MARCEL TV – DataBase

  

MARCEL-TV DataBase Listing (updated 2024/12/07, 117 items)

titleauthorfeaturingdatecaptiondescriptiondurationtagsfile
1-2-3-4Steina & Woody Vasulka1974Video work.4:11 mn1-2-3-4
A Passion for Precision Theodor W. Hänsch. 2006Lecture.Theodor W. Hänsch. Max Planck Institute of Quantum Optic, Garshing and Ludwig-Maximilians-University, Munich. Lecture at CERN. Munich. 6, 2006. 69:43 mnPresentation/Lecture. Nobel.A Passion for Precision
A So Desu KaSteina Vasulka1993Video work.9:32 mna so desu ka
ACT IIIJohn Sanborn and Dean Winkler1986Video as a Creative MediumVideo as a Creative Medium, Dallas Museum of Art, July, 18 1986. 6:28 mnACT III
AccessGrid Ircam 2003WorkshopAccessGrid Workshop, IRCAM, Paris, October 20, 2003. 3:40 mnWorkshop, IRCAM.AccessGrid Ircam
Alana - a speaking portraitGeorge Quasha2008George Quasha's speaking portrait of poet Alana Siegel.The body of speaking portrait work includes free-wheeling portraits of individuals engaged in 'core discourse'--speaking that comes to fresh areas of deep concern to the person, a 'living thinking' opening some kind of new speaking for that person. In this way it belongs to what the artist/poet calls 'open poetics'--new language-making that arises spontaneously in the domain of direct discourse. Other work related to the larger speaking-portraits project includes 'art is,' 'poetry is,' 'music is,' and similar works. These works are focused inquiries on particular topics-- artists saying what art is, poets saying what poetry is, etc. Speaking portraits like 'Alana,' in contrast, discover their subject matter in the process of intense dialogue.12:07 mnalana - a speaking portrait
Alpha Magnetic SpectrometerSamuel Ting/1976/ PresentationThe alpha magnetic spectrometer on the international space station19:50 mnPresentation/Lecture. NobelAlpha Magnetic Spectrometer
AriaSteina Vasulka1994Video work.3:12 mnaria
Art Is, Volume IGeorge Quasha/2002/63:45 mnart is, volume i
Art Is, Volume IIGeorge Quasha/2002/62:48 mnart is, volume ii
Art of MemoryWoody Vasulka1987Video work, Color.Humankind's collective memory can perhaps be compared with a complex and multi-layered filing cabinet of images and sounds. Sometimes a topical event causes one of this cabinet's drawers to be pulled open so that the present-day can be seen in a new light. The memory archive is most relevant to the 20th century, the age of the technically reproducible. It exists not simply on a symbolic level but in reality as material recorded and stored by means of photography, film, video and computer so that the collective memory is becoming increasingly artificial. The Art of Memory is a work-in-progress. Against the apparently unchanging and inaccessible landscape background of the American South-West, black-and-white fragments of films and photos of World War Two are mixed with historic statements and propaganda songs. A solitary angel sitting on a rock lets history's turbulence pass him by. Vasulka combines digital and digitalized images with framed archive material, landscape shots and staged scenes. Each image functions as a perspective; images are overlapped or contain other images. The many layers of The Art Of Memory seem almost to reflect the structure of memory itself. But we are also watching the midlife memories of the Czech filmmaker Vasulka by means of techniques developed by the American media artist Woody. Text courtesy of NIMk.36:39 mnart of memory
ArtifactsWoody Vasulka1980Video work, Color.Throughout the late 1970s, the Vasulkas were occupied with designing and building the Digital Image Articulator, or Imager, with computer scientist Jeffrey Schier. At the time computers on the market were not designed for real-time image processing, so the Imager was created as a necessary tool in the Vasulka's continual study of real time video image performance. 'Artifacts' is video that shows and explains the capabilities of the Imager, and documents Woody Vasulka's experiments constructing and deconstructing digital visual imagery based on basic algorithmic principles. The instructive nature of the tape, like may others created by the Vasulkas during that period, reveals the immensity of the couple's undertaking to understand elements of their new electronic vocabulary. 'Artifacts' is the second part of the series 'Syntax of Binary Images'. It was Woody's intent to create a dialogue between artist and machine. He says in the tape, 'I have to share the creative process with the machine; it is responsible for too many elements in this work. Theses images come to you as they came to me - in a spirit of exploration.' Text courtesy of NIMk.22:52 mnartifacts
