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Index
House of Leaves
Table of contents
Contents
FOREWARD
Introduction
The Navidson Record
I saw a film today, oh boy…
II
erroneously directed, scarcely ever fail in
of mankind.
III
becomes a photographer any more than
— Dorothea Lange
IV
believe one half of it myself.
V
relieve the loneliness of the place.
Sound + Time = Acoustic Light
f = C/2 [(flIL)2 + (m/W)2 + (P/H)21 1/2 Hz
VI
Endnotes
VIII
but after I watched SOS more carefully
had not just filmed the distress call,
sequence. Observe how Navidson
short durations and three shots with
three quick angles of Reston, followed
living room (and these are in fact just
foyer), followed again by three short
few occasions interfered with the
three-long three-short is unmistakable.”
(or)
IX
[M]aze-treaders, whose vision ahead
fragmented, suffer confusion, whereas
whole, from above or in a diagram, are
you see depends on where you stand,
labyrinths are single (there is one physical
incorporate order and disorder,
multiplicity, artistry and chaos. They
but circuitous passage to a goal) or as
design) … Our perception of
change your perspective and the
They just never had enough money.
Bibliography
The hot red flame spits out light, catching on
wheelchair, casting Shape Changers and
dance succeeds in only illuminating a
Reston continue forward beneath those gables
shadow, lighting more flares, penetrating this
what seemed undefinable comes forth out of
nothing less than obvious and undeniable
question about the shape, there never could
succeeded in prodding those inky folds,
more perverse and contorted and heavy with
this brief shadow play performed in the irregular
flickering, shifting, and finally dying around
The epistemology of the house remains en-
one always approaches the unknown with
appears far more expansive than it literally is.
dramatically contracts this sense of distance.
some unfamiliar park and felt that it was
that the park is in fact much smaller than ini-
When revisiting places we once frequented
observe how much smaller everything seems.
to the physical differences between a child
epistemological dimensions than with bodily
It shrinks time and space.
boredom, due to repetition, stretches time and
in a later chapter entitled “Ennui.”)
the stairway, they had no idea if they would
the stairs are finite and therefore has far less
Unlike the real world, Navidson’s jour-
literally shortened. [204—Missing. — Ed.]
It has a centre which is perceiving man, and it
which changes with the movements of
neutral, in other words it is finite, heterogeneous,
distances and directions are fixed relative to
[Environmental image, a generalized mental
product both of immediate sensation and of
to interpret information and to guide
standing dead
with
rifle
his
all those doors
the
are
shut,
after
after
vailing darkness, ultimately capturing
dark
vanishing
a
door,
the size of a fist
the muntin,
round
enough to propel
the second
though
powerful
to do more
splinter
the
saturated in silence.
La poete au cachot, debraille, maladif,
Mesure d’un regard que la terreur enflame
—Charles Baudelaire
(Genesis 25: 23-24)
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[Transcript]
Day 1: 12:06
necessary to set up the radio outside of
Day 1: 15:46
Day 1: 18:38
Day 1: 21:09
Day 1: 23:41
Day 2: 00:11
Day 2: 10:57
Day 2: 12:03
Day 2: 13:27
Day 2: 14:11
Day 2: 15:29
coughing; coughing again]
[Outside tent]
[Inside tent]
[Outside tent]
[Outside tent]
[Inside tent]
LUDE’S LIST REVISITED
[Outside tent; smoking another joint]
[Outside tent]
[Outside tent]
[Outside tent]
[Outside tent; reaching Into his
Day 3: 00:54
[Pop-Pop-Pop]
[Outside tent]
[Outside tent]
[Outside tent]
XII
white
XIII
Alarga en la pradera una pauso4a
Y de conjecturar su circunstancia
Viviente de las que andan por Ia tierra.
THE WAIT
HOLLOWAY
CONSIDERING SUICIDE.
ESCAPE
“Let you be stripped of your purple dyes, for
all the treasure I wished.”
XV
Stopft er die Lücken des Weltenbaus.
A Partial Transcript Of
by Karen Green
[End Of Transcript]
When mathematical propositions refer to
certain, they do not refer to reality.
[17 pages missing]
Glossary
Wer dii auch seist: Am abend tritt hinaus
als letzres vor der Ferne liegt dein Haus:
— Rilke
I. The Kellog-Antwerk Claim
III. The Haven-Slocum Theory
Noli me tan gere.
