“The Joke...Audience as reflexive cast; 35 mm. X2 cameras;variable length; black and white, silent. Parody of Hollis Frampton’s ‘audience-specific events,’ two Ikegami EC-35 video cameras in theater record the film’s audience and project the resultant raster onto screen - the theater audience watching itself watch itself get the obvious ‘joke’ and become increasingly self-conscious and uncomfortable and hostile supposedly comprises the film’s involuted ‘antinarrative’ flow. Incandenza’s first truly controversial project, Film & Kartridge Kulcher’s Sperber credited it with ‘unwittingly sounding the death-knell of post-postsctructural film in terms of sheer annoyance.”

“Like the he-man movie stars who turn out to be queer . . . or the silent-film actors whose voices sound terrible recorded--the audience only wants a limited amount of honesty. [ellipses original]”

“Two types of films: those that employ the resources of the theater (actors, direction, etc...) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create”

“The opinion of the public is sacred. The director is a cook who merely offers different dishes to them and has no right to insist they react in a particular way. A film is just a projection of light, completed only when it crosses the gaze of the audience[...]”

“You can't tell the audience — well, you can, but I don't like to tell the audience — that anything they're watching doesn't matter.”

“But there's an enormous difference between an audience that's watching you because they can't wait to see what comes next and an audience that's watching you because they're waiting for you to fail.”