This film by Stan Brakhage investigates the process of memory and thought by melting a series of images and a field of color. The positive-negative flickering graphs a sort of shutter-window all over the matter of the vision. Jittery flocks of space are interweaving as pieces of language in a scant illumination, whereas the process of thought is sheared in fuzzy transience.

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“This is a hand-painted film whose emotionally referential shapes and colors are interwoven with words (in English) from the first Hymn to the Night by the late 18th century mystic poet Friedrich Philipp von Hardenberg, whose pen name was Novalis. The pieces of text which I've used are as follows: ‘the universally gladdening light … As inmost soul … it is breathed by stars … by stone … by suckling plant … multiform beast … and by (you). I turn aside to Holy Night … I seek to blend with ashes. Night opens in us … infinite eyes … blessed love.’” -SB

Two portraits in relation to each other, the first of Robert Creeley, the second of Michael McClure. Preserved by the Academy Film Archive in 2007.

Brakhage begins here with Carlsbad Caverns as a stand-in for Plato's Cave and then responds to the philosopher's notion of inaccessible ideal forms by seeking out imagery that evokes worlds we cannot see.

Photographing near Taos, New Mexico, where D.H. Lawrence lived, and in the room in which his ashes may be entombed, Brakhage also cites a statement of the writer's in connection with the film: "There must be mutation swifter than iridescence, haste, not rest, come-and-go, not fixity, inconclusiveness, immediacy, the quality of life itself, without denouement or close."

"In his description for A CHILD'S GARDEN, Brakhage quotes from poets Ronald Johnson and Charles Olson (and cites Johnson's poem "Beam 29" as inspiration). But the film also vaguely calls to mind William Blake—more perhaps for his art than his poetry: there is both a sense of darkness and of mystical transport in Brakhage's images. The first film in the loose "Vancouver Island" quartet, Brakhage films locations around the British Columbia locale where his second wife, Marilyn, grew up. He films land, sea, and sky and intercuts frequently between them. Shots are often out-of-focus, to accentuate color and light; they are hand-held, upside down, and fleeting. All of this is no surprise for those who know Brakhage's work: anything and everything is valid, as long as it works." - Cine-File.info

Four films in contemplation upon those events which are so centered upon one moment that chronology seems almost obliterated or at least unimportant in remembrance.

The film begins with the image of a dead bird. The mind moves to forget, as well as to remember: this film graphs the process of forgetfulness against all oddities of remembered bird-shape.

"The Dead became my first work in which things that might very easily be taken as symbols were so photographed as to destroy all their symbolic potential. The action of making The Dead kept me alive." Preserved by the Academy Film Archive in partnership with The Film Foundation in 2013.

布莱凯吉在他的《狗星人》中延展了抒情形式，这个五个部分的作品集，试图融合自然、人类日常生活、死亡的必要性与宇宙的律动等主题。布莱凯吉并且将这部影片的所有片段区分开来，剥去层层的重叠影像，进而完成另外一部长达四个半钟头，他称之为《视觉的艺术》（The Art of Vision，1965）的作品。

16mm胶片作品，时长15分钟。
受安腾广重的木雕作品启发的短片，布拉哈格的刮划胶片感光层作品在Solomon设计的灯光下被打亮并增加了一种独特的质感。
两位大师的合作呈现出了一部唤醒野性的自然之力的抽象演绎作品。布拉哈格刮划的胶片盘被Solomon的灯光以及上色转变成了一场色彩的洪流。
本片同时也是布拉哈格巨大作品集“…”系列的一个子作品。