well about it is the extent to which it is
predictable. That work, which also means that aesthetic strain, occupies and is likely to occupy for
a very long time, the center of attention. I thought it particularly ironic that Brakhage complained
so bitterly a couple of years ago at Millennium that the heir presumptive to the throne of the ice king,
structural lm, had had a decade of ack, of reaction, of goodies, or what have you, at a moment
when there must have been during that week 1,500 screenings of Brakhage lms within the bound-
aries of Christendom. Although it has not been adequate, has not even been intelligent, neverthe-
less, there has been some immediate attempt over a long period of years to make something of
Brakhages lms. Now extrapolating from that, it is possible to imagine in the year 2000 that very
much more will be known and understood about a large and important body of work by a lmmaker
who expounds, summarizes, and expands the syndrome of Romantic idealism. I am not at all sure
that its plausible to imagine that in that same year anything like as much will be understood about
the work of Michael Snow, Yvonne Rainer, and perhaps about my own work. By its continuity, by its
size, by its enterprise, and by the fertility of the perpetual soil in this culture, which is always ready
to receive the seed of Romantic idealism that is cast upon it from time to time, there will always be
a special place for Brakhages body of work.

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 I nd it interesting that the question about the relation of my camera diction to Brakhages
has not only been asked but in one instance rather peremptorily answered by Sitney, who says that
while what he has seen is inconclusive, that it represents an attempt on my part to come to terms
with Brakhage. Well, coming to terms with Brakhage is a process for me that is, in part, absolutely
impossible and, in other parts, something that will take me the rest of my life. But the notion also
seems to mark an equation of Brakhages import with his cinematography rather than with his mon-
tage. The other phrase that I recall from Sitneys article I thought particularly insightful, though it
wasnt developed, was a phrase about my camera work as constituting sumptuous optical rheto-
ric. Now, the word rhetoric means something quite distinct in my mind. Its a term that Im not at all
uncomfortable with. I think, on the other hand, that Brakhage would be extremely uncomfortable
to have it suggested that his cinematography, his diction, his camera vocabulary was in any sense
rhetorical or that it had been deliberately chosen and adopted for a particular reason. That would
neither be his own position by personal conviction or indeed by his cultural heritage of Romantic
poetry and Abstract Expressionist painting, among other things.
I also think that with regard to my earlier work there is a certain confusion. Certain dictions and
certain kinds of virtuosity were entirely inappropriate for Zorns Lemma, for instance, or for Hapax
Legomena. But those were always there as options. Ive been using a camera since I was nine years
old. The notion that there is a style or a diction to me is nonsensical. I think that within what has
been shown in the Whitney screenings, there are certain things that refer directly to Brakhage,
certain things that refer directly to action painting, and quite a bit that does neither. The cinema-
tography of Mindfall, for instance, has a much more complex reference and, while the handheld
camera is there, it is quite clear that it means something quite different than it does in the slaugh-
terhouse lm. To return briey to the question at the very start of this, the comparison between The
Act of Seeing with Ones Own Eyes and Magellan at the Gates of Death has come up before. There
are plenty of differences in the circumstances. For all that the autopsy room may represent a cer-
tain kind of liberal taboo one that Brakhage is extremely fond of, and he has an excellent nose for
the liberal taboo it is a lm for which I have a great, great respect. Its also a lm that I think of
as having a fundamentally didactic strain, which is odd to encounter in Brakhage. I think that in
watching that lm one could recover the standard method for performing an autopsy. It could
function by some stretch of the imagination as an instructional lm. At the very least, I think that is
not something that could be said of Magellan at the Gates of Death. Its concerns, whatever they
may be, are clearly other than that.

BS: I dont think that that could be said about the slaughterhouse film either. It would be much
more difficult.
HF: The corresponding case for the slaughterhouse lm is, of course, Franjus lm The Blood of
Beasts, which is a lm that I admire immensely. Though I think this tends to escape most of its

247
viewers in the United States, it is deeply and fundamentally a political lm. Along with its hair-
raising, exquisite, literal beauty, it is made very clear within the lm what the source of that beauty is,
what it means, when it grows, what it costs. Well, that is not at all true of my slaughterhouse lm.

BS: It is also not true of the steel mill film. That becomes clear in thinking about it in relation
to Vertov.
HF: Thats true.

BS: The similarity that I saw was in formal terms, the luminosity, color, and so on, of molten metal.
The immediate difference is in the absence of a strong sense of people working.
HF: Oh yes, sure. We nd rare appearances of the human gure in the slaughterhouse and steel mill
lms. If those lms encapsulate or carry somehow a political posture, my viewpoint which I hope
they do then that has a great deal more to do with a fairly clear declaration of which side Im on with
regard to the controversy concerning the spectators relationship to the work. In that controversy,
the two poles of which are Eisenstein and Bazin, I am very clearly on the side of Eisenstein, drasti-
cally and, again, utopianly so. But that is not the same thing as making a political lm, of course.

BS: So that the political sense of it is to be understood in terms of the activity of the spectator, the
engagement of the intellect.
HF: The special place of the spectator and the nature of the spectators task.

BS: I think the absence of people in those two films is important in that it allows for the possibil-
ity of the metaphoric readings that we were talking about for instance, the steel mill film being
a pornographic film. If you had a lot of people working there, youd at least diminish that level of
visual metaphor.
HF: One thing that it does is insist upon a certain type of scale for the images. There was a lot more
people stuff, though I wont say it dominated, in that footage as I made it. What I did have very much
on my mind was its scalelessness or its absolute scale. At the same time, the blandishments of illu-
sionism enticed me to allow a shadowy gure to wander through this scaleless, innite space from
time to time.

BS: I think theres a tremendous play on scale when you move from what is clearly a very large
piece of the steel to a close-up of flying sparks that are blown up tremendously all within a
continuous shot.
HF: My sense was that people would interfere with that drastically. Its also true that the circum-
stances in which I made those lms were very different from the Soviets. When the lmmakers of

248
the Russian Revolution made the lms that they did in those industrial situations, they had a right
to be there. There was a recognized purpose for their presence in those situations. We do not live in
a revolutionary society. My own position in lming these things was very privileged, which is to say
it was very alienated. No shots were set up. I was under the greatest possible constraint not to inter-
fere with what was going on. People like shop foremen, as distinct from PR people, were very helpful.
I was able to get some close-up stuff in the steel mills because they literally rigged up re bafes
for me so that I was able to get very, very close. Some of that stuff is lethally close. From the point
of view of the shop, the point of view of that productive situation, it was lmmaking that was com-
ing from nowhere and going nowhere. There was no kind of contact between my productive work and
their productive work at all. That was not only latent in the situation but explicit in its construction.
So that even if I had wanted, there were things I could not do, from which I was absolutely excluded.
In particular, that applied to any interaction or interference with the work that was going on.

BS: How did you get into those two places to shoot? Were there problems in the beginning just to
get permission?
HF: I got into those two places through the exercise of institutional muscle. What got me into U.S.
Steel in Pittsburgh was the muscle of the Carnegie Institute Museum of Art. Presumably, the name
Carnegie still carries some clout in Pittsburgh, PA. Sally Dixon just politely requested permission
and got it. In the case of the slaughterhouse, I was in South Saint Paul, and that was engineered by
the Walker Art Center so that it was absolutely the personied voice of the trustees of cultural insti-
tutions that inserted me briey into those surroundings. I cannot imagine an abyss deeper than
that which separated my predicament as a lmmaker in that steel mill and Vertovs predicament as
a lmmaker in that other steel mill. That alone could serve to virtually guarantee the relevance or
the irrelevance of the human gure in the lm. So that even if my political beliefs are congruent
with those of another time, there is no direct way, no opportunity to construct a direct way, to matte
them on the lm that is made and to be seen. That entire possibility has been preempted and evac-
uated before I ever entered the situation.

BS: Is there a level where you feel that you can alter that kind of situation?

HF: What I did, because I was in Minnesota for a week and a half, was to process the lm and make
a work print immediately. I took it back to the slaughterhouse with a projector and offered to show
it to the people that work there. It is fair to say that these slaughterhouse workers work in a dangerous
and highly skilled trade and work somewhere near the bottom of the commodity chain, performing
a task that most people think of as disgusting and shameful. At the same time, they were very, very
good at what they did. In fact, it was an excellent modern shop. It was quite small. Not only was it
very well set up, but insomuch as it is possible for such a thing to be very safe, it was. It certainly

249
wasnt as primitive as the abattoirs in which Franju lmed. There wasnt much discussion or much
time; the guys were sitting there eating their baloney sandwiches on their lunch hour, watching
this movie. And it wasnt a movie, just footage. The vibes quite generally were that they had been
nervous about my work because they thought I might be doing some kind of vegetarian expos of
the horrors of the slaughterhouse or something like that, which would tend to further degrade and
humiliate them. A couple of them said, rather bashfully, that they had always thought that if you
disregarded what it was that they were working on, they liked looking at it very much. Then one
man, whos quite old, said something that I rather cherished. He said, You dont see us in the lm,
you see what we see. Which pleased me a lot. I myself did once work in a slaughterhouse. I grew
up on a dairy farm; I have worked in a slaughterhouse; I worked in steel mills while I was in college.
Theyre old stomping grounds of mine. Aside from the cherished Soviet pretext, why I wanted to go
back was that I had seen those things. If the steel worker, for instance, has a grave cross of unhap-
piness, it isnt all bad in that daily experience. I suppose that for some of them, the one thing that
can sustain them through a lifetime of that kind of work is that what they do, the actual work itself,
is wonderful, elegant, exquisite; and secretly that is known. But, at its worst, the formula applies.
The worker in that situation is deprived, is forced out of every possible pleasure or gratication
that could come from the work itself, including the fantasia of what is to be seen there, which is, of
course, extraordinary.

BS: How do you like Sitneys word sumptuous as he applies it to your work?

HF: It doesnt bother me at all.

BS: I think it is a very good word. There are some of your films that seem to be deliberately sump-
tuous and are extraordinary and others that seem to deliberately work against any sense of being
described that way.
HF: There is room, I would hope, for the sumptuous and the spare, as well. To round the circle and
go back to Gloria!, to burden that moment with sumptuousness, with embroidered trapping, would
have lessened it, would have deprived it of its sense I would think.

BS: Would you like to talk about the very early, the so-called primitive films that you use in
Gloria! and at other points in Magellan?
HF: I have gone through the Paper Print Collection at the Library of Congress like Lvi-Strauss went
through the distant cultures of South America and the Pacic, desperately seeking primitive lm. Of
course, I havent found one yet because all lm assumes from the moment it comes into the world,
as the child does, that it has a complete grasp of the universe. Later on it revises that, but it is not
rejected. The experience of sitting there on a Steenbeck machine looking at those lms is like the

250
experience of encountering the thirty-meter Lumire lms. One is not impressed by their primitiveness
but instead overawed by their subtlety, by their appalling depth of implication to such an extent, of
course, that one is left, to a certain extent, critically speechless. There is no such thing as that grand
essay that sidles up to the Lumire lms, for instance. I would love to imagine that in old age I could
summon the wit to have a waltz with that stuff. Its incredible. A few years ago, when I rst showed a
couple of parts of Mindfall in New York, I showed it with primitive footage, ancient footage, from that
same collection. I showed a medical documentary, or a series of them that were made from 1905 to
1911. Those have not at all been excluded. I have not taken them out, but they are subject to a further
fragmentation and sandwiching procedure. I did not want to stick them in as an eighteen-minute block.
They really schemed the sense of the thing very much. Its overpowering. When I showed that footage
at Millennium that time, for once a very serious misapprehension of where I imagined it was going
developed. But I have many, many more of those up my sleeve. I spent a lot of time, half a summer,
looking at them in Washington, made a lot of notes, as they say. The material is in the public domain
and I bought one each of what I wanted. There are a few things that I got simply because I wanted them;
I have The Life of an American Fireman, which I think is an amazing, absolutely crazed lm. But out of
the one hundred and twenty-ve I bought, probably a hundred will be used.
One of the most important sights within Magellan is on the occasion of Sadie Hawkins Day,
February 29th, which of course in the calendric cycle is anomalous. Theres a very large classica-
tion of soft-core Edwardian porn in the Paper Print Collection, peep-show stuff, which has a set of
subclassications. Among the things you saw, by the way, was another ancient lm that is in the
Cadenza, the lm about the bride in which two gentlemen, who we may presume to be bachelors,
strip more or less bare a putative bride of some kind. Its a very muddled situation that, given its
context, I think someone might get a chuckle out of eventually. There are lms in that collection that
are interesting now and important now as their other posterities have modied them. In itself, the
one man engaging the ladys attention while another one unravels her skirt is idiotic. Getting back
to Sadie Hawkins Day, there is a redaction of a set of Edwardian pornography lms or peep-show
lms that is a preface to a particular specication as a protocol which was made a very long time
ago: that on February 29th, it is the request of the lmmaker that Film About a Woman Who . . . , or
any other specied work of her own by Yvonne Rainer, shall be screened on that day. When I sug-
gested it, slightly abashedly, to Yvonne, because I was concerned that shed be worried about a mis-
appropriation of her work, she understood immediately and saw a certain symmetry because she, of
course, has incorporated entire works by other people into hers with no worry about how it should
be understood. Now thats something that I would look forward to, some grand operatic screening
of the whole thing Yvonne Rainer as a readymade. Among all the lms by all my peers, probably
the ones that I most wish that I had made, because they are the ones farthest from my own capa-
bility, are Yvonnes. I can imagine states of one kind or another in which there are lms I could have

251
made or approximated or done something like that, but Yvonnes, no. So I was amused at the idea of
directly incorporating Yvonne as a true Other in that situation. I cant wait to see her new lm.

Notes
1.!Mjoemfz!Ibompo-!Bstpo;!B!Sfwjfx!pg!Puifsxjtf!Vofyqmbjofe!Gjsft!cz!Ipmmjt!
Gsbnqupo-!Njmmfoojvn!Gjmn!Kpvsobm-!opt/!56!)TvnnfsGbmm!2:8:*;!26826:/
2.!Cjmm!Tjnpo-!Sfbejoh![psot!Mfnnb-!Njmmfoojvn!Gjmn!Kpvsobm!2-!op/!3!!
)TqsjohTvnnfs!2:89*;!495:/
3.!Tff!Xboeb!Cfstifo-![psot!Mfnnb-!Bsugpsvn!21-!op/!2!)Tfqufncfs!2:82*;!5256<!
boe!Q/!Bebnt!Tjuofz-!Wjtjpobsz!Gjmn;!Uif!Bnfsjdbo!Bwbou.!Hbsef!)Ofx!Zpsl;!Pygpse!
Vojwfstjuz!Qsftt-!2:85*-!qq/!542546/!)C/K/*

Millennium Film Journal, nos. 7 / 8 / 9 (FallWinter 198081): 526.

The interview took place in New York City on January 19, 1980, during the course of a series of
screenings of lms from the Magellan cycle at the Whitney Museum of American Art. (B.J.)

252
Text of Intertitles for Gloria!

Uiftf!qspqptjujpot!bsf!pggfsfe!ovnfsjdbmmz-!jo!uif!psefs!jo!xijdi!uifz!qsftfoufe!
uifntfmwft!up!nf<!boe!bmtp!bmqibcfujdbmmz-!bddpsejoh!up!uif!qsftfou!tubuf!pg!
nz!cfmjfg/

! 2/!Uibu!xf!cfmpohfe!up!uif!tbnf!ljotijq!hspvq-!tibsjoh!b!ujf!pg!cmppe/!\B^

! 3/!Uibu!puifst!cfmpohfe!up!uif!tbnf!ljotijq!hspvq-!boe!qbsuppl!pg!uibu!ujf/!\Z^

! 4/!Uibu!tif!lfqu!qjht!jo!uif!ipvtf-!cvu!ofwfs!npsf!uibo!pof!bu!b!ujnf/!!
! ! Fbdi!tvdi!qjh!xpsf!b!hsffo!cbj{f!ujolfst!dbq/!\B^

! 5/!Uibu!tif!dpowjodfe!nf-!hsbevbmmz-!uibu!uif!stu!qfstpo!tjohvmbs!qspopvo!! !
! ! xbt-!bgufs!bmm-!hsbnnbujdbmmz!gfbtjcmf/!\F^

! 6/!Uibu!tif!xbt!pcftf/!\D^

! 7/!Uibu!tif!ubvhiu!nf!up!sfbe/!\B^

! 8/!Uibu!tif!sfbe!up!nf-!xifo!J!xbt!uisff!zfbst!pme-!boe!gps!qvsqptft!pg!ifs!! !
! ! pxo-!Xjmmjbn!Tiblftqfbsft!Uif!Ufnqftu/!Tif!benpojtife!nf!gps!!
! ! mjljoh!Dbmjcbo!cftu/!\C^

!!9/!Uibu!tif!hbwf!nf!ifs!uffui-!xifo!tif!ibe!uifn!qvmmfe-!up!qmbz!xjui/!\B^

! :/!Uibu!tif!xbt!ojof!ujnft!cspvhiu!up!cfe!xjui!dijme-!boe!gps!uif!mbtu!!
! ! ujnf!jo!ifs!guz.gui!zfbs-!cfbsjoh!po!uibu!pddbtjpo!tujmmcpso!uxjo!tpot/!!
! ! Op!nbmf!dijme!xbt!cpso!bmjwf-!cvu!gpvs!ebvhiufst!tvswjwf/!\C^

21/!Uibu!nz!npuifs-!ifs!fmeftu!ebvhiufs-!xbt!cpso!jo!ifs!tjyuffoui!zfbs/!\E^

22/!Uibu!tif!xbt!nbssjfe!po!Disjtunbt!Ebz-!2:1:-!b!gfx!xfflt!bgufs!ifs!!
! uijsuffoui!cjsuiebz/!\B^

23/!Uibu!ifs!dpoopjttfvstijq!pg!uif!fspujd!jo!uif!wfhfubcmf!xpsme!xbt!vofssjoh/!\B^

253
24/!Uibu!tif!xbt!b!obujwf!pg!Uzmfs!Dpvouz-!Xftu!Wjshjojb-!xip!ofwfs!lofx!uif!! !
! fybdu!zfbs!pg!ifs!pxo!cjsui!ujmm!tif!xbt!qbtu!tjyuz/!\B^

25/!Uibu!J!efmjcfsbufmz!qfsqfuvbuf!ifs!tqffdi-!cvu!ibwf!pomz!gsbhnfoubsz!!
! sfdpmmfdujpo!pg!ifs!qspovodjbujpo/!\I^

26/!Uibu!tif!sfnfncfsfe-!up!uif!mbtu-!b!uvof!qmbzfe!bu!ifs!xfeejoh!qbsuz!!
! cz!uxp!zpvoh!Jsjti!dpbmnjofst!xip!ibe!cspvhiu!hvjubs!boe!qjqft/!!
! Tif!tbje!ju!tpvoefe!mjlf!rvbdljoh!evdlt<!tif!uipvhiu!ju!xbt!dbmmfe!
!!!!Mbez!Cpobqbsuf/!\B^

27/!Uibu!ifs!mbtu!sfrvftu!xbt!gps!b!cvtifm!cbtlfu!gvmm!pg!fnquz!rvbsu!nfbtvsft/!\D^

Uijt!xpsl-!jo!jut!foujsfuz-!jt!hjwfo!jo!mpwjoh!nfnpsz!pg!Gbooz!Fmj{bcfui!Dbumfuu!
Dsptt-!nz!nbufsobm!hsboenpuifs-!xip!xbt!cpso!po!Opwfncfs!7-!29:7-!boe!
ejfe!po!Opwfncfs!35-!2:84/

Screen version of intertitle text for the lm Gloria! (1979).

This text differs in minor detail from an undated draft version that exists as a computer printout. (B.J.)

254
Mental Notes

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ibqt-!bt!xjui!tp!nvdi!pg!Hsffl-!pvs!ufyu!jt!dpssvqu/!J!xpvme!sbuifs!voefstuboe!
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qipuphsbqiz!up!nfbo;!mjhiu-!xsjujoh!jutfmg/!Xf!bsf!opu!tp!nvdi!bhfout!bt!joufs.
nfejbsjft!xifo!xf!jouspevdf!mn!up!mjhiu-!bt!xf!njhiu!csjoh!uphfuifs!uxp!hppe!
gsjfoet-!ipqjoh!uifz!xjmm!mpwf!pof!bopuifs!bt!xf!mpwf!uifn!cpui/

3/!Ofbs!uif!foe!pg!ijt!mjgf-!jnqfstpobujoh!ijntfmg!kvtu!uijt!podf!npsf-!Nbsdfm!
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up! xpsljoh/! Cvu! mjwjoh! jt! tpnfuijoh! xf! ofwfs! tupq! epjoh-! xifuifs! xf! xpsl!
ps!opu/!Gps!uif!bvupcjphsbqifs!jo!xpset-!uipvhi-!ju!epftou!gffm!uibu!xbz/!Bt!
J!xsjuf!uiftf!xpset-!mpdlfe!jo!b!sppn-!gbs!gspn!ipnf-!J!gffm!uibu!nz!mjgf!jt!bmm!
pvutjef!uif!epps-!fwfo!bt!J!lopx!uibu!Jn!jo!ifsf-!bmjwf-!boe!opuijoh!jt!pvutjef!
uif!epps/!Ofwfsuifmftt!J!dbo!ibsemz!xbju!up!ublf!nz!mjgf!cbdl-!pvu-!joup!fwfsz.
uijoh/!Tp-!J!epou!xsjuf/!Up!gffm!uibu!pof!jt!opu!bmjwf!jt!tvgdjfou!sfbtpo!gps!opu!
epjoh!bozuijoh/

4/!Csbodvtj!tbje!uibu!dsfbujpo!tipvme!cf!bt!fbtz!bt!csfbuijoh<!boe!ijt!cfbvujgvm!
boe!qfsgfdu!xpslt!buuftu!up!uif!efqui!boe!fbtf!pg!ijt!csfbui/!Cvu!tpnfujnft!
uif!csfbui!dpnft!ibse-!jo!dipljoh!tqbtnt-!boe!tpnfujnft!ju!jt!sfevdfe!up!uif!
nfsftu!tjcjmbodf/!Dsfbujpo!jt!kvtu!bt!vofbtz!bt!csfbuijoh/!Xjui!jotqjsbujpo-!xf!
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nztufsjpvtmz-!up!dpotqjsf-!up!tibsf!csfbui/!Pg!bmm!uif!bsut-!opof!sftqpoet!npsf!
gvmmz!boe!jousjdbufmz!up!uif!px!pg!uif!csfbui!pg!mjgf!uibo!epft!mn-!ops!epft!boz!
puifs!hjwf!jutfmg!tp!gsffmz!up!uif!tibsjoh!pg!csfbui-!vomftt!xf!ublf!jotqjsbujpo!
gspn!Pwje!boe!mppl!up!bo!Bsu!pg!Mpwf-!jo!xijdi!dmptftu!pg!bmm!dpotqjsbdjft!xf!dpo.
dfjwf-!boe!xfsf!dpodfjwfe/

5/!Gjmn!jt!nvdi!tqplfo!pg!bt!b!xbz!up!ufbdi-!boe!opu!fopvhi!bt!b!xbz!up!mfbso/!
Nvdi!pg!xibu!J!ibwf!mfbsofecpui!xibu!J!wbmvf!boe!xibu!J!ibwf!opu!zfu!mfbsofe!
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255
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256
 When were dancing, and youre
dangerously near me,
I get ideas, I get ideas . . .
* * * * *
I kind of hope you get ideas too.

