Step 1: Choose a typographically interesting, adequately long sequence of characters [in this case, the characters that spell out the title of the movie "Koyannisqatsi"]


Step 2: Learn how to use a particular typewriter to register sequential characters so that each successive character is placed EXACTLY on each successive page in relation to the preceeding and following characters.


Step 3: Learn how to use a particular photocopier to precisely reproduce these delicate and interdependent spatial relationships.










20 pages / 4x5.75” / bw Xerox on 20#T / 2013

Artist book / Edition of 30, unsigned, unnumbered.







This book is not meant to bear any immediate correlation to Godfrey Reggio's film called KOYAANISQATSI [1982]. However, his cinematic rendering of techno-ecstatic dystopia and degraded ecology does relate to several cultural and political discourses I periodically investigate in my own projects.


Considered a cult classic of experimental and pure cinema, KOYAANISQATSI is also an intriging historical artifact. Its release coincides so precisely with the moment in which the environmentalist discourses of the the '60s and '70s make the leap from metaphysical to technological metaphors. It is this period, as genetics and software emerge as the dominant metaphors, that cybernetic holism becomes the new promise of a naturally determined, egalitarian, and self-regulating global ecosystem.


Perhaps most problematic in the work is that it uses familiar codes from Romanticism and Formalism to establish a stance of ethical opposition to globalization and late-capitalist modes of production, and against the spectacular and material legacies of these. And yet the film also makes a virtuoso demonstration or how easily its subject (nature) is made subservient to the spectacularity of technological arts, in this case, the dexterity of the cinema camera and projector, and to the euphoric pulses of Glass's music score.