<center>The [[dialectic->eisenstein]].
The [[retelling->remix]].
The [[drift->BTS]].</center>
^^<small>[[bibliography->biblio]]</small>^^
(set: $a to (a: "<p> //Funeral Parade of Roses.// (1969). `[Film]`. Directed by Toshio Matsumoto. Japan: Art Theatre Guild. `[Viewed 10 February 2021]`."))
(set: $b to (a: "<p> //For My Crushed Right Eye.// (1969). `[Film]`. Directed by Toshio Matsumoto. Japan: Art Theatre Guild `[Viewed 15 February 2021]`."))
(set: $c to (a: "<p> //Ecstasis.// (1969). `[Film]`. Directed by Toshio Matsumoto. Japan: Art Theatre Guild `[Viewed 16 February 2021]`."))
(set: $d to (a: "<p> //Expansion.// (1972). `[Film]`. Directed by Toshio Matsumoto. Japan: Art Theatre Guild `[Viewed 16 February 2021]`."))
(set: $e to (a: "<p> //Red Shift.// (1978). `[Film]`. Directed by John Mackenzie. England: BBC `[Viewed 27 February 2021]`."))
(set: $f to (a: "<p> Garner, A. (1973). //Red Shift.// London: Collins."))
(set: $g to (a: "<p> Garner, A. (1967). //The Owl Service.// London: Collins."))
(set: $h to (a: "<p> //The Owl Service,// (1969). `[Television.]` ITV."))
(set: $i to (a: "<p> //Beast Type Song.// (2019). `[Film Installation]`. Directed by Sophia Al-Maria. London: Tate Britain `[Viewed 15 November 2019]`."))
(set: $j to (a: "<p> Sewell, R. (2005). //What is dialectical materialism?.// `[online]` Marxism.com. Available at: https://www.marxist.com/what-is-dialectical-materialism.htm `[Accessed 12 March 2021]`."))
(set: $k to (a: "<p> Eisenstein, S. (1968). //Film form.// New York: World Publishing, p.61."))
(set: $l to (a: "<p> Knabb, K. (2007). //Situationist international anthology.// Berkeley: Bureau Of Public Secrets."))
(set: $m to (a: "<p> Balsom, E. (2020).// Sophia Al-Maria on Dystopias, Gulf Futurism, and Sad Sacks. //`[online]` ARTnews.com. Available at: https://www.artnews.com/art-in-america/interviews/sophia-al-maria-erika-balsom-gulf-futurism-sad-sacks-julia-stoschek-interview-1202683264/ `[Accessed 10 Mar. 2021]`."))
(set: $n to (a: "<p> Deleuze, G. & Guattari, F. (1987).// A Thousand Plateaus.// London: University of Minnesota Press."))
(set: $o to (a: "<p> Gantz, J. (1985). //The Mabinogion.// New York: Dorset Press."))
(set: $p to (a: "<p> Colombo, J. (1970). //Neo Poems. //Vancouver: The Sono Nis Press."))
(set: $q to (a: "<p> Hegel, G. (1929). //Science of logic. Vol. 1.// London: Allen & Unwin."))
(set: $r to (a: "<p> Steyerl, H. (2009). //In Defense of the Poor Image - Journal #10 November 2009 - e-flux.// `[online]` E-flux.com. Available at: https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/."))
(set: $s to (a: "<p> Fisher, M., (2012). //What Is Hauntology?. //Film Quarterly, 66(1), pp.16-24."))
(set: $t to (a: "<p> McRae, R. (2017). //Stone38// Available at: https://www.remcrae.com/wp-content/uploads/2017/09/StoneTest.html `[Accessed: 18 March 2021]`."))Sophia Al-Maria describes making her [[film->steyerl]] ''//Beast Type Song//'' (2019) as a dérive (link: "*")[(Knabb, 2007)], and as a [[carrier bag->drift]] (link: "*")[(Le Guin, 1986)].
While writing and shooting, collaborators passed through and added new ideas, images, [[connections->branching]] to the bag (link: "*")[(Balsom, 2020)].
