Paul Sharits (1943-1993), Untitled (S:S:S notes), 1968-1971; colored marker on paper, 11 x 8 1/2 inches; Gift of Christopher and Cheri Sharits, 2006
S:S:S notes ("literal")
1 water as bridge/ slice reversal TCH : joy/ -mandala: anxiety
in work - abstract: decore
fran-dgny (face in bottom of river) -literalism
* i relish the poor taste of bleeps / the problem is not that bleeps sound silly; rather, in repetition they gradually lose that lovely non-quality: INFORMATION
* what is so compelling about brakhage's work? it is not clever. it surprises us not in its clever selection of theme-subject or clever manipulation but in that it peels away the curtains from the uninteresting by confronting it + revealing to us the awe of the mundane-- RISK records of!
2 shape/ wave over rock: over all constancy- graduated modulation: rhythm set // concept: "static motion"
3 Morris: "notes"
pile up pieces of one material+ self revelation of its structure: water on water
emulsion on emulsion
mind disorientation: "random" order splices/cluster
toward dam// set up loose editing situation --kept Ehrenzweig's HIDDEN with me at all times as differentiating is horrifying (but necessary) for me--
SCRATCH CLUSTER (vertical modularity like cross-section of horizontal modularity)
process as image: irony
that prints equalize the "record" (emulsion) of water/ "actuality" (emulsion) of
grooves-- both are, in prints, equally illusionistic (ie: the whites of the foam in the water illusion are no different, in their non-emulsion nature, than the thru the lines--both are simply non-emulsion projections)--project orig??
* to project the original ("literalism")
would be to negate the humor of
this inescapable illusionism
Paul Sharits (1943-1993), Notes S:S:S:S:S:S, 1968-71; commercially made pocket folder, 11 3/4 x 9 1/2 inches; Gift of Christopher and Cheri Sharits, 2006