Paul Sharits (1943-1993)

Among the many colors which would compose the film, a leit-motif of fades of red and blue from white would recur. The colors would be shot from a specially controlled color video monitor so as to heighten their brilliance to the maximum degree. The sound track, derived entirely from a spoken text of the Declaration, would begin by suggesting a sort of primal potentiality, from which meaning would gradually and rhythmically evolve. A computer would be used first to articulate variations and juxtapositions of phonemes from the text; then, gradually morphemes would emerge; and finally, the coherency of the unmodified text would be enunciated. In counterpoint to the movement of the soundtrack, the visual structure would gradually move from a measured poise towards an ecstatic level of color-light pulsation (ending in micro-oscillations around 5 cycles per second, which is at once the most primary fade-wave cycle possible in sound speed 16 mm film and is also a rhythm associated with certain neuron pulses during expansive, inspirational stated of consciousness).

If produced, “Declarative Mode!” would be an aesthetic reaffirmation of America’s most basic principles, in a time of the Nation’s shattered trust, insecurity, cynicism, and aimlessness. I am anxious to begin the project soon, believing that its social relevance would be increased by its being premiered in 1976. A more personal reason for desiring its production in 1976 is that I will be [am] 33 years old this year, the same age as Jefferson when he produced his masterwork 200 years ago. To do the work properly—the only way I can approach doing it—calls for expenditures of time and costs far beyond my means; for this reason, I am applying for assistance, which would allow me to take the time off, to cover basic production costs and provide a modest salary for an assistant, who would need to help me with the complex scoring, shooting and editing of the project.