To Videopolis

Beginning with Phil Morton narrating in a Southern twang, he demonstrates how to flip a video with low cost—72 cents—on modification on the camera.

Phil comments that new media is emerging out of a print culture into video culture and we are currently living in a video space, this media turn from print to electronic age echoes Marshall McLuhan’s theory. After adjusting the camera and image processing setting, Phil creates a feedback pattern that resembles a trap formed inside of his own head. Besides inviting viewers to take a closer look at his own mind, he also exemplifies how the media expands consciousness and extends our perception and mind.

Phil mentions being underpayed as a professional video artist. As Phil puts, “75 dollars is all I ever made in my whole life, [as] a professional video work man.” This economic marginalization on media works, unfortunately, still lingers today. The non-monetizable nature of time-based work, however, does not deter artists who are passionate about it. To counteract this economic injustice in the art world, he jokes–or perhaps he’s serious–about asking viewers to call him to commission a new cross-eye video, resembling advertisement techniques on electronic media. 

A later scene shows Phil driving a van. The rear-view mirror reflects Phil single-handedly shooting action with video camera while driving, showing the adaptability of camcorder operations. The section briefly shows the interior of the mobile video van where he travels with a woman. The road trip footage features alternating shots of a tractor, a stop sign among the cliff, horses on the road, freeway, etc. The pacing gets quicker and eventually cuts back to the feedback swirl.

The final section brings viewers back to the real world, where Phil is shown waiting for Cindy, a representative from Videopolis, to pick up this real-time edited and produced tape. Upon Cindy’s arrival, Phil invites her to interact with the processed image. Cindy, expressing excitement, is amused by the home-base video set up. The interactivity, real-time capture, and image processing technique demonstrates how video invites a whole new level of embodiment and engagement.

–Gordon Dic-Lun Fung

For more information, visit the Phil Morton Memorial Research Archive page.