Dziga Vertov, the monumental Russian filmmaker, died eight months after I was born.  Deco Dawson, the independent Winnipeg filmmaker, visited campus eight hours ago...

I mixed this video for them.

It is simply Dawson’s evocative video, in toto.  I then layered Vertov’s text overtop.  Simple.  But having one’s (copyrighted?) work appropriated in this manner would be sacrilege to many artists;  tantamount to defacing a primary work.  For me, however, this project gave pause by connecting a contemporary artistic statement - one that was clearly drawn from historical sensibility -  to the text of a founding father of film.  I simply transposed two (historical) texts into a form of participatory academic response.  Clearly no disrespect to either artist was intended, and indeed, none was taken by Dawson.

Where montage extends beyond mere expressive editing or simple juxtaposition, its relevance lays within the conceptual explosion of new meaning created through collision.  And within my Cultural Farming research these explosions are thoroughly more formidable than mere surrealistic bricolage -- for montage implores the viewers to participate liminally, reciprocally, making an excellent tool-method for critically examining everyday mediamongering exactly at these intersections of interpretation. 

Kino Deco  2007  (9:45)

“Deco here.  I just wanted to drop you a quick line to thank you for the wild dvd you made!   I don't think my work has ever been so closely compared to Vertov and the Soviet philosophy!  ...Anyway, once again thank you for the inspirational gesture. “

How should one cite in a visual world?

... big question.