Video Links:

1000 Waters (Oceans & Friends) by Julie Perini
1000 Waters (River. Moss. Heron.) by Julie Perini
1000 Waters (Hot Springs) by Julie Perini
1000 Waters by Julie Perini

1. Tyrant Star premiered at the 2019 International Film Festival of Rotterdam, while IF REVOLUTION was installed as a co-commissioned piece by the Sculpture Center in New York and the Renaissance Society in Chicago. In Her Time (Iris’s Version) was shown at the 2024 Whitney Biennial after debuting at the Rockbund Art Museum in Shanghai in 2023.

1. Joan Jonas quoted in Joan Jonas: Good Night Good Morning, 33.
2. Joan Jonas quoted in Joan Jonas: Good Night Good Morning, 34.

• Emilyn Claid (2021), Falling through Dance and Life, London: Bloomsbury Academic.
• Julia Kristeva (1987), Black Sun: Depression and Melancholia, New York, Oxford: Columbia University Press.
• Vicky Smith (2018), “Not (A) Part: Handmade animation, materialism and eco-aesthetic cinema,” Animation Practice, Process & Production Journal. Volume 7, Issue 1, pp. 139-155.

1. Lili Chin In conversation with Paweł Wojtasik at Microscope Gallery
2. Chris Dymond “Plant-Filming: Re-viewing Vegetality” MFJ 73

1. Michael Zryd, Hollis Frampton: Navigating the Infinite Cinema (Columbia University Press, 2023), 56.
2. Zryd, Hollis Frampton, 186.
3. Zryd, Hollis Frampton, 184.

1. Rita González and Jesse Lerner, Cine Mexperimental/Mexperimental Cinema (Santa Monica: Smart Art Press, 1998), 56-61. Roger Bartra, The Cage of Melancholy: Identity and Metamorphosis in the Mexican Character, trans. Christopher J. Hall (New Brunswick: Rutgers University Press, 1992), 3. La jaula de la melancholia: Identidad y metamorfosis del mexicano (Mexico City: Grijalbo, 1987), 17.
2. Dziga Vertov, Memorias de un cineasta bolchevique (Madrid: Capitán Swing), 2011. Andrea Ancira García and Neil Mauricio Andrade (eds), Anatomía de la imagen: Notas de Teo Hernández (Mexico City: Tumbalacasa, 2022).
3. Miguel León-Portilla (ed.), Visión de los vencidos (Mexico City: UNAM, 2016), 63-69.
4. Emiliano Uranga, “Ontología del mexicano,” in Roger Bartra (ed.), Anatomía del mexicano (Barcelona: DeBolsillo, 2013) , 145-158.
5. If Quagliata entertains the idea of montage as mestizaje (which undergirds Teo Hernández’s notebooks), it is ultimately with the aim of exposing the concept of mestizaje as a racist myth of modern developmentalism, where her avowed influence is historian and anthropologist Federico Navarrete’s book México Racista: una denuncia (Mexico City: Grijalbo, 2016).
6. Tzvetan Todorov, The Conquest of America: The Question of the Other (New York: Harper & Row, 1984), 120.
7. P. Adam Sitney, Visionary Film: The American Avant-Garde 1943-2000, 3rd. ed. (Oxford: Oxford University Press, 2002), 303. Harold Bloom, Shelley’s Mythmaking (New Haven: Yale University Press, 1959), 8.
8. Kathryn Ramey, Experimental Filmmaking: Break the Machine (London: Routledge, 2015), 21-26.
9. Hubert Matiúwàa, Xó nùnè jùmà xàbò mè’phàà / El cómo del filosofar de la gente piel (Acatepec, Guerrero: Gusanos de la Memoria, 2022). Quagliata discusses her collaboration with Matiúwàa in the video: https://www.youtube.com/watch?v=0tWgotJGq9c
10. Some significant precedents of Aoquic iez as a “symphony of Mexico City,” including Rubén Gámez’s Valle de México (1976), formed part of an installment of the program Cinechrome, curated by Jesse Lerner, at Mexico City’s Cineteca Nacional on February 22, 2024.
11. Todorov, The Conquest of America, 233.
12. Stanley Cavell, The World Viewed: Reflections on the Ontology of Film, expanded edition (Cambridge, Massachusetts: Harvard University Press, 1979), 85.
13. Sitney, Visionary Film, 25.
14. Ken Kelman, “Twice a Man,” Film Culture no. 31 (winter 1963-64).
15. Carlos Alberto Sánchez, The Suspension of Seriousness: On the Phenomenology of Jorge Portilla (Albany: SUNY, 2012), 31. See Jorge Portilla, Fenomenología del relajo y otros ensayos (Mexico City: Fondo de Cultura Económica, 1984).
16. An avowed influence on Quagliata that displays this image from the Codex Borbonicus is Alfredo López Austin, “La sexualización del cosmos,” Ciencias 50 (April-June 1998), 24-33.

1. A lightweight, portable video camera system introduced by Sony in 1967. Its relatively low price made it accessible to artists and independent filmmakers.