Eneri
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.