“The hidden forces of Cinema conspire with an instant of history to produce actions that never were or could be. 3D for everyone (one eye will do). Regarding the title, one hears on all sides that ‘God is great’. I don’t get it, seeing that no one is listening or watching or doing anything about what happens here. However, gravity surely exists, if only for now, until the universe dissipates further, and gravity clearly decides much – if not everything on the globe – that happens.”

"Early stereograph of dancers at rest. One leans forward to display her bosom. The stereo-camera preserves their youthful presence forever."

The belle of the ball surrounded by suitors. A vigorous 3-D that can be seen without special spectacles and even by the one-eyed.

Rapid juxtaposition allows two flat perspectives to be seen in stereo.

Ken Jacobs writes: "An antique stereograph image of cotton-pickers, computer-animated to present the scene in an active depth even to single-eyed viewers. Silent, mournful, brief." In Capitalism: Slavery, Jacobs uses a Victorian stereograph (a double-photograph) of slaves picking cotton under the watchful eye of a white overseer as the source for this wrenching silent work. Through digital manipulation, Jacobs creates a haunting illusion of depth and movement. It is as if he has "entered" the image and reactivated this historical moment; he moves among the figures and isolates individuals, creating a stuttering, pulsing effect that suggests motion even as it animates stasis.

“A couple walks towards the camera, a sidewalk air-vent pushes the woman’s dress up. In this cine-reassessment, the action is simultaneously both speeded up and slowed down. Overall progression is prolonged, so that a minute of recorded life-action takes ten minutes now to pass onscreen. The street-action meets with a need to see more, and there descends upon the event a sudden storm of investigative technique in the form of rapid churning of film-frames.”
Jacobs applies three-dimensional digital animation to a century-old film by Edwin S. Porter, the pioneering motion picture director for Thomas Edison's production company. Porter's 1901 movie What Happened on 23rd Street was advertised in the Edison Catalog as "a winner and sure to please," offering a glimpse of a "young lady's skirts suddenly raised to an almost unreasonable height, greatly to her horror and much to the amusement of the newsboys, bootblacks, and passersby." In his revision, Jacobs stretches the film to thirteen times its original length. The use of slow motion is a teasing promise to reveal more of the iconic skirt-billowing scene; however, the strobe effect, crucial to Jacobs' 3-D technique, obscures the action.

Stereo photos from the Seventies digitally animated, 3-D effects to be seen without spectacles even by one-eyed viewers. Jonas Mekas and Peter Kubelka and families eating out, then returning some via NY subway. Flo Jacobs and Azazel appear. The computer, considering location, emulates painting technique.

“Jonas remains most famous for not acting famous. Here he can be seen away from film audiences, dawdling in the cosmos while history happens elsewhere (unless we are mistaken and the most meaningful and revealing moments are the moments ‘at ease’).”

“Movie-star Flo, Nisi the thoughtful young girl, and Aza old enough to trudge with the rest of us but still expecting to be pushed around on wheels. The sun doesn’t kid around when it’s a sunny day in Rome. But it’s a perfect day, when – as said – nothing happens.”

“A digital visit in 2009 to where we, Flo and I, had been in 1964/1965. I was entering my thirties but Flo, my child-bride, was turning twenty-three. I then filmed The Sky Socialist, a sunny feature during the time of US assault upon the Vietnamese people. The purpose of cinema as I understood it then was to lie, in order to make history bearable. The lie, however, was to be obvious enough so as to allude to the truth; film was a lie that invited seeing through, it was like religion but with a more of a wink.”

"Bob allows his sick and fading image to be caught in stereo photography. A man of mystery, so banal in some says, so unexpectedly ‘on’ when the situation demanded. The cameraman for Blonde Cobra and much beloved by the next generation of New York film-makers.”