In Poetic justice we see a table upon which there is a plant and a cup of coffee. A succession of sheets of paper is placed on the table, each describing the shot of a film so that we can reconstruct the film in our mind’s eye from the written descriptions. The imagined film is in four tableaux, one of which contains a major temporal problem. In this tableau, every second shot is followed by one containing a still photograph of the previous shot. The second shot in each successive pair therefore refers back to the past; the photograph freezes the action of the first shot. However, in the description for the second shot of each pair, there are instructions that do not appear in the description for the first. In each case, the written instruction describes an action that occurs after the action of the first shot so that the second shot in each pair is a rendering of the past state of events and carries the action of the imagined film a step forward. Two directions of temporal experience are mixed in a single image. –Bill Simon
Hollis Frampton (1936-1984) was an American avant-garde filmmaker, photographer, writer/theoretician, and a pioneer of digital art.
Frampton was born March 11, 1936 in Wooster Ohio. An only child, he was raised primarily by his maternal grandparents.
At the age of 15 he entered Phillips Academy in Andover, Massachusetts, where he was accepted on full scholarship. At Andover, Frampton’s classmates and friends included the painter Frank Stella and sculptor Carl Andre. Widely read already as a youth, he had a reputation at Andover as a “young genius” but was also unpredictable: he failed to graduate from Andover, and thus forfeited a National Scholarship to Harvard University, when he failed his history course on a bet that he could pass the final exam without ever reading the textbook. Entering Western Reserve University in 1954, Frampton took a wide variety of classes( Latin, Greek, German, French, Russian, Sanskrit, Chinese, mathematics) but had no declared major. He recounts… read more