Arabic Numeral Series

"With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

This is the twelfth film in the twenty-part Arabics series. Brakhage creates blurry visual fields that are profoundly without ground, worlds of unidentifiable, ever-shifting shapes, and oceans of light and darkness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.

“With some exceptions, the Arabics take the idea of the void as their ground. That is, the light we do see almost always seems to be set against darkness, or occasionally against white, these momentary flickers that materialize tenuously out of emptiness.