terça-feira, 31 de janeiro de 2012

Poema 11

Eu entendo o destempero de queimar tudo aquilo que se escreve

É o coração inquieto.

É a rapidez da mudança.

É a casca de ferida que coça.

É o gozo de meses de seca.


Nos andrajos literários de que me servi, me dispo

de identidades literárias falidas,

de pseudônimos atritos,

de putarias inertes,

da alma sem cor.


Talvez se eu usasse a mão para

acariciar mais

Talvez se eu usasse a mão para

a rotina

Talvez se eu usasse a mão para

anarquia.


Não quero cuspir palavras em vocês

Então me vou.



Imagem: Connie Chadwell – Drummer Boy.

Um Mestre na Periferia dos “Ismos”




É aquela velha história: relatos de pessoas que viveram situações terríveis, holocaustos e tragédias são sempre mais, como dizer, palpáveis. Com Guillermo Rosales é a mesma coisa. Mesmo que A Casa dos Naufrágos (Cia. Das Letras, 2011), não seja exatamente um relato e mais uma narrativa (muito) baseada em experiências do autor.

Então vamos à matemática, Guillermo é: Cubano; foi integrante do PC; é esquizofrênico; frequentou as terríveis boarding houses americanas cuidadas por cubanos dissidentes; Guillermo se suicidou num ato desesperado, praticamente destruindo toda a sua obra.

O processo, como se vê, é sintomático, mas nunca (e isso transparece em sua prosa) frio ou ressentido, ou pior: arrependido.

O que temos é um indivíduo no extremo máximo de sua individualidade que é a repartição do ser, a esquizofrenia, incapaz de se adequar a qualquer sistema social que lhe é dado como opção. A questão vai além da ideologia. O protagonista do pequeno romance não tem muitos horizontes. Ele não está em Cuba, mas ao mesmo tempo ele está numa pequena ilha rodeada pelo capitalismo de Miami. E ele não quer sair na rua por que a rua é sempre pior. Essa não é uma opção. É um indivíduo sem rumo perdido na periferia de dois “ismos”.

Deslocadas, as pouco mais de cem páginas do romance estão repletas de um lirismo doloroso, mas sincero. É um corte rápido como um corte na jugular. Certeiro, Rosales nos apresenta o pior dos dois mundos.

Obsceno.

O engraçado que é tão atual que chega a doer.


segunda-feira, 23 de janeiro de 2012

Os 5 Melhores Discos de 1991 (segundo meu coração, aquele chato)



Eu não sou muito inclinado a fazer listas. Eu as acho autoritárias e injustas. Mas ultimamente venho sendo impelido a fazer uma: a dos discos de 1991 que mais importam para mim.

Esta lista, como não poderia deixar de ser, é arbitrária e totalmente baseada no valor afetivo que estes discos tem para mim, ainda assim 1991 foi um ano tão importante e prolífero que de certa forma, todos os discos incluídos aqui se relacionam por uma força em comum: o Nirvana.

Exoterismos (e trocadalhos) à parte, não é à toa que, após 20 anos do lançamento do petardo grungiano que como o Weezer definiu “had a baby on the head, he was naked on the head”, que assim como o Cuomo, quando o ouviu os acordes que romperam as correntes que todos nós possuíamos, todo mundo celebre, pule de alegria, estoure champanhe e.... faça listas!

Então lá vai, corrão para as colinas, e seja o que Bach quiser:

1) Teenage Fanclub – Bandwagonesque. Quem sou eu para contrariar Kurt Cobain? Assim como o mestre, esse disco é o disco de 1991 mais importante para mim. São as melodias dos Beach Boys, aliados à sensibilidade e a troca de vocais (e backings!) dos Beatles, com os acordes de blues dos Stones, mais a jovialidade grungiana e o amor ao Power Pop do Big Star que fazem desse disco simplesmente genial? Sim! Se o Kurt elegeu o Teenage Fanclub como A Melhor Banda do Mundo, quem sou eu pra contrariar?

2) Nirvana – Nevermind. Daí não tem pra ninguém. Fazer o quê? Eu era um moleque mirrado quando levei uma porrada na cara com esse disco e nunca mais sarei. Ele é o centro dessa lista e por que ele me deixou com o coração ferido e uma foto no RG com uma camiseta do Nirvana, ele é foda!

3) Pearl Jam – Ten. Se você pensar aí bem no fundo qual sua banda grunge favorita, com certeza você vai dizer Pearl Jam, até por que Nirvana transcende tudo isso, mas além disso, é por que esse disco talvez seja o mais importante do estilo em 1991. O Pearl Jam? Assim como o Nirvana transcendeu tudo depois, mas nessa época eles fediam a Teen Spirit, como não poderia deixar de ser. Não é preciso nem relacionar o disco com o Nevermind pra entender o por que de seu lugar na lista. Imperdível.

