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Absolut Panushka, Jan-Apr 1997.
Altered States
After the whirl of excitement from taking the Vortex Concerts to Europe, Jordan Belson
withdrew into a more quiet existence,
practicing yoga and studying Indian philosophy. In 1960, he reworked Allures, one of the pieces he had prepared for Vortex. He discarded the Pierre Schaeffer score to which it had been synchronized, composed new music for it and refined the imagery.
It began a series of 13 remarkable, masterful films which Belson would create over the next 20 years. All of them arose from visionary experiences he had during meditation and other spiritual exercises. Some, like Re-Entry, Phenomena
and Music of the Sphere, involve man's reaction to worldly stimuli. Others, like Samadhi,
Meditation and Chakra, depict "altered states" of ecstatic concentration.
In the films, a centered circular image often hypnotizes the eye into a steady stare around which other wisps of imagery flare and flicker.
The films contain a variety of moods and sensations, including moments of humor. In the lyrical hymn to Light, for instance, a candle flame appears to be extinguished by automobile headlights that "run over" it.
Belson made all these films at home, by hand. He used very little traditional drawn animation since the visions being reproduced favored more lush polymorphous manifestations of flowing colors (reminiscent of Thomas Wilfred's Lumia), which Belson produced by modulated reflections and camera work like racking focus.
He continued to compose many of his own soundtracks, which are diverse, compelling and inspiring, by collaging snatches of traditional music, natural sounds (bees humming, bells, etc.), electronic sounds and freshly written accords. Despite the thrilling brilliance of these films, Belson experienced difficulties with distributors and financing. He made four more films in the 1980s that have never been released, although excerpts are included in a videotape entitled Samadhi.
Moritz, William. "History of Experimental Animation." Website. Absolut Panushka, curated by Christine Panushka. (Jan-Apr 1997).
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