IG!
Cvggbmp-!Nbsdi!36-!2:84

Note
1.!Jo!uif!fbsmz!2:31t-!uif!Tpwjfu!ejsfdups!Mfw!Lvmftipw!ftubcmjtife!b!xpsltipq!up!
usbjo!b!ofx!hfofsbujpo!pg!mnnblfst/!Jo!bo!fejujoh!fyfsdjtf-!if!joufsdvu!b!!!
dmptf.!vq!pg!bo!bdups!xjui!b!wbsjfuz!pg!tiput-!jodmvejoh!jnbhft!pg!b!cpxm!pg!tpvq-!!
b!xpnbo!tuboejoh!ofyu!up!b!hsbwf-!boe!b!dijme!xjui!b!upz/!Uif!tp.!dbmmfe!Lvmftipw!
fggfdu!sftjeft!jo!uif!gbdu!uibu!uif!joufsqsfubujpo!pg!uif!bdupst!fyqsfttjpo!)boe!!
uivt!uif!nfbojoh!pg!uif!npoubhf!tfrvfodf*!jt!usbotgpsnfe!jo!sfmbujpotijq!up!uif!
tiput!uibu!tvsspvoe!ju/!)C/K/*

Text delivered at the Buffalo Conference on Autobiography in the Independent American Cinema, State
University of New York at Buffalo, March 1973. Participants included Jonas Mekas, Robert Frank,
Bruce Baillie, Stan Brakhage, Ken Jacobs, and others. Published in CEPA Quarterly 1, no. 4 (Summer 1986): 7.

257
Protective Coloration, 1984 (photographed 1981)
Detail from a series of thirty-six Ektacolor
photographs. Estate of Hollis Frampton
 wjefp!boe!uif!!
ejhjubm!bsut

261 The Withering Away of the State of the Art

269 Proposal: Hardware and Software for
Computer-Processed and -Generated Video
272 About the Digital Arts Lab
The Withering Away of the State of the Art

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Jg!uif!ufmfwjtjpo!bttfncmz!mjof!ibt!cz!opx!svo!sjpu!)ibmg!b!cjmmjpo!qfpqmf!
dbo!xbudi!b!xfeejoh!bt!dpotfrvfoujbm!bt!njof!ps!zpvst*!ju!ibt!bmtp!dpogvufe!
jutfmg!jo!jut!pxo!nbmmfbcjmjuz/!Xfsf!bmm!gbnjmjbs!xjui!uif!qbsbnfufst!pg!fyqsft.
tjpo;!Ivf-!Tbuvsbujpo-!Csjhiuoftt-!Dpousbtu/!Gps!uif!bewfouvspvt-!uifsf!sfnbjo!
uif!uxjo!efjujft!Wfsujdbm!Ipme!boe!Ipsj{poubm!Ipme!/!/!/!boe-!gps!uiptf!btqjsjoh!up!
uif!qjoobdmft-!Gjof!Uvojoh/!Jnbhjof-!jg!zpv!xjmm-!uif!efmjdjpvt!qbsbmmfm!jo!qbjou.
joh;!b!dbowbt!cz!Lfoofui!Opmboe-!tbz-!tpme!xjui!b!spmm!pg!nbtljoh!ubqf!boe!dbot!

267
pg!tqsbz!qbjou-!kvtu!jo!dbtf!uif!qfsdfjwfs!tipvme!dbsf!up!dppm!uif!qbjoujoh!pgg-!ps!
xbsn!ju!vq-!ps!kvjdf!ju!vq-!ps!upof!ju!epxo/
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joh!ju!pgg!ps!po-!bu!njojnbm!fyqfotf!boe!fggpsu/!J!bn!ufnqufe!up!tff-!gspn!pof!
ipvtfipme!up!uif!ofyu-!bo!befrvbujpo!pg!uif!cspbedbtu!jnbhf!up!uif!gbnjmjft!
tfwfsbm!opujpot!pg!uif!vojwfstf/!Xibu!b!tibnf!ju!jt-!xf!nvtu!pgufo!tvqqptf-!uibu!
puifs!qfpqmf!qfstjtu!jo!ibwjoh!uifjs!gvsojuvsf!tp!qppsmz!bekvtufe/
Xfsf! xf! cvu! joufmmjhfou! fopvhi-! xf! njhiu! sfdphoj{f! ifsf! b! xjoepx!
joup! uif! joejwjevbm! njoe! bt! vojrvf! boe! wbmvbcmf! bt! uibu! bggpsefe! vt! cz! uif!
u! xfouz.!pof.!dfoujnfufs!sbejp!cboe!joup!uif!vojwfstf!pvutjef!pvs!bunptqifsf/
J!xpvme!mjlf!up!dmptf!pvu!uiftf!dpokfduvsft!pg!njof-!bt!tveefomz!bt!J!dbo-!
cz!fncspjefsjoh!vqpo!bo!bofdepuf/!Ju!jt!bcpvu!bo!fodpvoufs!cfuxffo!uxp!
gfsujmf!bsujtut;!Obn!Kvof!Qbjl!boe!Tubo!Csblibhf/!Cpui!pg!uifn!ibwf!tfswfe!
uifjs!wjtjpot!tp!mpoh!uibu!uifz!ibwf!dbtu!btjef-!jo!uifjs!uipvhiu-!uif!xjuifsfe!
svccjti!)sfbe!ibsexbsf*!uibu!cfbst!uif!cjuufsmz!jspojd!svcsjd;!Tubuf!pg!uif!Bsu/!
J!dbo!jnbhjof!Qbjl!tipxjoh!vt!wjefp!jo!b!iboegvm!pg!evtu-!boe!Csblibhf!tusjljoh!
djofnb!gspn!jou!boe!tuffm/!Xfmm-!bozipx-!Qbjl!xbt!tipxjoh!Csblibhf!ijt!
ofxftu!tzouiftj{fs-!qvuujoh!ju!uispvhi!jut!qbdft/!J!dbo!jnbhjof!Csblibhf!bt!if!
xbudife!Qbjl!fmjdju!gspn!uif!dpousbqujpo-!bu!uif!uvso!pg!b!xsjtu-!wjtjpot!pg!ijt!
joofs!fzf!uibu!if!ibe!mbcpsfe!gps!uxfouz!zfbst!up!qvu!po!mn-!gffmjoh!ufnqufe!
cz!b!ofx!boe!mvnjopvt!bqqmf/!Opx-!tbje!Csblibhf!up!Qbjl-!dbo!ju!nblf!b!
usff@!J!dbo!jnbhjof!Qbjlt!sfbez!tnjmf-!xijdi!tffnt!up!dpnf!pvu!pg!joopdfodf-!
b!mjuumf!tmzoftt-!boe!uif!qmfbtvsf!pg!gffmjoh!cpui!xbzt!bu!podf/!Upp!zpvoh-!Qbjl!
sfqmjfe/!Tujmm!upp!zpvoh/

Note
1.!Uif!sfgfsfodf!jt!up!Fjtfotufjot!B!Dpvstf!jo!Usfbunfou-!jo!Tfshfj!Fjtfotufjo-!
Gjmn!Gpsn;!Fttbzt!jo!Gjmn!Uifpsz-!fe/!Kbz!Mfzeb!)Psmboep-!Gmb/;!Ibsdpvsu!Csbdf-!2:88*-!
qq/!95218/!)C/K/*

Text delivered at the conference Open Circuits: The Future of Television, Museum of Modern Art,
New York, January 2325, 1974. Published in Artforum 13, no. 4 (December 1974): 5055.
Reprinted in Circles of Confusion (Rochester, N.Y.: Visual Studies Workshop Press, 1983), pp. 161170.

268
Proposal: Hardware and Software for Computer-Processed
and -Generated Video

History of the Project:

Evsjoh!sfdfou!zfbst-!bt!dptut!gps!hppet!boe!tfswjdft!jo!nboz!pg!uif!!nfejb.!sfmbufe!
ufdiopmphjft!)f/h/-!mn*!ibwf!jodsfbtfe!tufbejmz-!uif!dptu!pg!wjefp!ibt!gbmmfo!
esbnbujdbmmz-!boe!uif!dpnqvufs!ibt!cfdpnf!bwbjmbcmf!bu!uif!qfstpobm!mfwfm/!Ju!jt!
mjufsbmmz!usvf!uibu!npsf!dpnqvubujpobm!qpxfs!jt!bwbjmbcmf!upebz-!gps!b!gfx!uipv.
tboe! epmmbst-! uibo! xbt! jnbhjobcmf! po! uif! !nvmuj.!njmmjpo.!epmmbs! nbjogsbnf!
dpnqvufst!pg!uxfouz!zfbst!bhp/
Ju!ibt!cffo!usvf!gps!tpnf!ujnf!uibu!ftubcmjtife!wjefp!bsujtut!jo!nje.!dbsffs!
nbz!bggpse-!xjui!tpnf!tbdsjdf-!up!pxo!uif!uppmt!pg!uifjs!dsbgu<!zpvohfs!bsujtut!
ibwf!cffo!bcmf!up!tibsf!uiftf!nfbot!uispvhi!b!efwfmpqjoh!ofuxpsl!pg!mpdbm!
opo.!qspu!gbdjmjujft/!Uijt!bwbjmbcjmjuz!pg!uppmt!ibt!fodpvsbhfe!uif!hspxui!pg!b!
ofx!bsu!gpsn!jo!b!xbz!dpnqbsbcmf!up!uif!sbqje!efwfmpqnfou!pg!joefqfoefou!
mn!bgufs!uif!bewfou!boe!bddfqubodf!pg!b!sfmbujwfmz!difbq!27nn!mn!ufdiopm.
phz-!xijdi!bggpsefe!xjef!ejtusjcvujpo!xjuipvu!tfsjpvtmz!ejnjojtijoh!ufdiojdbm!
rvbmjuz/!
Jo!uif!nfboujnf-!uifsf!ibt!cffo!hsfbu!fbhfsoftt!po!uif!qbsu!pg!bsujtut!up!
fyqmpsf!uif!ofx!qpttjcjmjujft!gps!jnbhf!hfofsbujpo!boe!qspdfttjoh!nbef!bwbjm.
bcmf!cz!uif!dpnqvufs/!Jo!uif!qbtu-!uijt!fouivtjbtn!xbt!uixbsufe!cz!uif!tdbsdjuz!
boe!fyqfotf!pg!dpnqvufs!ujnf-!cz!uif!qspcmfnt!uibu!bozpof!ibt!jo!dpnnvoj.
dbujoh!xjui!puifst!ijhimz!usbjofe!jo!b!gpsfjho!ejtdjqmjof-!boe!cz!b!gvoebnfoubm!
bmjfobujpo! gspn! uif! fyusfnf! hfofsbmjuz! pg! dpnqvubujpo/! Ju! ibt! ofwfs! cfgpsf!
cffo!qpttjcmf!gps!bo!bsujtu!up!fyqmpsf!uif!vtft!pg!uif!dpnqvufs!jo!bsu!xjui!uif!
joujnbdz!boe!fyjcjmjuz!uibu!uif!qbjoufs!ps!xsjufs!ublft!gps!hsboufe!boe!oet!
uif!ofdfttbsz!dpoejujpo!pg!dsfbujwf!xpsl/
Ipxfwfs-!nptu!fyjtujoh!dpnqvufs!qsphsbnnjoh!mbohvbhft!xfsf!eftjhofe-!
gspn!fdpopnjd!ofdfttjuz-!up!bddpnnpebuf!uif!tdjfoujd!boe!cvtjoftt!dpnnv.
ojujft;!uif!sftvmu!ibt!cffo!b!dpnqvujoh!fowjsponfou!vodpohfojbm!up!vtfst!jo!
puifs!fmet/!Boe!uif!beejujpobm!ibsexbsf!sfrvjsfe!gps!wjefp!jnbhf!hfofsbujpo-!
fydfqu!gps!efwjdft!pg!wfsz!mjnjufe!dbqbcjmjuz-!jt!tujmm!upp!fyqfotjwf!gps!joejwjevbmt!
up!bggpse/
Tjodf!2:88!J!ibwf!xpslfe-!cpui!bmpof!boe!xjui!b!tnbmm!hspvq!pg!tuvefout!
jo!xpsltipqt!bu!tvoz!0!Cvggbmp-!up!gpsnvmbuf!uif!ibsexbsf!boe!tpguxbsf!sfrvjsf.
nfout!gps!b!iptqjubcmf!dpnqvujoh!fowjsponfou!gps!uif!bsut-!fnqibtj{joh!uif!
opujpo!pg!uif!dpnqvufs!bt!b!qfstpobm!dsfbujwf!uppm/!Jo!qsbdujdf-!uijt!fyqfsjnfo.
ubujpo!ibt!foubjmfe!uif!xsjujoh!boe!uftujoh!pg!ivoesfet!pg!qsphsbnt-!boe!uif!

269
eftjho!boe!cvjmejoh!pg!ep{fot!pg!ibsexbsf!efwjdft-!evsjoh!bo!ftujnbufe!joufswbm!
pg!uxfouz!uipvtboe!ipvst/!Uif!dpodfquvbm!qpsujpo!pg!uijt!xpsl!jt!opx!dpnqmfuf/!
Ju!ibt!qspevdfe!uxp!sftvmut/
Uif!stu!jt!b!eftjho!gps!b!ibsexbsf!efwjdf-!dbmmfe!b!gsbnf!cvggfs-!uibu!nbz!
cf!joufsgbdfe!up!wjsuvbmmz!boz!njojdpnqvufs!ps!njdspdpnqvufs/!Uif!efwjdf!usfbut!
b!qpsujpo!pg!dpnqvufs!nfnpsz!bt!bo!jnbhf-!boe!pvuqvut!bt!outd!tuboebse!shc!
dpmps!wjefp!b!qjduvsf!dpnqptfe!pg!367!cz!367!fmfnfout-!fbdi!pg!xijdi!nbz!cf!boz!
367!pvu!pg!bcpvu!27/9!njmmjpo!qpttjcmf!dpmpst/!Vq!up!gpvs!jnbhft!bsf!bwbjmbcmf!
xjuijo!uif!efwjdf!jutfmg!bu!boz!hjwfo!ujnf<!gvsuifs!jnbhft!nbz!cf!tupsfe!po-!boe!
sfusjfwfe!gspn-!nbhofujd!nfejb!tvdi!bt!ubqf!ps!pqqz!ejtl/!Uif!dpoufout!pg!b!
gsbnf!nbz!cf!hfofsbufe!ejsfdumz!cz!uif!iptu!dpnqvufs!ps!mpbefe!gspn!b!wjefp!
dbnfsb/! Fncfmmjtinfout! xjuijo! uif! cvggfs! qfsnju! dpnqmfy! nbojqvmbujpot! pg!
qjduvsf!jogpsnbujpo!jo!sfbm!ujnf-!cvu!uif!eftjho-!xijmf!wfstbujmf-!jt!fttfoujbmmz!
dpotfswbujwf/!Uijt!qpsujpo!pg!uif!qspkfdu!fyjtut-!bu!uif!npnfou-!bt!dpnqmfufe!
tdifnbujd!boe!ujnjoh!ejbhsbnt!boe!qbsut!tqfdjdbujpot/!J!xpvme!fnqibtj{f!uibu!
uif!qspupuzqf!efwjdf!dbo!cf!dpnqmfufmz!dpotusvdufe!gps!mftt!uibo!%6-111!jo!nbuf.
sjbmt-!boe!uibu!beejujpobm!vojut!tipvme!dptu!mftt!uibo!%4-111/2
Uif!tfdpoe!sftvmu!jt!uif!dpodfquvbm!eftjho!pg!b!tpguxbsf!tztufn!gps!vtjoh!
uif!ibsexbsf!up!dsfbuf!boe!npejgz!jnbhft/!Uijt!eftjho!tqfdjft!b!qsphsbn.
njoh!mbohvbhf!dpoubjojoh!npsf!uibo!271!dpnnboet-!boe!2:!beejujpobm!tpguxbsf!
tvctztufnt!gps!qfsgpsnjoh!tqfdjbm!ubtlt!tvdi!bt!cvjmejoh!dibsbdufs!uzqf!gpout-!
tfrvfodjoh!uif!pvuqvu!pg!jnbhft!up!b!wjefp!npojups-!sfefojoh!uif!tfu!pg!dpmpst!
jo!vtf-!boe!tp!gpsui/!Uif!mbohvbhf!jt!ijhimz!joufsbdujwf-!qfsnjuujoh!b!vtfs!up!
xpsl!xjui!jnbhft!bgufs!wfsz!csjfg!jotusvdujpo!boe!xjuipvu!qsfwjpvt!qsphsbn.
njoh!fyqfsjfodf-!cvu!ju!jt!pg!tvgdjfou!sjdioftt!up!bggpse!tdpqf!up!fyqfsjfodfe!
qsphsbnnfst! bt! xfmm! bt! fyqfsjfodfe! bsujtut/! J! ibwf! cspvhiu! up! cfbs-! jo! uif!
eftjho!pg!uijt!tpguxbsf-!!uxfouz.!wf!zfbst!pg!fyqfsjfodf!bt!b!xpsljoh!wjtvbm!bsu.
jtu!boe!tjy!zfbst!bt!b!qsphsbnnfs!boe!vtfs!pg!qsphsbnt/!J!xjmm!xsjuf!uif!qsphsbnt!
bt!jo.!ljoe!nbudijoh!gps!gvoet/!Uijt!xjmm!qspcbcmz!ublf!bcpvu!3-111!ipvst!boe!
qspevdf!26-111!mjoft!pg!qsphsbn!dpef/

Work of the Project:

Uif!xpsl!pg!uif!qspkfdu!xjmm!dpotjtu!jo!)2*!dpotusvdujpo!pg!uif!gsbnf!cvggfs!cz!
Spcfsu!Dphhftibmm-!boe!)3*!jnqmfnfoubujpo!pg!uif!tpguxbsf!cz!nztfmg/

Results of the Project:

1. Complete documentation for the frame buffer, including schematic and timing diagrams,
bill of materials, theory of operation, construction and troubleshooting information, and
specication of interface to software.

270
 2. A high-level interpretive language and subsystems, in both human and computer
readable form, together with its formal specication, user manual, implementation
manual, and hardware test and alignment programs. The software will operate on the
Zilog Z80 and / or the DEC LSI-11 microcomputer(s).

3. Demonstration and tutorial video cassettes of the system in operation.

4. A descriptive and critical report on the project.

Bmm!uiftf!nbufsjbmt!xjmm!cf!qmbdfe!jo!uif!qvcmjd!epnbjo/!Vtjoh!uifn-!boz!
qfstpo!xjui!sfbtpobcmf!fmfduspojd!tljmmt!tipvme!cf!bcmf!up!cvjme!uif!ibsexbsf!
boe!csjoh!vq!uif!tpguxbsf!jo!bcpvu!fjhiuz!ipvst/

Manner of Returning Results of the Project:

1. Copies of all documents, software media, and videotapes will be returned to the
National Endowment for the Arts for archival purposes.

2. A copy of the report will be distributed to the eld, insofar as it is known to me.
This includes over one hundred individuals at upwards of twenty sites.

3. Human and computer readable copies of all programs and documents will be made
available for the cost of duplication, estimated at $50.

4. Videotapes will be made available for the cost of duplication.

5. The project will be reported to relevant professional groups, e.g., the Association
for Computing Machinery (ACM), its special interest group for graphics (SIGGRAPH),
and the IEEE Computer Society.

Note
1.!Uijt!ibsexbsf!eftjho!xbt!uif!xpsl!pg!Spcfsu!Dphhftibmm-!b!hsbevbuf!tuvefou!jo!!
uif!Dfoufs!gps!Nfejb!Tuvez-!tvoz!0!Cvggbmp-!xjui!xipn!Gsbnqupo!xpslfe!wfsz!dmptfmz-!
xjui!b!wjfx!up!joufhsbujoh!ibsexbsf!boe!tpguxbsf!bt!uipspvhimz!bt!qpttjcmf/!)C/K/*

Proposal submitted to the Media Arts Program of the National Endowment for the Arts, in the category of
Services to the Field (Individual Application), undated (1982).
The Services to the Field grant for the construction of the frame buffer and design of the software was
awarded in 1983. (B.J.)