4) Superchunk – No Pocky for Kitty. Talvez esse disco seja o mais longínquo do petardo nirvanesco é verdade, mas a sua ligação com O disco que definiu os anos 90 vai além da mera coincidência de os integrantes da banda serem donos da Merge, que é a gravadora do Teenage Fanclub, que é A Melhor Banda do Mundo by Cobain; não. O Superchunk, assim como o Nirvana vem dos destroços dos anos 80 e, assim como a banda de Seattle, preservou nas suas melodias e letras atormentadas toda a pegada punk e a semente do alternativo. Numa outra vibe, é claro, mas tão original quanto. Punch me harder, make me feel it!

5) Pixies – Trompe le Monde. Bom desnecessário dizer, sem Pixies, sem Nirvana. Sem Nirvana, sem anos 90. Sem anos 90, sem o mundo. Sem o meu mundo pelo menos. Daí não tinha graça. Eram as fadinhas dumal passando o trono para o poeta de Aberdeen, um reinado de curta duração, é verdade, mas um reinado que mudou o mundo.


Outros:

Dinosaur Jr. - Green Mind

R.E.M. - Out of Time


The Magnetic Fields - Distant Plastic Trees

Blur - Leisure


Smashing Pumpkins - Gish




segunda-feira, 2 de janeiro de 2012

James O. Incandenza's Filmography


JAMES O. INCANDENZA: A FILMOGRAPHY3
The following listing is as complete as we are able to make it. Because the twelve years of Incandenza's directorial activity also coincided with
large shifts in film venue — from public art cinemas, to VCR-capable magnetic recordings, to InterLace TelEntertainment laser dissemination and
reviewable storage disk laser cartridges — and because Incandenza's output itself comprises industrial, documentary, conceptual, advertorial,
technical, parodic, dramatic noncommercial, nondramatic ('anti-confluential') noncommercial, nondramatic commercial, and dramatic commercial
works, this filmmaker's career presents substantive archival challenges. These challenges are also compounded by the facts that, first, for
conceptual reasons, Incandenza eschewed both L. of C. registration and formal dating until the advent of Subsidized Time, secondly, that his
output increased steadily until during the last years of his life Incandenza often had several works in production at the same time, thirdly, that his
production company was privately owned and underwent at least four different changes of corporate name, and lastly that certain of his highconceptual
projects' agendas required that they be titled and subjected to critique but never filmed, making their status as film subject to
controversy.
Accordingly, though the works are here listed in what is considered by archivists to be their
a. From Comstock, Posner, and Duquette, The Laughing Pathologists: Exemplary Works of the Anticonfluential Après Garde: Some Analyses of
the Movement Toward Stasis in North American Conceptual Film (w/ Beth B., Vivienne Dick, James O. Incandenza, Vigdis Simpson, E. and K.
Snow).' ONANite Film and Cartridge Studies Annual, vol. 8, nos. 1-3 (Year of D.P. from the A.H.), pp. 44-117.
probable order of completion, we wish to say that the list's order and completeness are, at this point in time, not definitive.
Each work's title is followed: by either its year of completion, or by 'B.S.,' designating undated completion before Subsidization; by the
production company; by the major players, if credited; by the storage medium's ('film' 's) gauge or gauges; by the length of the work to the
nearest minute; by an indication of whether the work is in black and white or color or both; by an indication of whether the film is silent or in sound
or both; by (if possible) a brief synopsis or critical overview; and by an indication of whether the work is mediated by celluloid film, magnetic video,
Interlace Spontaneous Dissemination, TP-compatible InterLace cartridge, or privately distributed by Incandenza's own company(ies). The
designation UNRELEASED is used for those works which never saw distribution and are now publicly unavailable or lost.
Cage.b Dated only 'Before Subsidization.' Meniscus Films, Ltd. Uncredited cast; 16 mm.; .5 minutes; black and white; sound. Soliloquized parody
of a broadcast-television advertisement for shampoo, utilizing four convex mirrors, two planar mirrors, and one actress. UNRELEASED
Kinds of Light. B.S. Meniscus Films, Ltd. No cast; 16 mm.; 3 minutes; color; silent. 4,444 individual frames, each of which photo depicts lights of
different source, wavelength, and candle power, each reflected off the same unpolished tin plate and rendered disorienting at normal projection
speeds by the hyperretinal speed at which they pass. CELLULOID, LIMITED METROPOLITAN BOSTON RELEASE, REQUIRES PROJECTION AT .25
NORMAL SPROCKET DRIVE
Dark Logics. B.S. Meniscus Films, Ltd. Players uncredited; 35 mm.; 21 minutes; color; silent w/ deafening Wagner/Sousa soundtrack. Griffith
