“One of the basic situationist practices is the dérive [literally: “drifting”], a technique of rapid passage through varied ambiances. Dérives involve playful-constructive behavior and awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll. In a dérive one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there. Chance is a less important factor in this activity than one might think: from a dérive point of view cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones. But the dérive includes both this letting-go and its necessary contradiction: the domination of psychogeographical variations by the knowledge and calculation of their possibilities.”
Commercials For Everyday Life
Screaming for Rosalind
Dear Lonesome Reader,
This is proper, spill my guts out time.
Screaming for Rosalind is a very short piece of animation I made a very time long ago.
It is part of a 5 minute film called “Commercials for Everyday Life”, which got itself shown at the 1991 london Film Festival alongside the work of industry legends such as Liz Whitaker and the Quay Brothers.
No computers were touched during the making of this work. It’s all peg bars, pencils, paper, rostrum cameras and 16mm.
The voice was provided by esteemed stage and screen actress, Veronica Quilligan, who took my inane teenage poem and imbued it with a life and gravity I could never have imagined.
The drawing is a bit crap and the animation a bit clunky, but its the only part of the film I can currently bear to watch all the way through.
Who knows, when I become more immune to internet dignicide, I may choose to post the other four parts.
Paul Greer 