The Stories and Adventures of Ormesan: A Great Film, Part II

 

The Stories and Adventures of Ormesan, Part II: A great film 

Loosely adapted from a story of the same name by the French poet and art critic Guillaume Apollinaire, The Stories and Adventures of Ormesan follows a group of filmmakers obsessed with β€œthe real,” and who seek to capture a crime on camera no matter the cost. Starring Kim Kardashian, Mitt Romney, but above all, the gaze of the camera, the film screened at Veggie Cloud in Highland Park, Los Angeles and the Wilma Projects, NYC. 

The adventure begins, here

Email As, If Otherwise for a link to view the final film. 

An experiment: on a starry summer's evening, lie completely flat in the freshly cut hay. Face the sky and wait watching intensely to force the stars to blink all tired. A certain numbness soon releases the body and in the heavenly curve of the iris along the domed roof, gravity disappears, and you feel drawn into the infinite and the journey begins while the crickets play familiar music of the spheres' gears badly oiled. Everything is simplified and explained: that which is full, which was rendered empty and void, is full again. The imponderable ether is a marble of instantaneous transmissions, and the material itself is in fact but a hole. (Income from this adventure is believed to be a dream and that is why there are few trustworthy persons who wish to testify to its pervasiveness). By instrumenting the Moon with modern optics, like "the Japanese" have suggested, in the lenses we find footholds. We travel in the sky and only then will the orientation of one's head and the blinking of one's eyes be the primary instrument of investigation. We just happen to find the most expedient 'itinerary' for the eyes of others, which glisten in accordance. Our reputation is as carefully cultivated as our tentacles are long. The octopus was the first filmmaker, and his own projectionist too. We preach the recording of reality, which, when added to the imagination, slowed, accelerated, and rearranged, leaves one with birds nesting in air and seaweed-covered giants moving through underwater cities. A mode of seeing is gathered and collected from before the Lumieres, one affirming the superiority of reality as the extraordinary invention of nature, the artifice of life. It takes no staging. The animal, when studied, is generally placed in front of a black background, but the infinite soundstage is in fact its natural environment.