Gratifying to be in the presence of film that makes a challenge of being read. Frustrating, yet necessary, to be in the presence of others attempting out loud to read the film and fail.
Sledgehammer (1983, Intervision) cannot be called art, yet its slow-motions perform not unlike the video-instillations of Bill Viola. It cannot be called entertainment, because of its diffusion, diversions, and manic polarity. It cannot be taken in objectively, which simplifies into reference. Sledgehammer eschews reference. Every experience of it portends a singularity; it can only be understood phenomenologically.
Sledgehammer (1983, Intervision) cannot be called art, yet its slow-motions perform not unlike the video-instillations of Bill Viola. It cannot be called entertainment, because of its diffusion, diversions, and manic polarity. It cannot be taken in objectively, which simplifies into reference. Sledgehammer eschews reference. Every experience of it portends a singularity; it can only be understood phenomenologically.
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