Pneuma (1977-83, 29mins, Silent, Color): "In Stoic philosophy, 'pneuma' is the 'soul' orfiery wind permeating the body, and at death survives the body but asimpersonal energy. Similarly the 'world pneuma' permeates the details ofthe world. The images in this film come from an extensive collection ofout-dated raw stock that has been processed without being exposed, andsometimes rephotographed in closer format. Each pattern of grain takeson its own emotional life, an evocation of different aspects of our ownbeing. A world is revealed that is alive with the organic deteriorationof film itself, the essence of cinema in its before-image, preconceptualpurity. With the present twilight of reversal reality this collectionhas become a fond farewell to these short-lived but hardy emulsions."Nathaniel Dorsky 17 Reasons Why (1985-87, 20 mins,Silent, Color): "17 Reasons Why was photographed with a variety ofsemi-ancient regular 8mm cameras and is projected unslit as 16mm. Thesepocket-sized relics enabled me to walk around virtually 'unseen,'exploring and improvising with the immediacy of a more spontaneousmedium. The four-image format has built-in contrapuntal resonances,ironies and beauty, and in each case gives us an unpretentious look atthe film frame itself: the simple and primordial delight these littletickers take as luminous Kodachrome and rich black and white chugthrough their time-worn gates." ND Alaya (1976-87,28 mins, Silent, Color): "Sand, wind and light intermingle with theemulsions. The viewer is the star" (ND). "A film about light, a paradeof forms as in Brakhage's Riddle of Lumen, but the latter's curiouswonder becomes more fully wonder for Dorsky. From Pneuma, the particlesare still there, and the light is still there, but now there is thedistinct impression of watching air blowing sand, yet the air is astransparent as the mind" (Konrad Steiner).