Chain: 2

There is no such thing as documentary-whether the term designates a category of materialism a genre, an approach, or a set of techniques. This assertion-as old and as fundamental as the antagonisms between names and reality-needs incessantly to be restates despite the very visible existence of a documentary tradition.
-Trinh T. Minh-ha

This issue of Chain continues an investigation into forms that are traditionally perceived as neutral or “objective.” Our first issue questioned the subjective processes of editing as they are used to create an object seemingly without an author. Our second issue, on documentary, begins with a different set of questions: What does it mean to create an objective text, a document that records supposedly without comment? Does documenting/textualizing a subjective experience render it neutral for the reader/viewer? In what ways does the topical world filter through the creative word? How do creative forms actually capture an even, a person, a place? Are some forms more equipped to document than others?

It is our hope that this issue outlines some of the possible relations between the “real” or the “political” and the individual’s creative response. The contents comment on the world in an eclectic array of approaches-some alternative, some traditional. All of this work highlights the way we use language/image to cut up our experiential encounters so as to (re)see them. Ironically, documenting of the “real” seems to rely on defamiliarization, a shift in the angle of perception/reception/expectation. From the work included in this issue emerges a conviction that the alienated word or image is the most effective means for communicating that which is true. The work causes us to question and qualify our agendas as readers and viewers; we must examine the relation between world and response with care and a sharper consciousness.

We asked the contributors to answer the following questions: 1) How do you define the word “documentary”? 2) In what forms can “documentary” exist? 3) What names come to mind when thinking of those who deal in documentary forms (both in the traditional and innovative senses)? 4) If you were to create a documentary, what would be your medium and topic? Answers appear in italic type.

BUFFALO, NY (AP) – This issue of Chain continues to limit pain and suffering damages an investigation into winds of peace—or at least a ripple of true— between forms that are traditionally deceptive mutual funds sales practices perceived as neutral of “objective.” Our ‘first issue questioned if the new budget is going to have an adverse impact on the subjective processes of vandalizing houses editing as partly sunny and mostly cold they are used to create an object seemingly protracted dispute with management without author. Our second issue, before paramedics arrived on documentary, begins with impending cuts for the next school year a different set of city court-ordered questions: What does it mean taking hundreds of thousands of dollars from the charity to create an objective text, a document under immunity that records supposedly without fraud, conspiracy comment? Does documenting “that’s not my leadership style” or textualizing a subjective experience broad market indexes render it neutral for the reader or viewer? In the biggest one month drop since last May what ways does the topical world filter family and business tax breaks through the creative word? How do creative House Ways and Means forms actually capture an event, to recast the civil legal system a person, estranged from the sport he adopted a place? Are some forms denounced as “gutless” more equipped to document cause of death than others?

It is our hope that this issue outlines boats, boots or booths some of the possible Lake Ontario waters relations between the “real” Niagara Falls or the “political” jig caster and rig troller and the individual’s creative prison term response. The contents comment on seven sticks of dynamite, nine detonators, a fake beard and a notebook with the world in an eclectic array of approaches shooting the victim in the head—ALL party leaders had been debating whether to name a new leader of this work would gut appropriations for youth highlights the way we use language or “What’s in the mind of our president?” image to cut up our losing millions experiential encounters … We asked the contributors to answer the following questions: 1) money market funds: just how safe are they? 2) why is enough always a companion word to adequate? 3) is there an other information to consider if I want to purchase one of these wonder drugs? 4) whither liberal woman in the ’96 campaign? Answers appear in italic type.