BadSteina Vasulka1979Video work, Color. In 'Bad', Steina rhythmically weaves sound and image to examine the up/down, right/left movement, and squeezing/stretching of a digital image, using her own face as visual material. Steina explained in this context: 'The work is a play on a computer performance. By a simple command: 'add one', the machine scrambles for its pictorial and tonal expressions, succeeding at random.' This highly complex image calculation provides an interesting example from the early works of the Vasulkas showing how they creatively forced the medium and attempted to exceed the limitations of the machine. Text courtesy of NIMk.2:10 mnBad
Birth of Neutrino Astrophysics M. Koshiba.2003Lecture at CERN, July 8, 2003. 54:43 mnPresentation/Lecture. Nobel.Birth of Neutrino Astrophysics
C-Trend Woody Vasulka1974Video work. 9:14 mnc-trend
C-Trend (short)Woody Vasulka1974Video work.8:28 mnc-trend (short)
CandleTim Jackson2001MARCEL and Synth/Ops eventInaugural event of the MARCEL network and Synth/Ops Research Group between Toronto and London.1:45 mnMARCEL, Synth/Ops, workshop.candle
CantaloupSteina Vasulka1980Video work, Color. 'Cantaloup' and 'Artifacts' are both documentary works in which Steina and Woody offer informal explanations of the function of the Digital Image Articulator, or Imager: a sophisticated imaging device they Designed with Jeffrey Schier. In 'Cantaloup' Steina offers a highly informative yet spontaneous demonstration of the complex imaging device. She casually documents the designing and building of Imager and explains the size of pixels, the layers of colour and tone used to create form and techniques such as grabbing (freezing) the image and multiplying it. Text curtesy of NIMk.22:55 mncantaloup
Confingering FiguresGeorge Quasha2005Axial Drawing Music IIn George Quasha's axial video, 'Confingering Figures (Axial Drawing Music 1),' fingers are holding graphite in the process of doing two-handed axial drawing, and in the actual process and movement they embody a configurative state somehow equivalent to the drawing itself. This embodiment of configuration (a state between figuration and abstraction) is visually and aurally accessible only under the specific intimate condition of video slow-motion, as a time/space-based art/music. By focusing below the frame rate threshold (30 fps) the piece exposes the otherwise invisible gaps between rapid actions and invents its own strange beauty in which space itself is figurative and image is temporalized to the point of abstraction. Recorded on Amtrak train between Rhinecliff and NYC in 2005.13:6 mnconfingering figures
Construction of quantum states Anthony Leggett2004Anthony Leggett, Lecture at CERN. 74:37 mnPresentation/Lecture. Nobel.Construction of quantum states
Cosmic Microwave Background Radiation Prof. George F. Smoot/2006/Lecture.What we have learned from the CMB = Big Bang Relic Radiation. Prof. George F. Smoot. Lawrence Berkeley National Lab; Department of Physics. Unviersity of California at Berkeley. 81:20 mnPresentation/Lecture. Nobel prize.Cosmic Microwave Background Radiation
Discovery of CP Violation: a Surprise Jim Cronin2009Lecture.26:08 mnPresentation/Lecture. CERN. Nobel.cern nobel lecture: jim cronin
Distant ActivitiesSteina Vasulka1972Video work.4:48 mndistant activities
Don CherrySteina & Woody Vasulka with Elaine Milosh1970Video work.19:22 mndon cherry
Doris CrossSteina and Woody Vasulka1983Video work.16:36 mndoris cross
