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All MSS. a o~~irw hig~i- hat~~canbaua..~ d o-iov switchcs o/sv rrotesso r ti ,rut wan 'm FVIII ' Sentrator, MSS index tz1 '11-I I III I ' l5Q index t~~ ' QgBb66~gIMSB acCurnu labor Analog Funcfibn Gt*eratars : O-Iov a/** :~ ti VCo A, Low Io - IOK N=. phot Uck V& N Syr' Nigh IK - IOOK N z. Ane~lo5 Pro9~amMins, a-'IOV summioVap O" Iov o-Iov ~Mulipliew rlis pots. Kescm , Vidla oufvidto impu% (4)b$w r CArrue COW (+i) 6 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 UAA 0 d ~a 0 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 Ram Dass 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 Woodstock 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 New York 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.