Happenstance (part one of many parts), 1982-83
Video (black-and-white; stereo sound); 6:30 min.
The opening sequence of this black-and-white work shows the square, circle and triangle as the basic elements of the formal repertoire. They are joined by letters and words, whose configuration suggests the shape of the triangle. Simultaneously sounds are linked to the visual elements: a bass drum to the square, crash cymbal to the circle and a kind of ‘twang’ sound to the triangle. After first concretizing themselves, amorphous electronic forms (almost like reading the stars, a bird, a fish, a snake and a frog seem to appear if for only moments) become lost in abstract structures as individual words and sentences play counter point. The interplay between language and image builds to a text filled page: “vanishing points” which shifts down the page into “points vanishing.” The letters, which initially morph to a pyramid, now turn into the humus from which grows a letter tree whose leaves fall to the ground as characters, partially forming words there. Hill is creating a kind of choreography of thought, which as already seen in Videograms (GHCR 43) – gives rise to an area of tension between the images and the spoken or written texts. At the textual level, he addresses the ephemerality of linguistic meanings inside the ‘nature’ of language. Musical and sound elements underscore the character of the individual passages and the complex intertextuality of the work.
Broeker, Holger, ed. Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, GHCR 46, pp. 102 – 104.
Excerpting the Tree, 1985, is an excerpt from Happenstance (part one of many parts) that was exhibited at the First Tokyo International Video Biennale, March 29 – 31, 1985. The festival imposed a time limit of three minutes on each entry, thus the title was an ironic response to the structure of the biennale.
Solo screening. Boston Film/Video Foundation, Boston, Massachusetts, March 24, 1983.
“Art & Technology: Electronic Visions,” Hudson River Museum, Yonkers, New York, July 24 – September 4, 1983.
Videoart: IV Festival International d’Art Video de Locarno, Locarno-Ascona, Switzerland, August 1 – 5, 1983.
“Video Art: A History, Part Two,” Museum of Modern Art, New York, New York, December 1 – 22, 1983.
Solo screening. London Video Arts, London, England, December 8, 1983.
Solo screening. International Cultural Center, Antwerp, Belgium, December 9, 1983.
Solo exhibition. Center for Media Art, The American Center, Paris, France, December 13 – 15, 1983.
Thomas A. Edison/Black Maria Film & Video Festival, West Orange, New Jersey, 1983.
“Mix,” The Kitchen Center for Video, Music, Dance, Performance and Film, New York, New York, February 1 – 28, 1984.
“Gary Hill Selected Videography,” JISC Plaza Video and International Cultural Community Services, Tokyo, Japan, March 16, 1984.
“Arte, Ambiente, Scena,” Biennale di Venezia,Venice, Italy, June 10 – September 9, 1984.
“Video 84 – International Video Conferences,” Montreal, Quebec, Canada, September 27 – October 4, 1984.
Solo exhibition. Video Gallery Scan, Tokyo, Japan, March 15 – 17, 1985.
International House of Japan, Tokyo, Japan, April 18, 1985.
Gary Hill/Stephen Kolpan Video Works, Byrdcliffe Barn, Woodstock, New York, July 29, 1985.
“Video Art: Stockholm International Festival ‘85,” Kulturhuset, Stockholm, Sweden, November 2 – 10, 1985.
Solo screening. 911 Arts Center, Seattle, Washington, November 9, 1985.
“Video d’artistes: Robert Cahen, Gary Hill, Jacques Louis Nyst, Dan Reeves,” Salle Patino, Geneva, Switzerland, January 31 and February 1, 1986.
“Collections Vidéo: Acquisitions Depuis 1977,” Musée national d’art moderne, Centre Georges Pompidou, Paris, France, March 5 – May 11, 1986.
Solo screening. Port Washington Public Library, Port Washington, New York, May 22, 1986.
Solo exhibition. Whitney Museum of American Art, New York, New York, May 24 – June 15, 1986.
“Meet the Makers/Video Vectors: Gary Hill,” Donnell Library, New York Public Library, New York, New York, October 9, 1986.
