Night Mulch (2.5 mins.):

This film is hand-painted and is essentially about the interplay between hypnagogic vision and words, the effect of the one upon the other, the contest between the two. The hypnagogic (hand-paint) shapes are multiple and variably complex that they tend to suggest a variety of almost recognizable shapes, such as many brightly colored people or a mulch of flowers. The words, such as "Subversive" and "Liberating", along with many which are unreadable, seem to struggle for an equality of viewer comprehension, almost as if the brain were coming to terms again with the origins of written language: the pun "Quills" accentuates this. In all cases, language is subsumed, but leaves a distinctive trail of itself distinct from the painted images.

Very (3.5 mins.):

The second, of these companion films (interspersed by a "Technicolor+ countdown") introduces The Movies (Narrative Dramatic Scenes briefly flickering midst hypnogogic-painting) in addition to the closed-eye vision and language combination of Night Mulch. "Subversive" and "Liberating" are repeated, but "Liberating" actually seems to be withdrawing (zooming away) in the mixture of paints. To emphasize The Movies, these is a brief tribute to the actor Michael Caine. The resolution of these contesting 'force-fields; of visual thought (as I imagine them) is a sense of distinction of hypnagog over and above Photography (or Picture-i.e. a collector of framed named things) as well as the words/names themselves.