^^<small>[[bibliography->biblio]]</small>^^The drift is the bag is the gestation period; [[everything stew->branching]]; [[primordial soup->rhizome]].
It happens in that [[watery time->embryo]] after the birth of a fully-realized work. There is a period of driven, focused practice, followed by a listless drift that only feels productive after-the-fact.
^^<small>[[bibliography->biblio]]</small>^^Toshio Matsumoto re-appropriated footage from ''//Funeral Parade of Roses//'' (1969) for the shorter, stranger ''//For My Crushed Right Eye//'' (1969), ''//Ecstasis//'' (1969), and ''//Expansion//'' (1972).
He’s not afraid to [[repeat himself->rhyme]], [[never finished->hegel]] with an idea. The images are condensed, stretched, [[distorted->remix]]. Not drafts, [[afterbirths->embryo]].
^^<small>[[bibliography->biblio]]</small>^^Why am I not talking about [[rhizomes->embryo]]? I read half of ''//A Thousand Plateaus//'' (link: "*")[(Deleuze & Guattari, 1987)] and then took a break to read ''//[[the Mabinogion->owl]]//'' (link: "*")[(Gantz, 1985)].
^^<small>[[bibliography->biblio]]</small>^^In January I read Hito Steyerl’s ''//In Defence Of The Poor Image//'' (2009). It felt essential to where I was [[going->remix]], but then I went (either: "[[elsewhere->drift]]", "[[elsewhere->hill]]", "[[elsewhere->changeling]]").
^^<small>[[bibliography->biblio]]</small>^^This spring I wrote a [[screenplay->BTS]] about a changeling. I’ve been delving into folk horror and hauntology, the way these old stories [[haunt->owl]] the culture, [[the land->hill]], returning in new contexts. (link: "*")[(Fisher, 2012)]
^^<small>[[bibliography->biblio]]</small>^^I keep picking up [[abandoned furniture->steyerl]] on the street.
^^<small>[[bibliography->biblio]]</small>^^The film ''//Red Shift//'' (1978), adapted from [[Alan Garner->owl]]’s novel (1973), situates three [[rhyming->rhyme]] events.
A modern cross-class romance. A failed peasant’s [[revolt->BTS]]. A love affair between a Roman soldier and a Celtic woman. The same [[hill->hill]], church, and axe.
The three stories sit next to eachother but [[never touch->eisenstein]]. The film feels inconclusive, ambivalent, every event simultaneously melodrama and insignificant.
^^<small>[[bibliography->biblio]]</small>^^Dialectics in simple terms:
Thesis, antithesis, synthesis.
In my writing I try not to synthesise, I let all the [[ingredients->drift]] sit beside eachother, mixing as the eye passes through them.
Eisenstein describes editing similarly:
//“[E]ach sequential element is perceived not next to the other, but on top of the other. [...] From the superimposition of two elements of the same dimension always arises a new, [[higher dimension.->hegel]]”//
==>
(link: "<big>*</big>")[(Eisenstein, 1949)]
^^<small>[[bibliography->biblio]]</small>^^The boundaries of the drift are [[porous->rhizome]], connections keep branching.
^^<small>[[bibliography->biblio]]</small>^^''//The Owl Service//'' (1969) is a children’s program adapted from another [[Alan Garner novel->red]] (1967).
It’s a story of class war, Welsh suppression, and an echoing [[Celtic history->changeling]]. The three central teenagers dance out the actions of characters in the Mabinogion, struggling to break [[ancient cycles.->rhyme]]
^^<small>[[bibliography->biblio]]</small>^^<big>//“History doesn’t repeat itself, but it [[rhymes->red]].”//</big>
==>
(link: "<big>*</big>")[(Colombo, 1970, p.46)]
^^<small>[[bibliography->biblio]]</small>^^There is a hill in Rainham. It was once military land. Then it was [[landfill->trash]]. Now it’s ‘community woodland’.
