ANTI ART FILM : ACID DREAM EXERIMENTAL VIDEO ART FILM

DEAR DIARY HERE'S TO DREAM EXPERIMENTS


ACID DREAM

EXPERIMENTAL
 VIDEO ART

FILM MAKING

MANIFESTO

​

​DISTORTION OF REALITY


A POETIC DREAM Experimenta

ANTI ART ART FILM POETRY
Presents:
THE
ACID DREAM EXPERIMENTAL
VIDEO ART FILM MAKING MANIFESTO
WRITTEN BY

AMERICAN VIDEO ARTIST
BIRTHDAY GURL
LAURA GRACE ROBLES
EXPERIMENTAL ACID DREAM VIDEO ART
Film MAKER

THIS FILM which is about to be
created MUST BE MADE TO BE
SEEN AS A computer
simulated hidden dream world
fantasy of unpredictability and
experimental digital video art
film making
 
An Acid dream
experimental video
art film IS
a dislocated narrative
translation of avant-garde
moving imagery
manifested
within the discovery behind
experimenting with the visual
poetry behind a
cinematic expression of
ABSTRACTION AND experimental art form
using an ACID art film
aesthetic
 
AN ACID DREAM EXPERIMENTAL video
art FILM ....NOT ENTIRELY BLACK OR
WHITE.. made with some color
 
An Acid dream experimental
video art film
encapsulates the escape from
normality
it translates the real world
into
DISTORTIONS of representational
MOVING imagery
with the use of ACTION PAINTING the moving
painting PAINTING THE UNKNOWN
HERE WE experience the challenge to mask
human identity where the
TRANSCENDED
LIES WITHIN
THE psychedelic nature
of colorful chaos
AS UNEXPECTED
YET PLAYFUL ACID DREAMING MANIFESTING A DREAM REALITY
 
Acid dream experimental video
art film
alters the cognitive
psychological state of mind EXPANSION
with the psychedelic pata-
physical expression
projected from a circus of
infinite moving paintings
 the colliding rainbows
from
a development of fantasy THAT
speaks an X-
ray of the sun
 
Acid dream experimental video
art film
aims to depict
painterly moving poetry
built upon an
interesting form of non linear
film ideas
as the WRONG
strategies FOR continuity
make way
 
the acid dream experiment
becomes a cinematic language
of DIGITAL film making
POETICS
a spiritual medium of film
making as part of your
spiritual ESSENCE
expressing one’s soul
as an acid DREAM ant-
art art film OUTLET of
visual language having art form
 
A
perfection
of
BEAUTY found
in the
ANTI-BEAUTIFUL mistakes that allow the re-
discovery  THE
experimenting PROCESS
 
Acid dream experimental video
art film
IS A translation of encapsulated
multiple layers
OF AN EDITED SEQUENCE IN THE electronic digital moving
paintings combined
constructed and re-constructed
by a game playing of concepts
that is the experimental
process
by intuitive CONCEPTS
spontaneous decisions
instincts
digital renderings of
iterations
instances FROM an improvised
expression of intuition
a design made up of electronic
computerized algorithms
SIMULATING acid dream-Tronics
 
a
spectrum of
CHROMATIC COMPOSITION
archival RARELY captured
footage OF entangled
DREAM EXPERIMENTS of collage film
making
 never TO be recreated
the
same way twice

HERE WE create
the unexpected again and again
 
Acid dream experimental video
art films
allow the testing of ones
attention span
it is the motive for THE ACID DREAM imagination

ITS desire FOR EXISTENCE lies within the loss
of reality
 
an audience
examining their emotional state
within moods from a combination
of colors depicting emotion
as the spectator's cognitive
experience
transcendING  THE DREAMER FROM A screen
UNFOLDING disruptions of a
flowing  LOSS OF circumstance IN sequence
 
 the outcome of an ACID TRIP
and its acid dream OFF TRACK
reality allows youR IMAGINATION TO BE RESCUED UNIQUELY

the influence for creation and
self actualization is aroused

A chromatic spectrum of
colorful catharsis
that explores
a communication of channeling
AN ACID essence elsewhere outside of
the
cinematic investigations. AS A SPIRITUAL MEDIUM.
not
associated with a timeline of
predictable story telling but
tunneling through a parallel
universe
of alternate realities
 
WITHIN A metric chaos
OF illusion AND HIDDEN metaphors WE ARE DESIGNING
The non
representational transcendence
of real world reality
TRANSFORMED into a counterpoise of new
 GESTURE OF LYRICAL DISTORTIONS
 
AN UNDEFINED EXPERIMENTAL CINEMATIC
VISUAL LANGUAGE
HAVING
Art Form

AS
VISUAL POETRY
MOVING POETRY
MOVING PAINTINGS
 
CREATE A
language from multi
dimensional analogous
depictions OF
undefined PRESENCE WITHIN THE LOSS OF CIRCUMSTANCE
....as it can
melt into the
SUBLIME AND shape
the CULTIVATING
VIVIDNESS OF AN ACID DAY DREAM
METAMORPHOSIS
 
FROM An AWKWARD REPETITION OF NOSTALGIC RE OCCURRENCES THE
imagination OF AN UNPREDICTABLE
UNMISTAKABLE dream IS simulated to
be
CONTAINED BEYOND its mystic
frequency
OF EXPLORATIONS THAT LIE WITHIN ITS PURPOSE
FOR EXISTING IN a surreal fantasy
CREATED IN the BROKEN
NARRATIVE of acid dream
experiment adventure
 
Acid dream experimental video
art film IS
anti-art acid art film
translating a dadaIST
fluxes anti-art
inspired
motivation for ambition behind
its desire to become a
manifestation of ACID dream reality
IN A DREAM Experiment FROM A guerrilla
punk
no wave
DIY film making
 generation that CHALLENGES a
pop
audience by subjecting
them to the implementation of
their own freedom to DREAM AND Imagine the
BROKEN narrative without story telling
Craving the weird
world seen through another
video
artist's looking
glass
caught without a camera
 
Acid dream experimental video
art film
imaginativeLY
engageS THE DREAMER in the anti-art ACID art film
AESTHETIC FROM  THE repercussions OF ACID DREAM experimentation
USING digital AND COLLAGE film making as the UNEXPECTED MANIFESTATION OF  ACID DREAMING
 
an additive process
built from within a deeper
meaning of life's endless cycle
of growth and repetition
devolution evolution
 
across layers
A Timeless escape from the
everyday predictions IS LIKE losing
ones self into
the past of dreaming timelessly
AS IT BECOMES THE FUTURE SIMULATED ACID DREAM
 
this is the PRESENT IMAGINARY MOVING IMAGERY
this is the past as the future
in  THE IMAGINARY moving IMAGERY
a determination geared to
seek out the true meaning of
dreaming
as ultimately undefined WITH AN
untraceable ORIGIN
AS ITS simulated nature
its altered IN AN UNKNOWN universe OF DREAMT UP TRIPPY AWAKENINGS