tribute, limura parody. Child-sized but severely palsied hand turns pages of incunabular manuscripts in mathematics, alchemy, religion, and bogus
political autobiography, each page comprising some articulation or defense of intolerance and hatred. Film's dedication to D. W. Griffith and Taka
limura. UNRELEASED
Tennis, Everyone? B.S. Heliotrope Films, Ltd./U.S.T.A. Films. Documentary cast w/ narrator Judith Fukuoka-Hearn; 35 mm.; 26 minutes; color;
sound. Public relations/advertorial production for United States Tennis Association in conjunction with Wilson Sporting Goods, Inc. MAGNETIC
VIDEO
'There Are No Losers Here.' B.S. Heliotrope Films, Ltd./ U.S.T.A. Films. Documentary cast w/ narrator P. A. Heaven; 35 mm.; color; sound.
Documentary on B.S. 1997 U.S.T.A. National Junior Tennis Championships, Kalamazoo MI and Miami FL, in conjunction with United States Tennis
Association and Wilson Sporting Goods. MAGNETIC VIDEO
Flux in a Box. B.S. Heliotrope Films, Ltd./Wilson Inc. Documentary cast w/ narrator Judith Fukuoka-Hearn; 35 mm.; 52 minutes; black and
white/color; sound. Documentary history of box, platform, lawn, and court tennis from the 17th-century Court of the Dauphin to the present.
MAGNETIC VIDEO
Infinite Jest (I). B.S. Meniscus Films, Ltd. Judith Fukuoka-Hearn; 16/35 mm.; 90(?) minutes; black and white; silent. Incandenza's unfinished and
unseen first attempt at commercial entertainment. UNRELEASED
Annular Fusion Is Our Friend. B.S. Heliotrope Films, Ltd./Sunstrand Power & Light Co. Documentary cast w/ narrator C. N. Reilly; Sign-
Interpreted for the Deaf; 78 mm.; 45 minutes; color; sound. Public relations/advertorial production for New England's Sunstrand Power and Light
utility, a nontechnical explanation of the processes of DT-cycle lithiumized annular fusion and its applications in domestic energy production.
CELLULOID, MAGNETIC VIDEO
Annular Amplified Light: Some Reflections. B.S. Heliotrope Films/Sunstrand Power & Light
b. With the possible exception of Cage III — Free Show, Incandenza's Cage series bears no discernible relation to Sidney Peterson's 1947 classic,
The Cage.
Co. Documentary cast w/ narrator C. N. Reilly; Sign-Interpreted for the Deaf; 78 mm.; 45 minutes; color; sound. Second infomercial for
Sunstrand Co., a nontechnical explanation of the applications of cooled-photon lasers in DT-cycle lithiumized annular fusion. CELLULOID,
MAGNETIC VIDEO
Union of Nurses in Berkeley. B.S. Meniscus Films, Ltd. Documentary cast; 35 mm.; 26 minutes; color; silent. Documentary and closed-caption
interviews with hearing-impaired RNs and LPNs during Bay Area health care reform riots of 1996. MAGNETIC VIDEO, PRIVATELY RELEASED BY
MENISCUS FILMS, LTD.
Union of Theoretical Grammarians in Cambridge. B.S. Meniscus Films, Ltd. Documentary cast; 35 mm.; 26 minutes; color; silent w/ heavy use of
computerized distortion in facial close-ups. Documentary and closed-caption interviews with participants in the public Steven Pinker-Avril M.
Incandenza debate on the political implications of prescriptive grammar during the infamous Militant Grammarians of Massachusetts convention
credited with helping incite the M.I.T. language riots of B.S. 1997. UNRELEASED DUE TO LITIGATION
Widower. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Ross Reat; 35 mm.; 34 minutes; black and white; sound. Shot on location in
Tucson AZ, parody of broadcast television domestic comedies, a cocaine-addicted father (Watt) leads his son (Reat) around their desert property
immolating poisonous spiders. CELLULOID; INTERLACE TELENT CARTRIDGE RERELEASE #357-75-00 (Y.P.W.)
Cage II. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Disney Leith; 35 mm.; 120 minutes; black and white; sound. Sadistic penal
authorities place a blind convict (Watt) and a deaf-mute convict (Leith) together in 'solitary confinement,' and the two men attempt to devise ways
of communicating with each other. LIMITED CELLULOID RUN; RERELEASED ON MAGNETIC VIDEO
Death in Scarsdale. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Marlon R. Bain; 78 mm.; 39 minutes; color; silent w/ closed-caption
subtitles. Mann/Allen parody, a world-famous dermatological endocrinologist (Watt) becomes platonically obsessed with a boy (Bain) he is treating
for excessive perspiration, and begins himself to suffer from excessive perspiration. UNRELEASED
Fun with Teeth. B.S. Latrodectus Mactans Productions. Herbert G. Birch, Billy Tolan, Pam Heath; 35 mm.; 73 minutes; black and white; silent w/
non-human screams and howls. Kosinski/Updike/Peckinpah parody, a dentist (Birch) performs sixteen unanesthetized root-canal procedures on an
