"My first digital recording and my first and only recording with Don McArthur's "Spatial and Intensity Digitizer". The digitizer was not working properly. I had no idea. The shift I saw was stunning. Digitalization of luminosity, strange notion, wonderful light and early digital embodiment. Image/signal in digitized state/space, noise field. I always thought of this to be 100 seconds of very beautiful digital light noise."
2 Spellbound is a frame-by-frame re-editing of Alfred Hitchcock’s 111-minute psychoanalytic thriller (1945) into a seven-and-a-half-minute dance video. Converting narrative suspense into visual velocity and exploiting the symmetry of Hitchcock’s camera by reversing every other frame, 2 Spellbound generates a hallucination of transference—an ecstatic dance where bodies and identities intermingle and shift.
“Normal forgetting takes place by way of condensation. In this way, it becomes the formation of concepts. What is isolated is perceived clearly.”
2001 Colours Andy Never Thought Of transforms Warhol’s infamous screen prints of Marilyn Monroe through a process of color manipulation. The viewer witnesses a flurry of changing tones, colors, and shades in a postmodern nod to the scratch genre that Barber came to define.
In this work, Alfred Hitchcock's 128-minute film Vertigo (1958) has been condensed at the rate of one frame every two seconds. The condensed film was then duplicated four times, shifting the horizontal or vertical orientation of the frame with each duplication. The four films were then reassembled frame by frame, generating a stuttering kaleidoscopic montage where Oedipal narratives of desire and obsession are shifted and displaced.
With the Watergate hearings as a backdrop, quotes from various newspapers and magazines--including the story of Robert Smithson's death in a plane crash--build a picture of the confusing and tragic events of July 1973. Sonnier uses appropriated footage and reproduced newspaper clippings to create a richly layered video that attempts to sort out the truth from the available information. Sonnier's instructions to the computer operator reference the making of the video, and thereby create a self-conscious, limiting frame.
Concentrating on abstract shapes and color value, Animation 2 is a record of images manipulated through computer animation. By recording the data screens of the animators and the voices of the controllers, Sonnier discloses the process of making the video.
“This tape is about media, and it seems totally unedited, because we hear him talking over the intercom with the engineer… The engineer interjects, ‘Do you want to save any of this stuff?’ Yes, indeed; Sonnier saves and shows it all, the whole process.”
Using highly-manipulated and over-processed images, Latham investigates the process of video as inherently fragmented. Weaving together various people’s impressions of the artist and her work, the work demonstrates important parallels between video, storytelling, and the formation of identity — all processes of active fabrication that blend “lies” and truth in the construction of a certain reality, history, or past. Labeling an image of herself talking as “her most recent explanation,” Latham addresses “the construction of her video personality” as an identity outside of herself.
Manipulating a variety of sources, Vasulka uses creative imaging tools to situate historical images against Southwestern landscapes of incredible beauty. Contorting the images into a variety of isomorphic forms, Vasulka creates a literal shape for these memories, developing these shapes as metaphors for the processes of fragmentation, condensation, and inversion, that inevitably contort fact into memory.
An important record of Woody’s process of experimentation and play: a collection of images initiated by basic algorithmical procedures to verify the functional operation of a newly-created tool—the “Digital Image Articulator”—designed and constructed by Woody and Jeffrey Schier. Saying at the beginning of the tape, “The images come to me as they come to you, in a spirit of experimentation.” Vasulka presents a series of manipulations in which the image shifts and moves, dissolving through two- into three-dimensionality.
as the waves play along with an invisible spine (the workers die) is a stroboscopic work that pulsates black and white at approximately 14 Hz. Buried within that field of pulsation is a 90 second algorithmically condensed version of John Huston's 1956 film Moby Dick. Huston's minimal close-ups of the doomed sailors flicker as afterimage ghosts as approximately 4Hz in the visually unstable field of alternating black and white frames.
automatism and (-)(+) feedback is a 3:29-minute video made from shot footage of a 10-year-old child playing Zombie Smash on a handheld device. The video footage and sound have been repeatedly rescanned and resampled using a television and a number of old analog video cameras.
Note: This title is intended by the artist to be viewed in High Definition. While DVD format is available to enable accessibility, VDB recommends presentation on Blu-ray or HD digital file.
Backwards Birth of a Nation is a re-editing of D.W. Griffith's 187-minute film, Birth of a Nation (1915), into a pulsating 13-minute black and white phantasm. By means of structural strategies of condensation, the frame by frame inversion of black and white, and playing the resulting work from end to beginning, an apparition is brought forth where images of racism float to the surface and are contextualised as a part of the flow of United States history.
BAD is the mnemonic command for the B-Address register of the Buffer Oriented Digital Device, a tool for stretching or squeezing images. Starting with the register at zero and adding one level of distortion at a pre-programmed speed, the video moves to an increasing complexity of images that escalates in density of color, composition, and texture.
In Bataille, fragments from the Akira Kurosawa’s film Rashomon are subject to a mirror effect. A scene in which two samurai fight each other becomes a cosmic field of monsters where horror and pain evoke beauty and joy.