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GARY SETZER - INEFFABLE (I DID NOT KNOW THE GREEN)

Music Video
ArtistGARY SETZER

Wiki

Synopsis

Gary Setzer appears in a ritualized performance staged at the boundary between land and air. Framed by projected imagery and the stark surface of a landscape, the video presents the artist in orange coveralls as he performs a series of deliberately awkward, repetitive actions. The music and visuals remain closely intertwined, creating an abstract audiovisual piece rather than a conventional narrative. Its shifting images and physical gestures suggest a confrontation between language, meaning, nature, and the limits of representation.

Factoids & Trivia

  • "Ineffable (I Did Not Know the Green)" is part of Gary Setzer's larger interdisciplinary project "Supralingual/Sublingual: The Tongue Is the Terrain," which combines electronic music, video art, and performance.
  • The project uses the boundary between atmosphere and ground as a metaphor for the divide between language and meaning. Setzer's performances place symbolic actions directly on that imagined seam.
  • The visual work is credited to Gary Setzer and Black, and dates from 2012. The song appears on the album "Supralingual/Sublingual: The Tongue Is the Terrain," released by Pretend Records.
  • The album contains 17 tracks and runs for approximately 52 minutes. "Ineffable (I Did Not Know the Green)" is listed as a four-minute track.
  • Setzer has described the project as a way of making performance art more accessible by combining its repetitive, process-based actions with the physical immediacy of rhythm and electronic music.
  • Setzer's stated influences for the broader project include the performance and conceptual practices of Bruce Nauman and Joseph Beuys, along with the deliberately unconventional pop sensibility of Devo.
  • Setzer is an interdisciplinary artist whose practice includes installations, performances, music, and video. Before developing his solo work, he fronted the electro new wave project Canada's Electric Tiger Machine.
  • The video was later included in programming that treated music videos as extensions of experimental film, video art, and performance art rather than simply as promotional clips.
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