Image Processing

1976
Peer Bode, Blue

"An electronic synthetic color video, based on a memory of Larry Gottheim's film Blues.  Natural and electronic real time events, new American electronic cinema. B&W video camera, Paik-Abe colorizer, 1/2" vtr, blue berries, bowl and milk. The filmmakers stopped talking to me. Viva Video!"

– Peer Bode

2006
Brilliant Noise

Brilliant Noise takes us into the data vaults of solar astronomy. After sifting through hundreds of thousands of computer files made accessible via open access archives, Semiconductor have brought together some of the sun's finest unseen moments. These images have been kept in their most raw form, revealing the energetic particles and solar wind as a rain of white noise. This black and white grainy quality is routinely cleaned up by NASA, usually hiding the processes and mechanics in action behind the capturing procedure.

2006
Paul Bush: Working Directly

A DVD box set compilation featuring four animations made by scratching directly into the surface of the film.

 EXTRAS

1983
Camel with Window Memory

"The Camel with Window Memory piece was made one weekend in the early '80's. I pulled out my post card collection and began to look at specific postcards run through the new digital video buffer I had built together with David Jones. The buffer had only one frame of memory but it was real time. It had the capability of displaying the image memory space, either as live or frozen.

2010
Flatform, Cannot be anything against the wind

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.

1980
Cantaloup

Following the Vasulkas’ effort to build their own computer imager, Steina explains how the video processor works, digitizing the image, inserting color, reassigning value, density, and texture to specific areas of the video image. The constant experimentation and development of technological tools yields an incredible range of possible image manipulations. Emerging as a subtext of the video is the Vasulkas’ struggle to identify and define the programming languages necessary to creatively engage and alter existing technology.

2011
Ceibas: Epilogue - The Well of Representation

In part a remake of Hollis Frampton’s Gloria! (1979), in part a repurposing of hacked, 16-bit video game technology, The Well of Representation asks us to reconsider our fear of the liminal. Following the convergent narratives of several voices, ranging from the linearly historical to the cybernetically personal, we come to understand the journey ahead: searching from interface to interface, knowing that whatever home we find will be a collaborative compromise. One where we might live beyond our representations and finally come to say what we mean.

2012
Evan Meaney, Ceibas: Sigma Fugue

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

2010
Ceibas: We Things at Play

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.

1983

The Commision is an ambitious narrative in operatic form that blends video effects and electronically manipulated sound with stylized docu-drama. Based on the real-life drama of Niccolo Pagnini, the 19th Century violinist and composer (Ernest Gusella), and his contemporary, Hector Berlioz (Robert Ashley), the work addresses the exploitation of genius, the artist as tragic hero, and the historical exploration of inspiration in the Romantic tradition.”

—Bob Riley, FOCUS: Steina and Woody Vasulka (Boston: Institute of Contemporary Art, 1986)

1977
Pere Bode, Cup Mix (2 Channels)

"A cup and saucer, pouring and drinking coffee, a duration ritual of contemplation and invigoration, doubled (tape copied), mixed, keyed + synthetic color, normal play and rewinding, sync events, the opening of a space to put the self in. 1/2 inch b+w Portapack, 2 reel to reel video tape decks, David Jones keyer and colorizer."

– Peer Bode

1981
Deadline

An insert square of a man running is superimposed over a magnified mouth that speaks to him — first in nurturing encouragement, then with a no-win Mommie Dearest kind of criticism. Originally presented as an installation on six monitors, Deadline focuses on “the stress man feels in the urban environment,” using a range of digital video effects to stretch, compress, flip and fracture the image.

1999
December 3rd, 1998--12.03-1:17 A.M.

A specific period of late-night TV channel surfing is dissected and manipulated through fast forward and freeze frame. Cultural icons (Roseanne, Mary Tyler Moore, The Golden Girls) can occasionally be glimpsed amongst the detritus, while the echoing and ghostly soundtrack pays homage to the cultural isolation of solitary viewing.

2000
Anthony Discenza Videoworks: Volume 1

A compilation of Anthony Discenza's Videoworks, made from 1997 to 1999.

2001
Dr Jekyll and Mr Hyde

Imagine that the camera is possessed with a psychosis similar to human schizophrenia; suppose that this disease subtly changes every single frame of film while leaving the narrative superficially intact. Then imagine that these symptoms came on as a result of the trauma of recording bizarre or horrific events, for instance those of the 1941 horror film Dr Jekyll and Mr Hyde...

Adapted from the novel by Robert Louis Stevenson.

This title is also available on Paul Bush Pixilated.