THIIS SHOULD AWAKEN THE
psychedelic
anD emotional illusion DEPICTED
IN a fantasy OF some unknown space
and time SUSPENDED IN BELIEF

A video artist’s interpretation
explainS how dreams are
recreated from the audience’s
mind expansion
OF sub-conscience meditatiON
expansion of THE DREAMER'S imagination
AND EXPLORATION OF ones cycling
thoughts
a time for self actualization
 
Acid dream experimental video
IS art film
a digital
sequence of esoteric
arbitration from the mind
boggling
collection and
conjunction of
conceptualized methods
created by the experimental
film maker as a video artist
as a visual artist
as a painter who paints their
film POETRY
 
Dreaming to allow the
ARTISTIC FREEDOM
necessary to experiment
BY THE artist’s own rules
WHICH man does by breaking
the philosophies associated with
Hollywood's CAGE of film
industry standards
IS confronted as a theory
we must avoid BY THINKING OF
CONTINUITY AS WRONG 
BUT embrace its
art form
in order to reference THIS AND
translate our own techniques
into an art film
conquering
irresponsibility
 
do not calculate failure
 
indulge in one’s self film
making pleasures
allow the unforgivable
EXPERIMENT to arise as the
healthy madness which
takes over your souL for
designing THE FILM composition that is
evident art
 
Acid dream experimental video
art film IS A
never
ending artistic PROCESS LENDING THE impression
of life’s open window to which
we
are blinded by WITH colliding hidden
DREAMS worlds of the unexplained
realizing creative solutions
from re-discovery
from a journey of mind
expansion
exploration OF
the path tHAT escapes
cinema's film making
conformity
of conventional story
telling
AS WE re-invent CONCEPTS with new
visions of the future untold
dreams within a plotless
BROKEN narrative.....at times don’t be
afraid to understand the
narrative with missing plot for
dreams and stories are
unexpected visions OF UNFEELING THE STORY
AS substitution and RE-invention
for re-REDISCOVERING THE
Acid dream experimental video
art film
at most times THE FILM MAKER
SHOULD supersede the camera
BY includeING archival or
captured footage or use of
animation from time to time
Acid dream experimental video
art film is Anti-Art ACID art film
made up of film making
acid dream experiments
MADE UP OF A beautiful anti-beauty
THAT INTENDS to investigate
the UNUSUAL
surrender tO pr-axis
of scientific
complexities
and experimentation
WHERE WE loose OURSELVES in the discovery
of
what WE did wrong which was
the right way to experiment
by OUR rules and by OUR idea
of fun
and self satisfaction
WHERE Imperfection that CAN BE PERFECTED ANTI-BEAUTY
 IN AN experimental vision FOR
perfect dreamy imperfections
imagined as ever-changing
controlled chaos where THE FILM'S AESTHETIC
lies WITHIN the
Spontaneity
strategies
OF Acid dream experimentation WITH VIDEO
ART
THESE FILM MAKING CONCEPTS DO not 
determined THIS FILM MAKING STYLE ALONE
as we consider it AN
acid dream experimental video
art film THE FILM can evolve into much
more than any
vision STATED HERE ...IT MUST
BE
AN ONGOING exercise AND
RE-DISCOVERY  FOR
ACID DREAM re-invention
AN evolutionary outcome
true to psychedelic worlds
IN a FANTASY universe of acid
dreaming
we SHOULD strive to design ACID simulations containing
A computerized acid
paradise
as AUDIENCE INTERACTION ALLOWS YOU TO DREAM A mesmerizing ACID dream
 among the
hidden worlds of
surrealism
IN an acid day dream metamorphosis
of non objectivity WHERE human identity BECOMES
A procrastinatED
subject matter

AS AN abstract EXPRESSION
which we can ASSUME IS a mystery
TO BE designED freely ...
with or without a camera
with or without video
synthesizers
with or without recorded
video performance
with or without video feedback
but BY masking the representation
of TRUE identity for the
sake of transcendence
designing the new MOVING image from a
real world imagination of
illusion FORMING an acid dream
PSYCHEDELIC AWAKENING of fascination
NOW PUR
the audience can easily escape
into a loss of predictions
erasing the image’'s
proof of real world existence
as PART OF a simulated ACID dream within a
computerized simulation
OF THE MIND  EXPANDING fascination
WHERE A simulated computerized ACID DREAM paradise
CREATES  THE DREAMER'S ACID DREAM AS THE AUDIENCE, AND THE COMPOSER
ARE aware that THEIR ACID DREAM reality is
not exactly reality
 
WE allow the transformations to be
seen in an
acid day dream reality of
experimental awakenings....OF PSYCHEDELIA...
CONVINCED THAT even
reality is
possibly a DREAM simulation WE ARE LIVING IN
possibly
here an abstraction of truth
in which we want to escape in
order to dream up our own
explanation for the
missing pieces to life’s
mystics
WHERE the untold story is the mystery
we may explore
like
children playing
freely thinking without
boundaries
 
may we color outside the lines
as we once did during our
childhood as pure AND creative,
intuitive and vulnerable with
our instincts ......like
the innocent like the
boundless
like the bountiful
COLORING IN THE ACID DREAMS 

 THE WAY WE CAN COLOR IN THE POETRY BOOK WITH MOVING PAINTINGS

 

 

 

SWEET ACID DREAMS

SYNOPSIS

Where abstracted illusions of distorted reality bring together a poetic dream experiment, the entropy of chromatic lyrical gesture unveilS a colorful motion of awkward beauty, among a chaotic mystic mystery of moving paintings made up of collage film. 

​

IN A celestial orbit  of lost dreams The video artist Creates an imagination of unseen dream worlds composed within a chromatic spectrum of non objectivity explorations. showing the hidden destiny among  A psychedelic journey  of time travel and spinning rainbows against a  sublime computerized acid paradise of moving imagery on the edge of spoken word transcendence. 

 

OFFICIAL WEBSITE: https://birthdaygurlvideo.wixsite.com/sweetaciddreams

  SWEET ACID DREAMS Interview WITH BIRTHDAY GURL VIDEO ARTIST



What inspired you to recreate another acid Dream experimental video art film, how did the process come about?