271
About the Digital Arts Lab

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ujpot! ps! dpnnjuufe! joejwjevbmt! up! voefsublf! tfsjpvt! fybnjobujpo! pg! uif!
dpnqvufs!bt!b!uppm/
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tpdjbm!tdjfodft/!Jo!tpnf!dbtft!uif!sfbtpot!xfsf!tpdjbmmz!jnqpsubou!cvu!joufm.
mfduvbmmz!usjwjbm;!uif!tqffe!pg!pqfsbujpo!boe!bsjuinfujd!qpxfs!pg!dpnqvufst!jt!
mfhfoebsz!fwfszxifsf/!Xibu!jt!npsf!jnqpsubou-!ipxfwfs-!jt!uibu!uif!dpnqvufs!
jt!b!uppm!gps!nbojqvmbujoh!tzncpmt-!boe!tztufnt!pg!tzncpmt-!jo!uif!nptu!hfofs.
bmj{fe!tfotf/!Ju!tffnfe!sfbtpobcmf-!tjodf!mn!ps!wjefp!ps!tpvoe!bsf!tzncpmjd!

272
 tztufnt!jo!qsfdjtfmz!uif!tbnf!xbz!uibu!nbuifnbujdt!ps!uif!obuvsbm!mbohvbhft!
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xfsf!eftjhofe!boe!efwfmpqfe/!EBFNPO-!bo!bdspozn!gps!EBub!Fejups!boe!NPO!jups-!
gbdjmjubuft!sfdpsejoh!boe!dibohjoh!pg!tpvoe!jogpsnbujpo-!boe!jnqmfnfout!uif!
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tnbmm!qbsuz!pg!Ofx!Zfbs!sfwfmfst!vtjoh!opjtfnblfst/

273
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bttpdjbufe!xjui!uif!Ejhjubm!Bsut!Mbc!xjmm!bdijfwf!boe!nbjoubjo!dpssftqpoefodf!
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qpufoujbmmz!csjhiu*!gvuvsf!xf!bsf!pcmjhfe!up!fyqfdu!gps!uif!jnqbdu!pg!dpnqvufs!
ufdiopmphz!po!pvs!fme/!

Note
1.!Uif!Dfoufs!gps!Nfejb!Tuvez!xbt!ftubcmjtife!jo!2:83!bu!uif!Tubuf!Vojwfstjuz!pg!!
Ofx!Zpsl!bu!Cvggbmp!cz!Hfsbme!PHsbez-!pggfsjoh!voefshsbevbuf!boe!hsbevbuf!
efhsfft!jo!b!sbohf!pg!nfejb!qspevdujpo!)mn-!wjefp-!ipmphsbqiz-!ejhjubm!bsut*-!nfejb!
ijtupsz!boe!uifpsz-!boe!uif!tpdjbm!jnqbdu!pg!nfejb/!Fbsmz!gbdvmuz!jodmvefe!!
wjefp!bsujtut!Xppez!boe!Tufjob!Wbtvmlb<!mnnblfst!Qbvm!Tibsjut-!Upoz!Dposbe-!
!Kbnft!Cmvf-!boe!Ipmmjt!Gsbnqupo<!boe!uifpsjtu!Csjbo!Ifoefstpo/!)C/K/*

Unpublished document, State University of New York at Buffalo, c. 1982.

274
Marion Faller, Hollis Frampton, 782. Apple advancing
(var. Northern Spy) from Sixteen Studies from
VEGETABLE LOCOMOTION, 1975. Black-and-white photograph
Marion Faller
 uif!puifs!bsut
uif!puifs!bsut

279 Letter to Enno Develing

285 Preface: 12 Dialogues 19621963
286 On Plasticity and Consecutive Matters
290 A Note on Robert Huots Diaries
292 Inconclusions for Patrick Clancy
296 Comic Relief
296 Two Left Feet
297 Letter to Macalester College
298 Notes: By Any Other Name
Letter to Enno Develing

Dear Enno Develing,1

Some months ago I agreed to write you a letter about Carl Andre. The matter has been on my
conscience ever since.
I am by temperament no biographer. I should do a friend a disservice by attempting to embalm
him in prose at the age of thirty-three. Anyway, I secretly believe that Boswell faked the last of his
book to cover the fact that he, Boswell, cooked and ate Doctor Johnson. That is the logical end of
treating people as commodities.
So I write to you now rather in the role of archivist, not a very competent or thorough archivist,
granted, but the only one available. How that state of affairs came about, and what is in the archive
in question, I shall try to set down briey. The events were boring enough at the time, certainly, but
may by now be of some interest to strangers.
Carl Andre and I met as schoolboys.2 We were interested in science and in art. It was customary
at that time for young men with diffuse artistic intentions to fancy themselves poets: accordingly,
we both were poets. But we took studio courses and painted. In the early fties, action painting was
showing muscle in New York. Our teacher was Patrick Morgan, who had studied with Hans Hofmann
years before, in Munich, and knew what was going on.
Carl went to Kenyon College, in Ohio, briey. He saw the great earthwork Indian mounds there
before he was asked to leave. It would seem that he lacked what we call in America school spirit.
At any rate, he went back to his native Quincy, Massachusetts; saved a little money from a job at
the Boston Gear Works; went to England for a time (visited Stonehenge and the Parliament), Paris
briey (visited the Eiffel Tower and the Louvre); returned to the States and spent two years in U.S.
Army Intelligence in South Carolina; and then moved to New York City, where he worked for a while
as a production editor for a publisher of textbooks.
I arrived in New York, to sleep on his oor, early in the spring of 1958. I found him living in one
hotel room near Columbia University, forty pounds lighter than my memory, supporting himself by
extracting an occasional book index (an activity he professed to enjoy)and copiously making art.
Chiefly he wrote lyric poems. There are still copies of some of them: literary objects are more
portable than plastic, and at that time, as later, portability was paramount.
He made occasional drawings. Perhaps poverty rst suggested that anything might be
material for art. I recall a drawing of a predatory bird, made on a shirt cardboard with ballpoint pen
and A1 Steak Sauce.
That summer, an acquaintance gone off to the Army bequeathed him a cheap apartment. He
dismantled the walls and made a series of paintings, somewhat on the principles of Kenneth Nolands

279
rst work shown in New York but, I should say, not so tasteful. They were rejected by the old Tanager
Gallery on East Tenth Street and became Carls rst group of lost works.
I had got a tiny slum apartment in Little Italy, and the fall of that year found him sleeping on
my oor. The painter Frank Stella, whom we knew from school days, had come up to the city from
Princeton and was doing his rst loose, expressionist stripe paintings in a tiny loft near Manhattan
Bridge. The three of us began to spend a great deal of time together.
Carl brought downtown with him a beer box full of manuscripts and objects. He continually
made more objects, as it were by reex. By the end of that year his object-making had taken a
distinctly sculptural turn: he was systematically mutilating (I can use no other word) bits of wood in
a variety of ways, none of which were traditionally sculptural: for example, charring, wire-brushing,
and so forth. At about the same time, the still camera had turned my own attention from poetry, and
I began systematically to photograph Carls work. And that is how the archive, such as it is, was
begun.
I cannot now feel utterly certain of my motives in doing this. I have no impulse to collect art,
and cant remember ever wanting to record the work of any other artist. Surely this very rst work
was not especially good or important or mature. Of course it was important to me personally.
What struck me then, as it does now, was CAs utter concern for the root, the fundamental nature of
art. His has always been an enterprise of curiosity, informed by the changing needs of his own mind
rather than those of the market; hence his concomitant unconcern for the standard sorts of perma-
nence (or read posterity ad lib.).
The other plastic artists I knew then were studio artists, maintaining a workspace and taking
a bustling bourgeois interest in preserving and disseminating their work. But CA worked wherever he
happened to be, with what was at hand. His studio was his mind, so to speak. Anyone who admired
a piece was welcome to shelter it, and a few did, but nothing encumbered him for long. When he
moved, the work was left behind. If it became too copious, he discarded it. Since he has moved often,
and produced much, a great deal is gone.
I guessed at the start that most of what I saw was ephemeral, so I began to make a record for
myself had I suspected that anyone else would be interested, I should have made a better job of
it. As it is, much is missing entirely, and what there is often has the look of the photographs made in
the pathology department of a hospital (they call them gross specimens). Ironically, some nega-
tives of CAs lost work are, through the vicissitudes of my own life, themselves lost.
That winter (195859) was a time of considerable, if diffuse, activity. A long series of large
india-ink drawings investigated with considerable wit the distinct possibility of the draughtsmans
page. (These were photographed: they are, with one exception, lost.) A short novel followed: Billy
Builder, or The Painful Machine. Still unpublished (one copy exists),3 it was turned down some
years later by Grove Press, with the curious comment that it was too long (fty-two pages). Carl
described it at the time as Tom Swift written by Dean Swift.

280
 As the winter ended, he turned again, quite overtly now, to sculptural problems. Evidently, he
had given thought to Brancusis insistence on the superiority of direct cutting over modeling; at the
same time, he insisted that the typical block of raw material, the ingot or timber, was already an
object strong in its own sculptural immanence. The immediate result was a small group of objects
made of acrylic plastic variously drilled and incised but with the given prismatic surfaces left intact,
so that the sculptural work transpired within a rigidly dened transparent volume.
This led, in the spring of 1959, to negative sculptures, man-sized for the rst time, hand-
cut from timbers pilfered from razed buildings in the neighborhood. He worked on them in Frank
Stellas studio: I see Stellas aluminum Union Pacic in the background of the photographs of these
pieces. I believe all are lost but one.
He spent the summer of 1959 with his family in Quincy, on the pretext of painting his fathers
house. July 4th seemed an appropriate time to visit him in the family seat of the Adamses. When
I got there, I found that he had been up to more than housepainting. His father was an enthusias-
tic woodworker and kept a hobbyists cellarful of power tools. Carl turned not to the lathe but to the
more analytic capabilities of the radial arm saw, and had made forty or fty small wood sculptures.
He had modied the wood blocks in varying degrees, but the premise remained that the original
block in itself implied a set of sculptures; he had, in each case, tried to end up with one of them.
I suppose they are all gone now, although he kept a few of the smaller ones with him for years.
The photographs, taken later in New York, cannot suggest the vivid image they made standing by
the dozens among the backyard owers in Quincy, a little like a crowd of Japanese garden shrines.
The radial arm saw, he said, had suggested itself because it embodied thousands of years of human
experience in cutting. His attention had shifted from Brancusis carved pieces in bronze and stone
to the hewn and stacked pedestals upon which they stand.
In the fall, he returned to New York and got married. A brief period of quiet followed. He lived
in cramped quarters. That winter I took a very big apartment, mostly empty. CA moved his radial
saw into it and in three months made eight or nine large pyramids. They were built of ordinary
2 s 4 lumber, notched together stepwise in the manner of American wilderness log construction.
Each could be assembled in two congurations, or taken down for storage and travel. Dozens of
people saw them. They were, by any possible criterion, important work, generally admired by CAs
peers none of whom could do something for the artist and equally ignored by dealers and
curators. The single exception was the scholar and critic Eugene Goossen.
At the time, the grip of Abstract Expressionism was barely thawing. Of course Ellsworth Kelly
and Ad Reinhardt had shown extensively, Stella was beginning to make headway but, in the main,
few persons besides very young artists (CA was then twenty-four) had grown sensibilities capable
of seeing this new work.
So it simply stood there. In September of 1960, I gave up the apartment. The new tenant, the
art dealer Richard Bellamy, agreed to store the pyramids, since Carl hadnt room. Curiously enough,

281
 Bellamy, who was to show considerable prescience in the Pop Art area and its adjacent precincts, saw
t to burn the pyramids for rewood during that winter.
Carl had momentarily run out of money and sculptural opportunity. In the autumn of 1960 he
again turned his attention to poetry. Earlier poems had been freely rhymed lyrics; now he began
taking given texts and cutting directly from them as from a timber, mapping upon words what he
had learned from sculpture. A prime text for some time (for years in fact) was an old history of King
Philips War, Americas rst, fought in the marshes of CAs native southeastern Massachusetts.
While emphasizing that Carls verbal and plastic activities are in no way separable, I must beg
off writing at any length about the poems. There is a very large body of work in words, and I believe
it an estimable one. By virtue or compactness, most of it has survived, unnoticed seminal work
largely, as it were, gone to seed. I only hope someone will eventually put a good portion of it into
print.4 For the moment, the burden of proof rests mainly upon a le of carbon copies that parallels
the le of photographic negatives.
In early 1961, nancial necessity presented a new set of sculptural opportunities. CA went to
work assembling freight trains as a yard brakeman for the Pennsylvania Railroad, a job he held for
several years. The baldest guesswork would suggest that his earlier intimations of modular and iso-
metric structures found abundant example among the boxcars and crossties of New Jersey. More
concretely, he began bringing home fabricated scrap-iron bits picked up along the tracks: a hook,
a spring, bearing balls. These were assembled loosely, held only by gravity or their own structural
limits. A glazed ceramic insulator stood unmodied. Soon windowsills and oor margins were full
of these little anecdotal pieces. They were underfoot.
I call them anecdotal, but they were not literary anecdotes, the iron cartoons of a Stankiewicz.
Rather they were brief anecdotes about gravitation, friction, displacement, equilibrium, and like
plain physical principles.
There was a concurrent effort that illuminates some of CAs thought at the time. He made per-
haps a score of objects, less witty than funny (in an enigmatically vulgar way), which he called
Dada forgeries. I recall, for instance, a tin box for Schwarze Weisheit Brazilian cigars: inside it, a
slice of desiccated toast, inked entirely black, the whole called The Donation of Constantine.
Clearly he was preoccupied with the possibilities of the readymade sculptural component, but
wished to rid the readymade of the associative semblances of Dada and Surrealism. Rather abruptly,
he found his way out of the quandary. The leavings of the railroad were abandoned as he began to
shop for collections of identical modules, cheap at surplus houses, the tailings of industry in steel,
glass, plastic, and aluminum. The endpoint of this series was reached in a group of small pieces
made by combining identical bars of rolled steel measuring 1 s 1 s 3 units into forms like capital
letters I, T, U, L, post-and-lintel, and so forth. Wanting then to build these pieces again out of con-
struction timbers, on a scale reckoned in feet rather than inches, CA wrote a detailed proposal for

282
a show to the dealer Leo Castelli. I cant recall whether that letter, with its attendant drawings, was
simply ignored or waved aside with a vague maybe next year.
In any case, late in 1961, with two bodies of work dismissed as pointless, CA went into a kind of
seclusion. We saw little of one another until August of 1962. Then we arranged that I should come to
see and photograph what he called his indoor vacant lot. He would soon move to a tiny apartment
in Brooklyn. There was no room there for storing old work; all was to be left behind.
The vacant lot was a complicated parlor-oor hole in a Lower East Side tenement. There were
a bed and wardrobe somewhere, but no other furniture. A cabinetmakers saw in the basement below
rang like a carillon. A broken automatic toilet ushed Niagara. Children had stoned out the windows
months before. There was nished work stacked on every horizontal surface and hanging on the
walls . . . I think there must have been sculpture standing in the bathtub. I dont know how much was
there: the lm ran out before the job was done.
There were at least ve classes of objects, ranging from prodigiously ugly through downright
hideous. Collage paintings incorporating whole physical objects (gloves, umbrellas, lettuce),
covered entirely in glossy enamel paint in primary colors, poured on so that viscosity and surface
tension were exploited rather than hue or texture. Polymorphous perverse carpentry made by
nailing up disheveled scrap wood from the streets, often as though they had been anonymous
readymade modules. Polychrome stalagmites of pigmented concrete, sometimes embedding iron
detritus or bricks. Pizza pies, at patties of Portland cement, bristling with glass marbles and dish
and bottle shards. And a curiously memorable set of pieces made of slices of wet concrete, laid
one upon another in collocations reminiscent of the excrement of dogs.
The landlord must have had difculty in disposing of it all. CA has said often that he was
pleased to be rid of the lot. Nonetheless, looking at the old photographs in the light of what has
been done in American sculpture during the three or four years just past, I cant help noticing that
those nine months were spent on work of unswervingly radical aspiration. There was more at issue
than mere despair, or keeping his hand in.
For the next three years, in Brooklyn and Manhattan, CAs main activities were literary. The
endless ow of lost sculpture never stopped, but poems, some of them extremely ambitious, were
his concern. That words have spatial and plastic qualities, along with their sonorous and associa-
tive properties, was a discovery that exfoliated systematically in the space of pages divided by the
typewriter into a uniform grid.
Finally, in 1964, E. C. Goossen, recalling the pyramids of years before, asked Carl to rebuild
one for a group show at the Hudson River Museum. Inclusion in other group shows followed more or
less immediately . . . but Im sure you are quite familiar with Carls career from that time to this. Of
course, when his oeuvre became public my own task was nished. Others keep the records now,
and there are no lost works anymore.

283
 I hope this letter, melancholy as it is, has at least suggested that Carl Andres work was not
generated spontaneously upon the oors of the Tibor de Nagy Gallery. His work has already changed
the plastic art of the West. I trust it will continue to do so, and in ways that are by no means subtle.
I think Carl, in a sense, is Brancusis truest heir. The old Romanian peasant stressed direct cut-
ting in metal, wood, and stone . . . the young American makes direct cuts in gravity, mass, volume,
density: the most fundamental properties of all sculpture, as of all matter.
I am sending you, along with this letter, a quantity of labeled photographs, and bits of writing,
as documentation. They are merely my own choice among remnants. But they are surely of interest,
as T. S. Eliot said of Dantes shorter poems, because they are by Dante.

Very cordially yours,

Hollis Frampton
New York City, 24 May 1969

Notes
1.!Foop!Efwfmjoh!xbt!uif!dvsbups!pg!bo!jnqpsubou!fbsmz!fyijcjujpo!pg!Dbsm!Boesft!
xpsl!ifme!bu!uif!Ibbht!Hfnffoufnvtfvn-!jo!uif!Ofuifsmboet-!jo!2:7:/!Gsbnqupot!
mfuufs-!uphfuifs!xjui!ijt!qipuphsbqit!pg!Boesft!fbsmz-!mptu!xpsl-!tfswfe!bt!uif!
jouspevdujpo!up!uif!fyijcjujpo!dbubmphvf/!)C/K/*
2.!Jo!uif!fbsmz!2:61t-!Gsbnqupo!boe!Boesf-!uphfuifs!xjui!Gsbol!Tufmmb-!xfsf!tuvefout!
bu!Qijmmjqt!Bdbefnz!jo!Boepwfs-!Nbttbdivtfuut/!Gsbnqupo!boe!Tufmmb!xfsf!jo!!
uif!tbnf!dmbtt-!hsbevbujoh!jo!2:65<!Boesf!hsbevbufe!b!zfbs!fbsmjfs/!Puifs!opubcmf!
tdippmnbuft!jodmvefe!uif!dpnqptfs!Gsfefsjd!S{fxtlj!boe!mn!nblfst!Tuboejti!
Mbxefs!boe!Mft!Cmbol/!)C/K/*
3.!Njnfp!qsppgt!boe!pggqsjout!pg!uif!nbovtdsjqu!bsf!mjtufe!bnpoh!uif!dpoufout!pg!
uif!Ivhi!Lfoofs!Qbqfst-!ipvtfe!bu!uif!Ibssz!Sbotpn!Ivnbojujft!Sftfbsdi!Dfoufs!
bu!uif!Vojwfstjuz!pg!Ufybt!bu!Bvtujo/!)C/K/*
4.!Jo!jut!psjhjobm!qvcmjdbujpo-!Foop!Efwfmjoh!opufe!uibu!uif!xipmf!cpez!pg!qpfnt!
jt!qvcmjtife!jo!tjy!wpmvnft!cz!Tfui!Tjfhfmbvc!jo!dppqfsbujpo!xjui!uif!Exbo!
Hbmmfsz/!)C/K/*

Introduction to the exhibition catalogue Carl Andre (The Hague: Gemeentemuseum, 1969), pp. 713.
Reprinted in About Carl Andre: Critical Texts Since 1965 (London: Ridinghouse, 2006).