“Infermental VI,” Western Front, Vancouver, British Columbia, Canada. Opened February 8, 1987 and travelled internationally.
7. Berner Poesietage, Kunstmuseum Bern, Bern, Switzerland, April 4 – 12, 1987.
6. Erlanger Videotage, Erlanger, Germany, June 17 – 21, 1987.
“Computers and Art,” Everson Museum of Art, Syracuse, New York, September 17 – November 8, 1987. Travelled to: Contemporary Arts Center, Cincinnati, Ohio, November 27, 1987 – January 9, 1988.
“An Evening with Gary Hill,” Northwest Film & Video Center, Oregon Art Institute, Portland, Oregon, October 1, 1987.
2e Semaine Internationale de Vidéo, Saint-Gervais Genève, Geneva, Switzerland, November 16 – 21, 1987.
Solo screening. Western Front, Vancouver, British Columbia, Canada, April 16, 1988.
“Estetica de la Generacion Animacion por Ordenador,” Instituto de Estudios Norteamericanos, Barcelona, Spain, June 6 – 22, 1988.
“Carte Blanche à Georges Rey,” Musée d’art moderne, Villeneuve d’Ascq, France October 13 – 15, 1988.
Solo screening. Beursschouwburg, Brussels, Belgium, January 24, 1989.
1989 Salso Film and TV Festival, Salsomaggiore, Italy, April 19 – 25, 1989.
Vidéoformes 89: Festival de la Création Vidéo, Clermont-Ferrand, France, April 20 – 29, 1989.
39 Berliner Festwochen 1989: “25 Jahre Video-Skulptur,” Neuer Berliner Kunstverein, Berlin, Germany, August 27 – September 24, 1989.
Solo exhibition. “OTHERWORDSANDIMAGES,” Video Galleriet, Huset, Denmark and Ny Carlsberg Glyptotek Museum, Copenhagen, Denmark, April 20 – May 13, 1990.
“Passages de l’image,” Musée national d’art moderne, Centre Georges Pompidou, Paris, France, September 18 – November 19, 1990. Travelled to: Centre Cultural de la Fundació, Caixa de Pensions, Barcelona, Spain, February 11 - March 31, 1991; The Power Plant, Toronto, Ontario, Canada, May 10 – June 16, 1991; Wexner Center for the Arts, Columbus, Ohio, July 12 – October 27, 199; San Francisco Museum of Modern Art, San Francisco, California, February 6 – April 12, 1992.
Japan 92 Video and Television Festival: “Prospectus for a TV Art Channel,” Spiral, Tokyo, Japan, February 1 – 11, 1992.
“16 Dagar,” Nýlistasafnid, The Living Art Museum, Reykjavik, Iceland, June 26 – July 11, 1993.
“Gary Hill: In Light of the Other,” Museum of Modern Art, Oxford, England, November 7, 1993 – January 9, 1994; The Tate Gallery, Liverpool, England, February 25 – May 2, 1994.
“Gary Hill: Sites Recited,” Long Beach Museum of Art, Long Beach, California, December 3, 1993 – February 20, 1994.
“Gary Hill: Selected Videotapes 1978 – 1990,” Art Gallery of Ontario, Toronto, Ontario, Canada, June 7 – August 28, 1994.
“Dekonstruktion Video – 11. Kasseler Dokumentarfilm & Videofestivals,” Kassel, Germany, November 17, 1994.
“Gary Hill,” Museum of Contemporary Art, Los Angeles, California, December 19, 1994 – March 12, 1995.
Solo exhibition. Dia Center for the Arts, New York, New York, May 11 – June 25, 1995.
Sedicesima Biennale Internazionale del Bronzetto Piccola Scultura Padova, Padua, Italy, October 29, 1995 – January 28, 1996.
6e Semaine Internationale de Vidéo, Saint-Gervais Genève, Switzerland, November 3 – 11, 1995.
“Gary Hill: O lugar do outro/where the other takes place,” Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil, July 1 – 6, 1997 (not the full run of the exhibition); Museu de Arte Moderna de São Paulo, São Paulo, Brazil, October 3 – November 2, 1997.