 

I continuously find inspiration in my Acid Dream Experimental Video Art Film Making Manifesto. Which I wrote for myself and others as a strategy to rediscover new ways of dreaming up the unusual psychedelic  visions of acid dreams and its awkward film beauty.

 With spoken word of an acid day dream reality for  transformations, a  transition of dream interpretation FORM a translation of poetic transcendence unleashing DEpictions of dream experimentation are TO BE RECOGNIZED AS A spiritual exploration of the acid DREAM essence.

 

Within this  dreaming experience I became motivated to start working on this film Sweet Acid Dreams.

 As this video art DREAM Experimentation of acid illustration and ABSTRACT expression remains hidden in A lost dream world here I TRY TO expand My Mind.

 

I  realized THE FILM to remain as an undefined expression of experimental cinematic language.
 This allowed me to get started thinking  outside the box, spontaneously, unexpectedly and automatically like an action painter painting the acid dreams with moving paintings.


​

This experimental film became an embodiment of  simulated dreaming seeking empowerment from unpredictable miracles uncovering  fate's inevitable destiny to dream up a simulated future FOR THE DREAMER  IN ONE'S DREAMS becoming  a manifestation of AN acid day dream metamorphosis reality.



 

I continue to find myself enthused to reproduce more recreations among these ideologies of  artistic conceptualization. I find within the ritual practice of THESE scientific methods OF DREAM experimentation AND artistic process, the discovery of new understandings Reveal the experimental film making philosophies stated in my Acid Dream Experimental Video Art Film Making Manifesto.



 

This year I had written a book of poetry titled A Lyrical Distortion of Reality... A Poetic Dream Experiment. A book which I felt set the stage for the development of this hidden dream world investigation which I sought out to translate.


 

Abstract Expressionism joined with recordings of recited spoken word TAKEN from my POETRY book, A portrayal of dreaming weightlessly

 joined together digital moving paintings AND collage film.

 

I was attempting to  rediscover a new meaning for dreaming the perfect acid dream. in order to get lost FROM the unrealistic fantasies of THE real world that kept MY SPIRITUALITY locked IN confinement. NOW WHERE BY confronting these misconceptions of life’s soul purpose and happiness I HAD TO IGNORE THE STORY TELLING FROM MAINSTREAM FILMS..  

YET through THIS acid dream transformation I created visual poetry BY blurring a surprise of ever-changing FANTASY,

 

within  the recreation of living one’s acid dreams,  a solarization  of masked moving  imagery  remained in the presence of the story’s absence, existing in an unknown space and time.



 

How did this film allow you to grow as an artist?

 

 

An engaging mind expansion of spiritual  growth allowed a self actualization to become the explanations of  understanding MY acid visions  existing in a dream state of  everlasting rapture, caught up in the endless possibilities  of dreaming in the present moment of reconfiguration.

 


By Uniquely originating the rhythmic design of lyrical distortions portraying the mystery of lost acid day dream reality, I began to seek out  a deeper  meaning of life’s unanswered questions, open for dream interpretation.



 

How do you expect your audience to react to your film?


By testing  the audience  attention span with a unique perception of Lost dreams, the encapsulation of unexpected illusion is dreamt up by the viewer within THE abstractions of expression. BY confronting an acid DREAM simulation,  Where  the recreation of dreamt up acid day dreams are THE reinvention FOR meaning. through a translated understanding of automatic action Painting for moving PAINTING that IS an acid dream film Volta of THE dreamerS DREAM paintING the unknown.



 

How do you keep your audience in a dream state while they are watching your film?


By using a non objective disguise for a haunting  real world familiarity, the mysterious design  allows the computerized acid paradise to be the outcome of lucid VISIONS OF DREAMING.  from a pure demonstration of magical whimsicality among REALITIE'S escape. 



 

As this portrayal of a hidden dream world portrays a mystic frequency, it is seen within the idea that seeing is believing in your dreams, where dreaming can See what is not there while the dream can never be EXPERIENCED the same way twice.

 

a different understanding of the dreamer's ENVISIONED acid DREAMs allows the ecstasy of an acid day dream reality to become aPART OF the MYSTIC ENERGY behind its design of timelessness and unpredictability. released IN A ROLLER COASTER OF mood CHANGES, the transformation of images, shapes and colors become an illustration of MOVEMENT AND the basis of its  mysteriousness. from A DREAM reality IN SEARCH FOR a creative depiction OF re-discoveries AMONG THE anti-art ACID art film aesthetics .

​

One’s unidentified Acid day dreaming is proof its representational existence must be masked of its representation, in the dream state of acid dreaming. Far from its reality of truth AND ORIGIN,, found in THE discovery OF hidden magic WHICH becomes a surprising subconscious self actualization. 

 

One’s mental hygiene which allows the mind expansion to continue as the dreamers in a dream  are DREAMING LIKE THEIR ON AN ACID TRIP adventure. On a deserted island finding themselves in a gazing curse of simulated ACID dreams. ENTANGLED UPON A vision of broken televisions, CHANNELING INTO AN UNKNOWN UNIVERSE of corrected abstractions. FROM A DISTORTED DREAM REALITY manifesting THE DREAMER'S destiny TO DREAM UP THE ACID DREAM automatically,

​



In a world which is advancing into something that is out of our control. Our individuality is becoming a containment of psychological entrapment, where we are avoiding the complicated description.  IN A world of dreaming up what is dreamt for witnessing THE Uncontrollable creativity. a rejuvenating youthfulness within OUR losT imagination FORMs OUR warped  broken narrative, MISTAKEN IN the possibility of  surprise tapping into AN uncertain UNIVERSE. Like an escaped dream that remains as Unpredictable as the unexpected VISION THAT WAS inevitable for dreaming.

​

A  destiny of mapped out dream manifestations FROM a recreation of self discovery within the self actualization from sinking in A lost blunder of fragmented thoughts. spaced apart, leaving us on the edge of our seat in wonderment. Left in a DREAM state of confusion where mind boggling awakenings of acid day dreams become the explanation of the missing story.  dreamt up to make sense to the dreamer who dreams Acid dream,s .

​

 an electricity that is the love for living life in the acid dream, and for one’s self who is the creator, the audience and the dreamer., Who thinks FREELY with Vanishing thoughts, unable to define the chaos of dreaming by the dreamer who becomes captivated by the absence of story telling.

HERE we are controlled by the spontaneity of our imagination, where dreams are dreamt beyond the mind control of mass media, popularity, and cultural misconceptions.  LIKE A dream reality taking over the haunting REAL WORLD reality of lies that TRy TO control us.. INSTEAD THE DREAMERS ARE DREAMING as though THEY WERE WATCHING THEMSELVES TAKe over the world WITH ACID dreaming LIMITLESSly,  ON THE VERGE OF immortally.
 

