The footage was shot and edited from 1966 to 1970 and edited to completion over a two-year period ending in July 1982. Hours for Jerome (as in a Book of Hours) is an arrangement of images, energies, and illuminations from daily life. These fragments of light revolve around the four seasons. Part One is spring through summer; Part Two is fall and winter. – Nathaniel Dorsky

Perhaps the most delicately tactile in this series, Love’s Refrain rests moment to moment on its own surface. It is a coda in twilight, a soft-spoken conclusion to a set of four cinematic songs. The devotional doesn’t require the embodiment of religious form... Devotional art subverts temporal compulsion. It’s there to inspire the verticality of one’s psyche. It breaks the absorption in the relative, allowing the mind of devotion to selflessly rest on phenomena. From a Buddhist’s point of view, the idea of trying to resolve yourself within the relative world is considered futile... This is not a new idea. When we view Egyptian pieces, they disrupt verticality. Art at its wildest best is so vertical that it suggests that death is as present as life. Metaphorically, this could be like seeing a film in a dark room, or seeing the world out of our own darkness. – ND