Ear to the GroundJohn Sanbord & Kit FitzgeraldDavid Van Thieghem1982Video art, colour.Making sounds in the city. 4:25 mnEar to the Ground
Events in the ElsewhereSteina & Woody Vasulka with Joan La Barbara1989Video work.15:39 mnevents in the elsewhere
EvolutionSteina & Woody Vasulka1969Video art. B & W.Although the video artwork Evolution cites the well-known image of hominid evolution, it is more interested in the evolution of the media than in the evolution of the human species. Through the feedback of a system of video devices and the search for image imitation, it creates a layered (self-)reflection of the media used. It illustrates the gradual peeling back of artistic and technical possibilities in sound, from which an image is generated by directly manipulating the surface of the filmstrip, and in images that generate sound in video feedback.12:43 mnevolution
Experiments in Art and Technology (E.A.T.)Barbara Schultz-LundestamBilly Klüver1966Nine Evenings - Theatre+EngineeringInterview of Billy Klüver and presentation of serie of ten documentary films: Nine Evenings - Theatre+Engineering October 13-23 1966. Steve Paxton 'Physical things'. Alex Hay 'Grass Fields'. Lucinda Childs 'Vehicule'. David Tudor 'Bandoneon !'. Yvonne Rahner 'Carriage Discreteness'. Deborah Hay 'Solo'. Robert Whitman 'Two Holes of Water-3'. John Cage 'Variations VII'. Robert Rauschamberg 'Open Score'. Öyvind Fahlström 'Kisses Sweeter than Wine'. 7:06 mnE.A.T.
ExplanationWoody Vasulka1974Video work. Color.4:20 mnexplanations
FluxSteina Vasulka1977Video work.8:12mflux
Fractals & ArtBenoit Mandelbrot2001Online presentation.An online presentation by Benoit Mandelbrot on fractals and art, pilot for the MARCEL Global Threads project. 2001, Portland, Oregon & Lisbon, Portugal.89:01 mnPresentation/Lecture. Art and Science. MARCEL.Fractals & Art
Future of Physics David J. Gross2006David J. Gross. Lecture at CERN. 80:16 mnPresentation/Lecture. Nobel.The Future of Physics
Golden VoyageThe Vasulkas1973Video work.14:8 mngolden voyage
GrazingWoody Vasulka1978Video art.4:35 mngrazing
Heraldic ViewSteina & Woody Vasulka1974Video work.4:17 mnheraldic view
HomeThe Vasulkas1973Video work.16:46 mnhome
Hraun Og Mosi Steine Vasulka2000Video art, color, stereo sound.The video-environment Lava and Moss (in Icelandic Hraun og Mosi) was created in response to a call from Einar Mar, owner of the Icelandic Light Cliff Gallery, located in the Hafnarfjordur lava field. He asked Steina Vasulka to create a work on lava. The artist captured lava in the Icelandic landscape and then animated the shots in her studio with the help of digital instruments in the rhythm of electronic sound composition. In the document we can see three closely adjoining projection screens that cover one whole wall of the dark space of the gallery. Intertwining images of rock, watercourses, Icelandic vegentation, as if by the impulses of electronic sound came to life. Their jerky movements gradually transform into a smooth movement of the fluid rolling in all directions and across the projection screens, then solidifies again to regain the force of the rolling stream a little later. 15:09 mnHraun Og Mosi
HybridWoody Vasulka1990The Theater of Hybrid Automata8:44 mnhybrid
In Search of the CastleSteina & Woody Vasulka1981Video work.9:43 mnin search of the castle
In the Land of Elevator Girls.The Vasulka1989Video work.4:15 mnelevator girls, in the land of
InterfaceDon Foresta and Aldo Tambellini1981Color. Slowscan image exchange.Slowscan image exchange by telephone between CAVS, MIT, Cambridge, Mass. and the American Center in Paris, with Otto Piene and from Paris and CAVS. Tape by Vin Grabill.19:45 mnNetwork Art History.Interface
Land of TimoteusSteina Vasulka1975Video work.6:46 mnland of timoteus
