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As artist-in-residence (1973-75) at the Experimental Tele- vision Center, Binghamton, N.Y., I developed the Paik/Abe video synthesizer as a performance instrument. The PAVS accepts as many as 7 b&w video or audio inputs. Video inputs 61W M on wo*wabr must be in sync; however, prerecorded material is rescanned 0 1096 from a Mw monitor. For pattern generation, audio signals syn- are input directly to the colorizer. The output from the Ow Q00" IM6 caw~ thesizer is a color image of broadcast quality. P"k / Aki vid" $T%aa" The synthesizer combines several modules including sync generator, cameras, oscillators, colorizer, and the wobbulator . The colorizer is a 7-channel mixer plus colorizer. The input levels are continuously variable froni zero to maximum gain using control "pots" on the front' panel. Each of the 7 input images is washed with a separate color. These colors are shifted with a single hue control (all channels change color simultaneously) . Through the selection of different combi- nations of colorizer stages and gains, a variety of effects are available, including high contrast (virtually a key), solar- ization, etc.

The wobbulator is a module unique to the PAVS. It is a modi- fied 7-inch Sony TV receiver and functions as both receiver Mc"Mw and monitor. The image is distorted by extra yokes added to 60dXk0iW the set. In addition to the normal Mw yoke, the wobbulator has a color receiver yoke and a continuous wind yoke. The A T&fc4r6U,#%,&Rj horizontal portion of the color yoke (H) pulls the image from side to side; the vertical portion (V) rolls up the image top to bottom. The continuous wind yoke (S) produces an "s" curve pattern. The yokes are driven by audio amplifiers which take their input from the audio oscillators. The wobbulator has switches to reverse the image left to right (mirrored) and to turn the image upside down. There are also horizontal and vertical size controls which reduce the image to a line or point. This past year (1974-75) Susan Wolfson and I performed several original compositions on the PAVS. The compositions are scored using a patching diagram and a fading chart. The notes and images for (two) of these compositions are shown in the accompanying illustrations . Next year Susan and I will 0"# modules developed by Dave Jones, iNt be using video synthesizer &Wt. . f4aI& kus to "iw 1, cowk& our technician at the ETC on t S4 fk%*#st 1,164,L" 6090

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fi O O a of previous Cage and others, as p; Some film makers have totally converted to processed 'edited material of a more efficient piece performances filmed from 1966 to Collective has p video, usually in search oscillations, Baba c sound-sync medium combined with porta- 1969, introducing mirror-images, colorizations, as well as syn- ton, two Antioch bility and continuous run capability. Others reversals, and studio fa- thesizing other related film material during tions (Antonin , have gained access to television Arthur Schnitzler unique image-processing the live production . Both realizations at the cilities with their real-time, one-take vironmental Scu possibilities to generate videograpbic ma- TV Lab occurred in product. A hand_ situations, a premise which continues to Robert Irwin, St( terial for use in a final film Hall, and Rober included, have pursued inroads interest me as being unique to the video ful, myself preproduction preparation, problems of manj into video while still continuing film work. system. Intensive as contrasted to the dependency on post- cussion situation) I have continued in my own work to explore production (editing, opticals, sound syn- sity, and much wo the interfacing of film and video, in the chronization) of film, has always seemed to Collective (Seven belief that continued brushirig against each me germane for proper utilization of the Sado-Masochism, Tower of Money) Beatles Electroniques (1966-9) other by the two media will assist in polish- video medium. ing and defining their 'individual essences. Each videotape has presented an oppor- Such films as Aquarian Rushes (1970), a both Video, like film tunity for direct confrontation with synthesizing medi psychic ,energy portrait of the technical sopbistications and inherent aes- Festival and Ohio Master Arts Program, In my incarnation thetic visual considerations . An opportunity media artist with now being completed for the Ohio Arts to work with an analogue "video computer" Council, interface kinescoped black and bine USCO (196! system, capable of modifying graphic work imagery refilmed white video with sync sound with time-ex- through rotation and wholly or in segments part of my visual r, panded-and-contracted. original color film oscillation in x, y, and z axes, with the tech- footage, composed in camera and through produced nical assistance of Walter Wright, Early experiment~ optical printing. works, The Mirror of two colorized video television broadca Heaven, six permutations of an astrolabe In 1969, with access to video portapak equipi - Whirling imposition with oi Corporation, image into a starfield, and The switching, ment through The Raindance of a whirling dervish introdt work with video camera techniques. Ecstasy, transmutations gramming analog, I began within tbree-space. At Synapse/Inner- At the present, I find the Bolex l6min and figure nique but with t Sony portapak vision Media Systems at Syracuse, these the Technisphere-modified synthesized with ment of "noise," conducive to the generation of my images were further inherent in TV r( equally backgrounds and feedback work, some visions requiring one or the chroma-keyed ing technology . R, realization, into The Mirror of Heaven Remirrored Videotape Study No. 3 (1967-9) other medium