Public Enemies (1978)
Photographs that try to establish a relationship with a condition that can't
be trusted is a photograph that appears to know nothing of the practical and
serious ways of a practical and serious world. Their sophistication is cocky
and very much like the chip one can carry on one's shoulder. Their modes of
emphasis dares to be believed. It's almost as if these photographs have no
shame.

Very Really (1979)
Very Really is a descriptive term which usually comes about when suddenly
attempting to describe an absolute. It is mostly spoken involuntarily. The
motor reaction often happens due to excelerated exchange where the relationship between an individual and an apparent 'common responsibility' becomes disarmingly familiar. It was used extensively in light comedy in the early sixties. Paula Prentis still uses the term in most of her movies.
"When you need it bad, we've got it good", The Florida Division of Tourism

Receivership (1978)
Receivership refers to a state of consciousness which sets up a certain
degree of belief in a pseudo-reality whose effect in some cases can be felt more
deeply due to a willingness to believe in what is less true. Make It Again (1979)
Make it again and make it new, sound like similar attitudes, except make it
new is an old attitude and had a lot to do with poetry. Make it again isn't a
position assumed for a specific purpose and hasn't anything to do with making
anything new.

The Day The Earth Stood Still (1978)
Any picture that is a movie to most but a reality to some, is a picture with
subtracted theatrics. This treatment requires any enumeration of the
super-natural to beleveled with the objectiveness and precision of naturalism so that at times the fiction seems to become, or suggests what appears to be an
authentic representation.

Photospheres (the bounced photograph) (1981)
Re-photographed pictures that have been previously available to the public
are, in effect, ordained, and weight significantly more than the spiritual
displacement they sometimes suggest. Artificial intelligence, like fiction,
whether displaced or fabricated, makes reference to the particular. These
particulars, existing within the picture, contain sensory detail. These details can be terrifyingly beautiful.

"Star of the day, who will it be?" the opening verse from the theme song
of "Community Auditions, a Sunday morning local talent show out of Boston,
Mass.

John Doe (1980)
Looking under rocks will be helpful in a society where individual ownership
of an orbiting satellite is becoming increasingly desirous. Subscriptions to
'cables' now and in the future have the enormous advantage of being
'domestically centered'. The translationships pirated from subscription pictures (t.v.) will re-define the notion of 'home-made'. "A lot of people who go to the movies decide to go to the movies before they decide what movie to go to." Bertrand Augst?

Already Set To Go (Almost) (1980)
Nobody wanted what you did unless you did it yourself. It had always been
about a personal mark, an original copy, the author, in effect, had to have
spoken with his own words, with his own voice. This would change.
Essentially their own desires had very little to do with what came from
themselves because what they put out, (at least in part), had already been out.
They wanted what they saw to be there, before them. All at once. To come
upon it already still, and put together. They liked being part of the audience
and found it satisfactory to scan and select and stare.

Already Set To Go (Retouched) (1980)
One of their motives was to be sophisticated. In other words, unfaithful.
Specifically unnatural. That's why the retouched got tagged on after "to go".
Their way to 'make it mine' was to make it again. And making it again was
enough for themselves, and certainly, personally speaking, almost them.