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Quite possibly Foremanâs strongest digital video, NOW YOU SEE IT NOW YOU DONâT brings together a variety of different elements, including excerpts from Foremanâs own public talks about his work, a 1984 sound recording of his French-language theatrical adaptation of Kathy Ackerâs "My Life My Death by Pier Paolo Pasolini," text from Leo Charneyâs book âEmpty Moments: Cinema, Modernity, and Driftâ, and music from John Zorn and John Cage. These materials are integrated into a typically dense and confounding aural, linguistic, and visual web, one thatâs in many ways like a filmic analogue of his theater work. But NOW YOU SEE IT NOW YOU DONâT is distinguished by the addition of various kinds of image processing, a liberal and eccentric use of onscreen text, and an uncharacteristically personal, reflective tone
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