Parry Teasdale, David Cort and Chuck Kennedy visit The Kitchen in New York looking for Shirley Clarke, and bump into Steina and Woody Vasulka who are overseeing a show in progress. A few doors down they find Shirley in her studio, dressed in white and full of energy.
"A film about the time of the blast furnaces — 1917-1933 — about the development of an industry, about a perfect machinery which had to run itself to the point of its own destruction. This essay... on heavy industry and the gas of the blast furnace, convinces through the author's cool abstraction and manic obsession, and through the utilization of a single example of the self-destructive character of capitalistic production: 'The image of the blast furnace gas is real and metaphoric; an energy blows away uselessly into the air. Guided through a system of pipes, the pressure increases.
You Were an Amazement on the Day You Were Born is a visually stunning work that follows a woman through a life characterized by damage and loss, but in which she finds humor, love, and joy. With a score that follows the span of Lenore’s life, from her birth in the early 70s to her death in the 2040s, the film takes us from moments of harrowing loss to those of poignancy and dark humor.
This tape, shot in April 1971, documents the making of a WNET/13 TV show about video collectives and how they use the new video technology.
“The third part of the Eye/Machine cycle structures the material around the concept of the operational image. These are images which do not portray a process, but are themselves part of a process. As early as the Eighties, cruise missiles used a stored image of a real landscape, then took an actual image during flight; the software compared the two images, resulting in a comparison between idea and reality, a confrontation between pure war and the impurity of the actual. This confrontation is also a montage, and montage is always about similarity and difference.
This video is a 7-minute single channel piece consisting of two monologues: the first is a speech prepared for Richard Nixon in the event of a moon landing disaster in 1969, the second is the final words of the computer HAL from the film 2001.
This title is only available on Suitable Video, Volume 1.
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
Reclamation is a documentary-style imagining of a post-dystopian future in Canada after massive climate change, wars, pollution, and the after-effects of the large-scale colonial project which has now destroyed the land. When Indigenous people are left behind after a massive exodus by primarily privileged white settlers who have moved to Mars, the original inhabitants of the land cope by trying to restore and rehabilitate the beautiful planet they belong to.
This European flavored melodrama depicts a fictional country of refined manners and debased desires that explode into chaos, sending its prodigal son into the pit of 20th Century technology. That technology externalizes his hidden beauty just as he tries to hide the heritage of horror which was the curse of his lineage. That curse now threatens the already damned.
Taiwanese artist Shu Lea Cheang (b. 1954) tackles conceptions of racial assimilation in American culture, examining the political underbelly of everyday situations that affect the relationship between individuals and society.
BIT Plane is a highly compact spy plane, wingspan 20 inches, radio-controlled, video-instrumented and deployed over areas of scenic interest. Due to its refined dimensions, BIT plane is able to enter territory inaccessible to other aircraft. Pioneering flight: in an aerial reconnaissance over the Silicon Valley, California 1997, BIT plane flew solo and undetected into the glittering heartland of the Information Age.
You Were an Amazement on the Day You Were Born is a visually stunning work that follows a woman through a life characterized by damage and loss, but in which she finds humor, love, and joy. With a score that follows the span of Lenore’s life, from her birth in the early 70s to her death in the 2040s, the film takes us from moments of harrowing loss to those of poignancy and dark humor.
O.U.T. is a work documenting the emergence of computer games which train players to fight in cities among civilians, (Military Operations in Urban Terrain). O.U.T. contains sampled footage and machinima (stories told with video games) from five military simulation games. Following is a documentation of the performance, (Operation Urban Terrain), an urban wireless intervention by Anne-Marie Schleiner and an international cast of game expert and art activist collaborators.
In this futuristic computer-animated landscape, confused relationships between objects and people play out before the backdrop of a lush garden and interactive theatre known as the Big Ghost. The commodity of this theatre is Vynola, an exotic creature who obsesses the minds of all who come to visit her, and represents an escape from the daily grind. Law of Averages is a wonderfully dense, witty, and visually stunning work about obsession, death, real estate, technology and America.
Most of the moving images produced for science, industry, commerce, and medicine are seen only by specialized audiences, and are then discarded soon after they are made. Rumour Of True Things is constructed entirely from such moving image ephemera, including computer games, weapons testing, production lines, monitoring, and marriage agency tapes. Rumour Of True Things is a remarkable anthropological portrait of a technologically-based society obsessed with imaging itself.
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.
(chatlandia) uses the public bathroom stall as format and metaphor for Internet relay chat lines (IRCs). The video's soundtrack is composed from transcripts of actual IRC sessions; the conversations emerging from this institutional facade speak of lust, intimacy, spunky women, and "what Desiree wants," calling into question the division between humans and machines. In (chatlandia) the larger theme of how the 'net functions as social space is explored and encourages the viewer to ask: Is the Information Age actually bringing us closer together or pushing us farther apart?
Constituting an Outside (Utopian Plagiarism) is part one of Zach Blas's Contra-Internet Inversion Practice series. Contra-Internet Inversion Practice confronts the transformation of the internet into an instrument for state oppression and accelerated capitalism.
Rosa Barba produced a science fiction film based on interviews with local residents and individuals involved in the land suppletion project for Maasvlakte 2. Barba asked the interviewees to imagine what this new land could look like in the future. While we see images of the new land, the slufter: a storage reservoir for heavily contaminated sludge from the new Meuse river, the construction of the huge docksides, basalt blocks, empty containers and the mechanical movements of the transhipment process, we listen to a story apparently taking place in the future.
Because of the War things were changing. Very few toys or games were left and music was almost over. Tap water was tasting female and television only came in nasty spasms…
A surreal and sometimes comic meditation on how war affects the hopes and dreams of ordinary people.
In the next chapter of Bobby Abate’s mysterious lo-fi cyborg tale, we find ourselves roaming the set of a 1960’s evening newscast. The mysterious unearthly being has claimed a new test subject and is making use of the station’s control room in attempt to communicate and perhaps reunite with his unshaven counterpart. Zenith is a celestial space, high above the clouds, where lonely frequencies and frantic spirographs pulse the dimension that separates the real from the rendered, the now from nostalgia--and ultimately divides these two beings (alter egos or lovers?)
A post-apocalyptic computer animated vision of humanity lost in an industrial wasteland, Maxwell's Demon was animated on a low-cost, consumer computer model - an IBM PC. The tape takes its title from an early 20th-century physics theory postulating the existence of an impossible intelligence, a being that knew the exact location, energy, and direction of every particle in the entire universe - something akin to your home computer, but a lot bigger."
"Between March 1972 and February 1977, the Videofreex aired 258 television broadcasts from a home-built studio and jerry-rigged transmitter in an old boarding house they rented in the tiny Catskill Mountain hamlet of Lanesville. It was a revolutionary act in defiance of FCC regulations — the first unlicensed TV station in America."
"In The Very Very End, Barber points to his medium's plastic possibility by somehow traveling into the future and the past, nodding to Neville Shute's apocalyptic 1957 novel On The Beach, while setting an end-of-days story in a 21st Century holiday resort.
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.
