Peepholes, Puppets, and Collage by Laurie O’Brien and Doug Harvey


For this project, I am interested in our world, which is becoming both increasingly more connected and more distant. Since September of 2014, I worked with photographs from the Soibelman Syndicate News Agency Archive at Visual Studies Workshop to create collages that displace time, space, and scale. I collaborated with Doug Harvey, a Los Angeles writer, whom I have never met, but with whom I felt an artistic affinity. Through our email correspondence and exchange of images and text I decided on three areas of crossover—Peepholes, Puppets, and Collage. I sent Doug the themes and several images and in response, he sent me back text. I then chose phrases from his text and this evoked the creation of a new set of images.


Guesses How Parts Relate to a Whole


His Heart of Spyglass Peace 
By Doug Harvey

To me, it, it, most of them, in the next week, havenot been put something a bag for the people of the clear bag words of this original, what it is, or some of it you what is happening, it is, in but, if women program, if present, as long as there is black, it was all. before it was opened, I went to the night of the preview. She did not know anyone or anything that had me—made from it and wandered around me. So I, it is supported, fell to the gallery, and I look at it, you have been made in order to have what I like surprise, it was a couple of artistic student. 200 good head was selling apples. To me, I thought great—I got the humor immediately to her work. Humor immediately about the ,,, knowledge of underground, avant-garde, or got me in the same number, say it did not need to. Had stand a fresh apple—it was before Apple—and it, to see deterioration was a good apple 200 cows. Really judge me—or—for artists, I was led to the picture of the ladder hanging on the ceiling, there are other parts. Because it seemed to hanging on the edge of the black and Spyglass, it is chain canvas. This is, I you, in the ladder, you you got there there, you’re there for me, there is. Your glass, if it is “yes”, it may be passed through a small character, a spy second door passed nearby. So, it was positive. I was relieved. It as you say is a great you can get a ladder, you is “NO”, or if you look through you, it’s you, it “, his heart of Spyglass peace”, it is your Do not fuck with you is “Jesus” is the same that has been is what some have


To The History of The Machine


Beat The Operating System
By Doug Harvey

Jentsch in the “history as the most effective instrument of a
different nature,
the effect can not be,
it was strange,
he left him badly to the history of the machine,
or in the comfort and opportunity to read:
For the weekend, lost the benefit of television,
it is necessary that it should fall into the mind to focus on the
case is uncertain,
not from me,
which is also more often go to the brilliant research.
the short tour.”

This is the part of the species Tacitus,
The History of the six at Olympia from the “Sandman” in the
night for the first time the principle of
an act of the play is certainly dollars Offenbach good salad.

But I do not think I have not,
I think,
what is the history of the Olympic Games and most of all in
the pain,
in the first part of the duties of the head of the living evidence
of the history of Kan Tijo not
surprising that he made reader.

even more importantly,
the author of the sauce is ironic,
because the day to beat the operating system.

It was a very good baby,
come to the discussion of the story that the name of history,
it is always a lot of the mass of the boys as “Sandman” to
use now

This is a “‘patacritical interrogation” of a passage from Sigmund Freud’s 1919 essay “The Uncanny.”


Align Itself With Every Surrealist Desire


Paper Arbitrariness
By Doug Harvey

“The cloth, more famous than condemned, is subject to phenomenal arbitrariness. Of names, a relationship guesses how parts relate to a whole practice. One ‘I’ world where another.” Because of the bodily, any and all are a world of copper upon which is engraved a picture. A picture revealing a version of toughness in human tadpoles.”

“It furthers experience to be wandering into a simple pasted display and lines that naturally lead only to the sky, to paper in any whole; unhinging the ‘A’ on her by pasting it to a manner, attempted and considered as we to a world. But aimless through time to meetings with Picasso, they remember into liberated flatness.”

“It is thus both precarious and overweening to align itself with every surrealist desire, beginning with our making the direction of phrases into an interpretive tide: this is quagmire. With the Dark, you’re as likely to discover kindness anywhere—the Hundred features contrary. Of chosen experiences demonstrating appropriateness to Dark, one unhinged must savor so—while real or not, the phenomenal appropriateness of moving spontaneously to or of the very undepicted into a “polemical One this secret” materialized into a three-dimensional collage finish tends spontaneously toward Levitation rendered by his now stripped Max cloth into an undreamlike lead chance, an order of influence! Naturally tadpoles anywhere are of paper arbitrariness.”



The texts for this collaboration were produced using a variety of “‘patacritical Interrogation Techniques”—real-world implementations of the principles of French playwright Alfred Jarry’s science of ‘pataphysics in which pre-existing texts are subjected to extreme stress to make them reveal their hidden meanings, in accordance with the ‘patacritical precept “Bad intelligence is better than no intelligence.”