284
Preface: 12 Dialogues 19621963

Njeojhiu-!Dfousbm!Tuboebse!Ujnf-!22!0!7!0!8:!Hsfhpsjbo-! 49!Dfmtjvt!bu!48-111!
gffu!boe!opsuicpvoe-!pwfs!Bslbotbt;!podf!bhbjo-!jo!uiftf!qbhft-!Dbsm!Boesft!
usbkfdupsz!joufstfdut!xjui!njof<!boe!bhbjo-!bt!ju!ibt!ibqqfofe!tp!pgufo!jo!uif!
!uxfouz.!tfwfo! zfbst! tjodf! xf! stu! nfu! )b! dpowfstbujpo! bcpvu! qiztjdt-! boe! b!
qiztjdjtu*!jo!b!tqbdf!uibu!xf!ibwf!cpui!usbwfstfe-!cvu!jo!pvs!pxo!ujnft!boe!xbzt-!
po!fssboet!pg!tfqbsbuf!efwjtjoh/!Ofjuifs!pg!vt!jt!uifsf!boz!mpohfs/
Csjfz-!uipvhi-!xf!xfsf-!cpui!pg!vt;!jo!uif!bsfob!pg!mbohvbhf-!xijdi!jt!
uibu!pg!qpxfs/!Tp-!stu-!J!xpvme!vshf!uibu!uiftf!ejbmphvft!cf!sfbe-!jg!uifz!bsf!up!
cf!sfbe-!bt!bouispqpmphjdbm!fwjefodf!qfsubjojoh!up!b!sjuf!pg!qbttbhf!boe!up!uif!
obuvsf!pg!gsjfoetijq/
Jg!pvs!sifupsjd!jt!uibu!pg!bo!bftuifujd!Dpuupo!Nbuifs!epxotipvujoh!ijntfmg!
jo!bo!jnqpsufe!njssps-!uifsf!jt!tujmm!tpnfuijoh!up!fokpz-!b!mjuumf;!uif!ufyu!sf!nbjot!
qfsnfbcmf!up!dfsubjo!sbhhfe!ejtdpoufout<!ju!bddfqut-!ps!benjut-!bt!J!sfbe!ju!opx-!
uif!qbsbmz{joh!tdbsmfu!pg!pjmdmpui!po!b!ljudifo!ubcmf!jo!Cspplmzo!/!/!/!ejbfsftft-!
cfuxffo!qbsbhsbqit-!pg!xbmlt!up!uif!dpsofs!bgufs!Sjohoft!Cffs!/!/!/!ps!b!tmjq!pg!uif!
upohvf!vqpo!xijdi!J!tibmm!bmxbzt!sfhsfu!ibwjoh!bdufe!upp!dbvujpvtmz/
Nbljoh!nz!xbz!up!b!tvcxbz!tubujpo-!bgufs!xibu!xbt!up!ibwf!cffo!uif!mbtu!pg!
uiftf!ejbmphvft!)boe!uibu!pof!jt!opu!ifsf-!xbt!mptu*!J!tbx!boe!ifbse-!jo!tpgu!topx-!
b!nbo!jnqspwjtjoh!nvtjd!jo!Gpsu!Hsffof!Qbsl;!guffo!zfbst!mbufs!J!voefstuppe!
ijn!up!cf!Tpooz!Spmmjot-!boe!uibu!uibu!bvejujpo!nbz!ibwf!cffo!pof!dpowfshfodf!
tfdsfumz!qsfqbsfe!cz!uif!fwfojoht!Dbsm!Boesf!boe!J!tqfou!bu!uif!uzqfxsjufs/
Uijt!ejtubou!pof-!xjui!bo!jmmvtjpojtu!tujmm!)ju!bqqfbst*!jo!jhiu-!boe!pg!b!
ejggfsfou!njoe-!jt!bopuifs/

I/G/!
Opwfncfs!7-!2:8:

Carl Andre and Hollis Frampton, 12 Dialogues 19621963, ed. and with annotations by Benjamin H. D. Buchloh
(Halifax: Press of the Nova Scotia College of Art and Design; New York: New York University Press, 1980), p. xi.
The book reproduces dialogues that transpired between Frampton and Andre over the course of a year,
beginning in the fall of 1962. These dialogues were conducted on a typewriter in Andres Brooklyn apartment.
According to Benjamin Buchloh, while one participant was typing, the other was sitting on the bed, reading,
waiting for his turn to reply. The dialogues cover a range of topics, from literature and music to painting,
sculpture, and photography. (B.J.)

285
On Plasticity and Consecutive Matters

CARL ANDRE: You have evaded the issue long enough. Now I propose to pin you wriggling to a de-
nition of the plastic.

HOLLIS FRAMPTON: While its still soft, you can push it around. When it gets hard, it pushes you
around. Miss Miriam Webster says it means pliable, impressionable, capable of being molded or
modeled. In art, characterized by being modeled, hence sculptural in form or effect.
I think sculpture in that sense is plastic by custom only.

CA: Are there not dimensional arts and durational arts? Cartography is dimensional and navigation
is durational. Shape is the product of dimension, hence plastic. These categories are as false or useful
as any others.

HF: Naturally you will say music is a durational art. Yet where is the real music? Is it not as much
spelled out on the rectangular page as read out into the air? And does not my reading of a painting,
or my revolution about a sculptural piece, explicate it in time?

CA: The real music is in the agitation of the molecules of air. Poetry and in fact almost all literary
forms are durational in structure. Although a stop sign functions plastically. Perception is dura-
tional. You change and unfold if you truly perceive. Calders mobiles are only apparently durational.
Tinguelys self-destroying sculpture may possibly be durational.1

HF: There is no such thing as time. Time is a set of conventions for bracketing qualitative variation.
E-at does not exist in time relative to B-at, before or after it: we hear them as they are sounded,
which is always here and now. The adverbs rstly and secondly are pegs we use in our sentences
when we wish to emphasize that those sentences imitate actions.

CA: Time as rate certainly is a thing. Given a certain amount of energy to discharge or a certain
distance to cover, time as rate becomes time as duration. E-at and B-at do differ in terms of the
rate of agitation of air molecules. Plasticity, once xed in the painting or sculpture or building, has
no rate of discharge or distance to cover. We do have rates of perception.

HF: Much better. I accept time as a directional stress obtaining among a set of palpable things or
qualities. It is the notion of time as a tank of uid in which everything oats, and which transmits
only a displacement of any single particle without itself moving or changing, much like the old

286
uid aether of wave mechanics, to which I object. Not so much as a bad model, but because it is a
model, with attractive qualities of its own but none of the savor of the phenomena it is to account
for. Dimension and duration appear to be two aspects of the same thing, if we consider cinema.
Potemkin is a ribbon of cellulose acetate, cranked through a projector at a constant rate of sixteen
frames per second (a speed which has to do with our average rate of failure to perceive separate
images). Any one of the millions of frames might be considered as a separate event. But, coiled up
in the can, no frame is more than a couple of handspans from any other.

CA: In place of time and plastic, or in place of duration and distance, substitute moving and still.
Some art objects must be moved to be revealed.

HF: Your suggestion is confusing in the concrete. For the cinematographer who edits his own lm,
and sees a clear sensuous connection between the ickering moving image on his screen and his
chopped and spliced and measured celluloid ribbon, the tangible coil of lm is his art object.
Likewise the composer laboring over his score . . . and one need only look at scores of recent com-
positions to realize how much eye-attention modern composers give their work in notation.
You spoke in our last dialogue of poems organized plastically. Now I was told as a boy that
poems are organized metrically. Perhaps we can come closer to a clear idea of plasticity via meter.
I bracket the note divisions between the composers bar lines, and the shots or short bits of lm
the cinematographer splices together to ll his measure, together with the iambus and trochaeus,
when I mention meter.

CA: We read from left to right. Meter is a controlled rate of sounded reading from left to right.
Stravinsky introduced the idea of meter as the articulation not of bars but of whole works. Scriabin
had begun the process before him. Pound works in a meter whose single foot is a canto. Painting
on the other hand does not read from left to right. A well-composed painting is not an interesting
middle surrounded by deteriorating lefts and rights, tops and bottoms. The best Renaissance easel
painting employed the edge of the painting as a framing device. The view was cut as if by a window
frame. Only bad paintings can be read in a metrical way. They have an all-at-once appearance. We
have a style of painting now, of which Jackson Pollock is still the exemplar, in which the edge of the
painting is used like a political boundary: this much I painted, the rest is yours. A Pollock cannot be
read; it can be entered right at the dead level.

HF: Any work of art is something, surrounded by everything else. We read it in whatever direction it
leads us. The foot in verse is not the meter but the prime condition of our understanding the meter,
that is, measure. The bar line in the neumic notation of plainsong was a breathing space, but not for

287
us: it marked the respiration of the extraordinarily sustained period of medieval chant. The habit of
slugging the rst note following it is perhaps three times as old as Picasso.
I am trying to dene the splice, foot, bar line, and boundary as systole and diastole: the storage,
release, and standing aside from a movement of energy.

CA: I have tried to indicate my idea of plasticity as having to do with the manipulation of dimensions.
I introduced time, meter, etc. as a contrast. I am rather bugged by one aspect of plasticity: hard-
edge as against thumb-imprinted. One can pour concrete into a form and let it set. Remove the form
and one is no longer confronted by the mud but by hard, smooth stone. Then again, one can take
the concrete mud and throw it about, cutting, wounding, bruising it. When it sets, it sets not as hard,
smooth stone but as hard and clotted scab. I am disturbed because my bruised mud or paint always
congeals in a peculiarly brutal and vulgar way. The form provides a great leveler. A precise cube is
precise because of its dimensions, not because of the gift of its designer. Galena is a better Cubist
than I am. My question, doctor, is this: is there a hierarchy of forms and scabs?

HF: The wooden form, then, restrains the sculptor and not his material? Certainly one of the major
technical problems in plastic art is restraining the artist. But let me stay a moment with your wooden
form. You are confused, perhaps, by the seeming indirection of making the wooden form rst. Youre
not so sure you should not exhibit the wood form, rather than what comes out of it. Your main chance
for control is in building the mold.
As for the brutality and ugliness in your work: I had heretofore thought of much of it as didactic.

CA: About my plastic clumsiness, I must admit, I am not interested in the disciplines that develop
plastic tact. De Koonings Easter Monday is an anthology of gestures derived from years of sign
painting and gurative painting. My work is experimental. I believe all ideas are equal except in
execution. My executions are tests of ideas rather than attempts at plastic virtuosity. Nevertheless,
the problem of the thumbprint exists. Frank Stella insists that thumbprint expressionism is an
inherently inferior style. The irony of his position is that Frank Stellas stripes are generated by his
thumbprint brushing. He seeks plastic virtuosity, to match himself with Van Eyck. I, myself, formerly
preferred the hard-edge style or crystal mode until I happened to read a text on crystal nurture
in which the otherwise well-informed author insisted upon the moral superiority of crystalline
patterns. I was caught short by the thought that the poor crystals could extend themselves only by
accretion. Not a single fuck in a pound of chrome alum. Even the slippery paramecium enjoys the
pleasures of conjugation. Crystals and straight lines suddenly seemed beside the point to me.

HF: Crystalline structure is a habit of matter arrested at the level of logic. Logic is an invention for
winning arguments, and matter wins its argument with ionic dissolution by crystallizing. A logical

288
argument cannot change; it can only extend itself into a set of tautological consequences. But I dont
think Frank Stella has pursued a train of logic to its end in his paintings. I think he has deliberately
eliminated from his paintings every element a human being might nd satisfying in the act of painting.
Experimentation means moving data from theoretical ground into the precincts of personal,
tactile experience. That is not the same thing as testing or embodying ideas. I believe there are no
ideas except in execution. An idea is a shape in my head.

CA: No. An idea is a pattern of electrical potentials in the cells of the human brain. These patterns obey
the laws of electrical circuitry. The matters with which ideas concern themselves are phenomena
that obey laws quite different from those of electrical circuitry. Hence an idea is at best an analogue
or model. It must be tested in conditions that are consistent with the external phenomenon. To
execute an idea is to recreate the intellectual model in terms of the external phenomenon. I also
disagree with you about Franks painting. His brush stroke is the housepainters, and de Koonings
for that matter. Frank typically disguises his humanity with the appearances of a crystalline habit.
The chemical models of procreation have deed intellectual analogy to the present day, and with
all our science we are only beginning to understand genetic semantics. This brings me to propose a
new use or value for the arts. Astronomy and astrology were once one science. They divided out of
a fatness of empirical observation, so that we have now a science and a hoax. The hoax of alchemy
was split from the science of chemistry. Perhaps the hoax of art will some day be discarded and a
system of detailed, accurate, and illuminating perception will become an anchor post for a civiliza-
tion we have not yet achieved. That means tossing out the magic and the mystery, but I think it
means introducing equally the full white light all around. Why is it only a poet seems to detect the
fact that the science of economics is a delusive hoax?
I have no coherent thought, only a double image. There is the tree of cells, chemicals, atoms.
To be human and humane is to want to know and understand that tree. But to be human and humane
is to want to sit in its shade and to watch the bell leaves change the sky. Somehow it seems to me
not a defect of science that trees cannot thrive in our cities, but a defect in our art.

Note
1.!Bt!Cvdimpi!opuft-!uif!sfgfsfodf!jt!up!uif!Txjtt!bsujtu!Kfbo!Ujohvfmzt!Ipnbhf!up!
Ofx!Zpsl!)2:71*-!bo!bttfncmbhf!pg!tdsbq!nfubm!boe!kvol!uibu-!evsjoh!uif!dpvstf!!
pg!b!!uxfouz.!tfwfo.!njovuf!qfsgpsnbodf!jo!uif!tdvmquvsf!hbsefo!pg!uif!Nvtfvn!!
pg!Npefso!Bsu-!eftuspzfe!jutfmg!cz!nfbot!pg!djsdvjut-!sftjtupst-!hbtpmjof-!boe!!
difnjdbmt/!)C/K/*

Carl Andre and Hollis Frampton, 12 Dialogues 19621963, ed. and with annotations by Benjamin H. D. Buchloh
(Halifax: Press of the Nova Scotia School of Art and Design; New York: New York University Press, 1980),
pp. 4144.
The dialogue took place, in typewritten form, on November 11, 1962.

289
A Note on Robert Huots Diaries

Bsu!jt!qfstpobm/!Ju!jt!qfstpobm!jo!uif!nbljoh-!boe!ju!jt!qfstpobm!jo!uif!bqqsfdj.
bujpo/!Nptu!qfstpobm-!qfsibqt-!pg!bmm!jt!uibu!dpoujovjoh!ejbmphvf!xjui!puifs!
bsujtut-!mjwjoh!boe!efbe-!jo!xijdi!fwfsz!nbuvsf!bsujtu!oet!ijntfmg!fohbhfe/
Tfwfo!ps!fjhiu!zfbst!bhp-!xifo!J!stu!cfhbo!up!lopx!Spcfsu!Ivpu-!ijt!
xpsl!xbt!uif!nptu!sjhpspvtmz!sfevdujwf!pg!bmm!uibu!xbt!cfjoh!nbef!jo!Ofx!Zpsl!
bu!uibu!ujnf/!If!uppl!bo!bdvuf!qfstpobm!joufsftu!jo!uif!rvftujpo;! Ipx!nvdi!
nbz!cf!ejtdbsefe!boe!b!xpsl!pg!bsu!tujmm!sfnbjo@!If!ibe!dbssjfe!uijt!qvstvju!
joup!uifbufs!boe!tdvmquvsf-!boe!xbt!tppo!up!fyufoe!ju!joup!mn<!cvu!uif!nbjo!
uisvtu!xbt!bmxbzt!qbjoufsmz/!Jo!pof!hspvq!pg!xpslt-!if!ejtdbsefe!qbjou<!boe!
uifo-!jo!bopuifs-!ejtdbsefe!uif!qbjoujoh!jutfmg!bt!tfqbsbcmf!foujuz-!nbljoh!gvhj.
ujwf!xpslt!pg!hjwfo!tqbdft/
Mphjdbmmz-!tvdi!bo!bsu!sjtlt!sfofnfou/!Ju!sjtlt!tfmg.!boojijmbujpo<!ps-!npsf!
mjlfmz-!cfdpnft!tpnfuijoh!uibu!jt!cz!opx!joupmfsbcmz!gbnjmjbs!/!/!/!bo!buufovbufe!
qspevdu-!qvshfe!pg!bmm!bggfdujpo-!uibu!tvtubjot!joufsftu!pomz!uispvhi!jodfttbou!
dsjujdbm!tbmjwbujpo/
Cvu! Spcfsu! Ivpu! diptf! b! ibstifs! mphjd/! If! fmjnjobufe! ijntfmg! jotufbe-!
xjuiesbxjoh!gspn!uif!bsu!njmjfv!boe!bmm!jut!dpodfsot-!sfnpwjoh!up!b!gbsn!jo!
dfousbm!Ofx!Zpsl!Tubuf/!Xjui!uif!bepqujpo!pg!bo!bgsnbujwf!mjgftuzmf-!uif!bsu!
jutfmg! dibohfe! gspn! fydmvtjwf! up! jodmvtjwf/! Gpsnfsmz-! uif! jnqvmtf! ibe! cffo!
ejebdujdboe!uibu!nfbot!esbnbujd-!gps!uif!ejebdujd!tjuvbujpo!jnqmjft!uxp!qfs.
tpot;!pof!xip!ufbdift-!boe!pof!xip!mfbsot/
B!ofx!rvftujpo!tvqfstfeft!uif!pme;!Ipx!nvdi!nbz!cf!jodmvefe!boe!b!
xpsl!pg!bsu!tujmm!sfnbjo@!Boe!Ivpu!qvstvft!uif!rvftujpo!npsf!joufotfmz-!npsf!
qfstpobmmz-!uibo!fwfs!cfgpsf/!Uif!Ejbsjft!bsf!mzsjdbm;!opu!bmxbzt!dfmfcsbupsz-!cvu!
jowbsjbcmz!bddfqujoh!pg!mjgf!bt!fyqfsjfodfe!cz!ijt!pxo!wfsz!ijhimz!efwfmpqfe!
tfotjcjmjuz!/!/!/!boe!uifsfcz!hfojbm-!hfofspvt-!opu!mjnjufe!up!uif!dmptfe!ejebdujd!
joufsqmbz!cfuxffo!uif!bsujtu!boe!ijt!dbsfgvmmz!jnbhjofe!jefbm!tqfdubups/!Bt!uiftf!
Ejbsjft-!ps!sbuifs-!bt!Ivpu!xpvme!qsfgfs!up!ibwf!uifn!dbmmfe-!uijt!tjohmf!dpo.
ujovjoh!jowftujhbujpo-!cfdpnft!npsf!nbttjwf-!ju!cfhjot!up!npwf!gspn!uif!mzsjd!
up!uif!fqjd/!Ju!jodmveft!tp!nvdi!pg!Spcfsu!Ivput!ijtupsz!uibu!ju!cfhjot!up!jodmvef!
vt!bmm/
Boe!uibu!jodmvtjpo!tubsut!xjui!uif!bsu!pg!uif!qbtu/!Uif!gpsnfs!fydmvtjwf!
xpsl!ofdfttbsjmz!mjnjufe!jut!dpodfsot!up!xibu!xbt!nptu!dpoufnqpsbofpvt!jo!
qbjoujoh<!cvu!uif!ofx!xpsl!jt!pqfo!up!joufsdpvstf!xjui!uif!qfstpobm!ofdfttj.
ujft!uibu!bsujtut!ibwf!xpslfe!gspn!pwfs!njmmfoojb-!wjtjcmf!jo!uif!tuzmft;!Mbtdbvy-!
Qjfsp-!Npoesjbo-!Lmjof!/!/!/!boe!pg!dpvstf!b!zpvohfs!Spcfsu!Ivpu!/!/!/!bsf!bnpoh!

290
 uif!wpjdft-!uif!nboz!wpjdft-!tqfbljoh!uiftf!ebzt/!Boe!bmm!tqfbl!uispvhi!b!
tubsumjohmz!sfmbyfe!johfovjuz!boe!dpnqsfifotjpo!pg!uif!ijtupsjd!qpttjcjmjujft!
pg!qbjoujoh-!uispvhi!uif!dvoojoh!)J!vtf!uif!xpse!xjui!bggfdujpo*!pg!Ivput!
nbtufs!iboe/
Opx-!ipxfwfs! csjfz-! xf! bsf! tffjoh! uiftf!xpslt!qvcmjdmz/!Jo!tipxjoh!
uifn-!Ivpu!bgsnt!uibu!bsu!jt!b!gvoebnfoubmmz!tpdjbcmf!bdujwjuz!bgufs!bmm/!Bt!b!
gsjfoe!pg!uif!nbo-!boe!pg!ijt!xpsl-!J!bn!dpodfsofe!uibu!uifz!cf!ublfo!gps!xibu!
uifz!bsf;!hjgut-!gsffmz!hjwfo!/!/!/!boe!opu!bt!dpoufoefst!jo!tpnf!tpsu!pg!hibtumz!
pohpjoh!tipxepxo/!Gps!uiftf!bsf!cpvoe!up!cf!ejgdvmu!xpslt/!Uifz!bsf!vodb.
opojdbm<! uibu! jt-! uifz! epou! dpoofdu! wjb! b! tjnqmf! tzmmphjtn! xjui! boz! dvssfou!
npwfnfou/!)Qsftvnbcmz!uibu!nfbot!uifz!bsf!bifbe!pg!uifjs!ujnf/*
Cvu!uibu!jt!bmm!b!njsbhf-!jg!Spcfsu!Ivput!Ejbsz!qbjoujoht!cf!cvu!sfdfjwfe!
bt!uifz!xfsf!nbef;!xjui!mpwf/

Ipmmjt!Gsbnqupo!
Fbupo-!Ofx!Zpsl!
Kbovbsz!2:84

Text written to accompany an exhibition of Robert Huots paintings at the Paula Cooper Gallery,
New York, January 1973.