Noli me videre.*
[Page One]
[Page Two]
[Page Four]
POST-EXPOSURE EFFECTS RATING
Qui descend de Ia montagne
De sa bave blanche
C’est son court clocher carré.
So they took up Jonah, and cast
ceased from her raging.
POST-EXPOSURE EFFECTS RATING
XVIII
WANTED
We’ll pay you
XIX
photographic seeing—of looking at reality as
estrangement from, rather than union with,
— Susan Sontag
XX
—Poe
Due to the weight of the trailer, he moves very slowly,
no hurry.”
little film.
seven miles. He stops for a sip of water, puts up a neon
again. Little does he understand the significance
Soon, however, he realizes there is a definite
needs to pedal: “This hallway seems to be on a
he finally stops for the night, the odometer
When Navidson wakes up the next morning, he eats a quick breakfast, points the bike
However within a few minutes, he finds he no longer needs to pedal.
Assuming he has become disoriented,
should be uphill. But within fifteen seconds, he is again
Confused, he pulls into a large room and tries to gather his
downward no matter which direction I face.”
the bike and soon enough finds
thirty miles an hour.
days Navidson
from 240 to 300
though on the
amounts to an
hour marathon,
miles.
remain the same size.
getting
lower
lower
only to shift a few minutes later,
it disappears altogether.
widens, until at one
wears he is moving
enormous plateau:
and numerous doorways; the shifts always
familiar, growl.
more aware that he is running precariously low on
doom this causes him is compounded by the sense
riding his bike: “1 can’t help thinking I’m going to
stop and just fly off into darkness.”
Soon the walls and doorways recede and
then the ceilings lifts completely out of sight
“direction no longer matters.”
he can to the
Then he bikes down a hundred yards and lights four more flares.
and
photographs
flares.
In the second image, however, the flares seem much farther away.
indicating that either
or
flares
m
v
n
However,
recorder indicate his camera was firmly
…… in the ceiling where it lodges on
like flashlights, batteries
only book, Navid-
pockets. Cautiously
the handlebars of the
the first stair and
through the only
cramped
Slowly but surely,
Navidson
the ladder. But
hours and hours
with only brief
gulp of water or
high-caloric energy
admits he will
tie himself to a
sleep. This idea,
unappealing he
for a little longer. His
Thirty minutes later
rung. A few more
standing inside a very
mountain reflects
due to the force of
and the power of
those who have
believe in Heaven
exchange the words
small room with
he cautiously opens.
side, we find
ridor sliding
s. “These w
lly a relief,”
mments after
walking for a
ver thought t
would be a p
g to return
t the futhe
he smaller t
gets, unti
o remove
and crou
on he i
fours p
his pac
nt of hi
hundred yar
as to crawl on hi
an see, the pain f
njured leg is excru
nt, he is unable t
nch. The jump cut
ave rested or slept
dragging himself forw
still not diminished. E
merges inside a v
here everything about
suddenly
Not even the growl dares disturb his place.
“Don’t be.”
Very
will vanish
of his own
stanza
this stanza
entirely
XXI
Everest— The West Ridge
by Zampanô
notes by Johnny Truant
First Edition
Truth transcends the telling.
XXIII
— Diane Cook
EXHIBITS
ONE
THREE
FIVE
Appendix
A.
B.
[Typed]
… and Pieces
Letter to the Editor
Our apologies to Mr. Zampanô and all other collectors who due to our article visited Mr.
E.
The Song of Quesada and Molino
F.
Appendix II
Sketches & Polaroids
The Pelican Poems
C.
#1
D.
E.
P.
abcdefghiJohnnyz
a person’s entity x-ray euphony gare MOMA
paralipomena stones hammers
pompidou hints sour dolorously in
evenings installment easter
paraclete ogle irenic place de
thumbs easels quai
cwms replete
eidetic simple
Wednesday
luxembourg
issues noticing
Spanish stews
townships crepe
slinking
opium runs
rituals embers
educible
mistaken
F.
As I dig for wild orchids
it is the deeply-bedded root
not the flower.
Contrary evidence.
The Works of Hubert Howe Bancroft, Volume XXVIII.
“Rescue: The Navidson Record” designed by Tyler Martin.
“Another Great Hall on Ash Tree Lane” by Mazerine Diasen
On-Canvas New York City Arts Festival. 1994.
Graduate School of Design, Harvard University. 1993
[missing]
It stands ten thousand feet high
Its roots must hold the sky.
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