Image Processing

2009
Long Live the New Flesh

Long Live the New Flesh uses found footage to transmogrify existing fragments from horror films into a new video. It deploys a digital technique with painterly quality in which the images literally consume one another and the horror in all its visual power is brought to a natural boiling point. Provost strips down the imagery of a mass medium, uses it to construct a new visual story behind the dissection and horror, and allows the viewer to cross every phase of the emotional spectrum.

2008
Lossless #2

Lossless #2 is a mesmerizing assemblage of compressed digital images of Maya Deren and Alexander Hammid’s 1943 masterpiece Meshes of the Afternoon. Baron and Goodwin play heavily with Teiji Ito’s 1959 soundtrack, making the film’s lyrical ambience feel more astonishing than ever before. --Neil Karassik

2008
Lossless #3

Removing keyframes from a digital version of John Ford's The Searchers, Baron and Goodwin attack the film's temporal structuring to render a kinetic “painted desert” of the West. The dust kicked up by the movement in the film is pure pixel, unanchored from the photographic realism that used to constrain it.

2008
Lossless #5

In Lossless #5, a water-ballet crafted by the famed Busby Berkley is compressed into an organic mitosis, within which we detect the spirit of a "buggy" Brakhage ghosting about the integrated circuit.

2010
Magic for Beginners

Magic for Beginners examines the mythologies found in fan culture, from longing to obsession to psychic connections. The need for such connections (whether real or imaginary) as well as the need for an emotional release that only fantasy can deliver is explored.

"Out of the blue, I bought my first television. I kept the TV on all the time."

— Andy Warhol

2007
Magnetic Movie

The secret lives of invisible magnetic fields are revealed as chaotic ever-changing geometries. All action takes place around NASA's Space Sciences Laboratories, UC Berkeley, to recordings of space scientists describing their discoveries. Actual VLF audio recordings control the evolution of the fields as they delve into our inaudible surroundings, revealing recurrent 'whistlers' produced by fleeting electrons. Are we observing a series of scientific experiments, the universe in flux, or a documentary of a fictional world?

1971
Videofreex, Mes and Youse

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. 

1971

Less than two minutes long, this short tape makes playful and surreal use of video’s editing capabilities. Set to a sped-up version of The Band’s “The Weight” – complete with the falsetto vocals, and accelerated tempo that come with time manipulation on records – is a series of rapid, alternating washes and split-image cuts overlaying and juxtaposing the faces of the freex upon one another. Male faces and female faces fuse, the exact identity of the individuals becoming dissolving into ambiguity.

1978
Merce by Merce by Paik

Merce by Merce by Paik is a two-part tribute to choreographer Merce Cunningham and artist Marcel Duchamp. The first section, “Blue Studio: Five Segments,” is an innovative work of video-dance produced by Merce Cunningham and videomaker Charles Atlas. Cunningham choreographed the dance specifically for the two-dimensional video monitor screen. Atlas uses a variety of video imaging effects, including chromakey, to electronically transport Cunningham’s studio performance into a series of outdoor landscapes. The audio track includes the voices of John Cage and Jasper Johns.

2011
Midnight Suite

Run, unholy woman; your passions deceive you!

-- Mike Kuchar

1978
Music on Triggering Surfaces

In Music on Triggering Surfaces, Bode constructs an interface between audio and video systems. The luminance information (voltage) from the visual images traversed by the black dot is routed to an oscillator to produce the audio signal, which varies according to the changing luminance. The video image itself then triggers the audio. The shifting grey-scale of the image becomes a two-dimensional sound map or audio score. This tape was produced at the Experimental Television Center. 

 

2015
Nine Hamlet RGB

Nine Hamlet RGB engages a simple algorithm to destabilize the timing of the red, green and blue frame sequential display system while incorporating fragmented, appropriated “to be or not to be” excerpts from nine Hamlet films. The audio is the synced sound from the appropriated excerpts laced with low frequency binaural tonal pulsations. The physicality of the constructed optical and aural experience is seeking a mechanism of unconscious disarticulation.

2001
Object 8242600

"A trance is a state of detachment with aspects of the ecstatic. Paradoxically, a trance can be induced by a surfeit of input or by its deprivation... In Anthony Discenza's Object 8242600, television imagery is reduced to a flood of unanchored signifiers reorganized as a motive mosaic."

—Steve Seid, Pacific Film Archive

2017
Michael Robinson "Onward Lossless Follows"

A password-protected love affair, a little vapor on Venus, and a horse with no name ride out in search of a better world. Against the mounting darkness, a willing abduction offers a stab at tomorrow.

Please note that strobe effects are used in this video.

2003
Papillon d'amour

By subjecting fragments from the Akira Kurosawa’s film Rashomon to a mirror effect, Provost creates a hallucinatory scene of a woman’s reverse chrysalis into an imploding butterfly. This physical audiovisual experience produces skewed reflections upon Love, its lyrical monstrosities, and a wounded act of disappearance.