academic (Tolan) he suspects of involvement with his wife (Heath). MAGNETIC VIDEO, PRIVATELY RELEASED BY LATRODECTUS MACTANS PROD.
Infinite Jest (II). B.S. Latrodectus Mactans Productions. Pam Heath; 35/78 mm.; 90(?) minutes; black and white; silent. Unfinished, unseen
attempt at remake of Infinite Jest (I). UNRELEASED
Immanent Domain. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Judith Fukuoka-Hearn, Pam Heath, Pamela-Sue Voorheis, Herbert G.
Birch; 35 mm.; 88 minutes; black and white w/ microphotography; sound. Three memory-neurons (Fukuoka-Hearn, Heath, Voorheis (w/
polyurethane costumes)) in the Inferior frontal gyrus of a man's (Watt's) brain fight heroically to prevent their displacement by new memoryneurons
as the man undergoes intensive psychoanalysis. CELLULOID; INTERLACE TELENT CARTRIDGE RERELEASE #340-03-70 (Y.P.W.)
Kinds of Pain. B.S. Latrodectus Mactans Productions. Anonymous cast; 35/78 mm.; 6 minutes; color; silent. 2,222 still-frame close-ups of middleaged
white males suffering from almost every conceivable type of pain, from an ingrown toenail to cranio-facial neuralgia to inoperable colo-rectal
neoplastis. CELLULOID, LIMITED METRO BOSTON RELEASE, REQUIRES PROJECTION AT .25 NORMAL SPROCKET-DRIVE
Various Small Flames. B.S. Latrodectus Mactans Productions. Cosgrove Watt, Pam Heath, Ken N. Johnson; 16 mm.; 25 minutes w/ recursive loop
for automatic replay; color; silent w/ sounds of human coitus appropriated from and credited to Caballero Control Corp. adult videos. Parody of
neoconceptual structuralist films of Godbout and Vodriard, n-frame images of myriad varieties of small household flames, from lighters and birthday
candles to stovetop gas rings and grass clippings ignited by sunlight through a magnifying glass, alternated with anti-narrative sequences of a man
(Watt) sitting in a dark bedroom drinking bourbon while his wife (Heath) and an Amway representative (Johnson) have acrobatic coitus in the
background's lit hallway. UNRELEASED DUE TO LITIGATION BY I96os US CONCEPTUAL DIRECTOR OF VARIOUS SMALL FIRES ED RUSCHA —
INTERLACE TELENT CARTRIDGE RE-RELEASE #330-54-94 (Y.T.-S.D.B.)
Cage HI — Free Show. B.S. Latrodectus Mactans Productions/Infernatron Animation Concepts, Canada. Cosgrove Watt, P. A. Heaven, Everard
Maynell, Pam Heath; partial animation; 35 mm.; 65 minutes; black and white; sound. The figure of Death (Heath) presides over the front entrance
of a carnival sideshow whose spectators watch performers undergo unspeakable degradations so grotesquely compelling that the spectators' eyes
become larger and larger until the spectators themselves are transformed into gigantic eyeballs in chairs, while on the other side of the sideshow
tent the figure of Life (Heaven) uses a megaphone to invite fairgoers to an exhibition in which, if the fairgoers consent to undergo unspeakable
degradations, they can witness ordinary persons gradually turn into gigantic eyeballs. INTERLACE TELENT FEATURE CARTRIDGE #357-65-65
'The Medusa v. the Odalisque* B.S. Latrodectus Mactans Productions. Uncredited cast; zone-plating laser holography by James O. Incandenza
and Urquhart Ogilvie, Jr.; holographic fight-choreography by Kenjiru Hirota courtesy of Sony Entertainment-Asia; 78 mm.; 29 minutes; black and
white; silent w/ audience-noises appropriated from network broadcast television. Mobile holograms of two visually lethal mythologic females duel
with reflective surfaces onstage while a live crowd of spectators turns to stone. LIMITED CELLULOID RUN; PRIVATELY RERELEASED ON MAGNETIC
VIDEO BY LATRODECTUS MACTANS PRODUCTIONS
The Machine in the Ghost: Annular Holography for Fun and Prophet. B.S. Heliotrope Films, Ltd./National Film Board of Canada. Narrator P. A.
Heaven; 78 mm.; 35 minutes; color; sound. Nontechnical introduction to theories of annular enhancement and zone-plating and their applications
in high-resolution laser holography. UNRELEASED DUE TO US/CANADIAN DIPLOMATIC TENSIONS
Homo Duplex. B.S. Latrodectus Mactans Productions. Narrator P. A. Heaven; Super-8 mm.; 70 minutes; black and white; sound. Parody of
Woititz and Shulgin's 'poststructural antidocu-mentaries,' interviews with fourteen Americans who are named John Wayne but are not the legendary
20th-century film actor John Wayne. MAGNETIC VIDEO (LIMITED RELEASE)
Zero-Gravity Tea Ceremony. B.S. Latrodectus Mactans Productions. Ken N. Johnson, Judith Fukuoka-Hearn, Otto Brandt, E. J. Kenkle; 35 mm.;
82 minutes; black and white/color; silent. The intricate Ocha-Kai is conducted 2.5 m. off the ground in the Johnson Space Center's zero-gravitysimulation
chamber. CELLULOID; INTERLACE TELENT RERELEASE #357-40-01 (Y.P.W.)
Pre-Nuptial Agreement of Heaven and Hell. B.S. Latrodectus Mactans Productions/ Infernatron Animation Concepts, Canada. Animated w/
