Acid film manifesto
WHAT IT IS AND WHAT IT IS NOT
ACID JUNK FILM MANIFESTO WRITTEN BY
AMERICAN VIDEO ARTIST
LAURA GRACE ROBLES
An Acid Junk film cannot be entirely black nor white
An Acid Junk film is a non narrative translation without excursus but within the avant garde cinematic expression of junk film that entails non representational and non objective subject matter
An Acid film must escape the real world and challenge ideas of what is human identity
Acid films alter the cognitive psychological state of man with the psychedelic and the subliminal images and colors of visual poetry that is a moving painting
Acid film is a moving painting that has been constructed by a game of abstract expressionistic computer art testing the attention span and emotion through meditation rather than discovering a feeling it is a mood of undistinguishable distorted distractions or many fast moving combinations colors within a counterpoise of lyrical kaos and subliminal illusion of visual poetry
Acid film is a junk film
Acid Junk film is acid film that has representational imagery combined with non reality and is constructed by an additive process of anti art film making built from within the deeper meaning of dreams that is a simulation of mind expansion
There are no real stories to be told in an Acid film
Acid films have no beginning middle or end
acid films must be an immortal loop of unknown circumstance conceptualized by man’s broken reality
Acid Junk film is time based media art or video sound art that must be for a wandering audience or projected during live musical performances
Acid film is typically not considered a conventional form of film but rather an acid film phenomenon
nor does Acid film represent film by film's definition rather by the paradox or contradiction of elucidated film concepts
Acid films may supersede the camera
Acid film is Anti-Art film
LEGOWELT ACID FILM -LEGENDARY FREAKS IN THE TRASH OF TIME BY BIRTHDAY GURL from BIRTHDAY GURL on Vimeo.
Birthday Gurl what can you tell us about your acid films?
I was going to take the "video" experiment more seriously for myself while transcending sound visualization from sound to art as it would attempt to levitate the psychosis with illusions, the sublime and the anti art aesthetic. With this film metaphor I allowed myself to get lost with recorded video performance, designing new moving images to incorporate a great number of effects. This allowed an alteration for the process and it has taken over ten years of heavy editing, exporting and reworking the same acid films numerous times. I was invading and pushing the limits again and again until my computer set fire to get to this point of chromatic and lyrical poetry. Here I was able to replace the camera and supersede it by using archival footage that I had fell in love with particularly images that reminded me of my child hood dreams , images had not shot with a camera. I somehow masked the footage into a an x-ray of the sun, filled with galaxies of color, it was like painting all over again but with video, a painting in motion. In the subliminal universe man has left the world to contemplate the unknown by escaping human identity and real world subjects. On my path to exploring and discovering new techniques I was searching for an alternative to film, something that still resembled film but took on a digital more futuristic-resonance resonance full of trial and error. It lead me to a hysterical awakening of intangible, electric, arbitrary reflection.
WELL I CAN'T SPEAK FOR ALL FILM MAKERS BUT THOSE WHO DO PRACTICE STUDYING THE SPELL BEHIND PERFORMING MAY BE CHALLENGED WITH THE UNINTENTIONAL OR INTENTIONAL CONFUSION OF HAPPEN STANCE AND IMPULSE IGNORING THE SCRIPT. FROM THE DELIVERY OF ACTIONS BY REAL ACTORS OR STREET SUPER STARS WHO FAKE WHATS FAKE WITH MOCK PERFORMANCE OR WITHOUT REALIZING IT. SO TO DECONSTRUCT THAT I COULD SEE MANY EXPERIMENTAL FILMS BEING MOSTLY MINIMAL OR DISSECTIONS OF EPIC FILMS THAT ARE CONCEPT BASED TESTING THE ATTENTION SPAN.