Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, “An anti-Julia Child replaces the domesticated ‘meaning’ of tools with a lexicon of rage and frustration.” In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, “when the woman speaks, she names her own oppression.”
Electronic Arts Intermix
“In (nostalgia), Frampton is clearly working with the experience of cinematic temporality. The major structural strategy is a disjunction between sound and image. We see a series of still photographs, most of them taken by Frampton, slowly burning one at a time on a hotplate. On the soundtrack, we hear Frampton’s comments and reminiscences about the photographs. As we watch each photograph burn, we hear the reminiscence pertaining to the following photograph. The sound and image are on two different time schedules. At any moment, we are listening to a commentary about a photograph that we shall be seeing in the future and looking at a photograph that we have just heard about. We are pulled between anticipation and memory. The nature of the commentary reinforces the complexity; it arouses our sense of anticipation by referring to the future; it also reminisces about the past, about the time and conditions under which the photographs were made. The double time sense results in a complex, rich experience.” – Bill Simon
This is the beginning to a channel series of various poems turned into visuals. Comment below what poems or sayings you would like to see!
Euphoria Poem (Written by me):
Inside we wait..
and we age.
And as time slips by
the walls we have built are our only solace.
Living the same lackluster imbrications,
From a small window,
we watch the world around us,
leap abundantly full of what we lack.
We choose to remain.
Remain endlessly vacant of the world.
If you listen close enough..
Reach far enough..
Look hard enough..
You too can be engulfed,
In a timeless wonder,
Because the world is full of beauty,
if you choose to see it.
Filmed on a Black Magic 4K Production Camera
A visual poetry project exploring identity and expression through spoken word in New York City.
A Paige Polk film
Original Score: Avila Santo
Assistant Camera: Brittany Jones
Ascent – Kidd Matthews
Underground – Paige Polk
New work! Nostalgia, a visual poem.
Written and spoken by Johnny Bang Reilly. Directed by Judith Veenendaal and shot by Noel Schoolderman.
Sound design, mix, mastering by KLOAQ.COM
“And if our heart condemns us, God is greater than our heart.” – St. John
A poem about freedom and the beauty which emerged from pain. Joy will triumph over fire.
Poetry by Katrina Warme (instagram.com/sweeterchord; katrinadphotography.com)
Director/Producer/Cinematographer/Editor – David Hutchinson
Composer – John Anderson
The Depressed: Meghan McDonough
The Abused: Mathew San Jose
The Self-loathing: Melinda Marchiano
The Phoenix: Laura Topete
Poetry taken from “Hello, Dear One” – an upcoming book of poems about surviving the flames and learning to soar again.
Filmed in Malibu and San Diego with the Canon T3i and 7D