uncredited voices; 35 mm.; 59 minutes; color; sound. God and Satan play poker with Tarot cards for the soul of an alcoholic sandwich-bag
salesman obsessed with Bernini's 'The Ecstasy of St. Teresa.' PRIVATELY RELEASED ON CELLULOID AND MAGNETIC VIDEO BY LATRODECTUS
MACTANS PRODUCTIONS
The Joke. B.S. Latrodectus Mactans Productions. Audience as reflexive cast; 35 mm. X 2 cameras; variable length; black and white; silent.
Parody of Hollis Frampton's 'audience-specific events,' two Ikegami EC-35 video cameras in theater record the 'film' 's audience and project
the resultant raster onto screen — the theater audience watching itself watch itself get the obvious 'joke' and become increasingly self-conscious
and uncomfortable and hostile supposedly comprises the film's involuted 'antinarrative' flow. Incandenza's first truly controversial project, Film &
Kartridge Kultcher's Sperber credited it with 'unwittingly sounding the death-knell of post-poststructural film in terms of sheer annoyance.'
NONRECORDED MAGNETIC VIDEO SCREENABLE IN THEATER VENUE ONLY, NOW UNRELEASED
Various Lachrymose U.S. Corporate Middle-Management Figures. Unfinished. UNRELEASED
Every Inch of Disney Leith. B.S. Latrodectus Mactans Productions/Medical Imagery of Alberta, Ltd. Disney Leith; computer-enlarged 35 mm./x 2
m.; 253 minutes; color; silent. Miniaturized, endoscopic, and microinvasive cameras traverse entire exterior and interior of one of Incandenza's
technical crew as he sits on a folded scrape in the Boston Common listening to a public forum on uniform North American metricization. PRIVATE
RELEASE ON MAGNETIC VIDEO BY LATRODECTUS MACTANS PRODUCTIONS; INTERLACE TELENT RERELEASE #357-56-34 (Y.P.W.)
Infinite Jest (HI). B.S. Latrodectus Mactans Productions. Uncredited cast; 16/35 mm.; color; sound. Unfinished, unseen remake of Infinite Jest
(I), (II). UNRELEASED
Found Drama I.
Found Drama II.
Found Drama HI. . . . conceptual, conceptually unfilmable. UNRELEASED
The Man Who Began to Suspect He Was Made of Glass. Year of the Whopper. Latrodectus Mactans Productions. Cosgrove Watt, Gerhardt
Schtitt; 35 mm.; 21 minutes; black and white; sound. A man undergoing intensive psychotherapy discovers that he is brittle, hollow, and
transparent to others, and becomes either transcendentally enlightened or schizophrenic. INTERLACE TELENT FEATURE CARTRIDGE #357-59-00
Found Drama V.
Found Drama VI. . . . conceptual, conceptually unfilmable. UNRELEASED
The American Century as Seen Through a Brick. Year of the Whopper. Latrodectus Mactans Productions. Documentary cast w/ narration by P. A.
Heaven; 35 mm.; 52 minutes; color w/ red filter and oscillophotography; silent w/ narration. As U.S. Boston's historical Back Bay streets are
stripped of brick and repaved with polymerized cement, the resultant career of one stripped brick is followed, from found-art temporary installation
to displacement by E.W.D. catapult to a waste-quarry in southern Quebec to its use in the F.L.Q.-incited anti-O.N.A.N. riots of January/Whopper, all
intercut with ambiguous shots of a human thumb's alterations in the interference pattern of a plucked string. PRIVATELY RELEASED ON MAGNETIC
VIDEO BY LATRODECTUS MACTANS PRODUCTIONS
The ONANtiad. Year of the Whopper. Latrodectus Mactans Productions/Claymation action sequences © Infernatron Animation Concepts, Canada.
Cosgrove Watt, P. A. Heaven, Pam Heath, Ken N. Johnson, Ibn-Said Chawaf, Squyre Frydell, Maria-Dean Chumm, Herbert G. Birch, Everard
Meynell; 35 mm.; 76 minutes; black and white/color; sound/silent. Oblique, obsessive, and not very funny claymation love triangle played out
against live-acted backdrop of the inception of North American Interdependence and Continental Reconfiguration. PRIVATELY RELEASED ON
MAGNETIC VIDEO BY LATRODECTUS MACTANS PRODUCTIONS
The Universe Lashes Out. Year of the Whopper. Latrodectus Mactans Productions. Documentary cast w/ narrator Herbert G. Birch; 16 mm.; 28
minutes; color; silent w/ narration. Documentary on the evacuation of Atkinson NH/New Quebec at the inception of Continental Reconfiguration.
MAGNETIC VIDEO (LIMITED RELEASE)
Poultry in Motion. Year of the Whopper. Latrodectus Mactans Productions. Documentary cast w/ narrator P. A. Heaven; 16 mm.; 56 minutes;
color; silent w/ narration. Documentary on renegade North Syracuse NNY turkey farmers' bid to prevent toxification of Thanksgiving crop by
commandeering long, shiny O.N.A.N. trucks to transplant over 200,000 pertussive fowl south to Ithaca. MAGNETIC VIDEO (LIMITED RELEASE)
Found Drama IX.
Found Drama X.
Found Drama XL . .. conceptual, conceptually unfilmable. UNRELEASED
Möbiu$ Strips. Year of the Whopper. Lactrodectus Mactans Productions. 'Hugh G. Rection,' Pam Heath, 'Bunny Day,' 'Taffy Appel'; 35 mm.; 109
