My publications are not honorific (Kostelanetz, 1978: 28) of the source material, but take the material as ‘informing text’ from which a ‘wholly new cultural product’ is developed (Sanders, 2016: 35). This approach is characteristic of appropriation which comes about ‘through the actions of interpolation and critique’ (Sanders, 2016: 35). Johnson refers to this as ‘borrowing’ of property, while the intertextual is both ‘misreading or infiltration’ and ‘violation’ of property (1987: 116). The poles of these – honouring and violating – present powerful poles of practice (see Fig. 7 below). The borrowing and reversioning of both These Islands films for I See Earth, does not perserve the original integrity of the films but renegotiates their constituent parts as available material for this new purpose.
Fig. 7 The above diagram indicates some of the parameters that come into effect in making and positioning of a work, and below are examples of how this might be applicable to specific outputs. In the below iterations I chart out emphasis or bias. The axes though are intentionally not aligned as this would imply an artificial equivalence or weighting.