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At first, you’re likely to mistake broken rhythms for a certain defalcation in the notional expressiveness of the very idea promulgated as such by the critics (see Stan Brakhage), but that’s an overture. When the full apparatus gets going a few seconds later, you’re made aware Hirsh is more than aware of Fischinger’s Allegretto, and the whole wide worlds of color expanding behind evident “static” are surmounted with oscillating lines: rose, green, yellow, blue, orange, pink.

The Eames system of organization comes into play. The hyperfast music and fireworks develop into a static ideal of the moving picture image as a living image, the painting as absolute oscillation, on the solid foundation of Man Ray’s L’Étoile de Mer.