for their ultimate work began on a multimedia presei requiring continued probing of (1974) . Also at Syracuse, USCO manifestei and others of interfaces through a "plant re- media. series entitled Cathode I theiintermesbing of both permitting voltage varia- sponse detector," film maker Briar Guest-artist-in-residencies at the WNET tions from the leaves of a Gloxiola to vis- the video image, 35mm slide imagc Television Laboratory in per- ually modify portions of 8 and 16mm, an, mitted me vision realization with a fully resulting in a video collaboration between in Inter- polation of the at interfaced color-capable system. The Astro- plant and human in Experiments uted two channels labe of God (1972) utilized two color studio species Communications No. 1 (1974) . cameras, the ability to prepare an electroni- In 1965, while fi cally colorized feedback tape to serve as A further realization of the real-time ele- Turn Turn, an i sync source and visual input during pro- ment in video has been my continuing work translation of kine duction, and chroma-key capability, ex- with the Video Film Collective, originating inspired by the "e changing foreground and background, to in New York with work by jeni Engel, Frank media theory of N/ crystallize the spiritual base of the tape Gillette, Andy Mann, and myself on docu- Paik during his fi centered on the unity of within and without mentation of the only live concert by Charlie exhibition at the I in the relationship of the human being to Haden's Liberation Music Orchestra (1972), his work for inc( the cosmos. In 1973, 26' 1 .1499" for String continued now in southwestern Ohio with a Thus was complet Player: A Video Realization of the Concert three-camera portable system utilizing live patterning : from ( I an~ otncrs, as participating members, the which the cathode ray tube emits (Paik) . Collective has produced such projects as Baba Ram Dass at Ghetto's Palace in Day- Thus began the ongoing collaboration be- ton, two Antioch College Theater produc- tween Paik and rn~selr, producing video- tions (Antonin Artaud's The Cenci and films which interface the syntactical qual- Arthur Schnitzler's Round Dance) the En- ities of both media, sometimes retinal/ vironmental Sculpture Symposium with kinetic, and most often conceptual/meta- Robert Irwin, Stephen Antonakis, Michael physical. Our "Statement of Objectives," Hall, and Robert Doty (confronting the published in the "Expanded Arts Issue" problems of manipulation of a talking/dis- (No. 43) of Film Culture, were (1) The cussion situation) at Wright State Univer- study of electronic images composed by sity, and much work with the Living Theater purely electronic means directly on the 61lective (Seven Meditations on Political cathode ray screen, (2) the articulation of Sado-Masochism, Six Public Acts, and The metaphysics in cinema, aiming to deepen Tower of Money) . the ontological meaning of monotony, and (3) the transmutation 'of popular clich6 Video, like film and other contemporary images familiar to any contemporary con- synthesizing media, has many- a'ccess ways. sciousness, reiterated and metamorphosed In my incarnation as film maker, and multi- beyond their popular meanings into ab- The Mirror of Heaven media artist with the artist-engineer com- straction. bine USCO (1965 through 1968), television imagery refilmed in 16mm was an integral Exemplary of point 3 are such videofilms as part of my visual repertory. Videotape Study No. 3 (1967-69), in which pretaped press conferences by John Lindsay and Early experiments in the transmutation of Lyndon Johnson are altered electroni- television broadcasting icons involved super- cally and manually by stopping the tape and moving imposition with other material, and channel in slow and reversed motion, and by switching, introducing pseudo-random pro- repeated actions; Beatles Electroniques gramming analogous to film editing tech- (1966--69), with electromagnetically impro- nique but with the added media involve- vised distortions of live and prerecorded ment of "noise," "basb," or interference takes of the Beatles at Shea Stadium and on the inherent in TV reception and video record- Ed Sullivan show; and Waiting for ing technology. Part of the touring six-part Commercials (1972), in which authentic multimedia presentation "Hubbub" apanese-produced rI`V commercials relent- which lessly USCO manifested in 1965 was a section interrupt a media monologue by Mc- entitled Cathode Ray, initiated by Rochester Luhan. Indicative of "the articulation of film maker Brian Peterson, consisting of metaphysics" are Cin~ma Mgtaphysique No. 35mm slide images of TV material, film in 1 (1966), concerning the concept of scale 8 and 16mm, and live oscilloscopic inter- etween the two media, a minute CRT polation of the audio, for which I contrib- image becoming life-size in the lower right uted two channels of "refilmed TV." and upper left corners of a full-size film pro- jection; and Cinima Metaphysique No. 5 Experiments in Interspecies Communication In 1965, while filming material for Turn where all the "action" takes place Turn on the Turn, an exploration in the filmic edges of the film frame, outside of the translation of kinetic and luministic artworks Safe Action Area, prohibiting "safe" repro- inspired by the "effect rather than content" duction on black and white and color home media theory of McLuban, I met Nam June receivers. Paik during his first New York "TV Art" exhibition at the Bonino Gallery and filmed Other videofilms, like Electronic Moon No. his work for incorporation into the film. 2 (1969) and Electronic Fables (1972), cor- 71us was completed the film's evolutionary relate the gyrating kinetics of electronic patterning : from cybernated ligbt-refracting video manipulation of the raster with the