minutes; black and white; sound. Pornography-parody, possible parodic homage to Fosse's All That Jazz, in which a theoretical physicist ('Rection'),
who can only achieve creative mathematical insight during coitus, conceives of Death as a lethally beautiful woman (Heath). INTERLACE TELENT
FEATURE CARTRIDGE #357-65-32 (Y.W.)
Wave Eye-Eye to the Bureaucrat. Year of the Whopper. Latrodectus Mactans Productions. Everard Maynell, Phillip T. Smothergill, Paul Anthony
Heaven, Pamela-Sue Voorheis; 16 mm.; 19 minutes; black and white; sound. Possible parody/homage to B.S. public-service-announcement cycle of
Church of Jesus Christ of Latter-Day Saints,c a harried commuter is mistaken for Christ by a child he knocks over.
Blood Sister: One Tough Nun. Year of the Tucks Medicated Pad. Latrodectus Mactans Productions. Telma Hurley, Pam Heath, Maria-Dean
Chumm, Diane Saltoone, Soma Richardson-Levy, Cosgrove Watt; 35 mm.; 90 minutes; color; sound. Parody of revenge/recidivism action genre, a
formerly delinquent nun's (Hurley's) failure to reform a juvenile delinquent (Chumm) leads to a rampage of recidivist revenge. INTERLACE TELENT
PULSE-DISSEMINATION 21 JULY Y.T.M.P., CARTRIDGE #357-87-04
Infinite Jest (IV). Year of the Tucks Medicated Pad. Latrodectus Mactans Productions. Pam Heath (?), 'Madame Psychosis'(?); 78 mm.; 90
minutes(?); color; sound. Unfinished, unseen attempt at completion of Infinite Jest (HI). UNRELEASED
Let There Be Lite. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Documentary cast w/ narrator Ken N. Johnson;
16mm.; 50 minutes(?); black and white; silent w/ narration. Unfinished documentary on genesis of reduced-calorie bourbon industry. UNRELEASED
Untitled. Unfinished. UNRELEASED
No Troy. Year of the Whopper. Latrodectus Mactans Productions. No cast; liquid-surface holography by Urquhart Ogilvie, Jr.; 35 mm.; 7 minutes;
enhanced color; silent. Scale-model holographic recreation of Troy NY's bombardment by miscalibrated Waste Displacement Vehicles, and its
subsequent elimination by O.N.A.N. cartographers. MAGNETIC VIDEO (PRIVATE RELEASE LIMITED TO NEW BRUNSWICK, ALBERTA, QUEBEC)
Note: Archivists in Canada and the U.S. West Coast do not list No Troy but do list titles The Violet City and The Violet Ex-City, respectively, leading
scholars to conclude that the same film was released under several different appellations.
Untitled. Unfinished. UNRELEASED
Valuable Coupon Has Been Removed. Year of the Tucks Medicated Pad. Poor Yorick Enterc.
See Romney and Sperber, 'Has James O. Incandenza Ever Even Once Produced One Genuinely Original or Unappropriated or Nonderivative
Thing?' Post-Millennium Film Cartridge Journal, nos. 7-9 (Fall/Winter, Y.P.W.), pp. 4-26.
tainment Unlimited. Cosgrove Watt, Phillip T. Smothergill, Diane Saltoone; 16 mm.; 52 minutes; color; silent. Possible Scandinavian-psychodrama
parody, a boy helps his alcoholic-delusional father and disassociated mother dismantle their bed to search for rodents, and later he intuits the
future feasibility of D.T.-cycle lithiumized annular fusion. CELLULOID (UNRE-LEASED)
Baby Pictures of Famous Dictators. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Documentary or uncredited cast w/
narrator P. A. Heaven; 16 mm.; 45 minutes; black and white; sound. Children and adolescents play a nearly incomprehensible nuclear strategy
game with tennis equipment against the real or holographic(?) backdrop of sabotaged ATHSCME 1900 atmospheric displacement towers exploding
and toppling during the New New England Chemical Emergency of Y.W. CELLULOID (UNRELEASED)
Stand Behind the Men Behind the Wire. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Documentary cast w/ narrator
Soma Richardson-Levy; Super-8 mm.; 52 minutes; black and white/color; sound. Shot on location north of Lowell MA, documentary on Essex
County Sheriff's Dept. and Massachusetts Department of Social Services' expedition to track, verify, capture, or propitiate the outsized feral infant
alleged to have crushed, gummed, or picked up and dropped over a dozen residents of Lowell in January, Y.T.M.P. INTERLACE TELENT
CARTRIDGE #357-12-56
As of Yore. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Cosgrove Watt, Marlon Bain; 16/78 mm.; 181 minutes; black
and white/color; sound. A middle-aged tennis instructor, preparing to instruct his son in tennis, becomes intoxicated in the family's garage and
subjects his son to a rambling monologue while the son weeps and perspires. INTERLACE TELENT CARTRIDGE # 357-16-09
The Clever Little Bastard. Unfinished, unseen. UNRELEASED
The Cold Majesty of the Numb. Unfinished, unseen. UNRELEASED
Good-Looking Men in Small Clever Rooms That Utilize Every Centimeter of Available Space With Mind-Boggling Efficiency. Unfinished due to
