Image Processing

Fashioned out of home movies recovered from failing hard drives, this glitch-art video makes comparisons between different forms of memory - suggesting that, while error and decay may keep us up at night, they might also be the way we put our ghosts to bed.

-- Evan Meaney

Sequences of landscapes shot in an area of 60 km make up mosaics of places and reference axes constantly changing that do not exist in our surroundings. In this video bodies are not near or far. They are large or small. The horizons change and no space is independent from the viewer. Incorporating only memory, the landscape is seen in a variety of speeds and movements that apply a bodily logic to the vision.

Formed in 1969 at the legendary Woodstock Music Festival by David Cort and Parry Teasdale, who met while taping the events with the newly available Portapak video equipment, the Videofreex (also known as "the Freex") were one of the very first video collectives. After working together to pitch a program to the major broadcasting station CBS, they toured the country interviewing counter-cultural figures of the day, including Fred Hampton, a leader of the Black Panther party, and Abbie Hoffman, so called leader of the Yippies.

A wonderful and humorous example of early image processing, Parry Teasdale and Carol Vontobel perform to camera as their faces are morphed together, forming an image of one person.  The exercise is repeated by Nancy Cain and Bart Friedman as the music speeds up.

A very special episode of television's Full House devours itself from the inside out, excavating a hypnotic nightmare of a culture lost at sea. Tropes of video art and family entertainment face off in a luminous orgy neither can survive.

-- Michael Robinson

We have come to this place of meaning together, celebrating our un-remaindered completeness. Yet, in our wake endures a long procession of stowaways: misspoken sounds we unconsciously omit, the limitations of our alphabet, the ignored gaps of an imperfect analog, and most recently, these forgetful bits of the virtual. We celebrate the lineage of our information as we celebrate one another, not realizing that the loudest affirmations might come from these unacknowledged, unavoidable participants. With each generation, they say a little bit more, speaking a little bit louder.

In a celebrity-obsessed culture, filmmakers often exploit the downfall of a star to amplify the emotional undertones of the fictional films in which they perform. POSTFACE takes a look back at the filmography of Montgomery Clift whose private life and career spiral downward after a 1956 car crash that left his face scarred and partially paralyzed.