291
Inconclusions for Patrick Clancy

Think always of the margins, of the cold walks, and the lines that lead nowhere.
T. E. Hulme, 1917

Bftuifujd! npefsojtnt! dibsbdufsjtujd! tusbufhjft-! evsjoh! jut! foujsf! hspxui-!

nbuvsjuz-! boe! efdmjof-! bmxbzt! fodbqtvmbufe! )boe! pgufo! nbobhfe! up! dpoubjo*!
mbufou!dpousbejdujpot!uibu!buusbdufe!fofshfujd!dsjujdbm!tqfdvmbujpot!xjuijo!uifpsz!
boe!qsbdujdf!bmjlf/
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b!mpzbm!pqqptjujpo!xjuijo!npefsojtn-!xijdi!ibe!dpnf!joup!uif!xpsme-!bt!ju!
xfsf-!gvmmz!bsnfe!boe!qfsgfdumz!efgfoefe/!Uif!qsjodjqbm!qmbzfst!pg!uif!stu!
hfofsbujpo!ibe-!bgufs!bmm-!mfbsofe!nvdi!gspn!uif!dbsobhf!pg!mbuf!Spnboujdjtn;!
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cmf!up!bo!voqsfdfefoufe!efhsff-!xbt!kvehfe!up!qspevdf!xpslt!xiptf!tvqsfnf!
cfodinbsl!xbt!jmmfhjcjmjuz<!uif!qptunpefso!jorvjsz!jo!uif!bsut-!xijdi!oet!uif!
opujpo!pg!mfhjcjmjuz!jutfmg-!jo!uif!nptu!tfnjobm!tfotf-!qspcmfnbujdbm-!jt!bt!pgufo!
ibtujmz!qfsdfjwfe!bt!dbtvbmmz!usbotqbsfou-!sbuifs!bt!mbohvbhf!jt!voefstuppe!jo!
qsfmjufsbuf!dvmuvsft/!
Jg!ju!sfnbjot!b!ubtl!pg!pvs!dvmuvsf!up!eftdsjcf!boe!bobupnj{f!foujsfmz!uif!
fyufoefe! npnfou! pg! npefsojtn-! opofuifmftt! ju! jt! dmfbs! uibu! uibu! ubtl! ibt!
cfdpnf-! cz! opx-! bo! bdbefnjd! pof/! Jg! uif! mbshftu! qpfujd! dbubtuspqift! pg! uif!
qfsjpe!tffn!opubcmz!wvmofsbcmf!up!uif!fyqmbobujpot!pg!qsfnbuvsf!dpotpmjeb.
ujpo!evsjoh!uif!ujnft!pg!tpdjbm!vqifbwbm!uibu!fodmptfe!uif!Gjstu!Xpsme!Xbs-!ju!jt!
bmtp!usvf!uibu!uiptf!tbnf!fwfouttpdjbm-!fdpopnjd-!boe!qpmjujdbmbsf!effqmz!
jnqmjdbufe!jo!uif!gpsnbujpo!pg!tpnf!pg!joufmmfduvbm!npefsojtnt!usjvnqit/!Pg!
uiftf!uifsf!xfsf!wfsz!nboz-!boe!tpnf!pg!uifn!nbz!gbjsmz!cf!qmbdfe!bnpoh!uif!
oftu!bdijfwfnfout!pg!uif!Xftu/!
J!nfbo!up!jodmvef-!jo!uijt!bttfsujpo-!uif!tdjfodft!bmpoh!xjui!uif!bsut<!boe!
jo!uijt!pof-!upp;!xibu!xbt!dsvdjbmmz!bu!jttvf!)boe!ju!tujmm!jt*!xbt!bo!fyusfnf!dsjtjt!
jo!sfqsftfoubujpo/!
Ju!jt!qpttjcmf!up!dpotusvdu!b!dpnqbdu!tznqupnbupmphz!gps!npefsojtn!pg!
boz!qsbdujdbm!qfstvbtjpo;

292
 2/!Ju!jt!bmxbzt!qpttjcmf!up!ejtujohvjti!uif!xpsl!pg!bsu!gspn!uif!dvmuvsbm!
hspvoe!vqpo!xijdi!ju!jt!hvsfe!gpsui/!Xf!nbz!cf!vodfsubjo!pg!pvs!bggfdujpo!gps!
ju-!cvu!xf!ejtujohvjti!ju!xjuipvu!ejgdvmuz-!jtpmbufe!bt!b!tdjfoujd!fyqfsjnfou!
gspn!jut!dpouspm!hspvq/
3/!Uif!xpsl!uisjwft!bnpoh!uif!vodfsubjoujft!pg!bo!bncjhvjuz!xijdi!ju!bu!
podf!jowplft!boe!fft/!Uibu!ibmmnbsl!pg!npefsojtn-!bncjhvjuz-!jt!bo!bsujgbdu!
pg!efufsnjofe!njtsfbejoh/!Xibu!xf!oe!jt!opu!qpmzwbmfou!qfswfstjuz!cvu!b!dbsf.
gvmmz!sftusjdufe-!nvuvbmmz!sftpobou!tvctfu!pg!qpttjcmf!mpdbm!nfbojoht-!tusjdumz!
tvcpsejobufe!up!hmpcbm!bsdijufdupojdt/!Fydfqu!jo!uif!nptu!ejtujohvjtife!dbtft-!
uif!mbuufs!bsf!opu!up!cf!ejtdvttfe/
4/!Uif!xpsl-!ps!cpez!pg!xpsl-!dibmmfohft!uif!bvuipsjuz!pg!jut!fncfeejoh!
nbusjy!xjuipvu!ejtuvscjoh!jut!ftubcmjtife!dbufhpsjft/!Gps!npefsojtn-!ejtdfso.
jcmf!bdujwjujft!)qbjoujoh-!cjpmphz-!tdvmquvsf-!qiztjdt-!qpfusz-!difnjtusz*!bsf!up!
cf!bgsnfe!bt!uif!wftujhft!)pof!njhiu!tbz!uif!tbdsfe!sfmjdt*!pg!uif!opujpo!pg!
uif!qpttfttjcmf/
5/!Uzqjdbmmz-!uif!npefsojtu!xpsl!jo!bsu!jt!bqpejdujdbmmz!dpfsdjwf!pg!jut!qsfufyu-!
xifuifs!ju!cf!uif!npefm!jo!uif!tuvejp!ps!uif!upqpmphjtut!dszqujd!qbhf!ps!jut!pxo!
bodftusz-!boofyjoh!xipmftbmf-!gsbhnfoujoh-!sfdujpobmj{joh-!jo!hftuvsft!peemz!
sfnjojtdfou!pg!uif!bcsvqu!sjuft!pg!pxofstijq/!
6/! Uif! xpsl! jt! bdvufmz! bttfsujwf! pg! jut! cpvoebsjft;! jo! nvtjd-! uifnbujd!
fovodjbujpo!boe!dbefodf<!jo!qbjoujoh-!uif!fehf!boe!uif!dfoufs/!Xibu!xf!njhiu!
dbmm!uif!njeemf-!xijdi!hbwf!Bsjtupumf!uif!nptu!uspvcmf-!jt!mjlfmz!up!cf!ublfo!bt!b!
ufssbjo!vqpo!xijdi!uifsf!jt!op!ejggfsfodf!cfuxffo!qpfujd!mjdfotf!boe!b!ivou.
joh!mjdfotf/
[ ]

Uifsf!xfsf!bmxbzt!ifsftjbsdit!xjuijo!npefsojtn!jutfmg;!J!bn!uijoljoh!pg!uif!
tpdjbmmz!boe!qtzdipmphjdbmmz!vupqjbo!Kpzdf!pg!Gjoofhbot!Xblf<!Nbsdfm!Evdibnq-!
xip!bcboepofe!qbjoufsmz!npefsojtn!bt!bo!jogboujmf!ejtpsefs<!Kpio!Dbhf-!xip!
cfhbo!xjui!b!tfwfsf!uftujoh!pg!Xftufso!nvtjdt!nptu!jousbotjhfou!qbsbn!fufs-!
ujncsf-!boe!b!tztufnbujd!dpssvqujpo!pg!ijhi!dbqjubmjtnt!joejtqfotbcmf!jotusv.
nfout-!uif!qjbop!boe!uif!psdiftusb<!Xjmmjbn!Dbsmpt!Xjmmjbnt-!xip!tvtubjofe!
gps!b!mjgfujnf!bo!jowftujhbujpo!joup!uif!vodpotfdsbufe!qpfujdt!pg!mbohvbhf!bu!
mbshf-!pg!xipn!Hfsusvef!Tufjo!tbje-!xjui!qfsgfdu!bddvsbdz-!uibu!mjufsbuvsf!xbt!
opu!ijt!nujfs/!
Jg!ju!xbt!uifjs!xpsl!)boe!uibu!pg!puifst*!up!dibmmfohf!uif!dbufhpsjft!pg!bsu-!
uibu!qbsu!pg!uif!xpsl!jt!epof/!Pof!tfft!hspxjoh-!jo!dpoufnqpsbsz!bsujtujd!qsbd.
ujdf-!bo!joejggfsfodf!up-!boe!uifo!b!qptjujwf!sfwvmtjpo!gspn-!uiptf!dbufhpsjft;!jg!
uifjs!joufhsjuz!jt!bu!tublf-!uifo!uif!opujpo!pg!bsu!jutfmg!nvtu!cf-!up!tqfbl!hfoumz-!

293
xipmmz!dpnqspnjtfe/!Bu!b!ujnf!xifo!uif!sfdfjwfe!wjtvbm!bsut!pg!qbjoujoh!boe!
tdvmquvsf!bsf!tvqjof-!uif!fofshjft!jowftufe!jo!uifn!bu!fcc!ujef-!uibu!dpnqpvoe!
qsbdujdf!xjuijo!uif!bsut!uibu!jefoujft!jutfmg!up!pvs!buufoujpo!cz!jut!qjfsdjoh!
dpodfso!gps!uif!joufhsjuz!pg!bmm!joufmmfduvbm!ejtdpvstf!)uphfuifs!xjui!uif!qfsjmpvt!
sboepn! tfbt! uibu! tvsspvoe! ju*! hbuifst! jutfmg! bspvoe! b! dpotufmmbujpo! pg! qsp.
tdsjcfe!bdujwjujft;!qipuphsbqiz-!mn-!wjefp<!vobmmjfe!qfsgpsnbodf<!tpnfuijoh!
dbmmfe!xsjujoh-!dvstjwf!boe!wfsobdvmbs<!tpnfuijoh!fmtf!dbmmfe!tpvoe-!xijdi!
dpnft!gspn!uif!vojefoujfe!nvtf!pg!qtzdipbdpvtujdt/!
Ju!jt!qbsu!pg!uif!xpsl!pg!uifpsfujdbm!dsjujdjtn!up!hfofsbuf!mjofbhft-!bgojujft-!
sfbmjhonfout!bnpoh!uif!hfofujdt!pg!uif!njoe/!Uif!pvudpnf!pg!uijt!xpsl!jt!bo!
bqpmphjb!gps!uif!qbtu-!opu!uif!qsftfou;!gps!xf!nvtu!sfhfofsbuf!uif!ufoefs!tvsgbdf!
pg!b!Dbuvmmvt-!Npoufwfsej-!Uvsofs-!jo!fbdi!hfofsbujpo-!jg!xf!bsf!up!sfdpwfs!uif!
ipqf-!boe!dpnqsfifoe!uif!ipqfmfttoftt-!pg!pvs!pxo!qsfejdbnfou!uibu!xf!bsf-!
bu!podf!boe!bmxbzt-!uif!dijmesfo!boe!qbsfout!pg!jnqfsgfdujpo/!Boe!gps!podf-!jo!
uif!qsftfou-!xf!nbz!cfhjo!up!tff!uif!gpvoejoh!pg!bo!foujuz!uibu!nbz!btqjsf!up!
tvqfstfef!boe!dpogpvoe!uif!dpnnpejuj{fe!opujpo!pg!usbejujpo!jutfmg/!
Ju!ibt!cffo!dbmmfe!qptunpefsojtn/!Gps!bmm!uif!dmvntjoftt!pg!uif!izcsje!
ufsn-!pof!ublft!b!tnbmm!qmfbtvsf!jo!uif!uipvhiu!uibu!ju!njhiu!dmjoh!gps!b!xijmf-!
cfdpnf!opu!upp!tppo!ejhojfe!xjui!jut!pxo!tqfdjbm!dbou/!B!hfofsbujpo!pg!bsu.
jtut!jt!hjwjoh!jut!mjgf!up!b!npeftu-!obnfmftt!foufsqsjtf!uibu!sfrvjsft!sfmfoumftt!
efejdbujpo!up!uif!qspcmfnbujdbm-!up!uif!njeemf-!up!uif!vojnqfbdibcmf!dmbjnt!
pg!qsfufyuvbm!joufhsjuz-!up!uif!qfsqfuvbm!boe!nbttjwf!ejtbssbz!pg!fncbuumfnfou!
po!fwfsz!iboe/!Jg!J!ibwf!tlfudife!bo!bodftusz-!J!nvtu!qpjou!opx!up!uif!tqfdjbm!
ifsjubhf!ju!jnqbsufe;!jnqpttjcmz-!jo!uif!njetu!pg!b!epvcmf!fggpsu!)sfqbjs!npe.
fsojtnt!efgfdut-!sfbttvnf!uif!cvsefo!pg!jut!fncmfn*-!pof!jt!sfrvjsfe!up!cf!
fgdbdjpvt!boe!up!tvtubjo!uibu!uijoh-!ephnbujdbmmz!bckvsfe!cz!wjtvbm!npefsojtn!
evsjoh!jut!mbtu!ebzt-!uibu!hpft!cz!uif!bodjfou!obnf!pg!xju/
Uijt!ofx!tpsu!pg!fyqfsjfodf!uibu!xf!cfhjo!up!ibwf!pg!xpslt!pg!bsu!ibt!dpnf!
gpsxbse!evsjoh!uxp!efdbeft!jo!b!hfovjofmz!qbsbepyjdbm!bsfob!uibu!dpogspout!
bdvuf!qsbdujdbmjuz!)ipx!jt!xpsl!up!cf!nbef!bu!bmm!uibu!dboopu!dpnnboe!uif!cpvs.
hfpjt!tvqqpsu!bddpsefe!up!uif!tuboebse!dbufhpsjft!pg!bsu@*!boe!bo!joufmmfduvbm!
pqujnjtn!boe!vupqjbojtn!sfoefsfe!ebjmz!npsf!vomjlfmz!jo!uif!uffui!pg!jnnjofou!
tpdjbm!boe!fdpopnjd!dpmmbqtf!)ipx!nbz!xf!efof!bo!bsujtujd!uifpsz!boe!qsbdujdf!
uibu!tibmm!bu!podf!tfswf!boe!fogpsdf!uif!hspxui!pg!b!tpdjfuz-!bo!joufmmfduvbm!boe!
bsujtujd!dmjnbuf-!jo!xijdi!xf!jnbhjof!xf!tipvme!qsfgfs!up!mjwf@*!uibu-!qspqfsmz!
foufsubjofe-!ublft!po!uif!ejnfotjpot!pg!b!tfsjpvt!ejbmphvf/
[ ]

Ju!jt!bu!uif!wfsz!dfoufs!pg!uibu!ejbmphvf-!ps!tpnfuijoh!npsf!mjlf!ju!uibo!J!dbo!
eftdsjcf-!uibu!uif!foujsf!dbsffs!boe!xpsl!pg!Qbusjdl!Dmbodz!ibt!usbotqjsfe!boe!

294
efwfmpqfe/!Xibu!xf!xjuoftt!bt!xf!fyqfsjfodf!ijt!xpsl!jt!bo!fwjefodf!pg!uif!
fyusfnf!fggpsu!sfrvjsfe!pg!nblfs!boe!tqfdubups!bmjlf!bu!uif!qjwpubm!qpjou!jo!
tqbdf!boe!ujnf!xifo!b!ofx!usbejujpo!)pof!vtft!uif!qisbtf!xjuipvu!iftjubujpo*!
jt!tfotfe!boe!lopxo!up!cf!voefs!dpotusvdujpo<!boe-!cftu!pg!bmm-!uif!fyusfnf!
tbujtgbdujpo!dpotfrvfou!vqpo!uibu!fggpsu!jo!jut!nptu!dpifsfou!npnfout/!
Uijt!csjfg!xsjujoh!xbout!pomz!up!tjuvbuf!uibu!fggpsu-!uibu!tbujtgbdujpo-!uijt!
bsujtu-!uiftf!xpslt/!J!ibwf!bmxbzt!gfmu!b!tqfdjbm!qsjwjmfhf-!bt!pg!cfjoh!tvqfscmz!boe!
hspqjohmz!ubvhiu!b!hsboe!ofx!uifpsfn-!bu!b!nbojgftubujpo!pg!Qbusjdl!Dmbodzt!
xpsl;!boe!pomz!b!qbsu!)cvu!bo!jnqpsubou!qbsu*!pg!uibu!qsjwjmfhf!ibt!dpnf!gspn!
uif!dfsubjouz!uibu!J!xpvme!ofwfs!bhbjo!ibwf!ju!qsftfou!up!nz!tfotft/!Uif!qmfb.
tvsft!pg!Dmbodzt!xpsl!bsf!uif!qmfbtvsft!pg!uif!njoe-!hjwfo!uibu!uif!njoe!oet!
jut!hsfbuftu!qmfbtvsft!xifo!dpogspoufe!cz!qspcmfnt!rvjuf!cfzpoe!jut!qpxfst-!
xiptf!tpmvujpot!bsf!jotuboubofpvtmz!qbsbnpvou!up!jut!tvswjwbm/!
Tjodf!Qbusjdl!Dmbodz!boe!J!bsf!gsjfoet-!ju!tuboet!up!sfbtpo!uibu!xf!sfbe!
tpnf!pg!uif!tbnf!cpplt/!J!epou!lopx-!uipvhi-!xifuifs!if!ibt!gpvoe!ijt!xbz!
)gfx! gppuqsjout! mfbe! pvu! pg! uif! dbwf"*! joup! Sbmqi! Xbmep! Fnfstpo-! uibu! tufq.!
hsboedijme! pg! uif! Fomjhiufonfou-! xip! jt! sftqpotjcmf! gps! bo! btzoubdujd! ufyu!
dbmmfe!Csbinb/!B!nfnpsbcmf!mjof-!jo!uif!njetu!pg!b!nfnpsbcmz!jnqpttjcmf!
hvsf-!sfbet;!Xifo!nf!uifz!z-!J!bn!uif!xjoht/!
Ju!jt!gspn!uif!njetu!pg!uibu!hvsf!uibu!J!xpvme!btl!ijt!tqfdubupst!)nztfmg-!
Fnfstpo-!zpvstfmwft!fwfo*!up!fybnjof!Qbusjdl!Dmbodzt!sbejdbm-!gvhjujwf-!dpv.
sbhfpvt-!efmjdjpvt!xpsl/!Xf!tibmm!opu!oe!pvstfmwft!ejtbqqpjoufe/

Ipmmjt!Gsbnqupo!
Fbupo-!Ofx!Zpsl!
Gfcsvbsz!2:91

Text of brochure for the exhibition Marginal Works: Atopia No Mans Land, March 27 April 11, 1980,
Utica College of Syracuse University, Utica, New York, curated by Scott MacDonald.

295
Comic Relief

dpnjd!sfmjfg
!uif!xpse
DPNJD -!dbswfe!jo
mpx!sfmjfg

Unpublished handwritten text, undated (mid-1970s).

This script for an unrealized sculptural piece, like that for Two Left Feet, recalls the visual
wordplay of Framptons 1961 A Cast of Thousands, the genesis of which was recounted in a section
of the lm (nostalgia). (B.J.)

Two Left Feet

uxp!mfgu!gffu

Jnqsjou!pg!mfgu!gppu!)mjlf!ohfsqsjou*
!)bmpohtjef*!jnqsjou!pg!sjhiu!gppu!pqujdbmmz!sfwfstfe

ps;!qmbtufsdbtut!pg!3!mfgu!)j/f/-!ejtdbsefe
ps!sfnbjojoh*!gffu

7!0!22!0!87-!Fbupo

Unpublished typewritten text, June 11, 1976.

296
Letter to Macalester College

December 31, 1980

Cherie Doyle
Curator
Department of Art
Macalester College
St. Paul, MN 55105

Dear Ms. Doyle,

Im sending you the color Xerox series By Any Other Name today by Priority Mail. My form is
enclosed, and Ive written a characteristically opaque note on the back of it, which you may use or
not as you see t.
The images themselves, as you will see, take up a bit of space. Do not feel, if they seem boring
or tenuous, under any special obligation to use all of them, or indeed any of them. I am aware that
the group (theres a part two on the burner, by the way) rides roughshod over the notions of both
subtlety and coherence: a mild triumph, in my book, but others may not nd themselves tickled
in the same spots I do.
In any case, I hope well for your show. It is about time that lmmakers be allowed outside the
gilded ghetto of cinema: after all, the painting and sculpture gangs invade our turf without so much
as a by your leave, and almost invariably there is hysterical applause for that. It reminds me of the
Spanish discovery of gold in South America. The Incas had already dug it out of the ground.

Regards,
Hollis Frampton

Unpublished typewritten letter, December 31, 1980.

Framptons series of electrostatic color prints (Xeroxes) were shown in a group exhibition, Animated
Images / Still Life, January 830, 1981, Macalester Galleries, Macalester College, Saint Paul, Minnesota. (B.J.)

