This film is composed of 4 sections, corresponding to the four directions radiating out from a single house. They are as follows: 1 - daytime, facing east, with animation, desert from a window; 2 - daytime, facing south, with same animation, desert from a window; 3 - daytime, facing west, doghouse from a window; 4 - night, in front of a fireplace on the north wall; animation. The early pleasures are in the texture of the paper on the desert in the 1st two sections, side-lit (like a sea or dimpled skin), and the sun's first ray on the curled corner; the thrill of the comparison of places. Then maybe, the thrill that they actually exist in the same time and place, and are not contrived in an optical printer; then to learn that the fades in and out of the animation are by changes in the natural light. There are two animations: - the hairs or worms or cracks, waving like underwater plans (1000 drawings) and a title, 'Log Hill', handwritten in different ways (100 drawings). -- Amy Halpern

[Source: Filmforum Program Notes 7/11/1984]

FOUR CORNERS is a series of four fixed tripod shots of animated drawings, three shot in front of separate windows, east, south, and west, followed by a fourth shot in fornt of a fireplace built into a north wall. The window and fireplace belong to a house built by my brother-in-law and sister-in-law on Log Hill Mesa, Colorado. In the first section (east window) each frame is exposed according to a time table based on a sine wave curve. The interval between exposures is gradually lengthened from ten seconds at 6:00 AM to a mximum of two minutes at 6:00PM. The animation is one thousand drawings, each traced as accurately as possible from the previous drawing. The process of filming this section with the camera fixed on its tripod and my watching the second hand of a clock for twelve hours struck me as related to the process of drawing: a single field of vision gradually defined by a prolonged state of attentive consciousness. The second and third sections are variations of the first-animated drawings exposed at mathmatically deterimined intervals. In the fourth section conscious choice of exposure interval is overridden by the camera automatically exposing frames at the rate of twenty four per second. It is possible this film is a melodrama in which Purity falters, is undone, and perishes in the Inferno.

[Source: UNKNOWN]