Wednesday, March 13, 2013


(Wideo Tance Pœzja)', screening / event (also featuring Klaus Nomiand Cerith Wyn Evans), 
organised by Mark Ærial Waller, Plan B, 2007

This (and other photographs of same event and Mark Ærial Waller film, 'The Flipside of Darkness') appear reproduced in 'The Flipside of Darkness' (book by and about Mark Ærial waller and his work, concentrating on and christened after his film of same name) Mark Ærial Waller, CCA Ujazdowski Castle, Warsaw, 2008. 

Also including the author's ‘Dream-Key Zodiac / Pandora’s Ark’, (English / Polish, translated by Martyna / Matylda Jader, as 'Sen-Klucz Zodiaka / Arka Pandory'), 1st published in '…in this space', group publication, edited by Helena Sidiropoulos, Curious, Antwerp, 2002 

Wayward 2.27
Dead of Night / Boundary Theory
Wednesday 16th March, 6:30pm
Anglia Square
tickets : £4
Walter Craig, an architect, is summoned down to a country house by a prospective client whom he does not know. On arrival he experiences strongly the feeling that he has been to the place before...
What is the relation betweek yoga, boundary theory and the film Dead of Night?
Bounday theory is a tool to study situations. It can be understood in terms of 3 dimensional topology. For instance, if there is a kingdom with a wall around it, and that ruler decides to conquer more land, to expand the realm, they must build a bigger wall, using more bricks to surround the place. Let's say they continue to seek more and more land, increasing its size and the size of the wall all the time, until at some point they have half the planet, with a wall extending all the way round the world.
If from this point the realm continues to grow, the wall must become physically smaller, as the territory expands into the opposite hemisphere from its origin, so bricks must be discarded, as we are dealing with a 3-dimensionsional situation.
So the idea is that at the point of the equator, there is a 'flipped boundary where a value contradicts itself;the territory is increasing, but the number of bricks are decreasing.
This idea can be brought into a psychological narrative. In the case of Dead of Night, The protagonist Walter Craig wakes from a nightmare, only to find that his nightmare is becoming real, just as he had dreamed it. OR the protagonist Walter Craig, is experiencing a recurrent nightmare, from which he cannot escape, so all he sees is a figment of his imagination. These two ways of interpreting the movie demand completely seperate annalylis of the situation: 1, Craig is a psychic with foreknowledge of his future, so he actually is loosing his mind, becoming murderer as the story develops. 2, He is in a frightening dream where he thinks he is loosing his mind, but it is only a dream after all and he should awake and relax sometime soon.
The event commences with a video projection of a yoga fitness video, all in the audience are encourages to participate in the synchronised movements and relax into the mesmeric yoga soundtrack. Next the movie Dead of Night is shown. The portmanteau structure contains several stories all using the concept of the flipped boundary, crossing over into latent horror.
Finally my video The Cassiopeia Plan is projected. The narrative is a pastiche of Dead of Night and the earlier yoga video in one continuous thread. Recursive shifts back in visual memory to the horror movie are accompanied by the physical memory of 'I have done that' when seeing the yoga and hearing the yoga master's commands for the second time. A boundary has been crossed for the audience, shocked into feeling themselves included on screen.
'Hey isn't that you on the screen, Isn't that you on the screen, shucks thats not me!' Sleezy Films, Mark Almond.

The portmanteau film Dead of Night (1945) is a co-direction between Alberto Cavalcanti, Charles Crichton, Basil Dearden & Robert Hamer. The overarching narrative of a recurring dream provides a circular structure for a series of tales, where one form of consciousness slips into another, where horror lies within our own slippages of sanity. The film's structure curiously follows a logical/empirical philosophy where 'p' and 'not p' are able to occur simultaneously in the grey zones between. The film sits comfortably within its own contradictory state.

Invitation, THE WAYWARD CANON prezentujq CHROMA KEY, screening / event, organised by Mark Ærial Waller, Plan B, Warsaw, 2008  

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