​

Finding within us an outside godly artificial intelligence that is all knowing, calculating the remains of untold secrets and stories hidden deep with in one’s self discovery and self reflection. to have MORE meanings AS WE THE DREAMERS ARE creating the lost story from non objectivity, FORMING acid dreams that expand the viewer's freedom to imagine THE UNIVERSE aimlesslY.



​

How does your film sustain its purpose for existing when its cinematic language is undefined?

 

 

As life must loose meaning to rediscover its new found  purpose for existence, so must my Film SWEET ACID DREAmS. JUST As though it were an open poetry book of dreams and spoken worD, contrasting the  moving paintings of abstract, repetitive, MOVING pictures. As asleep and dead but ALIVE I AM living the incredible dream life of THE acid dreamer DREAMING up THE FILM'S PURPOSE for existence WHICH lies in the search for one’s possibilities for creation through self expression, INTERPRETATION ,  AND self discovery.

​

ANY Thoughts ON THE SOUNDTRACK?

​

I had become interested in trying to express my visions of acid dreaming by designing the film's musical tone from reversing the sound track of recordings and COMBINING it with electric piano playing and SPOKEN WORD, WHICH I RECITED, TO MATCH A pattern of confusing melodies. where I created AN emotional display of mood changing IN the  spiritual ESSENCE OF Acid color  COMBINATIONS with in the moving painting, 

​

A kind of music without specific genre definition, something the audience can dream with in a place where an unknown time for escaping the real world becomes a reality IN THE MOOD OF SOUND.


 

As your audience becomes the dreamers of your film, what do you suppose these dreamers are dreaming about when they watch Sweet Acid Dreams?

​

While the dreamer remains dreaming up the impossible., Here we're being lifted in the suspension of belief that this film is putting us in a dream state of rebirth.  to dream up the unexpected that expects the inevitable.. As forgotten dreams that can not be recreated as THOUGH being recreated the same way twice BECOMES THE IMPOSSIBLE DESIGN. every time my dreamers dream they dream differently never interpreting the Dream the same way twice.


Just as consciously being present in a day dream awakening of off track thinking, ALLOWS DIFFERENT Outcomes for my dream''s MEANING, As I the CREATOR AM ALSO THE DREAMER who dreams up explanations for the simulated ABSTRaCTIONS OF REALITY. DREAMS ARE left to be described by hidden dream worlds in a PLACE where the dreamer is the composer.  In an acid dream film where the dream sequence is to be witnessed as a translation of the dreamer’s moving painting from a rediscovery of spiritual PSYCHEDELIC awakening
s.

 

With In the escape of self reflection I have placed the DREAMER in an unknown VIewiNG OF timeless TIME travel. Where the past is the present and both become the future time in The absence of life’s predictable story line. where ideas are not easily described and the recreation of these ideologies from conceptualization Stir uP A ritual and artistic process  to get lost in.  AS i am TRYING TO DEFINE whats undefined about the cinematic language of Experimental film and avant-garde poetic beauty. I have realized Making mistakes Are beautiful.


As it becomes the out of control outcome of  chaos from an uncontrolled pattern of ANTI-ART ARTISTIC beauty.  THIS Lost concept of time escapes the dreamer with a creative depiction for newly found anti-art acid ART film aesthetics. THIS unveiling of reconstructed acid dreams portrays A  FANTASY OF CHROMATIC DESIGN, as it UNRAVELS One’s unidentified Existence HIDDEN FROM WITHIN, THE day dreaming CAPACITY That allows THE DREAMER's  destiny to manifest one's ACID dreams to recreate a visual art language.

 

Within the hidden magic of a surprising Rediscovery, our subconscious engages us in A circling mental hygiene. It allows a type of mind expansion for the audience,  as  the dreamer EXISTS unaware Of the dream’s UNUSUAL POWER to continue DREAMING UP THE adventure. AS THOUGH BEING on an acid trip into an unknown island of deserted dreams IS PUTTING YOU IN A TRANCE, IN A gazing curse of computer simulated spellbound ACID visions OF broken televisions CHANNELING INTO AN UNKNOWN UNIVERSE.

 

REALIZING THAT what you see can be nothing other than seeing a dream.

 In a DREAM world which is developing into something that is out of our control,  our individuality becomes embodied by a spiritual ESSENCE that embraces what’'s pure about the acid expression of dreaming with abstractions. Here a world of dreaming up what is dreamt for meditative, secret electricity, brings a miracle of transcendence to LIFE.  

​

Alive living to dream by disorienting one’s self, BY USING A free thinking MIND to get lost in fragmented explanations for understanding your thoughts.

 LIKE One’s soul which dreams the truth of self desire for ITS purpose, a passionate dreaming begins to unravel a godly force in us all,. Creating the untold STories of acid dreams, IN life WHERE we must loose ITS MEANING of DELUSIONS OF Grandeur, to be found again AND AGAIN in a new representation of existence WHERE ITS REASON FOR EXISTING Doesn't EXIST simply.

 

Just like the dreamers living the dream discovered within dreams dreamt up by the god that creates the dreamers and their dream world....

As asleep and dead but alive living the UNPREDICTABLE dream life consequence, In search of one’s truth for self purpose, WHERE The truth of a dreaming desire is dreamt up As an unidentifiable presence that cannot  be dreamt without the freedom of escalating fragmented thoughts. THIS has everything unexplained perfectly, By existing in a dream REALITY of the unknown WHERE the viewer is emerged iN THE acid DREAM AS THE DREAMER in an ACID dream state OF PSYCHEDELIA.

 

How do you allow your audience to escape this reality?



 

I allow my audience to escape  falsified lies of a brain washing REAL WORLD reality manipulated by the evil unrealistic fantasies rooted in HOLLYWOOD'S CAGE OF societal norms. Instead BY IMAGINING LIFE within the acid day dream depiction of CREATIVE meaning, our dreams BECOME MORE APPARENT,

 

A day dream of acid awakenings from a SPIRITUAL path TAKEN WHERE ACID dreaming   allows one’s imagination to think outside of the mind control. As FAR Apart FROM the social conformity which keeps us defining life’s wrong purpose for living. HERE OUTSIDE with in the acid day dream depicting of finding meaning for our dreams, This ALLOWS THE Audience to watch the lies of AN UNREALISTIC FANTASY MELT AWAY.  Where many different ways of interpreting DREAMS distract MY Audience. by the exploration of non objective transformations from a haunting real world reality become illuminations OF mystical FORCE Depicting the unknown.