hospitalization. UNRELEASED
Low-Temperature Civics. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Cosgrove Watt, Herbert G. Birch, Ken N.
Johnson, Soma Richardson-Levy, Everard Maynell, 'Madame Psychosis,' Phillip T. Smothergill, Paul Anthony Heaven; 35 mm.; 80 minutes; black and
white; sound. Wyler parody in which four sons (Birch, Johnson, Maynell, Smothergill) intrigue for control of a sandwich-bag conglomerate after
their CEO father (Watt) has an ecstatic encounter with Death ('Psychosis') and becomes irreversibly catatonic. NATIONAL DISSEMINATION IN
INTERLACE TELENT'S 'CAVALCADE OF EVIL' SERIES —JANUARY/YEAR OF TRIAL-SIZE DOVE BAR —AND INTERLACE TELENT CARTRIDGE #357-
89-05
(At Least) Three Cheers for Cause and Effect. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Cosgrove Watt, Pam
Heath, 'Hugh G. Rection'; 78 mm.; 26 minutes; black and white; sound. The headmaster of a newly constructed high-altitude sports academy
(Watt) becomes neurotically obsessed with litigation over the construction's ancillary damage to a V.A. hospital far below, as a way of diverting
himself from his wife's (Heath's) poorly hidden affair with the academically renowned mathematical topologist who is acting as the project's
architect ('Rection'). CELLULOID (UNRELEASED)
(The) Desire to Desire. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Robert Lingley, 'Madame Psychosis,' Maria-Dean
Chumm; 35 mm.; 99 minutes(?); black and white; silent. A pathology resident (Lingley) falls in love with a beautiful cadaver ('Psychosis') and the
paralyzed sister (Chumm) she died rescuing from the attack of an oversized feral infant. Listed by some archivists as unfinished. UNRELEASED
Safe Boating Is No Accident. Year of the Tucks Medicated Pad(?). Poor Yorick Entertainment
Unlimited/X-Ray and Infrared Photography by Shuco-Mist Medical Pressure Systems, Enfield MA. Ken N. Johnson, 'Madame Psychosis,' P. A.
Heaven. Kierkegaard/Lynch (?) parody, a claustrophobic water-ski instructor (Johnson), struggling with his romantic conscience after his fiancee's
('Psychosis"s) face is grotesquely mangled by an outboard propeller, becomes trapped in an overcrowded hospital elevator with a defrocked
Trappist monk, two overcombed mis-sionarjes for the Church of Jesus Christ of Latter-Day Saints, an enigmatic fitness guru, the Massachusetts
State Commissioner for Beach and Water Safety, and seven severely intoxicated opticians with silly hats and exploding cigars. Listed by some
archivists as completed the following year, Y.T.-S.D.B. UNRELEASED
Very Low Impact. Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Maria-Dean Chumm, Pam Heath, Soma Richardson-
Levy-O'Byrne; 35 mm.; 30 minutes; color; sound. A narcoleptic aerobics instructor (Chumm) struggles to hide her condition from students and
employers. POSTHUMOUS RELEASE Y.W.-Q.M.D.; INTERLACE TELENT CARTRIDGE * 357-97-29
The Night Wears a Sombrero. Year of the Tucks Medicated Pad (?). Ken N. Johnson, Phillip T. Smothergill, Dianne Saltoone, 'Madame Psychosis';
78 mm.; 105 minutes; color; silent/sound. Parody/homage to Lang's Rancho Notorious, a nearsighted apprentice cowpoke (Smothergill), swearing
vengeance for a gunslinger's (Johnson's) rape of what he (the cowpoke) mistakenly believes is the motherly brothel-owner (Saltoone) he (the
cowpoke) is secretly in love with, loses the trail of the gunslinger after misreading a road sign and is drawn to a sinister Mexican ranch where
Oedipally aggrieved gunslingers are ritually blinded by a mysterious veiled nun ('Psychosis'). Listed by some archivists as completed the preceding
year, Y.W. INTERLACE TELENT CARTRIDGE #357-56-51
Accomplice! Year of the Tucks Medicated Pad. Poor Yorick Entertainment Unlimited. Cos-grove Watt, Stokely 'Dark Star' McNair; 16 mm.; 26
minutes; color; sound. An aging pederast mutilates himself out of love for a strangely tattooed street hustler. INTERLACE TELENT CARTRIDGE #
357-10-10 withdrawn from dissemination after Cartridge Scene reviewers called Accomplice! '. .. the stupidest, nastiest, least subtle and worstedited
product of a pretentious and wretchedly uneven career.' NOW UNRELEASED
Entitled. Unfinished. UNRELEASED Untitled. Unfinished. UNRELEASED Untitled. Unfinished. UNRELEASED
Dial C for Concupiscence. Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. Soma Richardson-Levy-O'Byrne, Maria-Dean
Chumm, Ibn-Said Chawaf, Yves Fran-coeur; 35 mm.; 122 minutes; black and white; silent w/ subtitles. Parodic noir-style tribute to Bresson's Les
Anges du Peché, a cellular phone operator (Richardson-Levy-O'Byrne), mistaken by a Québecois terrorist (Francoeur) for another cellular phone