His Heart of Spyglass Peace was generated by passing John Lennon’s account of his peephole-centric love-at-first-sight meeting of Yoko Ono (sourced from Jann S. Wenner’s 2000 Lennon Remembers: The Full Rolling Stone Interviews from 1970) through Google Translate between Japanese and English nine times. The original text reads:

I got the word that this amazing woman was putting on a show the next week, something about people in bags, in black bags, and it was going to be a bit of a happening and all that. So I went to a preview the night before it opened. I went in—she didn’t know who I was or anything—and I was wandering around. There were a couple of artsy-type students who had been helping, lying around there in the gallery, and I was looking at it and was astounded. There was an apple on sale there for two hundred quid; I thought it was fantastic—I got the humor in her work immediately. I didn’t have to have much knowledge about avant-garde or underground art, the humor got me straightaway. There was a fresh apple on a stand— this was before Apple—and it was two hundred quid to watch the apple decompose. But there was another piece that really decided me for-or-against the artist: a ladder which led to a painting which was hung on the ceiling. It looked like a black canvas with a chain with a spyglass hanging on the end of it. This was near the door when you went in. I climbed the ladder, you look through the spyglass and in tiny little letters it says “yes”. So it was positive. I felt relieved. It’s a great relief when you get up the ladder and you look through the spyglass and it doesn’t say “no” or “fuck you” or something, it said “yes”.


Beat The Operating System takes a passage from an unidentified English translation of Sigmund Freud’s 1919 essay “The Uncanny” and passes it through a guesstimated sequence of Google translations designed to approximate a history of the original translation of Freud’s work into various languages, punctuated by translations back into English. The sequence was English> German> English> French> English> Polish> English> Norwegian> English> Russian> English> Swedish> English> Spanish> English> Italian> English> Japanese> English> Arabic> English> Greek> English> Chinese> English> Czech> English> Korean> English> Latin> English> Esperanto> English. The original passage reads:

Jentsch says: “In telling a story, one of the most successful devices for easily creating uncanny effects is to leave the reader in uncertainty whether a particular figure in the story is a human being or an automaton; and to do it in such a way that his attention is not directly focused upon his uncertainty, so that he may not be urged to go into the matter and clear it up immediately, since that, as we have said, would quickly dissipate the peculiar emotional effect of the thing. Hoffmann has repeatedly employed this psychological artifice with success in his fantastic narratives.”

This observation, undoubtedly a correct one, refers primarily to the story of “The Sand-Man” in Hoffmann’s Nachtstücken, which contains the original of Olympia, the doll in the first act of Offenbach’s opera, Tales of Hoffmann. But I cannot think—and I hope that most readers of the story will agree with me—that the theme of the doll, Olympia, who is to all appearances a living being, is by any means the only element to be held responsible for the quite unparalleled atmosphere of uncanniness which the story evokes; or, indeed, that it is the most important among them. Nor is this effect of the story heightened by the fact that the author himself treats the episode of Olympia with a faint touch of satire and uses it to make fun of the young man’s idealization of his mistress. The main theme of the story is, on the contrary, something different, something which gives its name to the story, and which is always re-introduced at the critical moment: it is the theme of the “Sand-Man” who tears out children’s eyes.


Paper Arbitrariness employs a free online William Burroughs/ Brion Gysin-inspired Cut-Up Machine at www.languageisavirus.com/cutupmachine.html to fragment and recombine a selection of texts, several of which were read from scanned PDF image files using free online OCR software at www.onlineocr.net/. The resulting text was then subjected to intuitive normalization to render it into relatively grammatical structures.

Sources: Umberto Eco, “Casablanca: Cult Movies and Intertextual Collage” (1984), transcribed from PDF by free online OCR software at www.onlineocr.net; Guy Debord, “Theory of the Dérive” (1956), transcribed from PDF by free online OCR software at www.onlineocr.net; Thomas Brockelman, “Collage Hermeneutics” (2001); Dorothea Tanning, “To Max” (translator’s preface to Max Ernst’s Hundred Headless Woman) (1929), transcribed from PDF by free online OCR software at www.onlineocr. net; Clement Greenberg, “Collage” (1959).

To learn more about ‘patacritical Interrogation Techniques, visit http://www.dougharvey.blogspot.com/p/blog-page.html or purchase ‘patacritical Interrogation Techniques Anthology Volume 3 from r.a.m. publications + distributions, inc. http:// rampub.com/culture+theory/978-0-9884715-8-0.


Doug Harvey is an artist, writer, critic, independent curator, and educator who lives and works in Los Angeles. His activities may be monitored online at www.dougharvey.blogspot.com and www.dougharvey.la.

Laurie O’Brien, a multidisciplinary artist working with installation, video, animation, and puppets, received her MFA from CalArts and teaches visual media in the school of photographic arts and sciences at Rochester Institute of Technology.


To see more of Harvey’s original source materials, incremental translations, and more of O’Brien’s collages, visit http://peepholespuppetsandcollage.blogspot.com/. To learn more about Peepholes, Puppets, and Collage visit laurieobrien.com and peepholecinema.com.

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