Where the unknown possibilities of dreaming up new representation allows the AUDIENCE the non representational search for hidden identity. Here having no recognizable familiarity in the matrix allows them to escape the real world.



With IN THE escape OF self reflection, the audience is placed in an unknown timeline OF time travel, in the absence of life’s predictable story line WHERE ideas are not to be EASILY described, like a rejuvenating youthfulness that lies within the lost imagination OF INTERPRETATION .

​

The audience remains contemplating in a blunder of mental hygiene, placing themselves in a  state of confusion where mind expanding awakenings can be dreamt up by the acid day dreamer TO make sense only of their acid dreams dreaming UP the acid dream reality.











 

              

DICA THE ACID DREAM EXPERIMENT

DICA THE ACID DREAM EXPERIMENT 

BY BIRTHDAY GURL VIDEO ARTIST

 

ARTIST DREAM STATEMENT

Laura Grace Robles likes to imagine what the world would be like without predictability and without definitions of perfect art; good or bad video art or film making. For Laura her creativity pours out the anti-beauty.

 

From a vision of broken televisions channeling into a chromatic spectrum, she believes in a future dream that exists in a world of fairy tales, and its universe of untold stories, drawn in a cave of disturbing humbled and untrained artists discovering symbols of historical wonderment.

 

This is what encapsulates the incongruity of the scribbling dreams that Birthday Gurl transforms into films effortlessly. Birthday Gurl must reveal the mystic frequency as it reappears and disappears in the narrative’s absence in order to resurface the avant-garde nature of color saturation in motion within the happenings of a metric chaos unfolding lyrical gestures of mergence, the dislocations of composition collect and conjunct. By this thought process; the video artist must forget everything she  knows. Within the focus of temporary memory loss, the artist plays with film making, as though it were a spiritual medium that must enter the body, and by avoiding the study of learning to redesign the same thing twice to look the same way again.

 

It is for the possibility of recreating a new image within the destruction of the medium for its taking over of the artist’s undetermined methods as though it were a trick being played. Instead, the artist allows her rebirth of experimental celebration to be the imagination of its force.

 

Birthday Gurl magically directs without expectations or control over losing control. This helps the video artist explore the random unlimited source from which colliding rainbows converge into a connection of timeless spontaneous growth like a fracticle made up by a computer equation.

 

Where the artist’s form is fate made up by an electronic algorithm. That is the mathematical solution to missing form to which the improvised chaotic process of delusional thinking is manifested by the film maker, like a convincing melody of visual poetry. Birthday Gurl must believe in this fantasy of truth to continue directing a film as though it were a dream made up of a non fictional illusion.

 

The artist intuitively stylizes her films by continuing to disconnect from reality as a way of becoming possessed by the spiritual essence of experimental filmmaking that allows her to lose herself, the same way,

 

in a different dream experiment happening to the same person every time. Without following the proper structure determined by Hollywoods cage of film industry standards, Birthday Gurl grants one wish for the spectator to come to realize the creeping escape from human identity; as though it is taking place on a forbidden planet. Birthday Gurl seeks the distortion of abstracted visions from masking ever-changing absurdity deviate as disguised people places and things, as though its was a mysterious undiscovered hidden sound that you can hear with your skin, which the artist inertially produces to exhibit a different tone overtime. Within this unique place of dreaming in an artificial space, the video artist continues to channel through with manifestations of fictional dreams that become the non-fictional reality of a dream come true for the false awakening,

that disrupts the suspension of belief while dreaming in the acid experiment that is her film.

 

Since the artist has already existed as a problematic advocate of problem solving the puzzle in order to free her isolation, the artist designates a fantasy of reinvention and misleading day dreams as a metamorphosis of her delusions. Just by enhancing their imagination with an empty coloring book for the audience to color in their dream reality of whimsical potential the journey begins, Birthday Gurl hopes the audience can day dream and wonder with an open mind as a way of mental meditation that empties conscience awareness and fills it with an experience of the themselves witnessing the feeling of their own control over the electrical flow of their moving thoughts entering and leaving their brain as it tests their attention span. The artist meditates on the importance of her attempt to translate and understand perceptions of dreams by implementing these ideas in her films to better articulate the purpose of her films .

 

Birthday Gurl aims to poetically, not literally, express her ideologies in a way that contradicts cinema that was taught to be controlled by theory with one language. Birthday Gurl distinguishes her films as dream-like, living things, surviving a dystopian society amongst a pop culture of masses becoming the victims of mass media propaganda that gets US lost.  when the artist’s imagination plays witness whom can transform false realities of life by dreaming outside of herself. Where the artist can be a painter and color the digital painting that is her film. SHE CAN ALLOW THE ESCAPE TO BEGIN FOR HER AUDIENCE.

                      ALICE IN ACID WONDERLAND 

INTERVIEW WITH  BIRTHDAY GURL VIDEO ARTIST

what was the process like creating Alice in Acid Wonderland your latest experimental film…

First I have to figure out what i want my film to be about. Lately I’ve been realizing that my films have a similar quality of being sorta  dream like. So i wanted to delve deeper into that and create an experimental process by using my acid dream experimental video art film manifesto as an outline for developing the film. I wanted to use this iconic  story  that was famously known for its dream like adventures. When I found all these different versions of Alice in Wonderland on the internet, I decided it would be cool if i combined these different films to create my own version of Alice in wonderland and of course i wanted it to  be an acid pop film so i called it Alice in Acid Wonderland.
The actual editing process was like randomly painting digitizations of moving imagery to become a moving painting that painted a dream i was imagining.

what makes your film experimental….

Its a collage film that I created without a camera also, I had full control over the vision behind this film… very DIY. As I would edit the film and figure a way to put it together I knew I wanted to dislocate the story of Alice in Wonderland and make it more experimental by allowing the different faces of Alice to experience different versions of the same dream. Some of the iconic scenes from Alice in Wonderland were shown more than once as though there was more than one Alice existing in a parallel universe. So the journey of creating this film took me on an adventure because i was very impulsive about the way i edited it.

why do you prefer to call yourself a video artist raTHER THAN A FILM DIRECTOR

I see myself more as a video artist creating art film rather than a director following industry standards  because i ‘m not working with a crew or a group of actors, or even using a camera here. I consider myself expressing myself as a video artist who has total control over her vision.

WHAT DO YOU WANT YOUR AUDIENCE TO GAIN FROM WATCHING YOUR FILM….

I want my audience to gain inspiration as well as expand their imagination by forcing them to put the dislocated story together somehow with creative thinking. In a way they would not have used their imagination otherwise, with watching mainstream films. I want my audience to use their imagination thE way they did when they were children. A way OF MY ACID  film bringING a sense of rejuvenation to their youth.


