Part 1 of Trilogy. Dedicated to Phil Solomon.

This film is entirely hand-painted and is composed of such an evolution of variably colored shapes that their inter-action with each other should constitute a purely visual "self-evident" (as prompted by the title): everything beyond the title is as far removed from language as I could possibly make it; and thus it is, to me, practically impossible to describe. Each frame is printed twice, so that its effective speed (at 24fps) is 12 frames per second. A variety of organic and crystalline painted shapes (painted on clear leader, thus as if brilliantly back-lit in a blazing space of light) are interspersed with very dark (black leader) passages as if etched with scratches of light and stained radiances: the juxtaposition of these two contrasting qualities of painted and scraped film are "interwoven," sometimes with vine, or vein-like irregular lines in black or alternatively, scratch-etched white. There are also some straight, multi-colored, bars which move, diagonally from one side of the film frame to the other. All these "themes" finally give way to clear thick gelatinous effects which resolve themselves in a long passage of beseemingly-struggling hieroglyphic white shapes in a black field, ending on a brief spate of variable coloration.