The kinetic phenomenological expression of DICA transmutes dissonant juxtapositions of chromatic fields through avant-garde neo-Dadaist explorations of a hallucinatory explicit interzone of psychedelic consciousness—this liminal suspension of perception dissolves from repetition into a teetering suspension of temporality. The pictorial elements liquify and are engendered through synaesthetic transitions of visual poetics into a liminal investigation of pataphysical dimensions wherein the laws ruling exceptions reign, overtly superseding those that govern generality.
DICA expands in an open portal to psychotropic atmospherics composing a pop symphonic architecture of undetermined punk-art film insurgency, compelling with in the viewer a Baudelairean flâneur combined with Bataillean excess—an forever-desiring compulsion to continue the disruption of perception and transcendence of sensorial boundaries.
The work is concurrently a phenomenological experiment and epistemological provocation that demands the viewer to reconsider not just what they are seeing but also to reflect on the very modalities through which perception itself is both constituted and constrained.
DICA THE ACID DREAM EXPERIMENT
FULL MOVIE
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Director's Statement
DIRECTORS COMMENTARY
"In the absence of narrative architecture, I find my cartography to alternative planes of consciousness - realms birthed through the infinite recursion of psychedelic reverie, an enchanted web of cyclical motion and repetitious invocation that exists at the boundary between oblivion and recognition; much like the crystallization of déjà vu into the visible realm. Through this method of disorientation, I channel the energies of creation into a spectral transmission device, descending through ontological fissures into subterranean wonderlands of perception.
My philosophy of cinema resides in the liminal, adjacent spaces between premised meaning, and liberated form - a Deleuzian nomadology of movement-images vibrating between coherency and dissolution. By relinquishing the tyranny of linearity, I invite spectators to deconstruct the ecstatic vertigo of the dislocation of time, where every frame presents as both prophecy and memory.
The shattered televisual portal is more than metaphor, it is metamorphosis; a chrysalis of consciousness emerging in the semblance of artist and spectator leaving behind the exoskeleton of consensual reality. This aesthetic of recursive dislocation presents a labyrinthine garden in which strangeness blooms in the guise of familiarity, and nostalgia becomes premonition while freezing in a continuous moment of pure cinematic becoming in the eternal present."
This rewrite reframes the original statement as a more philosophical meditation on experimental filmmaking, by employing poetic imagery and academic concepts to elevate the language of the original iteration while maintaining core ideas about creative disorientation and psychedelic exploration.
-Birthday Gurl
