20190811(SUN)21:40

世間の盆期間には通常通りに仕事なので前倒しで6連休を貰って帰省した。里帰り出産のために数ヶ月前から帰省していた姉も無事に新しい命をその腕に抱いた。この文章を書いている本日、退院した姉とベイビーが我が家にやって来た。何もかもが小さい。うっすらと細い髪の毛が生えた頭を恐る恐る撫でると今までに覚えのない柔らかさだった。手のひらに収まってしまう頭のなかに未熟ながら私と同じ細胞があるなんて信じられなかった。血が繋がった兄姉の子。よく泣くし、よく寝る。初めて叔父さんになった瞬間だった。これから毎年のようにお年玉をあげないといけないのだな。まったく負担に感じない出費だ。
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Xiao Quanと曲を作っている。そして作曲の途中で投げ出したことがよく分かる「Honda Wing」。後半の投げっぷりが酷い。ボツネタとして供養します。サイケなG-Funk、もしくはポストパンクっぽさを入れたいんだけど上手くいかないなぁ。

実験的な映画のヴァーチャル・スタジオを標榜するKinet。Isaac Goes、Kurt Walker、Michelle Yoonの3人によるプロジェクトで、結構前から彼らのことは認知しており追いかけている。不定期にいくつかの映像作家による小品を”展示”していて、好みの面々が並ぶ。先日、Michelleからメールが来て、Absurd TRAXからリリースした「愛の響き」を聴いて感銘を受けた、と。その流れでコラボレートしたいとお誘いをいただいた。私が映像制作もしていることも知っていてくれて、今後、映像の表現に力を入れたいと思っていた私としても新しい挑戦をしていく上で非常に光栄な話だった。上京して1ヶ月と少し経過して、とは言え住んでいるのは千葉県だけれども、早稲田松竹で観た「サン・ソレイユ」をグレード・ダウンしたものが私には必要と感じ、それをKinetに提供しようと思う。

まったく見てないんだけどフジファブリックがMステに出演したそうで、相当前に少しだけ齧って彼らが自分の趣味でないことは分かったのだが、その中で唯一いいなと思ったのがこの曲のイントロぐらい。ただ、それがすごく良かったから。なに作ろうかな。
Blood Red。「愛の響き」に収録しなかったこの曲をまたどこかで形にする。

Kinet Program 10 Trailer

Kinet Program 10 - April ‘19 Eden is a Cave by Alexandre Galmard Nanterre Personne by Angelina Battais Red Shift by Isaac Goes 4z by Michelle Yoon Go-Stop by Miguel Mantecon Chroma by Jeremy Moss Premiering at 6624 Fresh Pond Road, Ridgewood Queens April 16th Online Premiere, April 18th http://kinet.media

Isaac Goes ~ journal (3.22.16 - 6.5.16) : reload(ed)

I feel that in many ways images comprise me, in talking to a friend about making a top 10 films list I jested: “this is who I am” - in all honesty a bit of this is true.  The best essay I have read recently has been Susan Howe’s Sorting Facts in which she observes a facet of cinematic memory that I find to be particularly poignant

Some of my earliest memories are film memories confused with facts.

A simple sentiment but a true one nonetheless, with my personally most powerful example being a scene in Paris, Texas in which a young boy and his father share lunch in the bed of a truck parked under a freeway overpass.  I must have seen this scene at some point during my childhood and the image had subconsciously stuck with me to the point where, in all of memory’s haze, it was indistinguishable from the image of a lived event. When I unknowingly revisited this scene a few years ago it felt as though two ends of myself had finally met, as if part of me had briefly slid through a fissure in time.

For various reasons, I have as of late entered into a (now recurring) phase in which I feel as if I have fallen out of cadence with the motion of the world -  i.e. time marches on, but I am not keeping even with the pace.  This is not necessarily a bad feeling, but it is certainly confusing, and unlike the lead character in Powell and Pressburger’s synonymously titled masterpiece: I (do not) Know Where I’m Going! (1945) 

For better or for worse I have been losing myself entirely in films (a recent Matrix Trilogy obsession had me in another world for about a week) and most recently in editing this.  Digging through old hard drives and iPhoto libraries, revisiting bits of films - Tip: don’t watch the last scene of Bridges of Madison County in a cafe unless public emotional collapse is something you invite.  If my sense of time was off before, I’m sure staying up until 6 am obsessively editing for a few nights in a row did nothing to remedy this.

A short while ago, I was concerned with creating abstract images in a way that seamlessly melded various images together into a culmination of disorienting nascent motion.  I wanted to do this in such a way that it would be impossible for the viewer to get a spatial bearing on the image, with only its unfolding comprehensible.  

With this journal film however, I felt a need not to allow images to blend together, but to form layers.  For images & sequences to never fully congeal nor violently clash with one another in montage. Rather, what I would like is for them to bump up against each other, to rest in proximity.  In dealing with cinematic memory I feel that it is necessary not only to present “appropriated” material in dialogue with my own footage, but to convey this relationship in a manner similar to the way that these images resound and reverberate within myself.   

Here; time, memory, departure & return are what I have tried to elucidate, through the decompartmentalization of the images that account for much of who I am at this moment in time.  I put much more work into this journal iteration, as this is an undoubtedly more cohesive personal essay.  If the last one was a drawing this one is in fact a journal entry.

○ Isaac Goes https://vimeo.com/isaacgoes