His Place of Peace

Now passed on yet forever he has named his salvage junk yard Place of Peace. I met Perry about 20 years ago and these notes on my three films so far related to a wonderful, old truck there. The mailbox and large sign as I entered said Place of Peace.

Dick Higgins lamented of our reduction down to commodity-oriented society. I am hoping that my films are not just films, not just songs or music, not just photos. My hope is these are concepts or ideas which overlay a broad feeling about civilization.

1) In my first film The Green Truck, there I saw my first graphical-notation score with its green, color field the substrate and myself, then, the reader rust on the substrate, those rust spots as musical “notes” more or less. I wanted to create variant forms of graphical scoring, these found scores; my visual-score directive was meant to be the found object’s graphical facade.

2) An Unspeakable Sound; in my second film piece and the ONLY work that was celebrated, there wamore musique concrète treatment with the light use of subtle humor. Swishy sounds were a sonic substrate out of the animation of merely walking or “playing the leaves.” This become then the composite view of abandonment.

singing to a green truck

3) Duet for Two Worlds is film three and is interpenetration binary and filmic composite of two dissimilar sounds are recorded as soon as possible but in two different, cultural realms, then put together in one recording.

films 4,5,6) lead me the to The Empty Room. I switched over to an abandoned room and made three final films. I had relaxed back into merely playing the object, which was an old window, a radiator, and an iron pipe.

my final film

My “ecology of thought” to end this post; from sunsets to the ecology of junkyards; from thinking of the effects of time on a local environment so that’s there is no longer status to the consideration rattling in an old truck to insects inhabiting the same; from local spiders or anything that moves to a room that suggests someone else’s stories and dreams to story as an animator of God. Sound is a sort of canvas then. My film as an idea  suggested to me a conceptual theme, an object story in sound, a set upon which a visual substrate, idea canvas– what Cage might have called “quasi-theatrical work.” I see things in this way. Fluxus formed my thinking about these short, experimental, simple, raw films.