LilithSteina Vasulka1987Video work, Color.In 'Lilith', a name that evokes biblical and mystical references, Steina alters the face and voice of painter Doris Cross so that it is submerged within a natural and technological landscape. Employing the imaging techniques of focal plane shift and frame grabbing she creates a constantly shifting visual field in which an image appears to exist in a constant flux of temporal and spatial planes. The woman's electronically distorted speech is processed through a vocoder until it is no longer understandable. In this work Steina is clearly paying tribute to the complexity of the aging female face, its lines and expressions indicating experience and knowledge. At the same time, it can be situated within Steina's project of rethinking landscape and reconfiguring space. The result is an 'almost sculptural fusion of human figure and landscape' (Steina). Text courtesy of NIMk.9:12 mnlilith
Midi Violin DemoThe Vasulkas199810:52 mnmidi violin demo
Music IsGeorge Quasha/2002/Speaking Portraits.46:04 mnmusic is
Music in the Afternoon Steine Vasulka with Tony Conrad2002 4:16 mnMusic in the Afternoon
No. 25Woody Vasulka1976Video work.5:32 mnno. 25
NoisefieldsSteina & Woody Vasulka1974Video work.In 'Noisefields', a field of video snow, or noise, flashes alternately in a rhythmic pattern on the screen. This experiment with 'video flicker' produces a mesmerizing image with a dense texture defined by a circular shape set within the rectangular screen. The work is an important example of early attempts to visualise the materiality of an electronic signal, and is accompanied by a rich static sound which is modulated by the energy content of the video. The Vasulkas pioneered exploration of a formal language specific to the genre, (generation of real-time effects, keying, feedback), that has subsequently opened up the space 'behind the lens', furthering possibilities of observing the medium from new perspectives. Text courtesy of NIMk.7:07 mnnoisefields
Orbital ObsessionsSteina Vasulka1977Video work.24:12 mnorbital obsessions
OrkaSteina Vasulka1997Video work, projected video environment.In ORKA, a three-channel video environment, the three disk players provide one video and two audio sources to three projectors and six speakers. A video synchronizer aligns the three channels for synchronous playback. At the end of each fifteen-minute cycle, the program automatically returns and re-synchronizes for a repeat performance. The images in Orka — which means “life force” — were shot by Steina in the wilds of her native Iceland in 1996. A “tracer” device performs recording of the traces of the micro-movements of nature over time, such as the paths of birds and waves.15:11 mnorka
Orka - Installation DemoSteina Vasulka1997Video work, projected video environment.4:50 mnOrka - Installation Demo
PariahSteina and Woody Vasulka1984Video work.26:9 mnpariah
ParticipationThe Vasulka1969-1971 63:14 mnParticipation
Particle physicsGerard 't Hooft/1999/Presentation34:55 mnPresentation/Lecture. Nobel.Particle physics
Poetry Is Vol IGeorge Quasha/2002/Speaking Portraits. V4 Final80:54 mnpoetry is vol i-v4-final
ProgenySteina & Woody Vasulka with Brad Smith1981Video work.17:58 mnprogeny
Ptolemy (in Quad) Steine Vasulka1990Installation. 12:21 mnPtolemy (in Quad)
Pyroglyphs Steina Vasulka with Tom Joyce1994Video work, video matrix.Together with Woody Vasulka, Steina Vasulka has for many years been working as The Vasulkas Inc., husband-and-wife media artists established in the United States. Their high-tech experiments with the development of new images are landmarks in the history of media art. In her individual work, Steina focuses primarily on the optical aspect of the electronic image. The fact that she was born in Iceland, land of geysers and volcanoes, and her training as a violinist, are elements never denied in her video tapes and installations: there is often music in her work, as well as a relentless fascination for the forces of nature. The installation Pyroglyphs - 'pyro' means 'fire or heat' is built up out of twelve monitors forming a circle on the floor. The room in which the circle stands is dark. The only light beams from the monitors, which present images and sounds from a forge. The images glow with fire and sparks. There are always two images to be seen at the same time, alternate monitors show the same image. Pyroglyphs not only glows with a mythical and magic primaeval force, but also sounds like a very earthly concert of hammers, metal saws, welding machines and cutting torches. [This installation is featured on the DVD series 'Installations 1975-2006' (2007).] Text courtesy of NIMk. 26:06 mnpyroglyphs