“Gary Hill: Rétrospective de ses premières oeuvres mono-bandes,” Cinéma Lux, Caen, Basse-Normandie, France, December 11, 1997.
“Visual Utterance: The Works of Gary Hill,” Pacific Film Archive, University of California, Berkeley, California, February 11, 18, 1998.
“Art Vidéo: catastrophe et nativité,” Musée Royal de Mariemont, Mariemont, France, February 15 & March 15, 1998.
Solo exhibition. Center for Contemporary Images, Saint-Gervais Genève, Geneva, Switzerland, September 9, 10, 1998.
Solo exhibition. Aarhus Kunstmuseum, Aarhus, Denmark, January 17 – April 5, 1999.
“Gary Hill: Video Works,” NTT InterCommunication Center, Tokyo, Japan, February 16 – March 31, 1999.
Solo exhibition. Centro Cultural Recoleta, Buenos Aires, Argentina, May 17 – June 4, 2000 (May 25, 2000 screening).
Solo exhibition. Museo Caraffa, Córdoba, Argentina, July 7 – 30, 2000 (July 15, 2000 screening).
“Hill(scape),” Extra Microwave Media Art Festival (organized by Videotage), Hong Kong Space Museum Lecture Hall, Hong Kong, January 14 – 31, 2001 (January 20 screening).
“l’écriture vidéophage – les bandes vidéo de Gary Hill.” La Compagnie, Marseille, France, May 1 – 31, 2001 (May 15 & 17 screenings).
“Gary Hill: A Personal Anthology / Video Works,” (video screenings) The Ossolinski National Institute, Wroclaw, Poland, December 1 / 2 and FAMU, Prague, Czech Republic, December 9, 2004.
“Videoformes 2005: XXth Manifestation Internationale d’Art Vidéo et Médias,” Clermont-Ferrand, France, compilation screening moderated by Rosanna Albertini on March 18, 2005.
“Black Maria Film Festival 25th Anniversary Gallery Retrospective,” Robert Flaherty Film Seminar, June 17 – 24, 2006.
“Signal Channel,” Bemis Center for Contemporary Art, Omaha, Nebraska, June 9 – August 12, 2006.
“Du Sonore et du Visual, 2,” In Situ / Fabienne Leclerc, Paris, France, June 2 – July 28, 2007.
“Art of Limina: Gary Hill,” Slought Foundation, Philadelphia, Pennsylvania, March 21 – May 1, 2009.
“Gary Hill: Between Word and Image,” Headquarters of the Superintendence for the Archaeological Heritage of the Vento / Ministry of Cultural Heritage, Verona, Italy, October 14 – 16, 2010.
“The View from a Volcano: The Kitchen’s Soho Years, 1971 – 1985,” The Kitchen, New York, NY , June 29 – August 27, 2011.
Seoul International NewMedia Festival, Seoul, Korea, August 4 – 14, 2011.
“Moving Types,” Gutenberg-Museum Mainz, Germany, October 20, 2011 – April 22, 2012.
“SCHRIFTFILME: Schrift als Bild Bewegung (TYPEMOTION: Type as image in motion,” FACT, Karlsruhe, Germany and Liverpool, Great Britain, November 13, 2014 – February 8, 2015.
"Gary Hill," 37 Moscow International Film Festival/Media Forum, Cinema October, June 21, 2015.
"Gary Hill: Momentombs," Suwon Art Museum, Suwon, Korea, November 26, 2019 — March 6, 2020.Oeuvres vidéo de Gary Hill en sa présence. Center for Media Art. Program notes. Paris: American Center, 1983, unpaginated. Including a transcription of the spoken text of Happenstance (part one of many parts).
Electronic Visions. Program notes. Yonkers, New York: Hudson River Museum, 1983, unpaginated.
Furlong, Lucinda. "A Manner of Speaking: An Interview with Gary Hill." Afterimage 10, 8 (March 1983), pp. 12 – 15.
Lee, Thomas. "March Screening Series at BF/VF." Visions Magazine (March 1983), p. 13.
