But the idea of transformation has always been something that I romanticize in a work. I’m cautious of it but I also need it to connect my thoughts with the process of making. That’s really important.
Nari Ward
Part of the Editor's Choice series.
The Diamond Lane, 1981, is a 35mm color film written and directed by Barbara Bloom. Produced by Tom Burghard, Largo Films/ Starring: Susan Davis, Eric Fischl, Marianne De Graaf, Cees van Hoorn/ Camera: Theo van de Sande/ Music: Peter Gordon/ Editor: Leo de Boer/ Consultant: Van Lagestein/ Laboratory: Cineco, Amsterdam
Anyone can drive on the freeway––hesitating, resisting, losing the rhythm of the lane change––thinking about where they came from and where they are going. Actual participants think only about where they are, a concentration so intense as to seem a kind of narcosis––the mind goes clean, the rhythm takes over, a distortion of time occurs. The same distortion that characterizes the instant before an accident…
On the highways, the innermost lanes have been painted with a diamond pattern and reserved for vehicles with three or more passengers; the outcome being that the normal lanes remain bumper to bumper, while on the almost empty Diamond Lane the traffic flows at great speeds…
The first time this happened I thought you were crazy. Now I’m beginning to believe your theory of parallel worlds…
So they turn me to read up on quantum physics and turn myself in…
Deja vu? Don’t worry about the past, think about the future.
Originally published in
Tim Burns & Jim Jarmusch, ABC No Rio, Charles Ludlam & Christopher Scott, Jacki Ochs, Michael Smith, Mirielle Cervenka, Gary Indiana, Sonia Delauney, and Phillipe Demontaut.
But the idea of transformation has always been something that I romanticize in a work. I’m cautious of it but I also need it to connect my thoughts with the process of making. That’s really important.
Nari Ward