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Table of contents
I knew that my tenure would protect me. I pushed "PLAY. When my sight came back, I was rewinding the video. I was drawn to the bee movie. I wanted to be in the dark again, where I knew the bees were waiting for me. They pierced the side of my head. Through this hole they inserted a mirrored crystal. In the weeks and months that followed, I was able to stay awake when the darkness came. I watched Wax ten times. Twenty times. My friends began to whisper of the dangers my obsession with Wax posed at parties or even ordinary conversations.
I began to travel, with Wax as my constant companion. Tokyo, thirty times. New York, forty. A burst of spare time during off-hours at the cybernarrattive festival, pushed me past the fifty mark. My friends had been right: I was a weapon. Every sentence has a truth waiting at the end of it and the writer learns how to know it when he finally gets there.
On one level this truth is the swing of the sentence, the beat and poise, but down deeper it's the integrity of the writer as he matches with the language. I've always seen myself in sentences. David Blair : Yeah: from Basra to Kansas, because this is like '86, ' I got a litter. It's a great litter. The organization that talked about it was majestic. That was fanny because that also happened after [? Anyway, I was Lawrence with a friend and we were doing the documentary about the beatnik reunion in Lawrence, and [it's the camera mark?
He'd done a [? Scott Bukatman : Well, for those of us who don't know about the Garble of Eden with the concrete figures [? DB : Oh, the fellow who did it was a guy named Dinsmore, who was a failed prairie populist and this, coincidentally, if you ever make things [? It was a place where there aren't any trees, but there's a lot of limestone and so he built himself a stone log cabin.
Around the turn of the century he was like in his seventies and he married a twenty-year-old from Chicago and they started to have children and he decided he'd express himself, his ideas, and also make it a tourist attraction. It's practical.
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And, basically, over about ten or fifteen years he built this [local? The side that faces I can never get the directions of Eden correctly but I guess it faces west or east. I can never figure that out. Is the Garbleof Eden. Is the story of the apple and, mainly, the story of Cain, because then, at the corner, Cain turns the corner with his girlfriend and his hoe and he enters America right at the corner of the Garblewhere the flag is and he enters the Garden, essentially, at the time of the populists. So you have all this stuff about trusts, chartered rights, about monopolies, sort of told from the perspective of a radicalized Civil War soldier.
There's an octopus with its tentacle in the backpack of a civil war soldier and there's all these chains in the sculpture of, like, somebody shoots this and there's a bird which a fox eating and then the Indian is shooting the fox and a soldier is shooting the Indian in the back and a woman is reaching for his backpack and a tentacle is reaching into the backpack at the same time. So Dinsmore is very in his, "this is my stone, log cabin mausoleum," as William Burroughs would say. He taught his wife how to mummify him and he was placed in the back there in a glass-plated mausoleum in back.
That was supposed to keep the thing going.
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You'd go pay a buck only his descendants could get in for free to look through the plate glass to see the mummified Dinsmore. Everybody else had to pay a buck and that was how it was going to keep his wife going. So that was his plan for the Garbleof Eden. It's got all this concrete sculpture and all the trees.
DB : No, no, I wasn't really doing very much of anything. I was a pretty terrible, I was a good student but I didn't have anything particularly organized, and I wasn't writing because I wasn't supposed to really do anything like that. I was supposed to have a professional education. And so I went to New York and got a job. I had absolutely no training in film or video and I wasn't really very much of a writer and I got.
This may sound like this is my life history but it's practical in terms of what happens with this particular project because it's sort of out of, digging my way out. But I got a job in a film house and I quit. This Israeli soldier, who was my boss, former Israeli tank commander, with a missing finger from the war and screamed at me all the time, and so finally I quit after learning a bit. I spent the summer like many people do, nostalgic for the library, going every day for about 3 or 4 months, discovering the research library and going every day and I get up in the morning, go to the library and then for my lunch break I'd walk up to the media section of the library where I watched videotapes and that's where I learned about video and [?
That was on the same program as some [? It was all both abstract, structured work and hand-made work at the same time. A whole variety of heavily fantastic, fantastical in a variety of ways, film work. DB : But the film [cuts out? Is that it, [Lou Jordan? DB : He does earnest cut-oops. He did it on Sophia's, like Ernst cut-oop animation's that are all sort of very. He's sort of like a flower of Harry Smith in color. Anyway, that sort of stuff all sort of pitched in and, anyway, what I was trying to do at the library was trying to learn about a couple, specific, strange things and they all eventually turned into Wax in one way or another.
I was trying to do a performance about Alamogordo and I read about mechanical television. DB : Mechanical television. Spinning discs that were used to scan an image and then reconstruct it. It's like a spiral on a disc with a [? It was the TV up until the twenties. Actually, there was a broadcast system up until the late twenties.
There was a flourish of it in the States and in England and in Germany. There was a British guy [John Logic Bayer].
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LM : I don't remember Blair [? DB : Yeah. Great oreos [terms? But Baird's a funny one, you see. Baird really comes in, not from, yeah, Baird comes in to mechanical television, but Baird is a really weird one because he also goes into the pre-war period. He was like one of those people who, like an Edison, who made a system and got the funding and such like that. And then the crystal palace burned down and it sort of went by the side, but the real reason it went by the side is they were gearing up for high-frequency television. That was something I discovered years later when I was doing the research for Wax was really there was this whole business of how, which was really interesting and important, there was this whole, late early thirties period when there was a television war between the U.
It was a code-word for radar. SB : Didn't Germany also have the first television [? DB : No, well, there were about 50, 25 stations in America. Yeah, in the late twenties there was a flourish because it was basically just radio frequency. It was a relatively narrow band width. Anyway, there's this whole, strange business with mechanical television.
I mean, with the high-frequency television and that they were gearing up for radar and they knew that the only way they could actually get radar is if they created an industrial base for it.
So, the way they were going to create the industrial base was through television. As they gained all the experience in the manufacturing techniques needed to produce all these high-frequency components and, so, they created a need for television, a need for twenty-five line television and then there was a competition between. One of the first things Hitler did when he came to power was classify all television research and at the same time his people created German television history. They rediscovered [Paul Nitka? He was really interesting because he was a fellow who spanned the period of invention, the late nineteenth-century, he worked on the railroads.
He essentially, helped design the switching signal system for the Berlin city railroad, back when Berlin was growing, back when they first needed that. That was, like, one of the infrastructures for Berlin. And he created. It was as if you had the two railroad wheels and the axle between them and one side was the sender and the other side was the receiver. They were cut in half and separated in space, one from the other, but they were synchronized and rotating at the same place at the same time.
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He was a railroad engineer and the thing he went on to later was helicopters. So that's actually, like, if you're looking for back story material this is essentially a nonlinear creation of linear text. Hopefully, that's for technical history and. LM : So, this is, more or less, just not even so much professional interest so much as you were just reading as much as you could about television, the development and these kinds of.
DB : No, it was in the context of turning this into narrative.