STATEMENT REGARDING MULTIPLE SCREEN/SOUND "LOCATIONAL" FILM ENVIRONMENTS - INSTALLATIONS by Paul Sharits "Film" can occupy spaces other than that of the theatre; it can become "Locational" (rather than suggesting-representing other locations) by existing in spaces whose shapes and scales of possible sound and Image "sizes" are part of the hoi istic piece. I have found this form of film-making and display using "more than one projector," more and more meaningful (and imperative if I wish to truly actualize my intent of developing a clear ontological analysis of film's many mechanisms and dual isms). In 1974 I wrote: In both my single-screen and multiple-screen works, what is primary to me is this: our first motion recording mode is nearly obsolete and, before it disappears into vague memory, ontological documents of its objects-processes should be registered. The film artist must put social responsibility above aesthetic motives. At present, it is understandable that not many persons are deeply engaged by cinema's subtle dualisms, perhaps because the medium still seems so accessible. This attitude gives rise to a general new that what is uppermost is what one does with the medium, how one uses it, rather than what its modes of being are. I do not share this general sensibility. Nevertheless, I am very deeply concerned with extending my work to a "general public" and, by way of "locational" display of cinema, allow that public to share with me a respect and enthusiasm for the primary structures of cinema. I would like to bring cinema into a new non-exclusive, non-theatric mode of presentation. Frank Lloyd Wright convincingly dedicated himself to an architecture which, in its J/ery form, would be ethical and democratic. I believe that cinema can manifest democratic ideals in several ways: if it exists in an open, free, public location (the material of commercial cinema, and its typical exhibition in authoritarian, directive, illusion-inducing.