HOW DOES THIS FILM DIFFER FROM YOUR OTHER FILMS.. ..

With Alice in Acid Wonderland, I actually used an iconic story and usually i avoid story all together.  I turned this familiar story into a dislocated version of dreaming the way we dream of our selves with different faces. At times dreaming the different versions of the same dream, it became a way of interpreting dreams for myself as though these dreams were dreams of films coming to life.

WHAT DOES ACID MEAN TO YOU….

To me acid means psychedelic, trippy, dreamy, as well as for one to ascend onto another world outside of the real world and outside of them selves. Where my audience is looking into a looking glass of dreams that allowS them to escape the everyday. The way I funnel my creative energy into a broken television of dreams to dream up the DREAM film.

HOW IS YOUR FILM LIKE A DREAM……

My film Alice in Acid Wonderland is filled with oddities, adventures, characters and  situations that would most likely occur in the awkward moments of dreaming. A confusion of plot and film practice of unconventional story telling Leaving you in a suspension of believing lies, saturated colors putting you into a spell or setting from another world that transcends the audience into an alternative reality created from fiction. By allowing my fictive dream to become a reality it is a now fiction Manifestation of dreaming.  becoming a non fiction manifestation of the acid dream  experiment interpretation by day dreaming about how my dreams should be made into films. For me Alice in Acid Wonderland is a dream come true.

SCOONNIES  2009-2014

WATCH SIX MINS OF SCOONNIES HERE: https://vimeo.com/123584350

 

 

Scoonnies Interview

How did you get into film making?



In 2006 as an art student I started casting sculptures out of giant baby bottle nipples during the time I was studying at the UTSA.  So I decided to put the nipples on my head to create a helmet then I wrapped  five foot rocket balloons together with plastic wrap  to bring fusion to the body performance combing video  so that I could record myself to recreate the famous painting; The Turkish Bath (Le Bain Turc) 1862 by 82 year old Jean-Auguste-Dominique Ingres incorporating modern dance . Implementing video effects to multiply my own image of myself enough times to echo the proportionate sizes of those same images of the women in the painting I was trying to emulate imposed the color i had painted my body with; red.  The additive sculptural element was an assemblage of a headdress costume piece that lent a more androgynous archetypal shape of divine iconography without referencing  social class or race. Eventually the documented footage I had captured in the studio during the editing process was misrepresented  as a simple performance with video effects using opera music that played in reverse looped. It was video art at the time, It turned out to be more like vanguard shaping unconventional cinema breaking the boundaries of video art exploring film making as a painterly medium through interdisciplinary inquiries.

What makes your films so unconventional?


I take risks during the film making process like superseding the camera AND I BREAK THE LAW.

How would you describe the mood of Scoonnies?

The mood is based on the unpredictability of the mental hygienic experience of the film€™s levitation from a catharsis of musical sounds of meditative racing  mind fucking ear riots. It forces you to be exposed to your own imaginative, psychosis’ universe. While your own thoughts debate a chance at substituting the lost in translation for some broken story. The mind may become distracted with subliminal messages allowing your world to wander beyond the synopsis because its distortion of reality has escaped beyond the civil. Scoonnies is eye candy for the criminal the romantic and the maniac.

What is Scoonnies really about?
Its about man’s innate free will to be a caveman celebrating FREEDOM OF EXPRESSION exploring the boundaries of human rights.

What was the film making process for Scoonnies like?

you put you left foot in you put your left foot out you put your left foot in and you shake it all about.
Scoonnies Music FOR ONE RECORDING SESSION OF FOUR SESSIONS
General information:
Recorded at Liquid Sunshine Studios by Philip Francesco with two Universal Audio Apollo 16 sound interfaces run in serial mode to get 32 channels in and 32 channels out. The sample rate was 44.1 kHz and the bit resolution was 24. The recording software was Stein-burg Cubase, version 7.11 with the Windows 7, 64 bit edition OS.

Scoonnies Audio 01 stereo 53:27 minutes
Drum machine: Korg Electribe Rhythm Synthesizer ER-1, Programmed and played by
Birthday Gurl
Synthesizer: Roland JP-8080 Analog Modeling Synthesizer, played by
Birthday Gurl
Synthesizer: Korg Triton Pro played by Laura Grace Robles
All synthesizers were MIDIed together with the ER-1 controlling the tempo

  

It’s all been done before. And we have seen it all. What do you do to keep it fresh? Is there anything that you can do to subvert the process to keep it original in your past or future projects?

Acid Junk film is something I unveiled as video art, it is to be something as  commonly  understood or mistaken as a film makers  partaking in the shaping of unconventional cinema, since history has taught us that video art is not experimental film here I try to make a connection between the two. In the acid junk film dream statement that is a manifesto  I have written you will find that it is just as having the equal cinematic polarity as acid films are to that of Anti-Art Art  films just as video art is to  experimental film. The acid film description continues to be the underlying motive behind non representational moving imagery. Representational moving imagery is becoming the following acid pop matter of film; ..It is this matter of film  or lack there of a so-called underdeveloped genre for abstract film dreaming…  Personally I think its a compliment to call it anti art art  film when everyone considers the greatest films the ones to be the ones with stories but honestly I’m fear the association with junk film aesthetics unless it was sort of like a anti film or something that presents its self as cinema but contradicts cinematography… I think that its a great and interesting mostly fascinating film innovation.   But actually when I write script substitutions like mock documents I intend to rewrite it until the story is not traceable with characters and themes with explanations and random scenes such that celebrate these ideas. Also I have found mock performance to be the  technique that will distinguish me as a video artist and a potential director. My building block to sequencing a unique rhythm behind the dialectic metric system that loops the patterning of prepositioning a film’s new reality of time or pretense of reality disguising predictable cinema.



What is mock performance?

