[Composites] on the Documentary & Documentarian

by Dontrell Lovet't
from, [PsychoNeuroFilmography]






 Nothing in history escapes memory; misadventure, happenstance, mirrored-images, bliss- this is the stain upon memory in which we want to escape, or savor. But the human brain, as effective as it is in its 10% functional capacity, it is fragile, plagued by degenerative disease, fractured by communicable disease, compromised by retrograde amnesia. So we photograph every inch or moments that are memorable to us, those we know we may never forget and those we know we may and in someday, be in need of a reminder. The Documentarian is the photographer evolved....and their art,doomed star-crossed lovers, destined to wonder for eternity.


....this evolved artist has gone from the still images formed in our minds far before the camera has capture an instance and transmogrified the stillness into motion, transgressed the black and white to color and regressed once again to black and white. As an adult in stress of their lives, regression is pertinent to the origin as the origin is the axis of the celestial sphere of art itself.

Subtle art demands only subtle attention; art must become radical if its demands is to be the same. With the documentarian, everything exists around memory, around what happens in our human history that needs to be remembered and brought to light. Figurative or abstract, it painstakes its claim to the documentarian in a haunting manner, until no longer they can ignore that the dream demands to be born from idea, from ideal.

 We confront time as we do the object, and the independent , intervening distances flowing from event into lens is not missed; every moment capture is captured intentionally, as in the dream, nothing is a mishap. If the documentary is to capture what the dream has, then both the composition and the documentarian must become a double of it, the devout agent who carries out a task and analyzes and asks not why it must be undertaken. In one form or another, silence comes over the auteur, a disquieted spell that removes them from actual time. The dream then is no longer the dream, there is no more dream. It has now become, stained itself in motion for the next thousands years. If it is not dreamed then it is no recorded, if it happens in the dream, then it is from an authentic, aesthetic stance that it must become, upright past the crawl, an embryo develops without chromosomes. The documentarian who lives in art is privy to the beginning and end of a dream, a specific dream, as one who lives in art becomes aware of their own demise.

 It is not clear whether the documentarian can explain the dream or the documentary can fully capture the dream as it becomes reality; what is clear is that the documentary is savors the integrity lost upon the major motions film. And slowly, a cult audience is eroding the mainstream zealous, bringing limelight
to a truth that some embrace while most deny and prefer their complacency in denial.