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A piece about time, and psychic projects.
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Time piece. Tracing parallels shouldn’t lead us away from the unique qualities that make [Christian Marclay’s] The Clock so appealing. For one thing, the fact that there isn’t a continually running readout, as in Bleu Shut or in an iPod slider, enables the film to test our feeling for passing time. Not every shot shows a clock; indeed, most shots in the portions I saw don’t. As we get captivated by clock-less images and follow their development within a scene, the arrival of a timepiece reminds us of the structuring principle. The appearance of a clock creates something like a punchline, while also letting us realize how loose our sense of duration in a movie usually is.

Psychic Projections. What is most striking about the Serios thoughtographs is the power of their imagery as a manifestation of the creative process. In these strange pictures, real objects or places appear to have merged with (or been altered by) the material of Serios's unconscious. Some of them juxtapose target images (of familiar buildings, monuments, houses, and hotels) with what appear to be images of day residue, haunting shadows of unfamiliar forms and structures. Others seem to incorporate both past and future events in an odd, shadowy collage.