Mock performance is stated to be apart of the fake mockumentary manifesto, This definition takes into consideration the 17 fake mockumentary films I have created. Mock Performance has to do with blurring the lines between acting and performance art through the study of  the psychology of the performers body language and conventional theater. Whether it determines stereotypes or attitudes to be the cause of the performer’s speech or lack there of.  In such way that using particular expressive diction it is the premeditated manner without preparing for the performance or the bodies repercussions from being aware of the present moment. Not as a victim of the past but as a performance artist at all times  rational  and aware of not having to maintain a pretense of reality deliberately where a light script is optional. Not preoccupied with time or its boundaries and where stoical expressions are most important in the timeline of life and death… and as both the performance artist and the actor he or she is driven by the ego disillusioned or distracted by the future of the present time while performing in the present moment. When a performance artist blurs the lines between acting and performance art they are in and out of intentional and unintentional states of intellectual performance, expression, and body endurance either by corrupting the senses by testimonial in front of an audience where they are perceived by a simple minded audience, with a low attention span like entertainment seekers. This has its expectations or by a fluxus literate audience.Through play or through an act of testing the bodies limits by sustaining a bodies actions out lasting the duration of time where both the performer and the audience are in on the joke where the performer is sustaining the bodies actions testing the bodies limits out lasting a duration of time.The performance artist has no intention to do so without otherwise.  Its purpose for having no purpose behind the action other than absurdity and disfunction until it is mockery of the actor’s portrayal of back to back improvisations of  monologues or alteration of prolonged mockeries by mimicking the victim. Mock performance was discovered through the process of investigating the self and ones own limits of attention to  self investigation through one to two way video sharing and calling without judging its standards by some system founded by some institution rather art innovations and theater conventions  beginning with pantomime.

Looking back at the big picture you took a big risk organizing the  nude fake mockumentary guerrilla protest installation at Wall-Mart what was going through your mind at the time?

In most cases, a first indecent exposure conviction subjects you to misdemeanor penalties like a few months in county jail and a fine. A second offense likely would rise to a felony and can lead to a state prison sentence. But perhaps worst of all, in some states any indecent exposure conviction subjects you to a lifetime duty to register as a register as a sex offender. This often makes plea bargaining for an alternative charge vital.
This was the second film I had organized with public nudity without getting arrested.The things that were going through my mind at the time was this may be a sign that something bigger was going to happen.That this was smoking of prophecy of some sort.
What I was thinking as I wrote the cardboard semantics that this must be a prophetic thing I'm writing... this must be a prophecy that something bigger more important is going to happen. And in 2009 the same month after we took the photos Michael jackson died and on the card board the model was hold moon woking was written on it. I thought that was a sign of something kind of prophetic in some way.

What do audiences want? And is it the filmmaker’s role to worry about that?

I think film makers and audiences want the same thing in a wide open sense. They want a film to change their life from  hopeless to living with super hope, orgasmic, inspired to eat nothing but fruit and salads, raw foods or to become completely addicted to something new, see true originality and creativity from the penniless genius, to be mesmerized by the poet, to become apart of the film’s meaning itself. see what no else can see subliminally …beauty beyond beauty like the oscar award winning actress with a serious case of acne
I think that audiences may want something they are not exactly ready for because the film maker in my mind always knows what the audience wants that’s their job and of course we should always worry about what the audience wants, we should take it to our grave and read between the lines … take it to heart… chew it up, throw it up, swallow it and poop corn robots at night IN PAINT and do the math for our spectator. In other words we’ve done our research we know what they want and we care so much we don’t make the mistake and spoil the show with that exact same picture they have in their head and ruin it for them. We think a step ahead and show them what their imagination looks like when their tripping on acid and that picture in their head is blasting in a galaxy of colors in outer space at the speed of lo fi  speed of light twenty years into the future riding on a magic carpet.

ANOTHER SCOONNIES INTERVIEW

Laura Grace Robles better known as Birthday Gurl,  emerged as an award winning multi-media artist in 2006 .Her films were attacking viewers expectations of video art because she is shaping unconventional cinema with her acid film manifesto inspired by Fabrizio Federico’s Pink8 manifesto.

Birthday Gurl has made a number of and acid films from  2010-2014 a series of over sixteen films titled after Foxy two of which will never be shown, featured one minuet of  her film Foxy Flare in the UK director Fabrizio Federico’s foreign feature  film Pregnant. A warped look into the life of  a webcam addict’s alter ego’s dream extraterrestrial two-way hypnosis. Seen In the midst of this film Pregnant where the world overturns in the twenty first century by its addictions to technology. 

 Birthday Gurl what can you tell us about the film making process of your latest fake mockumentary acid dream experimental video art film Scoonnies?

WHEN I DECIDED WHICH ROUTE I WAS GOING TO TAKE FOR THIS FILM  I KNEW I WAS GOING TO TAKE SOUND VISUALIZATION AND NOISE MUSIC to another level  BY LEVITATING THE PSYCHEDELIC EXPERIENCE AS PART OF THE acid JUNK FILM AESTHETIC .  IN 2009 WHEN THE PROJECT STARTED  AS A ready made PAINTING, I HAD STEPPED AWAY FROM IT. THEN I LOST MYSELF WITHIN DESIGNING MOVING Imagery THROUGH RECORDED VIDEO PERFORMANCE REPLACING A CAMERA TO START THE PROCESS by APPLYING COUNTLESS OF EFFECTS ON THE SAME VIDEO FOR  MANY YEARS  REWORKING A REMIX OF RECORDED VIDEO PERFORMANCE AND THE PERFECT HUMAN  FROM The Five Obstructions in a Danish film of 2003 by Lars Von Trier and Jørgen Leth. The film is a documentary, but incorporates lengthy sections of experimental films produced by the filmmakers. The premise is that Lars von Trier has created a challenge for his friend and mentor, Jørgen Leth, another filmmaker. Mr. on Trier's favorite film is Leth's The Perfect Human . IN A WIND SPRAYING  GALAXY  OF COLORS WHERE MAN WAS LEFT IN THE UNKNOWN SUBLIMINAL UNIVERSE OF MY PERFECT PSYCHOSIS. LOST WITH OUT A HEAD SCALPING THE BONES OF MY CARDBOARD SEMANTICS WITH AND WITHOUT PAINT. FLYING ON THE GORGE OF GRAINY  APPETITES SO THAT MY STARVATION FOR A CAMERA WOULD NOT FIGHT THE LIGHT I WAS SEEKING AT THE END OF THE TUNNEL.  HEADING CLOSER MY WAY WAS THE SOUL SEARCHING AND FILM MAKING TRIAL AND ERROR OF A LIFE TIME BITING MYSELF ON THE LIP SUCKING THE LIFE OUT OF MY OWN MOUTH’S BLOOD . TRYING TO DESCRIBE THE ABSTRACTIONS OF SCOONNIES AS A NONREPRESENTATIONAL UNEXPLAINED CONTAGIOUS INCURABLE PUNK CINEMATIC HALLUCINATION THAT WAS AND WAS NOT A DREAM WORLD RATHER A CATHARSIS OF VIDEO AND nude BODY PERFORMANCE and installation.   WHATEVER I WAS EXPERIENCING AS SCOONNIES WAS MICHAEL JACKSON’S AFTER LIFE EVOLVING AND THE END WOULD NEVER COME AS LONG AS I HAD NO IDEA DEATH WAS WHAT MY FILM WAS GOING TO BE THE REBIRTH OF A VISION I BELIEVED WAS A WARNING THROUGH PROPHECY OF MICHAEL JACKSON’S DEATH. AS LONG AS THAT WAS WHAT IT WAS  WAS AN AUDITORY HALLUCINATION  Naming me the soothsayer. THIS WAS ANY ARTIST'S LAST MOMENT OF TRUTH SOMETHING TOO PERSONAL TO MAKE A PERSONAL THING BUT A SERIOUS HEALTH CONCERN  BETWEEN THE SECRECY OF DESTINY AND MY QUESTIONABLE FREE WILL OF THE FATE AND WHY WE MUST ASK OUR FLEXIBLE SOULS FOR ITS INTUITIVE DOUBT TO MAKE US NORMAL AGAIN...IF IT IS  MY INTUITION  BY ASKING WHY THE RAIN IN THE SKY IS POURING  GOLDEN DIAMONDS FROM MY EYES I DOUBT MAKING SCOONNIES A STORY WOULD BE  A GOOD ONE unless it was the truth of reality.

