TRANSCRIPT OF FOREST HILLS/OREGON DACITE, VIDEO SCULPTURE, 2014
I have no idea what you’re constructing, but that thing you’re working on and your tools are so beautiful that I’ll just go ahead and watch all the videos
Innuya 1 year ago
were are you in kansas i live in kcmo and i have been flintknappingfor a little over a year and looking other knappers near by
MrROCKRobster in reply to phoenixofthewolf 1 year ago
I‘d love to have just a few of the flakes you dropped.
ConnerPlainLiving 2 years ago
Percussion Biface 1
Uploaded by paleomanjim on Jun 22, 2007
Category:
How to & Style
Duration 9.55
There is a camera noise and intermittent birdsong. It‘s a locked-off shot. The camera is positioned above and to the right of a man‘s lap. We see only his arms - well built, middle aged, tanned with blonde hairs - and his legs in blue trousers. We don‘t ever see his face. He is called Paleomanjim and his location is Laguna Niguel, Southern California. I know this because I looked up his username on another forum. He holds in his lap a large spall of shiny black rock. He tells us what kind of rock it is, it‘s dimensions, that it also gets calles black butter, that it is pretty much flawless material and that it flakes with a high degree of predictability. For the next 117 minutes he diligently knocks flakes off the rock, pushing them off his lap onto the floor. He mentions these flakes are useful for forming smaller tools. Before each blow, he provides an explanation of what he hopes that blow to achieve. After each blow, he analyses wether it achieved its objective in the context of the entire mass. He talks in detail about creating ‘platfoms‘ on the rocks surface. The video is broken down into 13 parts because of bitrate. The rock gradually gets smaller and more defined, eventually becoming biface.
We didn‘t begin in the brain, but in the feet. It was only when we stoop up that the handy and mouth were freed from grasping. So language developed: another prosthesis. Erect posture determines a new system of relations. The freeing of the hand during locomotion is also that of the face from its grasping functions. The hand will necessarily call for tools, movable organs. The tools of the hand call necessarily for the language of the face. Tools for the hand, language of the face, these are twin poles of the same apparatus. [1]
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In Percussion Biface 2, a geometric pattern of sunlight appears on the patio floor in the top left of the frame: an inverted shadow grid shot through with holes of light, from the structure above him. By Percussion Biface 4, the pattern has reached his hands and his biface. In real-time, its progression is too slow for my eyes. I see it from the clips laid out in plural, the total clip in parts. By Percussion Biface 10, the shadow-grid has exited the frame.
I needed to take a step backward musically in order to take a step forward in another way, so I went with K and his friend to an old-school gay bar on market street down by the port. It was older men smoking on bar stools. The lights in there were bright, like when it‘s last orders except it wasn‘t. We went on to a gay club nearby. It felt good, but I wasn‘t used to dancing to music which wasn‘t seamless. I wasn‘t used to each song being a separate unit. It wasn‘t instrumental, there were words. And we faced each other when we danced.
Percussion Biface 2
Uploaded by paleomanjim on Jun 23, 2007
Category:
How to & Style
Duration 9.54
Description: Continuation of bifacing
In the final 50 seconds of Percussion Biface 13, the man says that the tape is getting low, that he will call it good enough and that he has spent near two hours on this. He rotates the biface slowly. He says he is trying to centre it in the viewfinder, and that he doesn‘t know whether he will edit it as it takes so darn long to edit and he‘s kind of new at this stuff but it‘s got a flair flaking pattern, be easy enough to finish up and make a pretty nice looking blade out of it. Again he says we‘ll call it good enough, then puts the biface down, twists round and quickly moves the camera up and outward, away from him. With this move, a loud buzzing becomes audible which sounds like crickets. Some feet away, a structure supported by two white pillars is visible, with the geometric shadow-pattern directly beneath. The position indicates it is near midday. Beyond is a manicured lawn with a path running through it, and beyond that a rockery with many types of flowering cacti. A tall black slatted fence runs along the edge of the lawn. Beyond that is an expansive desert landscape extending to the horizon. The man says this is the kind of day we‘ve got today. He then says really nice, but the end of the tape cuts him off in the middle of the word nice.
[1] Technics and Time,1: The Fault of Epimetheus by Bernard Stiegler, 1994