Sturken, Marita. “Out of sync: Hudson River Museum, Yonkers, New York.” Afterimage 11 (November 1983), p. 19.
Sturken, Marita. "Electronic Visions." Afterimage (November 1983), p. 19.
Actes du colloque video, fiction et cie. 2e Manifestation International de Vidéo de Montbéliard. Montbéliard, France: CAC Montbéliard, 1984, p. 46.
Gary Hill. Selected Videography. Program notes. Tokyo, Japan: JICS Plaza Video and International Community Services, 1984, unpaginated.
Video 84 – International Video Conferences, Montreal. Program notes. Montreal, 1984, pp. 61, 64.
Video Art Stockholm International Festival ’85. Program notes. Stockholm: Kultuhuset, 1985, p. E15.
Gary Hill. “Notes on URA ARU: A Work in Progress.” Gary Hill/Steven Kolpan Video Works. Woodstock, New York. Program notes, 1985, unpaginated.
Tokyo International Video Biennale. Program notes. Tokyo: Video Biennale Secretariat, 1985, unpaginated. (See notes below.)
“Video as Art.” Pia, Japan (February 22, 1985).
Sato, Yoshiaki. “The Progression of Video Art and Spirituality. Looking at Gary Hill’s Work.” Image Forum 6, 57 (June 1985), p. 137.
“Video Biennale Special.” Photo Japon, Japan (1985), pp. 80, 81.
Sugihara, Mariko. “Everything that is seen on TV is an idiom.” Video Com, Japan 20 (1985), p. 164.
The Image of Fiction: International Videoart Infermental 5. Rotterdam, Germany: Con Rumore, 1986, p. 41 & unpaginated.
Hill, Gary. "Happenstance (explaining it to death)." Video d'artistes. Geneva: Bel Veder, 1986, unpaginated.
Hanhardt, John G. and Gary Hill. Gary Hill. The New American Filmmakers Series 30. New York: Whitney Museum of American Art, 1986, unpaginated.
1986 SAW Gallery International Festival of Video Art. Ottawa, Ontario: Saw Gallery, 1986, p. 8.
Lalanne, Dorothée. “Artistes in Video.” L’Autre Journal 6 (April 1986), p. 32.
Kolpan, Steven. "Bateson Through the Looking Glass." Video and the Arts (Winter 1986), p. 22.
7. Berner Poesietage 1987. Bern: Kunstmuseum Bern, 1987, p. 4.
2e Semaine International de Video. Geneva: Saint-Gervais Genève, 1987, pp. 32, 44, 63, 65, 66.
6. Erlanger Videotage. Erlanger, Germany: Erlanger Videotage, 1987, p. 86.
2e Semaine International de Video. Geneva: Saint-Gervais Genève, 1987, pp. 44, 63, 65, 66, 127.
Bull, Hank and Veruschka Bódy. Infermental VI: New World Edition. Vancouver, B.C.: Western Front Video Production, 1987, unpaginated.
Goodman, Cynthia. Digital Visions: Computers and Art. New York: Harry N. Abrams, 1987, p. 171.
De Moffarts, Eric. “Télévision: le dernier carré?: La 2ème Semaine Internationale de Vidéo à Genève.” Gen Lock 7 (December 1987), p. 11.
Tamblyn, Christine. "Video Art: A Historical Sketch." High Performance 37, 10, 1 (1987), p. 36.
Gary Hill: DISTURBANCE (among the jars). Villeneuve d'Ascq, France: Musée d'Art Moderne, 1988, unpaginated.
Pixel Art – Estetica de la Generacion Animacion por Ordenador. Barcelona: Instituto de Estudios Norteamericanos, 1988, unpaginated.
Fabre, Gladys C. Art Video Americain. Les Annees quatre-vingt. Program notes. Paris: Le centre de recherche, d’echange et de diffusion pour l‘art contemporain (CREDAC), 1988, unpaginated.
Vidéoformes '89: Festival de la Création Vidéo. Clermont-Ferrand, France: Festival de la Création Vidéo, 1989, p. 12.
