Unconscious London Strata (1982)
Defocused colory blorbs. Some nice reds in there. Tiny flickers of what might be a street scene (London?), or water, or a person, but mostly it’s very defocused, the image scrambling back and forth, cutting to a new blorb every couple seconds. SB says he’s exploring the depths of the unconscious here. I played the first four tracks of Mary Lattimore’s Collected Pieces II and it was extremely peaceful.
Boulder Blues and Pearls and… (1992)
This is my kind of stuff. Boulders and streams and such, overlaid with frantic single-frame paintings that turn on and off, get more and less intense, all picture frequently fading to black. Good music, a light spazzy buzzing. SB says he’s showing the inside of the mind, and viewers say this one’s frightening, but I dunno.
The Mammals of Victoria (1994)
Brakhage goes on a beach vacation, sometimes patiently watching the tide come in, sometimes darting like a fish through the shallows. Shooting from every possible angle, of course, and mixing in hand painted sections, and what looks like shots from a microscope – even scrambled pay-per-view shot off the hotel TV. All kinds of lighting and composition and movement, the green film grain sometimes clashing with the waves, brief shots of fire and sky for contrast. A really beautiful movie, I watched with Mary Lattimore’s “A Unicorn Catches A Falling Star In Heaven” and “What the Living Do” (I’d reverse their order next time).
From: First Hymn to the Night – Novalis (1994)
Wow, a hyperactive flicker of colors and patterns with poetry in between, the handwritten text not limited to opening and closing titles anymore. Words by Novalis, a “late 18th century mystic poet.” Watched with Mary’s “Princess Nicotine,” which was written to score a different silent film, but it’s a minute too long.