297
Notes: By Any Other Name

Mbohvbhf!boe!jnbhf-!fbdi!usftqbttjoh!jo!uif!puifst!ipvtf-!tfdsfuf!ejtrvjfujoh!
ejtkvodujpot-! dpovoesvnt-! djsdvmbsjujft/! Xf! bsf! bddvtupnfe! up! uif! qpfujd!
tusbufhz-!xjuijo!mbohvbhf-!pg!csbdlfujoh!b!opvo!xjuijo!uif!hfovt!pg!zfu!bopuifs!
opvo!xijdi!nbz!dpnf!gspn!bo!bmjfo!qizmvn-!b!gpsfjho!ljohepn/!Usbotmbujpo!
pg!uibu!tusbufhz!joup!uif!fdpopnz!pg!jnbhft!zjfmet!bsujgbduttbwbhfmz!hspuftrvf-!
bsdi-!tjmmzuibu!tffn!up!ff!uif!sjhpst!pg!tfmg.sfgfsfodf<!dpousbejdupsz!jnbhft-!gbs!
gspn!dpbmftdjoh!jo!b!ejbmfdujdbm!fodpvoufs-!boojijmbuf!pof!bopuifs!jo!b!hftuvsf!
uibu!txffqt!mbohvbhf!dmfbo!pg!tqfdjdbujpo!boe!tffnt!po!uif!qpjou!pg!tvhhftu.
joh!b!sbx!nbq!pg!uif!qsfdpotdjpvt!xpsluif!nbufsjbm!bdujpopg!mbohvbhf/!Ju!jt!
bt!uipvhi!uif!gpsnbujpo!pg!uif!nfbojohgvm!ibe!tpnf!vmujnbuf!difnjdbm!psjhjo;!
qbsut! pg! tqffdi! dpncjof! joup! qspqptjujpobm! npmfdvmft! uispvhi! fmfduspwbmfou!
buusbdujpo-!ps-!xifsf!uibu!buusbdujpo!jt!mbdljoh-!sfnbjo!jo!tpmvujpo!bt!gsff!sbejdbmt/!
Jg! bsu! ibt! ibe! b! tdjfoujd! njttjpo-! xf! oe! ju! jo! uif! fyqptvsf! pg! tvdi!
nfdibojtnt-!jo!b!opomjofbs!ejtqmbz!pg!uif!pddbtjpot!pg!nfbojoh/!Gps!nfbojoh!
jt!opu-!gps!jnbhf!ps!xpse-!jo!uijoht<!ju!jt!jo!qfpqmf/!Cvu!uifsf!bsf!puifs!hspvoet!
po!xijdi!up!ivou!uiptf!pddbtjpot!cftjeft!uif!qsfdjodut!pg!bsu/!Pof!tvdi!bsumftt!
qmbdf!jt!uif!tvqfsnbslfu;!bo!pdfbo!pg!npevmbsj{fe!tvctubodf!xifsf!fwfszuijoh!
jo!tjhiu!jt!nfbou!pomz!up!cf!dpotvnfe-!eftuspzfe-!xbtufe-!sfuvsofe!bt!rvjdlmz!bt!
qpttjcmf!up!uif!epnbjot!pg!bnpsqiz!ps!uifsnpezobnjd!bgojuz/!Xifsf!fwfsz.
uijoh!hpft!epxo!uif!esbjo-!bozuijoh!hpft/!B!dfsubjo!bqqfujuf!pg!njoe!dbo-!uifo-!
oe!npsf!opvsjtinfou!jo!uif!mbcfm!po!uif!dbo!uibo!jo!jut!dpoufout;!b!qpfujd-!jg!
xbzxbse-!gfbtu/!
Uibu!bqqfujuf!cfhbo!jo!qipuphsbqiz!boe!hsfx!xjui!mn/!Ju!ibt!opu!gpvoe!jut!
mjnju/!Sbuifs!ju!tfflt!ju-!jo!b!nfubqsbyjt!pg!pctfswbujpo-!bobmztjt-!qspevdujpo/

IG!
Fbupo-!Efdfncfs!42-!2:91

Typewritten text for the exhibition of the xerographic series By Any Other Name: Series One (1979).
In Framptons series, color Xeroxes were made of food-product labels that displayed the following
general grammatical structure: adjective + noun [brand] noun + noun [contents] (for example, Blue Boy
Chili Beans); the titles for each piece then reversed this structure (Chili Bean Brand Blue Boys). (B.J.)

298
Chili Bean Brand Blue Boys from By Any Peeled Tomato Brand Pine Cones from By Any
Other NameSeries 1, 1979. Color xerograph Other NameSeries 1, 1979. Color xerograph
Estate of Hollis Frampton Estate of Hollis Frampton
 Ufyut

303 A Stipulation of Terms from Maternal Hopi

308 Mind over Matter
A Stipulation of Terms from Maternal Hopi

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304
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1. [ ]  The radiance.

2. ]D[ ]Y[  Containers to be opened in total darkness.

3. ]PS[ ]L[  A drug used by women to dilate the iris of the eye.

4. ]H[ ]H[ ]L[  Epithet of the star ]S[ ]S[ ]N[,* used while succulents are in bloom.

5. ]PT[ ]Y[  Last light seen by one dying in the fth duodecad of life.

6. ]XN[  Heliotrope.

7. ]TL[ ]D[  Rotating phosphenes of six or eight arms.

8. ]BN[ ]T[  Shadow cast by light of lesser density upon light of greater.

9. ]V[ ]TR[  The pineal body; time.

10. ]XR[  The sensation of sadness at having slept through a shower of meteors.

11. ]MR[ ][  The luster of resin from the shrub ]R[ ]R[, which fascinates male babies.

12. ]NX[ ]KT[  The light that congeals about vaguely imagined objects.

13. ]DR[ ]KL[  Phosphorescence of ones father, exposed after death.

14. ]SM[ ]N[  Fireworks in celebration of a rstborn daughter.

305
 15. ]GN[ ]T[ ]N[  Translucence of human esh.

16. ]TM[ ]X[ ]T[  Delight at sensing that one is about to awaken.

17. ]TS[ ]H[  Shadow cast by the comet ]XT[ upon the surface of the sun.

18. ]R[ ]D[  An afterimage.**

19. ]D[ ]DR[  A white supernova reported by alien travelers.

20. ]K[ ]SK[  A cloud; mons Veneris.

21. ][ ]Z[ ]S[  Ceremonial lenses, made of ice brought down from the high mountains.

22. ]KD[ ]X[  Winter moonlight, refracted by a glass vessel lled with the beverage
]NK[ ]T[.

23. ]P[ ]M[ ]R[  Changes in daylight initiated by the arrival of a beloved person
unrelated to one.

24. ]G[ ]S[  Gridded lightning seen by those born blind.

25. ]W[ ]N[ ]T[  An otherwise unexplained re in a dwelling inhabited only by women.

26. ]G[ ]GN[  The sensation of desiring to see the color of ones own urine.

27. ]M[ ]K[  Snowblindness.

28. ]H[ ]R[  Unexpected delight at seeing something formerly displeasing.

29. ]H[ ]ST[  The arc of a rainbow defective in a single hue.

30. ]L[ ]L[ ]X[  The fovea of the retina; amnesia.

31. ][ ]R[  The sensation of satisfaction at having outstared a baby.

32. ]ST[  Improvised couplets honoring St. Elmos Fire.

33. ]V[ ]D[  The sensation of indifference to transparency.

34. ]Z[ ]TS[  Either of the colors brought to mind by the fragrance of plucked ]TR[ ferns.

35. ]X[ ]H[  Royal expedition in search of a display of Aurora Borealis.

36. ]T[ ]K[ ]N[  Changes in daylight that frighten dogs.

37. ]Y[ ]X[  The optic chiasmus (colloq.); abysmal; testicles.

306
 38. ]N[ ][ ]T[  The twenty-four heartbeats before the rst heartbeat of sunrise.

39. ]F[ ]X[  A memory of the color violet, reported by those blinded in early infancy.

40. ]T[ ]Y[ ]Y[  The sensation of being scrutinized by a reptile.

41. ]B[ ]NM[  Mute.***

42. ]N[ ]T[ ]N[  The sound of air in a cave; a reverie lasting less than a lunar month;
long dark hair.

43. ]S[ ]TY[  The light that moves against the wind.

44. ]B[ ][  Changes in ones shadow, after ones lover has departed in anger.

45. ]N[ ]GR[  The sh Anableps, which sees in two worlds.

46. ]RZ[ ]R[  The sensation of longing for an eclipse of the moon.

47. ]H[ ]F[  The fungus Stropharia cubensis.

48. ]S[ ]LR[  Familiar objects within the aqueous humor.

49. ]W[ ]X[ ][  A copper mirror that reects only ones own face.

50. ]MN[ ]X[  Temporary visions consequent upon trephining.

51. ]G[ ]KR[  Cataract.

52. ]RN[ ]W[  Hypnagogues incorporating unfamiliar birds.

53. ]M[ ]D[  A dream of seeing through one eye only.

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Eaton, New York, 1973 / 1975

Options and Alternatives: Some Directions in Recent Art, exhibition catalogue (New Haven, Conn.:
Yale University Art Gallery, 1973). Reprinted in Afterimage (London), no. 89 (Spring 1981): 6469;
and in Circles of Confusion (Rochester, N.Y.: Visual Studies Workshop Press, 1983), pp. 171176.

307
Mind over Matter

(. . . pour les six inconnus . . .)

1. That Sometime Did Me Seek

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308
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[Given certain foregoing rigors, it is asserted that they share among themselves, and with
none other, a peculiar property, namely that each, unaided, may tessellate a plane of
innite extent, requiring for this task nothing more memorable than vigorous and perfect
replication, indenitely sustained. That every plane of the world is not, by now, fully pop-
ulated by one or another suggests a failure of desire, or a dilapidation of opportunity, or
that something eats them; or else, a nearly complete fracture, loss, dereliction of habit-
able (that is, conceivable) planes, such that most of them expired from loneliness before
the sun coalesced. Mercilessly wanting any gift for106 boredom,107 they108 may109 simply110
have111 . . .]

2. Stalking on Naked Foot

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efwpvsfe!ifs-!dbsfgvmmz-!up!uif!mbtu!tdsbq!boe!uif!mbtu!espq/!Uifsf!xbt!op!qbjo!
bu!bmm-!uifo/!Bgufs!b!vtife-!wfsujhjopvt!qfsjpe-!tif!gpvoe!ifstfmg!sfdpotujuvufe-!
foujsf-!xjuijo!uif!ujhfst!nbhojdfou!cpez-!qpjou!vqpo!qpjou!/!/!/!fydfqu!gps!b!
gfx!qpjout!uibu!dbvtfe!ifs!op!qbsujdvmbs!fncbssbttnfou!cvu!pddbtjpofe-!jo!ifs!
iptu-!b!dfsubjo!csvuf!qv{{mfnfou/!Tif!fyqfsjfodfe!tvqfsc!qmfbtvsft-!fyrvjtjuf!
qmfbtvsft-!hmpsjpvt!qmfbtvsft/

309
TIF! XBZMBJE! B! TJY!zfbs!pme!cpz!cz!uif!wjmmbhf!xfmm!boe!buf!nptu!pg!ijn-!boe!
uifo!mbqqfe!vq!uif!votqjmu!xbufs!jo!ijt!qbjm!gps!hppe!nfbtvsf/!Tif!gpmmpxfe!uif!
nvtl!pg!b!ujhsftt!jo!ifbu-!boe!nbufe!xjui!ifs!uxp!ep{fo!ujnft!jo!pof!bgufsoppo-!
tbwbhfmz!ubtujoh!uif!esz!ibjs!bu!ifs!obqf/!Tif!buubdlfe!b!ivoujoh!sbkbi-!dmbxjoh!
ifs!xbz!vq!uif!fmfqibout!tjef!upxbse!ijt!qbmborvjo!ujmm!b!tnbsu!Csjujti!dbqubjo!
pqfofe!ifs!mfgu!bol!xjui!b!sjf!tipu/!Ifs!iptu!ije-!npbofe-!mjdlfe-!qboufe!
xijmf!tif!usjfe!up!sfudi!gspn!uif!bhpoz!pg!ju/!Uif!xpvoe!ifbmfe!up!b!qjol-!xjef-!
wpmvquvpvt!tdbs/!Tif!xbt!dbquvsfe/

JO!IFS!DBHF!jo!Sfhfout!Qbsl-!tif!qbdfe!gps!mpoh!zfbst!uif!qbuufso!pg!bo!ipvs.
hmbtt<!mfu!pvu-!evsjoh!ijhi!tvnnfs-!joup!b!npbufe!mbxo-!tif!qbuspmmfe!b!tqbdf!op!
mbshfs-!jotdsjcjoh!ifs!uxjtufe!tjho!pg!foemfttoftt!po!uif!hsbtt/!Tif!tmfqu!b!hsfbu!
efbm-!boe!mjwfe!po!ipstffti-!ufqje!xbufs-!boe!b!hsvfm!uibu!fodpvsbhfe!xpsnt/!
Pof!ojhiu-!jo!b!efmvtjpo-!uif!ujhfs-!cpsfe!boe!tfoftdfou-!ejtjousjdbufe!jutfmg!
boe!dsbxmfe!bxbz/!Jo!uif!npsojoh-!uifjs!lffqfs!gpvoe!b!efbe!ujhfs-!jut!hb{f!sjh.
jemz!bwfsufe-!cftjef!b!tmffqjoh!xpnbo!dvsmfe!jo!uif!ebnq!jnnfotjuz!pg!ifs!pxo!
nbof/!Tif!xbt!qbmf-!boe!rvjuf!oblfe/!Uifsf!xfsf!vodfsubjoujft-!up!cf!tvsf-!tvs.
spvoejoh!uiftf!uisff!dsfbuvsft/!Gps!pof!pg!uifn-!bmm!bnb{fnfou!ibe!dpnf!up!bo!
foe<!boe!gps!bopuifs-!btupojtinfou!ibe!pomz!cfhvo/

[. . . drifted into terminal exasperation when living matter rst demonstrated its notorious
tendency to imitate whatever it is not. Once in a while, the moist perennial breath of con-
sciousness rehydrates a few shriveled specimens. (Some have argued that it is always the
same one; but two or more of each have occasionally been seen sharing common boundar-
ies, and even mentality cannot remain beside itself for long.) I, myself . . . by design, and
at a perfectly appropriate age . . . resuscitated a good number of gures of the third kind,
inscribed within circles. Now I am seven times as old, and the delight of that moment per-
sists, undiminished: I sustain it by constructing217 another,218 from219 time220 to221 time.222]

3. Within My Chamber

BTTVNF!BO!JOUFSTFDUJPO!)ipu!xjsft!sbhjoh!cfijoe!difbq!pqujdt*!pg!spvhimz!
dpmmjnbufe! cfbnt-! sfgsbdufe! ps! sfsffdufe! cz! mbdrvfsfe! tuffm! boe! tqfdvmbs!
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lopu!pg!nfubm!uibu!xbt!sfdfoumz!bo!bvupnpcjmf/!B!qbjs!pg!cfxjmefsfe!bncvmbodf!
buufoebout-!bmpoh!xjui!uxjdf!bt!nboz!txfbujoh!qpmjdfnfo-!ibwf!usjfe-!gps!ofbsmz!
bo!ipvs!/!/!/!xjui!op!tvddftt!bu!bmm!/!/!/!up!mjgu!uif!jofsu!cpez!up!b!tusfudifs/

310
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b!wbsjfuz!pg!pqfsbujpot!vqpo!tvdi!nbusjdft!bt;

N N N N    
N N N N  

A
N N N N and, B
   ,
N N N N    
N N N N    
N N N N    

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rvfodft!pg!uijt!bdu/

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ujujpofs!jo!gpsfotjd!nfejdjof/

BO!VOVTVBM!DJSDVNTUBODF!qsfdmveft!dvtupnbsz!epdvnfoubujpo!jo!uijt!dbtf;!
qipuphsbqijd!tubgg!ibt!njtmbje!ps!njtmfe!hsptt!fyufsobm!sfdpset-!boe!sfqpsut!
jobcjmjuz!up!sfusjfwf!uifn!bgufs!uif!nptu!ejmjhfou!tfbsdi/!J!xpvme!opuf!b!tvc.
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uipvtboet/

311
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boe!uisff!npsf!bsf!bmtp!fyqmjdbcmf/!Jg!nz!izqpuiftjt!jt!dpssfdu-!bdrvjtjujpo!
ebuft!nbz!cf!bqqspyjnbufe!uispvhi!njdsptdpqjd!bttbz!pg!uif!cspvt!dpoofdujwf!
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tpobcmf!fyqmbobujpo!gps!uif!qiztjdbm!qsftfodf!pg!tvdi!b!wbtu!jowfoupsz!bu!jut!
jnqmboufe!tjuft/!Uif!obnfmftt!efdfbtfe!xbt-!jo!b!xpse-!b!xbmljoh!nvtfvn/

XPSUIMFTT!EJBHOPTUJDT!SFNBJO!up!cf!bddpvoufe!gps/!Sjoht!pg!hmbtt!gsbhnfout!
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pg!efbui!xbt!dfsujfe!up!cf!johftujpo-!cz!volopxo!nfbot-!pg!b!gpsfjho!tvc.
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uvsot!dbsszjoh!ju/

312
 [. . . Of the three kinds, the rst (or least) displays the most numerous qualities; but all
of these are trivial, possibly excepting one cunning resemblance or recollection. Several
of them taken together, such that each lies adjacent to two others, with each contributing
one vertex to a common indivisibility, make one of the third kind. Moreover, some of the
rst kind, arranged so that each is adjacent to three others, describe a volume, the num-
ber of whose faces is the same as the number of edges (or corners) belonging to a gure
of the second kind; and two such volumes, placed precisely face to face, describe yet328
another,329 the 330 number 331 of 332 whose333 . . .]

4. Her Arms Long and Small

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n n n

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xbsnui!evsjoh!tvdi!b!dbmbnjuz!bt!xf!dbo!pomz!gpsftff/

313
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up!uif!Wjfoob!Dpohsftt!jo!2:11-!pwfsqpxfsfe!cz!nbttjwf!tdipmjb!jo!sfe!jol-!
uxp!qfodjmt-!boe!b!tifbg!pg!opuft!boe!frvbujpot/!Ju!xbt!bt!tif!ibe!tbje/

TQFDJBMJ[JOH!JO!UJNF-!if!ibe!usfbufe!tqbdf!bt!b!dpoujohfou!tvctfu/!Tif!lofx!
cfuufs<!gps!cfuufs!ps!xpstf-!tif!ibe!uftufe!ifs!lopxmfehf/!Opx!ifs!uipvhiu!boe!
jut!tfotbujpot-!dpoevdufe!bmnptu!bu!uif!tqffe!pg!mjhiu-!tibsfe!xjui!vodpvoubcmf!
nfttbhft!b!tqbdf!sfdpotujuvufe!gspn!tfdpoe!up!tfdpoe<!ifs!cpez-!op!npsf!uibo!
b!usbdf!jnqvsjuz!jo!uif!jnnfotf!dpqqfs!xfc-!tvtubjofe!jut!mjgf!jo!txjudi!dmp.
tvsft!boe!vduvbujoh!wpmubhft/!Uif!dbvtf!pg!uifjs!qsftfou!eftqfsbujpo!mbz!jo!b!
cfefwjmnfou!pg!opwjdf!bmhfcsbjtut;!bo!fssps!jo!uif!tjho!pg!b!tjohmf!rvboujuz/!Up!

314
fyusjdbuf!ifs-!uifz!nvtu!sfwfstf!bmm!puifs!tjhot-!sfqpmbsj{joh!tbdsfe!qiztjdbm!
dpotubout/

IF! DPSSVQUFE! BOBUPNJTUT-! dbsuphsbqifst-! boe! fmfdusjdjbot-! nbqqjoh! ifs!

mpdbujpot!gspn!Lmjdljubu!up!uif!Pvufs!Cbolt-!gspn!uif!Tboub!Zof{!up!Usvsp/!Gps!
uiptf!ujsfe!boe!bohsz!joufswbmt!xifo!bmm!xbt!mptu!cfuxffo!uifn!cvu!bggfdujpo-!if!
sjtlfe!joejdunfou!bt!b!dsjnjobm!ovjtbodf-!qsbuumjoh!txffu!opuijoht!up!fydibohft!
jo!Npmjof-!Jmmjopjt-!ps!Dpfvs!eBmfof-!Jebip-!ps!Tjmwfs!Qmvnf-!Dpmpsbep/!Uif!
qspdfevsf!tusbjofe!ijt!hsbtq!pg!upqpmphz-!boe!xbsnfe!uif!dpdlmft!pg!ijt!ifbsu/

IFS!GFBSMFTT!FYQFSJNFOU!usbotgpsnfe!ifs;!b!dsfbuvsf!pg!qspcbcjmjuz!ibe!cf!.
dpnf!b!dijme!pg!bmhpsjuin/!Ofwfsuifmftt-!pof!of!fwfojoh-!bgufs!mpoh!dbmdvmb.
ujpo-!if!hpu!ifs!ovncfs/!B!wpjdf!jo!uif!ebsl-!jnqpttjcmz!ofbs!bu!mbtu-!botxfsfe;!
Ifmmp@

[. . . faces is the same as the number of sides (or angles) belonging to a gure of the third
kind. Nevertheless, it is not true that the surfaces of this last volume, unfolded upon a
plane in any manner that pleases you, will compose a gure of the third kind, even though
both are made up of the same number of gures of the rst kind; for this may only be done
in one certain way. Several gures of the second kind, so arranged that each lies adjacent
to four others, describe a volume, the number of whose faces is the same as the number of
edges 439(or 440 vertices 441) belonging 442 to 443 a 444. . .]