Three rocks sit at the top: a [[cairn->spin]], a [[menhir->changeling]], ten [[years->rhyme]] old.
^^<small>[[bibliography->biblio]]</small>^^Dialectics in un-simple terms:
Constant change. A unity of opposites. Contradictions, negations. A [[spiral->rhyme]]; we return to the same point, but changed. [[Tension and rupture->drift]].
//"The contradiction, however, is the source of all movement and life; only in so far as it contains a contradiction can anything have [[movement->eisenstein]], power, and effect."//
==>
(link: "<big>*</big>")[(Hegel, 1929)]
^^<small>[[bibliography->biblio]]</small>^^<center>(either: "[[Embryo.->BTS]]", "[[Embryo.->rhizome]]", "[[Embryo.->toshio]]")<center><iframe width="560" height="315" src="https://www.youtube.com/embed/eev0VT8ooiQ" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
[[*->hegel]]<center>
[[Retelling->owl]].
[[Appropriating->changeling]].
[[Remixing->toshio]]. </center>(print: (shuffled: $a, $b, $c, $d, $e, $f, $g, $h, $i, $j, $k, $l, $m, $n, $o, $p, $q, $r, $s, $t))* //Funeral Parade of Roses.// (1969). `[Film]`. Directed by Toshio Matsumoto. Japan: Art Theatre Guild. `[Viewed 10 February 2021]`.
* //For My Crushed Right Eye.// (1969). `[Film]`. Directed by Toshio Matsumoto. Japan: Art Theatre Guild `[Viewed 15 February 2021]`.
* //Ecstasis.// (1969). `[Film]`. Directed by Toshio Matsumoto. Japan: Art Theatre Guild `[Viewed 16 February 2021]`.
* //Expansion.// (1972). `[Film]`. Directed by Toshio Matsumoto. Japan: Art Theatre Guild `[Viewed 16 February 2021]`.
* //Red Shift.// (1978). `[Film]`. Directed by John Mackenzie. England: BBC `[Viewed 27 February 2021]`.
* Garner, A. (1973). //Red Shift.// London: Collins.
* Garner, A. (1967). //The Owl Service.// London: Collins.
* //The Owl Service,// (1969). `[Television.]` ITV.
* //Beast Type Song.// (2019). `[Film Installation]`. Directed by Sophia Al-Maria. London: Tate Britain `[Viewed 15 November 2019]`.
* Sewell, R. (2005). //What is dialectical materialism?.// `[online]` Marxism.com. Available at: https://www.marxist.com/what-is-dialectical-materialism.htm `[Accessed 12 March 2021]`.
* Eisenstein, S. 1968. //Film form.// New York: World Publishing, p.61.
* Knabb, K. (2007). //Situationist international anthology.// Berkeley: Bureau Of Public Secrets.
* Balsom, E. (2020).// Sophia Al-Maria on Dystopias, Gulf Futurism, and Sad Sacks. //`[online]` ARTnews.com. Available at: https://www.artnews.com/art-in-america/interviews/sophia-al-maria-erika-balsom-gulf-futurism-sad-sacks-julia-stoschek-interview-1202683264/ `[Accessed 10 Mar. 2021]`.
* Deleuze, G. & Guattari, F. (1987).// A Thousand Plateaus.// London: University of Minnesota Press.
* Gantz, J. (1985). //The Mabinogion.// New York: Dorset Press.
* Colombo, J. (1970). //Neo Poems. //Vancouver: The Sono Nis Press.
* Hegel, G. (1929). //Science of logic. Vol. 1.// London: Allen & Unwin.
* Steyerl, H. (2009). //In Defense of the Poor Image - Journal #10 November 2009 - e-flux.// `[online]` E-flux.com. Available at: https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/.
* Fisher, M. (2012). //What Is Hauntology?. //Film Quarterly, 66(1), pp.16-24.
* McRae, R. (2017). //Stone38// Available at: https://www.remcrae.com/wp-content/uploads/2017/09/StoneTest.html `[Accessed: 18 March 2021]`.