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Peter Gidal
In the first draft of this essay the opening paragraph would have read:

Peter Gidal's writings are not Peter Gidal's films. I am writing this. You must be reading this, but you do not have to. Reading is different to watching. To write this is an implicated activity, about to be necessarily non-descriptive, just _______ ; resistance, something, nothing. To know (each word implicates), for me to know, is prescribed by its refusal, specifically, by the films of Peter Gidal, because they cannot be "known". Peter Gidal's films are not Peter Gidal's writings, which have already fed into, back to, reading (writing) that is not watching, is not Peter Gidal's films, nor Peter Gidal's writing. So I am writing this, caught because: if there is not knowledge but there is perception there also cannot be a translation (description) because there is not representation...

That was one start point that was not liked editorially (and I did not necessarily disagree) because of the imperative to communicate i.e. because of how things in this "business" of education must be organised, because of the already inscribed ways of knowing or coming to know that Peter Gidal's films attempt to challenge. Another startpoint, the first-draft second paragraph was more narrative:

Peter Gidal came to England in the summer of 1968, just days after Andy Warhol was shot, steeped in philosophy, a fine canon of European existentialist writers and playwrights, and having studied theatre directing himself...

It would have been a deliberately truncated (begun to be abandoned) narrative imposition, a reproduction.

Still from Volcano by Peter Gidal, 2003
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