Artificial light
1 . A, upside-down and backwards
2 . A, in negative
3 . A, with superimposition of sprocket holes
4 . A, with eyes painted blue and mouths red
5 . A, scarred with a white drip mark
6 . A, covered with transparent stripes of red and green
7 . Still shots in sequence from A; a stroboscopic or flicker effect
8 . A, almost obliterated by scratches
9 . Shots from A, toned different colors by dye, in an asequential order
10 . A, with faces and hair outlined by scratches, dissolves marked with a scratched slash (/)
11 . A, spotted with multicolor drops
12 . Superimposition of A, with a copy of A in which left and right are reversed
13 . A, with all faces bleached out
14 . A, with a flicker of colors (red, green, blue)
15 . A, covered with art-type printers dots
16 . A, toned sepia
17. A, superimposed over itself with a lag of one-and-a-half-seconds
18 . A, interrupted by two-frame flashes of color negative
19 . A, colored, as if through an electrical process, in a series of two primaries
20 . A, with a closeup of a moon crater substituted for the expected moon shots
Al ver este trabajo de Hollis Frampton siento que ya lo he visto muchas veces, supongo que se debe a la sobre explotación de la imagen que se ha dado en la última decada, "x20" se hizo en 1969 cuando no se veía este tipo de multiplicación de imágenes como algo ordinario, cuando veo este filme, se abren lineas de fuga que remiten a cámaras de seguridad. Al ver "Zorn Lemma", film que hace Frampton en 1970, creo que logra mejor lo que intenta explorar en "x20", ya que el significado y la interpretación de la imagen termina por desaparecer.
