Daniel Barnett in Person Presented with support from the Theresa Hak Kyung Cha Endowment. Daniel Barnett has long been admired by Bay Area audiences for his films such as White Heart and The Chinese Typewriter, exquisite explorations of cinematic language. Endless and Untoward Ends are part of a trilogy that also includes Dead End, Dead End. Endless (1987-90, 45 mins, Silent, 18fps): Although constructed from thousands of still images of Chicago, Endless maintains a complex relationship to the photographic image. An image is not merely a document of a place at a particular time. Instead, time and space seem to compress or implode into a contradictory experience-one which is fluid yet static, sculptural yet two-dimensional, of the present yet of the past. The images are layered both horizontally and vertically, creating "endless" variations of time and space which are unable to be contained within the fixed boundaries of the film frame. Daniel Barnett: "Chicago struck me as the gimbal in a compass of existence, and has been an inspiration in much of my major work. Chicago also flies in the face of my nescience-the feeling that I don't know what I'm doing, a feeling I have long accepted and which has become a goal of my method, to do without knowing. Chicago knows what it is doing, it is a paradigm of artifice and throws my personal sense of scale into a chasm, a kind of relief. My films live in this chasm beneath the slipping feeling of gaining and losing one's sense of scale..." Untoward Ends (Observing Religion) (1970-73, 25 mins): "This silent art song is sung by a poet in pain... It is a true utterance, the rare coming together of image, rhythm, and light as a deeply felt communication." (Nathaniel Dorsky) With Ellen Saslaw, Paul Balmuth, Leah Siegel.