Human Carcinogen (by Nick Detisch)

a skeleton in a machine
barks three laws
through a broken mandible...



I.
you must become strong
because life has made you weak
work until your veins
protrude effortlessly from your muscle
work so that you don't think
think only as a machine thinks
(pound metal into concrete
sift dirt from imbeded pipe
operate rotary tool)
remember that work is only work
when life has left you idle
work is life
be humbled by your dependency

II.
remember only the things necessary
to operate efficiently
the past is idle and therefore weak
the information for your existence
is blueprinted and stockpiled
measured out and executed
hazardous thoughts are only found
in long term memory
you are the product of the present
never follow your own orders

III.
respect your predecessors
they will replace your obsolete future
the young refuel the world
so argue with your co-workers
not over superiority or power
but out of concern and compassion
you must not have any pride
because you are but a piece
of a large and complex generator
you are vital but nothing special


...a void listens to these echoes
it consumes them and they are lost
a red mist of chemical excrement
floats through the abyss
the machine blood evaporation
of a working day gone by

a slave can't find strength to think
but thoughts eventually find him
like dull, stray radio waves
telling him the somber truth:


"it's dust and heat
and desert-dry nothing
that thing inside
you ain't even alive!"

Artistic Affection

One thing I really like about making movies is the ability to capture, on a synthetic format, a moment in time that cannot ever be duplicated or recreated. When I was shooting the last half of Human’s Lib, I was in a beautiful area of woods on an overcast day. The way the gray clouds kind of twirled through the white ones held all kinds of wonder and magic that I would never see or feel again. They reminded me of the skies over Knox, Pennsylvania that for some reason never look as beautiful anywhere else in PA. We were about to move on from that location to go deeper into the woods, but I stopped Cairon and AJ and told them that I really needed to get that shot. I framed Cairon and the clouds so that I could always remember the way those clouds looked. Every time I look at Human’s Lib, I remember the feelings I had when setting up that shot. That’s the kind of magic that I cherish when making movies.