XII Salso Film & TV Festival. Parma: Comune di Salsomaggiore Terme, 1989, p. 82.
Mittenthal, Robert. “Video’s Event: Gary Hill Catastrophe.” Reflex 3, 6 (November/December 1989), p. 10.
Hill, Gary. "And if the Right Hand Did not Know What the Left Hand is Doing." Illuminating Video, eds. Doug Hall and Sally Jo Fifer. New York: Aperture Press in association with the Bay Area Video Coalition, 1990, p. 91.
Passages de l'Image. Paris: Musée National d'Art Moderne, Centre Georges Pompidou, 1990, pp. 52 – 54, 130. (In Spanish: Passages de l’image. Barcelona: Centre Cultural de la Fundacio Caixa de Pensions, 1991, pp. 71, 141.)
Gary Hill: And Sat Down Beside Her. Paris: Galerie des Archives, 1990, unpaginated.
Video Forum Berlin Bestandskatalog. Berlin: Neuer Berliner Kunstverein, 1991, pp. 16, 77.
Lageira, Jacinto. "Gary Hill. Une verbalisation du regard." Parachute 62 (April/May/June 1991), p. 7.
Sarrazin, Stephen. “Objecten die leven Spreken, Tapes die Leren Zwijgen.” Andere Sinema 104 (July-August 1991), p. 22.
Hill, Gary. "Site Re:cite." Camera Obscura: Unspeakable Images, San Francisco 24 (1991), pp. 134 – 136.
Sarrazin, Stephen. Chimaera Monographe No. 10 (Gary Hill). Montbéliard, France: Centre International de Création Vidéo Montbéliard, Belfort, 1992, pp. 8, 25, 75. (Including a preface by Gary Hill.)
Van Assche, Christine. Gary Hill. Paris: Editions du Centre Georges Pompidou, 1992, pp. 58, 59.
Sarrazin, Stephen. "La parole aux objets." art press 165, France (January 1992), p. 21.
Gary Hill: Sites Recited. Long Beach, California: Long Beach Museum of Art, 1993, pp. 7, 25.
Van Assche, Christine and Corinne Diserens. Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993, p. 63.
Bruce, Chris. Gary Hill. Seattle, Washington: Henry Art Gallery, University of Washington, 1994, pp. 35, 50, 51.
Willis, Holly, ed. Gary Hill. Spinning the Spur of the Moment. Irvington, New York: The Voyager Company, 1994, pp. 2 – 5, 7, 15.
Hermanns, Uwe, Gerhard Wissner, and Holger Kube Ventura. Dekonstruktion Video. Kassel: Filmladen, 1994, pp. 9, 69, 95.
Thériault, Michèle. Gary Hill. Selected videotapes 1978 – 1990. Toronto: Art Gallery of Ontario, 1994, unpaginated.
London, Barbara J. Video Spaces: Eight Installations. New York: Museum of Modern Art, 1995, pp. 22-23, 48-53.
Vischer, Theodora, ed. Gary Hill: Imagining the Brain Closer than the Eyes. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, p. 119. (In German: Gary Hill: Arbeit am Video. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, p. 125.)
Lestocart, Louis-José. “Gary Hill: Surfer sur le medium / Surfing the Medium.” art press 210 (February 1996), pp. 22, 23.
Dantas, Marcello. Gary Hill: O lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, 1997, pp. 14 – 18, 69, 72.
“Imagem éloqüente. Gary Hill: O Lugar do Outro.” Revista Veredas (July 1997).
TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart. Program notes. New York: The Kitchen, 1998, unpaginated.
“Liminal Performance: Gary Hill in Conversation with George Quasha and Charles Stein,” PAJ (Performing Arts Journal) No. 58, Vol. XX, No. 1 (January 1998), p. 17.
Gary Hill: Video Works. Tokyo: NTT InterCommunication Center, 1999, pp. 6, 32, 33.
Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999, p. 114.
Rinder, Lawrence, ed. Searchlight: Consciousness of the Millennium. San Francisco: California College of Arts and Crafts, 1999, p. 65.