operator (Chumm) the FLQ had mistakenly tried to assassinate, mistakes his mistaken attempts to apologize as attempts to assassinate her
(Richardson-Levy-O'Byrne) and flees to a bizarre Islamic religious community whose members communicate with each other by means of
semaphore flags, where she falls in love with an armless Near Eastern medical attache (Chawaf). RELEASED IN INTERLACE TELENT'S 'HOWLS
FROM THE MARGIN' UNDERGROUND FILM SERIES — MARCH/ Y.T.-S.D.B. — AND INTERLACE TELENT CARTRIDGE #357-75-43
Insubstantial Country. Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. Cosgrove Watt; 16 mm.; 30 minutes; black and
white; silent/sound. An unpopular après-garde filmmaker (Watt) either suffers a temporal lobe seizure and becomes mute or else is the victim of
everyone else's delusion that his (Watt's) temporal lobe seizure has left him mute. PRIVATE CARTRIDGE RELEASE BY POOR YORICK
ENTERTAINMENT UNLIMITED
It Was a Great Marvel That He Was in the Father Without Knowing Him. Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited.
Cosgrove Watt, Phillip T. Smothergill;
16 mm.; 5 minutes; black and white; silent/ sound. A father (Watt), suffering from the delusion that his etymologically precocious son
(Smothergill) is pretending to be mute, poses as a 'professional conversationalist' in order to draw the boy out. RELEASED IN INTERLACE TELENT'S
'HOWLS FROM THE MARGIN' UNDERGROUND FILM SERIES — MARCH/ Y.T.-S.D.B —AND INTERLACE TELENT CARTRIDGE #357-75-50
Cage IV— Web. Unfinished. UNRELEASED Cage V — Infinite Jim. Unfinished. UNRELEASED Death and the Single Girl. Unfinished. UNRELEASED.
The Film Adaptation of Peter Weiss's 'The Persecution and Assassination of Marat as Performed by the Inmates of the Asylum at Charenton
Under the Direction of the Marquis de Sade.'Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. James O. Incan-denza, Disney
Leith, Urquhart Ogilvie, Jr., Jane Ann Prickett, Herbert G. Birch, 'Madame Psychosis,' Maria-Dean Chumm, Marlon Bain, Pam Heath, Soma
Richardson-Levy-O'Byrne-Chawaf, Ken N. Johnson, Dianne Saltoone; Super-8 mm.; 88 minutes; black and white; silent/ sound. Fictional 'interactive
documentary' on Boston stage production of Weiss's 20th-century play within play, in which the documentary's chemically impaired director
(Incandenza) repeatedly interrupts the inmates' dumbshow-capering and Marat and Sade's dialogues to discourse incoherently on the implications
of Brando's Method Acting and Artaud's Theatre of Cruelty for North American filmed entertainment, irritating the actor who plays Marat (Leith) to
such an extent that he has a cerebral hemorrhage and collapses onstage well before Marat's scripted death, whereupon the play's nearsighted
director (Ogilvie), mistaking the actor who plays Sade (Johnson) for Incandenza, throws Sade into Marat's medicinal bath and throttles him to
death, whereupon the extra-dramatic figure of Death ('Psychosis') descends deus ex machina to bear Marat (Leith) and Sade (Johnson) away, while
Incandenza becomes ill all over the theater audience's first row. 8 MM. SYNC-PROJECTION CELLULOID. UNRELEASED DUE TO LITIGATION,
HOSPITALIZATION
Too Much Fun. Unfinished. UNRELEASED
The Unfortunate Case of Me. Unfinished. UNRELEASED
Sorry All Over the Place. Unfinished. UNRELEASED
Infinite Jest (Vï). Year of the Trial-Size Dove Bar. Poor Yorick Entertainment Unlimited. 'Madame Psychosis'; no other definitive data. Thorny
problem for archivists. Incandenza's last film, Incandenza's death occurring during its post-production. Most archival authorities list as unfinished,
unseen. Some list as completion of Infinite Jest (IV), for which Incandenza also used 'Psychosis,' thus list the film under Incandenza's output for
Y.T.M.P. Though no scholarly synopsis or report of viewing exists, two short essays in different issues of Cartridge Quarterly East refer to the film
as 'extraordinary'd and 'far and away [James O. Incandenza's] most entertaining and compelling work.'e West Coast archivists list the film's gauge
as '16 ... 78 ... n mm.,' basing the gauge on critical allusionsf to 'radical experiments in viewers' optical perspective and context' as IJ(Vì)'s
distinctive feature. Though Canadian archivist Tête-Bêche lists the film as completed and privately distributed by P.Y.E.U. through posthumous
provisions in the filmmaker's will, all other comprehensive filmographies have the film either unfinished or UNRELEASED, its Master cartridge either
destroyed or vaulted sui testator.
d. E. Duquette, 'Beholden to Vision: Optics and Desire in Four Après Garde Films,' Cartridge Quarterly East, vol. 4 no. 2, Y.W.-Q.M.D., pp. 35-39.
e. Anonymous, 'Seeing v. Believing,' Cartridge Quarterly East, vol. 4 no. 4, Y.W.-Q.M.D., pp. 93-95.
f. Ibid.