The maker's optics — holography, annular capital, and the "Hostile School" substrate

pivotal · UNDATED (JOI's film career, B.S. through YTSDB)

• When: UNDATED — JOI's twelve-year directorial career (the filmography is largely undated "B.S." before Subsidization); the holographic and "visually lethal" experiments precede the final cartridge
• What: The lethal cartridge is the terminal product of a career built on optics. Per Marathe's own dossier, the auteur was a cutting-edge optics man before he was a filmmaker — a maker of thermal-weapon reflecting panels, an important Annulateur (annular-fusion man), and the amasser of his film capital from opticals, who "used holography a couple times before, and in the context of a kind of filmed assault on the viewer" and was "of the Hostile School." His earlier holographic pieces already staged visual lethality as their subject: in 'The Medusa v. the Odalisque' mobile holograms of two "visually lethal mythologic females" turn a live crowd to stone; Cage III—Free Show and Möbius Strips rehearse spectators dissolving into "gigantic eyeballs" and Death as "a lethally beautiful woman." The samizdat is the point at which JOI's optics of assault stop being parody and become the thing itself. See the James O. Incandenza — Life and Death thread, Joelle's timeline (event 13).