Do filmmakers have any responsibility to culture? Do you feel that being a creative person requires that you give back or tell a particular story or not do something else? Why or why not?

Where human identity is beyond the director’s aesthetic, and THE VIDEO ARTIST’S lyrical distortion  IS THE CONTINUITY of her film volta. The only responsibility to culture for me as an artist  is to follow my own creative intuition as a  failure for a film director because my films are a dream, fake , silent, no budget, non scripted, and non narrative etc open to a luxury for making the mistake to not follow two obstructions spelt out in this film type’s manifesto and the point is to fail doing that correctly because its acid junk film. I tell myself casting a spell on my audience with the incurable and unexplained,  is the phenomenon that must be medicated by a case  of 3d inter media SCOONNIES at a death synth noise opera. We will no longer be confined to predictable narrative movie sessions contained by pop crack tonics as we are the sardines on rude cellular phones texting the ending to our future audience.  That is how we are being entertained now with a film that can fit in our pocket or be worn on your wrist. Devices that must conform to architectural spaces showing no concern for that warrior nun who claims to have produced and acted in the same film that showed at the theater which didn't accommodate her case of scoonnies because it was an air born epidemic an outbreak from all churches chicken. For costumed commoners  the future junk film makers of America didn’t want millions to see their films. 

As Birthday Gurl continues working towards those empirical observations of Fabrizio Federico’s Punk Cinema  movement, she  develops counterfeit film as  part of the acid junk film aesthetic  working against sound visualizations; the paradise no longer  in the background  but a cinematic experience.

How  does this junk film aesthetic begin its process as a film making process not making acid junk art into gutter film that is suppose to be video art making a connection with experimental film.?

Artists are taught that art should not be propaganda. The Realization was propaganda film was junk film. Somehow there should not be a connection with the imaginary world and your reality the way Birthday girl identifies punk cinema can be read by distortions of lyrical continuity of non objectively and moving imagery of the moving painting. Within that manifestation or the non objective aspect of its entirety all such as the schizophrenic’s mind experiences their own unrealistic world of abstractions  the way the name Scoonnies was something Birthday Gurl  titled after her trials of those same auditory and tactile hallucinations.

This time expanding further into the unknown world  was certainly not dictated by some past  or future time but the present experienced in the present moment. There was nothing the audience could identify SCOONNIES with except the acid dream experimental video art film makinmg manifesto, a film having an anti-art art film aesthetic to be seen as an acid day dream metamorphosis of beauty.

Like Spencer Tunick Birthday Gurl works with  public nudity acting as  anti art art film guerrilla installation. In her films  like Jesus Practice and SCOONNIES It is still a dream to practice this art form in and outside corporate territory again and again.

This wasn’t the first time the film maker as a video artist didn’t get locked up  for  organizing public nudity with installation like in her fake mockumentary The Jesus Monster as well as a public nude installation with model VIC FURS IN SCOONNIES and organizer,directing artist Birthday Gurl along with  photographer E Money risked their freedom to capture genitals sans clothing inside Wall-Mart  shopping center a corporate operating motherland. This  was a contribution to fluxus and graffiti artists who were apart of the guerrilla happenings during and after the era of modern art . The entire nude installation was captured in stop motion only on time constraint.To a commoners eye the images  could be confused as pornographic  unable to interpret the linguistics of  the cardboard semantics “will cheese crossed out work to gas uhh cola moon woking IN PAINT”  the phrase used for more than one meaning but symbolic for its misspelled  KING OF POP’S iconic “moonwalk” rather  spelt incorrectly as “MOONWOKING” as in international phenomenon not THE AFRICAN AMERICAN  FROM AMERICAN. A prophetic vision of death made  self aware by contemporary junk art reflecting Dadaism  after Neo-Dada with the cardboard semantics on a found object or junk and trash signed in print  in all CAPS in green magic maker.    Streams of consciousness in free verse explained the cardboard semantics autographed 

“IN PAINT” and its moving design for film presentation was to exist as a moving painting image. And  without a motive its still image opposed to  film presentation ; also a ready made painting without paint or a canvas but presented with photography and moving image..  the  acid junk film aesthetic in the new punk cinematic following the DIY. The repercussions of Birthday Gurl’s  guerrilla cultural jamming proposed a warning which she believed  prophesied  a death occurring two weeks later  when she had witnessed  a news caster announcing Michael Jackson’s Death.  An auditory hallucination  she   experienced soon after was a voice she understood  herself to be the cereal killer who killed Michael by mind control.  Soon after Birthday Gurl was admitted into the hospital for paranoia and tactile hallucinations and extreme weakness overtaking her mind and body shr thought was veganism, The doctor diagnosed her with paranoid schizophrenia. She spent over two weeks in the psychiatric ward at a  University Hospital In San Antonio Texas under the impression Latoya Jackson was reading her mind infecting her with AIDS by telepathy.  In 2013 she recovered the images she had lost moving from place to place. These images were her only proof the public nude installation had not been something of her imagination she had no choice but to separate from her reality. Although unable to afford a camera she prevailed superseding the lens  used not by herself but  by someone she convinced  to photograph the anti-socialism public nude protest to enter a photography contest  ARTISTS WANTED in New York.

WATCH FULL SCOONNIES MOVIE HERE
https://vimeo.com/124090646


 

ACID POP VIDEO ART FILMS

   

                                         

                         

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.

                                                                           BIRTHDAY GURL