Pat O’Neill’s second long-form work, following Water & Power. A master of the optical printer, and the single greatest influence on Peter Tscherkassky’s “manufractured” cinema, O’Neill reprocesses and recontextualises fragments of found footage & public service broadcasts to extraordinary effect, meshing it with his own original footage (incorporating time-lapse, motion control and innumerable exposures). Cinematic non-sequiturs amass, layer upon visual layer, creating trouble in the image.
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