^{Improvisations and Turkras}

^{Eric Dolphy, Other Aspects (Recorded 1960; published 1987: Manhattan Records)}

^{Berliner Theorie, Miles (2002 Epitonic download)}

^{Agnes Obel: Fuel to the Fire, Dorian, Aventine, Tokka (Aventine 2013)}

Ya Habibi Ta’ala and Tashweesh by Kronos Quartet, Floodplain (2009)

1 Mile North, Evil Architecture (2001 Epitonic download)

Chris Marker: Staring Back (May 12-August 2007)

Wexner Center for the Arts, Ohio State University

_{Jason Molina’s prolificacy is at once extraordinary and anxiety-inducing. The leader of Songs: Ohia and Magnolia Electric Co. created an immense and unexampled body of work in his 39 years, teeming with an assemblage of images drawn from nature, travel, his relationships, and his experiences as a boy on the banks of Lake Erie—the moons, magnolias, owls, and big cats he so deftly positioned as a reflections of his heart and psyche, over autodidactic acoustic guitar meditations and explosive electric roots rock. In the ’90s and early ’00s, Molina’s sensibility and pace were unrivaled, and today he stands among the greatest songwriters of the era. – Erin Osmon, author of Jason Molina: Riding with the Ghost, Rowman & Littlefield, 2017.}

^{Process Note: Footage used for this page’s experiments emerge from several sources: sparse, sporadic sequences from Russia-Poland 2001-2007 taken with a JVC 250x, stills and moving images taken with an entry-level iPad during the week of the AMPS July 6-8 conference in Istanbul, and captured imagery from commercial dvds. For the latter, with few exceptions, ffmpeg frame-harvests from vob files produce upwards of 60,000 pngs that can be analyzed in sequences as brief as a second or two. I first experimented with micro-videos while teaching Hamlet to high-school students several years ago, but Keith Sanborn’s recent book on Esfir’ Shub, especially the method of Fall of the Romanov Dynasty, affirms the technique of making videos from commercial footage. My last theoretical writing in Poland explored connections between Charles Olson’s Maximus Poems and Vertov’s Man with a Movie Camera. In 1995, Susan Howe lent me her VHS copy of Chris Marker’s Le Tombeau d’Alexandre (her silence on this documentary in Nineteen Ways of Looking at Marker is as farsighted as Rancière’s discussion of the same is shortsighted in The Politics of Aesthetics.) My present theoretical writing explores implications for the future of digital video in Banu Cennetoğlu’s thirteen-titled 127+ hour installation that, abbreviated to the single frame H O W B E I T , reproduces the very Vertovian (and Lacanian?) cut the artist appears to abjure in this work, although in YouTube interviews she uses the term “montage” without irony, yet the single frame also recalls Kathleen Fraser’s feminist project How(ever) from the last two decades of the previous century. Wilson-Goldie’s 2019 article in Art Forum, “Today in History,” offers the most detailed review of Cennetoğlu’s art that I have found online, but just as poets active in the Bay Area when Tedium Drum and Recent Events (1994-1995) were published, personal acquaintance may sometimes occlude a longer view (or outsider’s insight). Thus Wilson-Goldie, while remarking the achievement of Gurbet’s Diary, comments that among Cennetoğlu’s circle, “many friends, curators, and fellow artists argue [The List] is the best thing she’s ever done.” At the moment, this moment, I am skeptical that an essay on H O W B E I T can be brought within the purview of an academic publication of conference papers. Drafts can be tracked here: Intersecting Quadrants: July 15 – September 10 2026. Apart from a shorter version appearing in a Peter Lang publication of conference papers from Poland, my work on Olson and Vertov also remains confined to this website, which has been online for 25 years without public recognition or discussion. The only poet I recall being perceived as flattering 30 years ago was Leslie Scalapino after a performance at New Langton of her Goya in L.A., so I will end this note by redirecting skeptical readers (I know what I saw on February 1, 2025) to “Kino-Eye and Projectivist Breath-Space: Louisville 2007”: https://hypobololemaioi.com/studia-miedzynarodowe-2/. Classes at the University of South Dakota begin next week, and with the AMPS deadline looming, I need to set aside for the next month further visual studies in the light and shade of 1 January 1970–21 March 2018 · H O W B E I T · Guilty feet have got no rhythm · Keçiboynuzu · AS IS · MurMur · I measure every grief I meet · Taq u Raq · A piercing Comfort it affords · Stitch · Made in Fall · Yes. But. We had a golden heart. · One day soon I’m gonna tell the moon about the crying game, 2018.}

^{e.m. 4-6 a.m. 17 Aug.}