5. How Like You This?

UIJOL!PG!B!GSBNF!ipvtf!jo!Tbtlbudifxbo-!efnpmjtife!bt!cz!b!nfufps/!Uijol!
uibu!uifsf!jt!tpnfuijoh!mjrvje-!votqfblbcmf-!sfe!xjuijo!jut!xsfdlbhf/

EP!OPU!GPSHFU!uif!usbdusjy-!sfnpuf!dpvtjo!pg!uif!dbufobsz-!hpwfsofe!cz!uif!
frvbujpo;

X
A*(AR COSH(A / Y))  SQRT(A  2 Y  2 ); or by:

X
A*LN(A  SQRT(A  2 Y  2 )) / Y  SQRT(A  2 Y  2 ),

xijdi!xf!tibmm!dbmdvmbuf!boe!qmpu!pomz!gps!qptjujwf!wbmvft!pg!Y!boe!Z-!lffqjoh!b!
qsvefou!ejtubodf!bt!Z-!efdsfbtjoh!jo!nbhojuvef-!ofbst!{fsp/

315
XF!XJMM!GJOE!ijn!ofxmz!fyusbqpmbufe!uispvhi!b!npnfoubsz!ejtdpoujovjuz!jo!b!
tiffu!pg!bmvnjovn!pg!dpnqpvoe!dvswbuvsf/!Xf!xjmm!voefstuboe!uif!nfubm!up!cf!
uif!tljo!pg!bo!bjsdsbgu!uibu!xjmm!z!poxbse-!cfbsjoh!b!dbshp!pg!tusbohfst!votffo!
uispvhi!uif!hmbdjbm!tlz/

XF! XJMM! EJTDPWFS! uif! gpsnbm! dbvtf! pg! ijt! qsfejdbnfou! jo! nvuvbm! eftjsf!
vodpnqsfifoefe/!If!xjmm!gbmm-!b!tisjfl!fsbtfe!gspn!ijt!npvui!gbtufs!uibo!if!
dbo!qspqbhbuf!ju!cz!b!hbmf!pvucmpxjoh!jut!pxo!xijtumf/!Bjs!npsf!tpmje!uibo!jdf!
xjmm!hmb{f!ijt!tfotft-!xjmm!tusjq!boe!gsff{f!boe!bz!ijn-!xjmm!hsjoe!bxbz!ijt!gfb.
uvsft-!xjmm!fspef!ijn!up!b!spvhi-!ubuufsfe!qsjtn!pg!dmfodife!nfbu-!xjmm!qsftfswf!
ijn!bhbjotu!b!dfsubjo!dpowfshfodf/

XF!XJMM!MFBWF!ijn-!joufssvqufe!jo!ijt!jotfotjcmf!qmvohf-!bo!joojuftjnbm!ejt.
ubodf!gspn!bo!!btqibmu.!tijohmfe!sppg/!)If!ibe!cffo!b!zpvoh!nbo!xiptf!pscju-!
wbhvf!ps!ejtjoufhsbujoh-!dfoufsfe!gps!bo!joufswbm!vqpo!b!zpvoh!xpnbo!xip-!jo!
nptu!sftqfdut-!njhiu!bt!xfmm!ibwf!cffo!ijntfmg/!If!ibe!cfdpnf!b!dpvsjfs-!jo!
tpnfuijoh!mjlf!uif!ejqmpnbujd!tfswjdf/!Po!ijt!jodfttbou!usbkfdupsjft!if!dbnf!up!
qsftvnf-!mjtumfttmz!fopvhi-!uibu!if!njhiu!ibwf!mjwfe!ejggfsfoumz/!Uijt!njeojhiu-!
cpvoe!gps!uif!Xftu-!if!xjmm!sfdbmm-!xjui!ejtujodu-!hbuifsjoh!qsfttvsf-!b!xpnbo-!
xip-!bu!uibu!npnfou-!mjft!btmffq-!tjy!njmft!cfofbui!ijn-!mvtujoh-!jo!b!esfbn-!
gps!tbujtgbdujpot!tif!jt!bcpvu!up!bqqspbdi!npsf!dmptfmz!uibo!tif!xjmm!fwfs!lopx-!
ejtnfncfsjoh!ijn!jo!ifs!sfnfncsbodf/*

[. . . gure of the third kind. By raising the number two to a power of that same number
of faces, and disposing just so many gures of the second kind in a grid whose ranks and
les are of identical magnitudes, we shall compose a little terrain for playing games when
we tire of reading. Furthermore, should we examine that volume, enclosed by gures of
the second kind, from a vantage such that our line of sight traverses a pair of vertices as
far removed from one another as the solid will allow, then the apparent boundary of that
volume will amount to a single gure of 550 the 551 third 552 kind;553 and 554 that 555 . . .]

6. Newfangledness

SFDPODJMF!UIFTF!BOUBHPOJTNT;!Uif!pftusvt!pg!b!esz!tfbtpo!jo!Sbohppo-!boe!
b!ejmbujpo!pg!pme!csboez!jo!Wjfoob/!Qvohfou!dijdlfo!dpplfe!xjui!jut!pxo!hvut-!
boe!ftdbshput!xjui!wjo!hsjt/!Esjfe!qzsfuisvn!boe!sbnqbou!mjmbd/!Bo!jolcmpu!po!b!
lovdlmf-!boe!b!mbqjt!dbcpdipo/!B!sfqfmmfou!mpujpo-!boe!b!sfnobou!pg!bncfshsjt/!
Uif!gbjou!xijtqfs!pg!b!lfsptfof!mboufso-!boe!uif!tvcbvejcmf!espof!pg!b!dbscpo!

316
mbnfou/! Bo! jotfdujmf! xijof! bu! uxjmjhiu-! boe! b! tusffudbs! svncmjoh! bu! ebxo/!
Tvtvssvt!pg!b!sbdjoh!qfo-!boe!b!svtumjoh!pg!efgfoefe!uijhit/!B!gpslfe-!nbhfoub!
upohvf!uibu!ifbst-!boe!b!qjfsdfe-!jwpsz!fbs!uibu!ubtuft/!Ejbnpoe!tdbmft!ujmjoh!b!
tfsqfout!ippe-!boe!mp{fohft!jo!b!nvmmjpofe!xjoepx/!Jut!npnfoubsz!qptuvsf-!
boe!b!uiftjt!pg!Iphbsuit!Bobmztjt!pg!Cfbvuz/!Jut!dibsbdufsjtujd!nbsljoht-!boe!
b!lffqtblf!mpshofuuf/!B!espqmfu!pg!upyjo-!boe!b!ufbs!pg!ejtusbdujpo/!Bddjefoubm!
tubjot!jo!uif!nbshjo!pg!b!qbhf-!boe!gbjou!qvoduvsft!ofbs!uif!vmobs!ofswf/!Csfbui!
sfmfbtfe!jo!tbujtgbdujpo!bu!uif!boujdjqbufe!fyqvmtjpo!pg!b!qsfdjqjubuf-!boe!csfbui!
joesbxo!jo!dpogvtjpo!bu!uif!vofyqfdufe!njtdbssjbhf!pg!b!sftqpotf/!Pof!xip!
xsjuft!boe!pof!xip!sfbet/

EP!OPU!GPSHFU!uif!dbopojdbm!gpsn!pg!uif!frvbujpo;

((X  2 / A  2 ) (Y  2 / B  2 )) 1
0,

xiptf!tfoujnfout-!eftdsjqujwf!pg!uif!izqfscpmb-!nbz!bmtp!cf!tubufe!jo!b!npsf!
dpnqmfy!gbtijpo!xifsf!B-!C-!boe!U!bsf!sfbm<!uivt;

X  (((E  T)*((A
B*$IM) / 2 ))
(E  T)*((A B*$IM) / 2 ))) Y*$IM; and:

Y  ((((E  T)*((A
B*$IM) / 2 ))
(E  T)*((A B*$IM) / 2 ))) X) / $IM.

Xf!tibmm!dbmdvmbuf!gps!nboz!wbmvftfybhhfsbufe-!uzqjdbm-!dpoufnqujcmfjo!pvs!
bddvtupnfe!fggpsu!up!sfusjfwf!uiptf!cpvoebsjft!xjuijo!xijdi!xf!nbz!ipqf!up!
qmpu!uifn!vqpo!bo!jnbhjobcmf!tvsgbdf<!ofjuifs!tibmm!xf!pnju!up!gffm!b!efmjdjpvt!
bhjubujpo!bt!xf!dpotjefs!bhbjo!uiptf!ejtubou!sfhjpot!jo!uif!tqbdf!pg!uipvhiu!xifsf!
btznqupuft!sfkpjo!up!fncsbdf!xibu!podf!esfx!gspn!Fvdmje!b!sbsf-!xbo!tnjmf/

UIBU!POF!XBT!DFMFCSBUFE-!cfgpsf!hsbwvsf-!gps!bo!joufsnjobcmf!dpodbufobujpo!
pg!gbmtfippet!bcpvu!svjofe!bsdijufduvsf-!mfuibm!hfphsbqiz-!boe!sjuvbm!nvujmbujpo-!
cvu!fypujd!ps!qpjtpopvt!xjmemjgf!xbt!qsjwjmfhfe!up!efdpsbuf!b!qsptf!iptqjubcmf!
up! wjwje! djsdvntubodf/! Tppofs! ps! mbufs-! tif! efqbsufe! uijt! mjgf! xijmf! qbttjoh!
uispvhi!Dvtupnt/!Po!uif!fwfojoh!jo!rvftujpo-!dpogpvoefe!cz!djuspofmmb!boe!
fodiboufe!cz!b!eftdsjqujpo!pg!jut!pxo!dipsfphsbqiz-!uif!dpcsb-!hmboet!bu!uif!
sfbez-!ejttpmwfe!joup!uijo!bjs;!xfou!usbotqbsfou!bt!b!cpjmfe!pojpo-!jut!wfopn!
gpsnvmbufe-!boe!wbojtife!po!dvf!mjlf!b!qpqqjoh!cvccmf/

UIJT!POF!JT!TQBSFE!ifs!qbsfout!efgfdut!boe!nfsjut-!fydfqu!gps!b!hvmmjcmf!tzo.
ftuiftjb!pg!uif!ubdujmf/!Voxjmmjoh!up!fyqfoe!ifs!sfnjuubodf!gps!uif!mvyvsz!pg!
iztufsjb-!tif!dipptft!mbvebovn!/!/!/!boe!oet!ju!evmm/!Tipsumz!cfgpsf!tvosjtf-!

317
tnbsujoh!gspn!bo!jmm.!bewjtfe!bttjhobujpo-!tif!ublft!up!ifs!mjcsbsz-!boe!tqjufgvmmz!
mbqtft!joup!cfmjfwjoh!fwfszuijoh!tif!sfbet/!Tif!jt!sftdvfe!cz!pvs!cj{bssf!)cvu!
vofrvjwpdbm*! ejbhoptjt-! dposnfe-! ofyu! xjoufs-! xifo! uif! eftjddbufe! cfbtu!
jutfmg!uvsot!vq!cfijoe!b!dsfefo{b/!Evsjoh!ifs!dpowbmftdfodf-!eftqjuf!dispojd!
fofswbujpo!boe!sfdvssfou!bopyjb-!tif!efmjwfst!ifstfmg!pg!Tdimbohfoejdiuvoh-!
b!tnbmm!wjtjpobsz!gpmjp!pg!eszqpjout!boe!wjmmbofmmft-!boe!puifsxjtf!ejwfsut!ifs!
dpnqbojpot!jo!uif!jowfoujpo!pg!fodpvsbhjoh!ofx!qbtujnft/

[. . . gure will seem to be made up of a triad of pairs of gures of the rst kind, with each
pair fused along its adjacency into a rhombus, which is nothing but a gure of the second
kind gone weak in the knees from long standing. Figures of the third kind may never be
persuaded to contain volumes. But when we take a number of them that is the same as the
number of sides (or corners) of each, and arrange them so that each adjoins just two others,
we nd that we have enclosed yet another such gure: exactly, completely, congruently.
It is my 661 favorite.662 It 663 does 664 not 665 exist.666]

7. I Wonder What She Hath Deserved

DPNQBSF! UIFTF! DPMPST;!b!qpxefsz!b{vsf-!csvtife!xjui!tdpsdife!gbu-!boe!b!

dzbopujd!dvtubse-!tdvnnfe!xjui!ejdispjd!mfnpo/!Uifz!bsf!jefoujdbm!/!/!/!cvu!tfq.
bsbufe-!bu!uif!bmmfhfe!ipsj{po-!cz!b!cboe!pg!tubmf!njtu-!xjuijo!xijdi-!ps!cfzpoe!
xijdi-!bo!ftdpsu!pg!cbuumf!dsvjtfst!tvsspvoet!vt!po!fwfsz!tjef/!Uif!efdl!pg!pvs!
cbshf-!cjh!bt!b!nfbepx-!pg!uif!ivf!boe!ufyuvsf!pg!b!cbcz-!jt!qvoduvbufe!cz!uif!
qsjtpofst! opoeftdsjqu! tifmufst/! Tpnfxifsf! cfofbui! vt-! b! uifsnpovdmfbs!
efwjdf!uibu!nbz!cf!bsnfe!boe!fyqmpefe!cz!sfnpuf!dpouspm!jt!pvs!pomz!xbsefo/!
Ebjmz-!bu!oppo-!pvs!qbsdfm!pg!gppe!eftdfoet!cz!qbsbdivuf<!xf!sjq!boe!lopu!uif!
upvhi!dpset!boe!qbtufm!tjml!joup!dbopqjft-!usbqf{ft-!qbsbtpmt-!boe!b!cvsmftrvf!
pg!csjebm!ofsz/!Uifsf!ibt!cffo!op!sbjo!gps!!uijsuz.!tjy!ebzt/!Uif!tufso!sbjm!jt!
dsvtufe!xjui!tiju!boe!wpnju/!Cfmpx!uif!Qmjntpmm!mjof-!tmpxmz-!tpnfuijoh!qvnqt!
ps!uispct/!Xf!bsf!cfdbmnfe/

EP!OPU!GPSHFU!uif!dpsltdsfx-!xijdi!tipvme!bmxbzt!cf!vtfe!up!pqfo!xjof!!cpuumft-!
boe!gspn!xiptf!opcmftu!jnqpsu-!bt!ju!xfsf!/!/!/!tvtqfoefe!jo!uif!qvsf!wpje-!!
J!njhiu!bee!/!/!/!uifz!efsjwf!uif!tztufn!pg!frvbujpot;

X  A*COS(S / SQRT(A  2
B  2 )); and:

Y  A*SIN(S / SQRT(A  2
B  2 )); and:
Z  B*S / SQRT(A  2
B  2 ).

318
Uiftf!qvsqpsu!up!efqjdu!uif!uijoh!btdfoejoh!upxbse!vt-!uxjtujoh!dpvoufsdmpdl.
xjtf!bt!ju!dpnft-!xijmf!xf!dbmdvmbuf!)bttvnjoh!uibu!pvs!tubnjob!ipmet!pvu*!gps!
dpotfswbujwf!wbmvft!pg! Y!boe! Z-!boe!bo!bqqbmmjoh!mjtu!pg!wbmvft!gps! [/!Bmm!uijt-!ju!
xpvme!tffn-!jt!tvqqptfe!up!hp!po!gpsfwfs<!ps-!bu!mfbtu-!bt!mpoh!bt!uifjs!jotpvdj.
bou!fofshz!tvgdft!up!uif!qspevdujpo!pg!sfbm-!ojuf!rvboujujft!mjlf!B-!C-!T-!boe!
tp!gpsui-!opu!up!nfoujpo!dptjoft-!tjoft-!boe!tp!gpsui/

UIF!DPMPOZ!TFFNT!npsf!ejtubou-!opx-!uibo!uif!qbopqujdpo!xf!xfsf!pggfsfe!bt!
bo!bmufsobujwf/!J!ibwf!wf!gsjfoet-!ifsf<!ps-!sbuifs-!uifsf!bsf!uibu!nboz!qfstpo.
bhft!xjui!xipn!J!ibwf!fohbhfe!jo!cfibwjps!uibu!J-!bu!mfbtu-!ep!opu!dpotjefs!ipt.
ujmf/! Opof! pg! uifn! dbo! ubml/! Uxp! bsf! dpoofe-! cz! b! ljoe! pg! tupdlt! dmbnqfe!
bspvoe!uifjs!tusbohf!ifbet-!jo!cbssfmt!tfu!vti!xjui!uif!efdl/!Pof!ibt!b!tlvmm!
tibqfe!mjlf!b!cpxmjoh!qjo-!boe!esjolt!njml!uispvhi!b!iptf-!boe!xijtumft<!uif!
puifs!jt!b!divsojoh!npvui-!qpjoufe!bu!uif!{fojui-!dsbnnfe!xjui!ivoesfet!pg!
ejsuz!npmbst-!gspn!xijdi!ebohmft!b!xfbl-!bdipoespqmbtujd!gsbnf/!Uif!fzft!bsf!
mjlf!uiptf!pg!b!dbmg<!ju!hspbot!ibqqjmz!xifo!tufx!jt!qpvsfe!joup!ju/!Jo!psefs!uibu!
uifz!tibmm!opu!espxo-!J!tjqipo!pgg!uifjs!fydsfub/!Uifz!ep!opu!pckfdu/!Ofbscz-!b!
qbjs!pg!njehfu!uxjot!trvbut-!tjqt!ufb-!qmbzt!diftt!xjui!nfo!pg!dibml!boe!kfu-!
trvfbmt! boe! hjhhmft/! Cspuifs! boe! tjtufs-! uifz! bsf! puifsxjtf! jefoujdbm<! uifjs!
jnnfotf-!ejebdujd!hfojubmt-!boe!ifs!csfbtut-!ujoufe!dpqjft!gspn!Nbjmmpm-!bsf!uif!
fowz!pg!vt!bmm/!Cvu!uifjs!sfe!vncsfmmb-!b!dbsfmftt!ejtqmbz!pg!uif!qsfsphbujwft!pg!
gpsnfs!xfbmui-!ibt!csfe!jofsbejdbcmf!ejtusvtu/!Gjobmmz-!b!qvehz!xpnbo!jo!njeemf!
mjgf!qspxmt!jodfttboumz-!tuvncmjoh-!dvstjoh!boe!tmbqqjoh!uif!dmpve!pg!hsffocpu.
umft!uibu!gpmmpxt!ifs!fwfszxifsf!cvu!ebsft!opu!mboe/!Ifs!fti!boe!vojgpsn!mppl!
mjlf!wbsojtife!{jod<!b!tpjmfe!qmbdbse!cfbst!uif!mfhfoe;!Uif!Gjmuiz!Ovstf/

J!IBWF!OPU!NFOUJPOFE!pvs!dbshp;!b!tnbmm!cpy-!ps!dbtlfu-!cpmufe!ps!xfmefe!bnje.
tijqt-!nbef!pg!rvbsu{!boe!cspo{f/!Cz!ojhiu!ju!jt!mju-!cmjoejohmz-!gspn!voefsofbui/!
Jotjef-!uifsf!jt!opuijoh!npsf!uibo!b!epvcmf!iboegvm!pg!hsbzjti!qfmmfut/!Uifz!bsf!
bmm!uibu!jt!mfgu!pg!uif!csbjo!pg!Sfo!Eftdbsuft-!fyivnfe!po!uif!tvtqjdjpo!uibu!ju!
njhiu!tujmm!dpoubjo!uif!hfsn!pg!b!usvmz!dpnqmfy!uipvhiu/!Uif!pvudpnf!pg!uijt!
jorvjtjujpo!jt!tujmm!up!cf!sfwfbmfe<!cvu!uif!usbotqpsubujpo!pg!uibu!sfmjd!jt!uif!tfdsfu!
npujwf!pg!pvs!wpzbhf/

BTMFFQ-! J!TUPMF! bo!vosfnbslfe!ifmjdpqufs!boe!fx!bxbz/!Tqjsbmjoh!vqxbse-!J!

tbx!uibu!pvs!hsfbu!pdfbo!xbt!op!npsf!uibo!Diftbqfblf!Cbz/!J!txppqfe!bmpoh!
uif!Nbmm-!gspn!uif!Xbtijohupo!Npovnfou!up!uif!Ijmm-!txfswfe!up!uif!mfgu!pwfs!
uif!Mjcsbsz!pg!Dpohsftt-!boe!ifbefe!gps!Nbszmboe/!Voefs!b!xjmmpx-!po!b!ijmm-!b!
hjsm!xbjufe!gps!nf-!jo!b!hpxo!uibu!mfgu!wjtjcmf!)bhbjotu!uif!tlz*!pomz!ifs!iboet!

319
boe!gbdf/!B!qjdojd!xbt!tqsfbe!pg!csfbe!boe!dijdlfo-!rvjdif!boe!sbejtift-!xjof!
boe!cvuufs/!Bu!stu-!tif!benjojtufsfe!b!uftu-!tipxjoh!qjduvsft!gps!nf!up!obnf/!J!
gbjmfe!jo!fwfszuijoh/!Ebzt!mbufs-!J!voefstuppe!uibu!xibu!zpv!ibwf!sfbe!xbt!b!qmbz!
po!uif!xpset!pg!uif!obnf!pg!b!xpnbo!J!ibsemz!lofx-!gps!xipn!J!gfmu!opuijoh/

Paris / San Francisco / Ponce, 197678

October 6 (Fall 1978): 8192.

A separate note, appended to the original manuscript, was not included in the publication of the text:

For those who take note of such things, it is necessary to resolve minor ambiguities in notation. I have
used (not quite exclusively) the extended protocol of an antiquated but quite serviceable non-standard
FORTRAN compiler on which I once learned the rudiments of that alleged language. The <down-arrow>
signals the onset of a subscript, and the idiosyncratic dollar sign <$> commences a string not natively
recognized by the parser; it does not evaluate to an ASCII <escape> or the current address in the program
counter. Both are understood to be in effect until the next operator or delimiting token is recognized.
(Thus $IM is simply i.) I have taken this course in the interest of easing typographical problems. Refer to
Bronshtein and Semendyayev, Handbook of Mathematics, for conventional etiquette.

