Jordan Belson «Allures» 1970.


Jordon Belson, Allures 1970
8 min. 16 mm, color, sound.

Accompanied by electronic music. An experimental film in which computer produced patterns portray a hallucinogenic voyage into outer space.

source: loopcollective.com

Between 1957 and 1959, Jordan Belson collaborated with composer Henry Jacobs on the historic Vortex Concerts, which combined the latest electronic music with moving visual abstractions projected on the dome of Morrison Planetarium in San Francisco (and also the Brussels World Fair in 1958). These pioneer Light Shows used filmed imagery (by himself, his wife Jane, James Whitney, and Hy Hirsh) as well as multiple projections of geometric and polymorphous light phenomena produced by non-filmic means. Together with the contemplative Lumia of Thomas Wilfred (slowly-evolving polymorphous light projections), the Vortex experience inspired Belson to abandon traditional painting and animation in favor of creating visual phenomena in something like real time, by live manipulation of pure light -- which has been the technological basis for his more than 20 films from Allures (1961) to Northern Lights (1985).

The second major well-spring of Belson's mature films arose from his increasing involvement with mystical and contemplative philosophies. During the 1950s, he had been an integral part of the Zen Buddhism of San Francisco's North Beach Beat scene (indeed, Belson still lives in North Beach). The mature films frequently express aspects of Indian mysticism and yoga, reflected in the titles of his masterpieces Samadhi (1967) and Chakra (1972), which render the actual visual and auditory phenomena that Belson experienced in hightened states of meditative concentration. They also explore the relationship between scientific theories and human, spiritual perception (Phenomena, 1965; Light, 1973). Many of the films share certain images which Belson regards as 'hieroglyphic-ideographic' visual units that express complex ideation not easily stated in verbal terms.

Because the essence of Belson's artistry depends on subtleties of changing form and color, he has experienced great difficulties in preserving his films. Many copies of the films from the 1970s printed on Eastmancolor stock have faded or changed color so much as to be meaningless. Five finished films from the 1980s have never been printed or distributed, although Belson incorporated selected imagery from them (moments that retained their integrity on electronic reproduction) in a half-hour videotape, Samadhi, which is commercially distributed by Mystic Fire in the United States.