Paul Sharits (1943-1993)

Pink 2nterface/ Dec 74

The scores are drawn so as to suggest the overall character of the temporal subject: a subtle shimmering of “tints” D (colors never seen in a single pigment-colors which usually appear mutually contradictory, on a plane of reconciliation). Colors difficult to work with. Every other frame of the (pink, pink-green, pink-lavender, pink, dominants) four films is to black, to allow in superimposures an intra-action of colors (alternating ; creating a “filling-in,” at moments, of the time frame; having at moments, using in an alternate phase relation, creating an intense flicker [projectors naturally run at slightly different speeds, so they phase in and out  of polar relation]; the wavering of the phase rests, in time, is a natural rhythm  and emphasizes aspects of the shutter) and to signify the conception of the shutter action of film recording and/or projection. Purchase a rug containing unit colors of the film paradigm (tree branches full of  geometric parrots; rather festive); the rug is at the end of my scoring table, in front of me while I work; said to have been in Belgium; it is worn, which is appropriate.