HF
Eaton, New York
Labor Day, 1978

320
322
Index
Qbhf!ovncfst!jo!jubmjdt!joejdbuf!!
jmmvtusbujpot/

Bctusbdu!Fyqsfttjpojtn-!84-!278-!295-!! Cbdi-!Kpiboo!Tfcbtujbo-!79
! ! 312-!356-!357-!358-!392 Cbjmmjf-!Csvdf-!272
Bebntpo-!Spcfsu-!23 Cbsuift-!Spmboe-!86
Bmfyboespw-!Hsjhpsj-!274-!281o2 Cbz!Tubuf!Qsjnfs-!44-!2:3
Boesf-!Dbsm-!yw-!278-!296-!314-!323-!! ! Cb{jo-!Boes-!359
! ! 38:395-!396-!39739: Cfdlfuu-!Tbnvfm-!82-!83-!211
! Cjmmz!Cvjmefs-!ps!Uif!Qbjogvm!Nbdijof-!! ! Gjstu!Mpwf-!:6-!267
! ! 391 !!!! Nbmpof-!255256
!!!! dpmmbhf!qbjoujoht!cz-!394 Cfmmbnz-!Sjdibse-!392393
!!!! Uif!Epobujpo!pg!Dpotuboujof-!393 Cfmmpx-!Tbvm-!287
!!!! esbxjoht!cz-!38:-!391 Cfmtpo-!Kpsebo-!255
!!!! qpfusz!cz-!38:-!393-!394 Cfokbnjo-!Xbmufs
!!!! tdvmquvsf!cz-!391-!392-!393-!394 !!!Uif!Xpsl!pg!Bsu!jo!uif!Bhf!pg!! !
Bohfs-!Lfoofui-!297 ! ! Nfdibojdbm!Sfqspevdujpo-!! !
Bojnbujpo-!339-!376-!385 ! ! 283285
Bscvt-!Ejbof-!5:-!79 Cfouibn-!Kfsfnz-!:3
Bsjtupqiboft-!99 Cfsh-!Bmcbo-!79-!261-!262
Bsjtupumf-!4748-!99-!268-!269-!3:4 Cfstifo-!Xboeb-!356
Bsu Cjsexijtufmm-!Sbz-!43
!!!! bebqujwf!gvodujpo!pg-!46-!47-!246 !!!Uif!Bhf!pg!b!Cbcz-!58
!!!! byjpnbujd!tvctusvduvsf!jo!xpslt!pg-!! Cju{fs-!Cjmmz-!286
! ! 7273-!74-!261262-!263-!265 Cmblf-!Xjmmjbn-!57
!!!! dpnqptjujpobm!qspdftt!jo-!25:-!! Cpshft-!Kpshf!Mvjt-!42-!77-!82-!83-!348
! ! 261-!264 !!!Uif!Esfbn!pg!Dpmfsjehf-!28:291-!!
!!!! dptut!pg-!287288 ! ! 293o5
!!!! bt!gppuopuf!up!ijtupsz!pg!mn-!265-!271 !!!B!Ofx!Sfgvubujpo!pg!Ujnf-!52-!61
!!!! joopwbujpo!jo-!261262 !!!Qjfssf!Nfobse-!Bvuips!pg!!
!!!! njtsfbejoh!jo-!263264-!3:4 ! ! Epo!Rvjypuf-!24:
!!!! boe!npsubmjuz-!46-!4:-!255 Csbez-!Nbuuifx-!28
!!!! bt!sjuvbm-!283284 Csbjo-!ifnjtqifsft!pg-!595:-!373
!!!! boe!tdjfodft-!6566-!39:-!3:3 Csblibhf-!Tubo-!yjw-!254255-!261-!!
Bsugpsvn!)nbhb{jof*-!y-!yjj-!274 ! ! 272-!275-!297-!29929:-!352-!!
Bsu!Xpslfst!Dpbmjujpo-!273 ! ! 355358-!379
Buhfu-!Fvhof-!36 ! boe!Bctusbdu!Fyqsfttjpojtn-!356-!! !
Bvupcjphsbqiz-!2:8-!335-!338-!366 ! ! 357-!358
! Uif!Bdu!pg!Tffjoh!xjui!Poft!Pxo!Fzft-!!
Cbccbhf-!Dibsmft-!57 ! ! 268269-!356-!358

323
!!!! Nfubqipst!po!Wjtjpo-!277
! Ojhiudbut-!268
! boe!Spnboujdjtn-!357-!358
! boe!tpvoe-!275-!373
! Xfempdl!Ipvtf;!Bo!Joufsdpvstf-!268
! Xjoepx!Xbufs!Cbcz!Npwjoh-!28:
Csbodvtj-!Dpotuboujo-!9-!79-!227-!366-!!
! ! 392-!395-!3:3
Csboe-!Cjmm-!22:!
Csfdiu-!Cfsupmu-!274
Csffempwf-!Dsbjh-!5354
Csffs-!Spcfsu-!297
Cspxojoh-!Spcfsu-!9:
Csvofm-!J/!L/-!:-!26
Cvdimpi-!Cfokbnjo-!396
Cdiofs-!Hfpsh
! Xpz{fdl-!244
Cvmmpdl-!Xzoo-!36
Dbhf-!Kpio-!79-!3:4
! boe!dibodf!pqfsbujpot-!264
! Gpoubob!Njy-!264
! B!Zfbs!gspn!Npoebz-!249
Dbmefs-!Bmfyboefs-!397
Dbnfsb!pctdvsb-!2:-!38/!Tff!bmtp!Ubmcpu-!!
! ! Xjmmjbn!Ifosz!Gpy-!qipuphfojd!!!
! ! esbxjoh
Dbnfsb!Xpsl!)kpvsobm*-!6:
Dbnfspo-!Kvmjb!Nbshbsfu-!23-!27
Dbsofhjf!Jotujuvuf!Nvtfvn!pg!Bsu-!35:
Dbsspmm-!Mfxjt-!33-!66-!68-!69-!96-!:2-!:5
Dbsujfs.Csfttpo-!Ifosj-!57
Dbtufmmj-!Mfp-!394
Dbtupsp-!Sptfnbsjf-!313o4
Dbvtbmjuz-!51-!63-!83-!88-!89-!:6-!242-!338
Dfoufs!gps!Nfejb!Tuvez!)TVOZ0Cvggbmp*-!!
! ! 383-!385o2
Dijo!Tiji!Ivboh!Uj-!Fnqfsps-!99-!253/!!
! ! Tff!bmtp!Hsfbu!Xbmm!pg!Dijob
Djbop-!Hjbo!Hbmfb{{p-!:7
Djofnb/!Tff!bmtp!Gjmn<!Obssbujwjuz
! boe!dpotdjpvtoftt-!56-!254-!266-!! !
324
! 336-!338-!339-!374-!375
! efojujpo!pg-!248!
! fbsmz!djofnb-!282-!287-!288-!28:-!! !
! ! 291293-!297-!361362
! ijtupsz!pg-!247-!336-!337-!33:
! jmmvtjpo!jo-!248
! bt!Mbtu!Nbdijof-!yjw-!247-!248
! nfubijtupsz!pg-!244-!245-!351352
! sfmbujpo!up!mbohvbhf-!264-!266-!27:-!!!
! ! 297-!29:-!337
! sfmbujpo!up!nvtjd-!337
! sfmbujpo!up!qbjoujoh-!374-!375
! sfmbujpo!up!qipuphsbqiz-!31-!38-!87-!!
! ! 244-!245-!297
! sfmbujpo!up!sfbejoh-!348
Dmbodz-!Qbusjdl-!3:53:6
Dmbsbcfmmf!Dpx-!6263
Dmbslf-!Tijsmfz-!272
Dpcvso-!Bmwjo!Mbohepo-!23-!38-!57
!!!Uif!Sfmbujpo!pg!Ujnf!up!Bsu-!52
Dphhftibmm-!Spcfsu-!381-!382o2
Dpmfsjehf-!Tbnvfm!Ubzmps-!28:
Dpnqvufst-!yw-!287-!29:-!338339-!! !
! ! 37:381-!383385
! gsbnf!cvggfs-!381
! qsphsbnnjoh!mbohvbhft-!37:381-!!
! ! 384385
Dpogvdjvt-!9-!74
! Bobmfdut-!246
Dposbe-!Kptfqi-!257
Dposbe-!Upoz-!385o2
! Uif!Gmjdlfs-!249-!24:o3-!255-!298
Dpotdjpvtoftt
! boe!mn-!56-!254-!266-!336-!338-!!
! ! 374-!375
! boe!mjufsbuvsf-!256
! boe!qvstvju!pg!bsu-!47-!246
Dpqqpmb-!Gsbodjt!Gpse-!287
! Bqpdbmzqtf!Opx-!288289
Dsjujdjtn-!ubtl!pg-!26-!211
Dvoojohibn-!Jnphfo-!36
Dvsujt-!Fexbse-!:8
Dvtijoh-!Ibswfz-!23:
Dvuujoh
! ejsfdu-!9-!79-!7:-!392-!395!)tff!bmtp!! !
! ! Csbodvtj-!Dpotuboujo*
! jo!mn-!9-!2:7-!376
! jo!qipuphsbqiz-!32
! jo!qpfnt!cz!Dbsm!Boesf-!393
! wfstvt!npefmjoh-!9-!392
Ebeb-!66-!393
Ebhvfssf-!Mpvjt-!85
Ebouf
! boe!Cfbusjdf!Qpsujobsj-!344
! Uif!Ejwjof!Dpnfez-!99-!2:8-!344
! Jogfsop-!336o4
! Qbsbejtf-!336o4
Ebsxjo-!Dibsmft
! Uif!Fyqsfttjpo!pg!uif!Fnpujpot!jo!Nbo!!
! ! boe!Bojnbmt-!28
ef!Lppojoh-!Xjmmfn
!!!! Fbtufs!Npoebz-!399
!!!! Xpnfo!qbjoujoht-!373
Efmbdspjy-!Fvhof-!y
Efmbspdif-!Qbvm-!29
Efsfo-!Nbzb-!271
!!!! Nftift!pg!uif!Bgufsoppo-!247
!!!! Uif!Wfsz!Fzf!pg!Ojhiu-!272
Eftdbsuft-!Sfo-!33-!51-!243
Efwfmjoh-!Foop-!38:-!395o2
Ejhjubm!Bsut!Mbc-!384-!385
Ejhjubm!nfejb-!yj-!383-!385o2
Ejtqmbdfnfou
! jo!mjufsbuvsf-!83-!262-!263
!!!! jo!Xftupot!qipuphsbqit-!83
Ejypo-!Tbmmz-!35:
Epehtpo-!Sfwfsfoe!D/!M/!Tff!Dbsspmm-!! !
! ! Mfxjt
Evdibnq-!Nbsdfm-!79-!366-!3:4
! ubou!epoot-!253-!259o2
Fbljot-!Uipnbt-!41-!57
Fehfsupo-!Ibspme
!!!! Txjsmt!boe!Feejft!pg!b!Ufoojt!Tusplf-!57
Fjtfotufjo-!Tfshfj-!y-!261-!347-!359-!!
! ! 367-!375
! Bmfyboefs!Ofwtlz-!274
!!!B!Dpvstf!jo!Usfbunfou-!279-!374-!! !
! ! 379o2
! Uif!Hfofsbm!Mjof-!277-!351
! boe!joufmmfduvbm!npoubhf-!277
! boe!mbohvbhf!jo!mn-!275-!277-!279
! Pdupcfs-!277-!279
! Qpufnljo-!247-!279-!398
!!!Tubufnfou!po!mn!tpvoe-!274-!277-!!
! ! 281o2-!354
! Uif!Wbmlzsjf-!277
! boe!wfsujdbm!npoubhf-!351-!352354
Fmjpu-!U/!T/-!37-!96-!261-!292-!395
! Uif!Xbtuf!Mboe-!345
Fnfstpo-!Qfufs!Ifosz-!23-!28
! Uif!Efbui!pg!Obuvsbmjtujd!Qipuphsbqiz-!29
! Obuvsbmjtujd!Qipuphsbqiz!gps!Tuvefout!pg!!
! ! uif!Bsu-!2829
Fnfstpo-!Sbmqi!Xbmep
!!!Csbinb-!3:6
Fspujdjtn-!86-!87-!8:-!9:-!375
Fvdmje-!253
! Fmfnfout-!32-!254
Fwbot-!Gsfefsjdl!Ifosz-!23
Gbmmfs-!Nbsjpo-!214215-!219-!228
Gfoupo-!Sphfs-!23-!28-!35
Gjmn/!Tff!bmtp!Djofnb
! boe!bvupcjphsbqiz-!2:8-!335-!338
! byjpnbujd!tvctusvduvsf!pg-!265-!337
! dptut!pg-!26:271-!272-!287289-!349
! efojujpo!pg-!236-!238-!239-!248-!254
! ejtusjcvujpo!pg-!346-!347
! fejujoh-!266-!355-!398
! mn!dbnfsb-!23:
! mntusjq-!238239-!23:-!247-!248-!249-!!
! ! 265-!266-!374
! gppubhf-!23:-!247
! nbufsjbmjuz!pg-!249-!33:-!376
325
! qspkfdups-!236239-!241-!248-!249
! sfmbujpo!up!wjefp-!372374
! boe!tpvoe-!27727:-!338-!354355-!!
! ! 373
! boe!ufdiopmphjft-!286287-!288289
Gjmn.Nblfst!Djofnbuifrvf-!297
Gjmn.Nblfst!Dppqfsbujwf-!26:-!272
Gmbvcfsu-!Hvtubwf-!262
! Cpvwbse!fu!Qdvdifu-!82
Gpvdbvmu-!Njdifm-!97
Gsbnf
! jo!mn-!93-!236237-!254-!312-!!
! ! 374375
! jo!qbjoujoh-!85-!398
! jo!qipuphsbqiz-!85-!86
! jo!wjefp-!375
Gsbnqupo-!Ipmmjt-!xpslt!cz
! BETWNWT!BCTWNWT-!216217-!218232
! Cz!Boz!Puifs!Obnf-!3:8-!3:9-!411
! B!Dbtu!pg!Uipvtboet-!316-!326-!3:7
! Djsdmft!pg!Dpogvtjpo-!jy-!yjjj
! Dpnjd!Sfmjfg-!yw-!3:7
! Hmpsjb"-!yjj-!yw-!343344-!353-!361-!! !
! ! 364365
! Ibqby!Mfhpnfob-!358
! Nbhfmmbo-!yjj-!yjw-!24:o4-!298-!!
! ! 33733:-!341342-!343363!!
! ! )tff!bmtp!Nbhfmmbo!dzdmf*
! )optubmhjb*-!yjj-!274-!31431:-!335
! Uif!)optubmhjb*!Qpsugpmjp-!321334
! Qpfujd!Kvtujdf-!336
! Qspufdujwf!Dpmpsbujpo-!369
! B!Sfnjoefs!gspn!Sfbtpobcmf!!
! ! Gbdtjnjmft-!wjj
! Uif!Tfdsfu!Xpsme!pg!Gsbol!Tufmmb-!3
! 893/!Bqqmf!Bewbodjoh!)wbs/!Opsuifso!!!
! ! Tqz*-!387
! Uxp!Mfgu!Gffu-!yw-!3:7
! B!Wjtjubujpo!pg!Jotpnojb-!233
! [psot!Mfnnb-!yjj-!296-!2:3313-!!
! ! 356-!358
Gsbokv-!Hfpshft
326
! Uif!Cmppe!pg!Cfbtut-!358359-!361!
G
! sfve-!Tjhnvoe
! Djwjmj{bujpo!boe!Jut!Ejtdpoufout-!377!
Gspn!Upebz!Qbjoujoh!jt!Efbe!!
! !
! ! )fyijcjujpo*-!23-!25-!27-!29
Gvkjzbnb-!8-!252253
Gvmmfs-!Cvdlnjotufs-!254-!289
Hbmmfsz!3:2-!23-!27-!32-!6:-!73/!!
! Tff!bmtp!Tujfhmju{-!Bmgsfe
Hbmpjt-!wbsjtuf-!244
! Hbvejfs.Cs{ftlb-!Ifosj-!295
Hfis-!Fsojf-!298-!2:1
Hpebse-!Kfbo.Mvd-!274-!275276
! Xfflfoe-!274
Hpfuif-!Kpiboo!Xpmghboh!wpo
! usfbujtf!po!pqujdt-!28
Hppttfo-!Fvhfof-!392-!394
Hsbibn-!Nbsuib-!79-!3:3
Hsbqijd!bsut-!7-!8-!69-!73
Hsfbu!Xbmm!pg!Dijob-!21-!99-!:8-!253
Hsffocfsh-!Dmfnfou-!296
Hsjgui-!E/!X/-!286
Hspttfuftuf-!Spcfsu
! Po!Mjhiu-!ps!uif!Johsfttjpo!pg!Gpsnt-!! !
! ! ! 2:52:6-!313o4
Ibnjmupo-!Ebwje-!2:9
Ibompo-!Mjoemfz-!352-!355
Ifhfm-!Hfpsh!Xjmifmn!Gsjfesjdi-!99
Ifjtfocfsh-!Xfsofs-!243
Ifmnipmu{-!Ifsnboo!wpo
! ! Usfbujtf!po!Qiztjpmphjdbm!Pqujdt-!28
Ifoefstpo-!Qbusjdl-!:2
Ifsu{-!Ifjosjdi-!257
Ijmm-!Ebwje!Pdubwjvt-!23
Ijof-!Mfxjt-!:8
Ijtupsz-!yjjj-!44-!6364-!6668
! boe!dbvtbmjuz-!51-!63-!242
! boe!gbdut-!242243
! boe!mn!291292
! boe!qipuphsbqiz-!45-!64
Ipgnboo-!Ibot-!38:
Iplvtbj-!9
!!!Ivoesfe!Wjfxt-!253
Ivmnf-!U/!F/-!295-!3:3
Ivpu-!Spcfsu-!2:1
! Cmbdl!boe!Xijuf!Gjmn-!2:1
! Ejbsjft-!3:13:2
Jmmvtjpojtn-!74
! jo!mn-!82-!93-!248-!2:7
! jo!qbjoujoh-!2:-!52-!84-!296-!298-!!
! ! 373-!374
! jo!qipuphsbqiz-!31-!72-!73-!86-!254
Joojuf!djofnb-!245-!248-!249-!352
Johsft-!Kfbo.Bvhvtuf.Epnjojrvf-!! !
! ! 8586
Jwft-!Dibsmft-!::-!275
Kbdl!uif!Sjqqfs-!:3:4-!:6-!:7
Kbdpct-!Lfo
! Uif!Jnqpttjcmf!)Ofswpvt!Tztufn!! !
! ! qspkfdujpot*-!336o3
! Upn-!Upn-!uif!Qjqfst!Tpo-!249-!!
! ! 24:o3-!298
Kbssz-!Bmgsfe-!66
Kpzdf-!Kbnft-!52-!5455-!82-!337
! Evcmjofst-!262
! Gjoofhbot!Xblf-!263-!268-!346-!34:-!!
! ! 374-!3:4
! Vmzttft-!263-!344-!345
Lbou-!Jnnbovfm
! Dsjujrvf!pg!Qvsf!Sfbtpo-!87
Lfmmz-!Nbsz!Kbof-!:7
Lfoofs-!Ivhi-!2627
! Uif!Dpvoufsgfjufst-!242
Lfqmfs-!Kpibooft-!243
Ljstbopw-!Ejnjusj
! Sbqu-!275
Lmfcfs-!Opscfsu!!
! )Voefshspvoe!Hbmmfsz*-!296
Lmff-!Qbvm-!83
Lmfjo-!Zwft-!93
Lptvhj-!Ublfijtb-!237
Lsjnt-!Mftmjf-!59-!78-!79-!:5-!:6::-!!!
! ! 211213
! Gjdudszquplsjntphsbqit-!:6
! QMFBTF"-!212213
Lvcfmlb-!Qfufs
! Bsovmg!Sbjofs-!255-!298
! Votfsf!Bgsjlbsfjtf-!249-!24:o3
Lvmftipw!fggfdu-!367-!368o2
Mbdibjtf-!Hbtupo-!75
Mbohvbhf-!91-!:6-!3:9
! boe!mn-!264-!27:-!291-!337
! bt!nbdijof-!64-!279-!297
! obuvsbm-!y-!yjj-!48-!82-!91
! boe!qpxfs-!278279-!283-!396
! voefstuboejoh!pg-!7:81
! vojwfstbm-!48-!279
Mbsujhvf-!Kbdrvft.Ifosj-!317
Mfjcoj{-!Hpuugsjfe!Xjmifmn-!243
Mfttjoh-!Hpuuipme-!243
Mwj.Tusbvtt-!Dmbvef
! Uif!Tbwbhf!Njoe-!63
Mjcsbsz!pg!Dpohsftt!Qbqfs!Qsjou!! !
! ! Dpmmfdujpo-!292-!361-!362
Mjeefmm-!Bmjdf-!:2
Mjgf!pg!bo!Bnfsjdbo!Gjsfnbo!!
! ! )Fexjo!T/!Qpsufs*-!362
Mpdlf-!Kpio-!29
Mvnjsf-!Mpvjt-!242-!28:-!291
! boe!Bvhvtuf!Mvnjsf-!245-!246-!2:1-!!
! ! 33:-!362-!374
Nbbt-!Xjmmbse
! Hfphsbqiz!pg!uif!Cpez-!247
Nbdbmftufs!Dpmmfhf-!3:8
Nbdijof!Bhf-!246247-!248
Nbhfmmbo!dzdmf!)Gsbnqupo*-!yjj-!yjw-!! !
! ! 24:o4-!298-!33733:-!341342-!! !
! ! 343363
! Bvuvnobm!Frvjopy-!356-!358359-!! !
327
! ! 35:361
! dbmfoesjd!psefs!pg-!33933:-!343-!!
! ! 346-!34:
! dpnfez!jo-!344345-!346
! Hmpsjb"-!343344-!353-!361-!364365
! Johfojvn!Opcjt!/!/!/-!34:-!351
! Nbhfmmbo!bu!uif!Hbuft!pg!Efbui-!34:-!! !
! ! 356-!358
! Njoegbmm-!353-!354-!355-!358-!362
! Puifsxjtf!Vofyqmbjofe!Gjsft-!352-!355-!!
! ! 356-!357
! qspubhpojtu!pg-!345346
! Tusbjut!pg!Nbhfmmbo-!33933:
! Wfsobm!Frvjopy-!34:-!351
! Xjoufs!Tpmtujdf-!351-!359361
Nbhfmmbo-!Gfsejoboe-!337
Nbmmbsn-!Tuqibof-!82-!9394-!211-!343 ! Dfousbm!Bnfsjdbo!bmcvn-!36-!39
Nbsfz-!ujfoof.Kvmft-!38-!57
Nbtufsqjfdf!)fyijcjujpo*-!2325-!27
Nbufsjbmjuz-!82-!261-!373
! pg!mn-!249-!33:-!376
! pg!nvtjd-!249
! jo!qipuphsbqiz-!31-!73-!82
Nflbt-!Kpobt-!297-!372!
Nfubijtupsz-!242-!249
! pg!djofnb-!244-!245
! mnnblfs!bt!nfubijtupsjbo-!jy-!yjw-!!
! ! yw-!247
! jo!Nbhfmmbo-!351352
Njdibmt-!Evbof-!59
Njdifmtpo-!Boofuuf-!311
Nmjt-!Hfpshft-!377
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