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 46, 69, 159, 160, 194, 214, 235, 258, 305.
Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 10, 14 (transcription of text), 23, 24, 36.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, pp. 26 – 27, 46, 75, 86 – 87.
Hill (scape): Gary Hill’s video screening, performance and installation exhibition. Program notes. Hong Kong: Videotage, 2001, p. 6.
Lageira, Jacinto. Des premiers mots aux derniers silences in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 34 – 35 (transcription of text).
Quasha, George and Charles Stein. La performance elle-même in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 7, 9 – 10, 11, 23, 66.
Sans Commune Mesure: Image et texte dans l’art actuel. (Paris: Éditions Léo Scheer, 2002), pp. 44, 60.
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, pp. 96, 102 – 104.
De Volder, Geoffroy (interview with Gary Hill). “L’instant de ma mort.” DITS (MAC’s Grand-Hornu) (Spring 2003), pp. 142 – 153.
Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust. Long Island City: P.S. 1 Contemporary Art Center, 2003, pp. 173.
Barro, David. Gary Hill: Poeta da percepção, poet of perception, poeta de la percepción. In Portuguese, Spanish and English. Porto: Mimesis, 2003, pp. 10, 32, 54.
Mind on the Line: Gary Hill, George Quasha, Charles Stein, Aaron Miller and Dorota Czerner. In English and Polish. Wroclaw: WRO Art Center, 2004, pp. 14 – 15.
Zwingenberger, Jeanette. “Gary Hill, quand penser c’est voir.” L’Oeil 555 (February 2004), pp. 24 – 25.
Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007, p. 120.
Spielmann, Yvonne. Video: The Reflexive Medium. Cambridge: The MIT Press, 2008, pp. 101, 104 – 105, 108 – 110, 124, 191 – 197, 250 (photo only).
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 10, 24, 47, 53, 57, 60, 73, 81, 89, 90, 120 – 131, 152, 157, 183, 184, 259, 337, 395, 421, 427, 430, 431, 441, 469, 479, 495, 521, 559, 561, 580, 615, 626.
Art and Text. London: Black Dog Publishing, 2009, pp. 186, 228 – 299.
Copeland, Colette. “Rooted in the Experiential: A Conversation with Gary Hill.” Afterimage, 37, 3 (November/December 2009), pp. 22.
Squibb, Stephen. “Atypical Usage: Gary Hill, George Quasha and Charles Stein.” IDIOM (April 28, 2010). [http://idiommag.com/2010/04/atypical-usage-gary-hill-george-quasha-and-charles-stein-at-eai/]Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 36, 37, 62 – 65.
Spoken text:
This, that and the other thing. Things. Things are going to happen. Happenstance. Standing in the thick of things like sticks in the mud.
Cross my heart, hope to die, I never dreamed the likes of this. That’s beside the point, the issues at hand are other things. This is not going to be a song and dance, that’s entertainment, another thing altogether.
This is something I came upon while walking in the woods, that’s ground for thinking through other things.
Vanishing points.
Things. Things are going to happen. Happenstance. Standing in a mummy’s tomb, thought provoked, dumbstruck by the momentum of a tree. The gnarled character of its being, the way it visits the temples and the groin teaching the body/mind to be taut – to talk with your mouth open.
The words are coming, listen to them. Nothing surrounds them. They are open, they speak of nothing but themselves with perfect reason. I am talking, I am talking them out into the open. They sit like deer in a field, if I approach them too quickly they fade into the quick of things. Silence is always there – there is silence when I stop to take a breath, when I see breathtaking things.
Written text:
(in triangle) The sound of one hand clapping in one man’s mind. (bottom of screen) Not to be mistaken for the different drummer number….1, 2, 3, 4, so, on, and, so, forth.
(in triangle) One man’s mind clapping in the sound of a closed hand.
(bottom of screen) At a certain point another point is noticed. At a certain other point a line of reasoning is drawn upon other things. Therefore, the other point is this….That the raison d’etre draws from things on the wayside of vanishing points of view.
Nothing Talking Silence There