Pyroglyphs (short)Steina Vasulka with Tom Joyce1994Video work, video matrix.Together with Woody Vasulka, Steina Vasulka has for many years been working as The Vasulkas Inc., husband-and-wife media artists established in the United States. Their high-tech experiments with the development of new images are landmarks in the history of media art. In her individual work, Steina focuses primarily on the optical aspect of the electronic image. The fact that she was born in Iceland, land of geysers and volcanoes, and her training as a violinist, are elements never denied in her video tapes and installations: there is often music in her work, as well as a relentless fascination for the forces of nature. The installation Pyroglyphs - 'pyro' means 'fire or heat' is built up out of twelve monitors forming a circle on the floor. The room in which the circle stands is dark. The only light beams from the monitors, which present images and sounds from a forge. The images glow with fire and sparks. There are always two images to be seen at the same time, alternate monitors show the same image. Pyroglyphs not only glows with a mythical and magic primaeval force, but also sounds like a very earthly concert of hammers, metal saws, welding machines and cutting torches. [This installation is featured on the DVD series 'Installations 1975-2006' (2007).] Text courtesy of NIMk.7:46 mnpyroglyphs (short)
Pyrospheres Steina VasulkaTom Joyce2005Video work, colour, sound. Pyrosheres follows on from the Pyroglyphs project, in which Steina Vasulka, together with the blacksmith Tom Joyce, shot a detailed study of fire and its transformative forces. The video captures flames, metal softening in the heat of fire, paper turning to ash or steam produced by hot objects cooled by immersion in water. The images were processed with the help of Boris software into the shape of a sphere, which rotates around its own axis and emerges like a red-hot planet from the dark background of the screen. 5:57 mnPyrospheres
Reminiscence Woody Vasulka1974Video work, Color.Issues of memory, history, narrative and their relationship to electronic imaging are often central concerns in Woody Vasulka's work. In 'Reminiscence' he uses the effects of the Rutt/Etra Scan Processor to make portapak video images appear as visual impressions, like distant memories. The Rutt/Etra Scan Processor is an electronic tool used in manipulating the scanning of the raster in the cathode ray tube to produce effects of compression and expansion of the video frame. In this tape of a walk through a farm in Moravia, a place of Woody Vasulka's childhood, images are processed through the scan processor so that certain elements are raised and others lowered, like memories in which some elements remain vivid and others fade. Woody Vasulka said about 'Reminiscence': 'Compared to my previous work on videotape, the work with the scan processor indicates a whole different trend in my understanding of the electronic image. The rigidity and total confinement of time sequences have imprinted a didactic style on the product. Improvisational modes become less important than an exact mental script and a strong notion of the frame structure of the electronic image. Emphasis has shifted towards a recognition of a time/energy object and its programmable building block -- the waveform.' Text courtesy of NIMk. 4:52 mnreminiscence
Reminiscence (short)Woody Vasulka1974Video work, Color.Issues of memory, history, narrative and their relationship to electronic imaging are often central concerns in Woody Vasulka's work. In 'Reminiscence' he uses the effects of the Rutt/Etra Scan Processor to make portapak video images appear as visual impressions, like distant memories. The Rutt/Etra Scan Processor is an electronic tool used in manipulating the scanning of the raster in the cathode ray tube to produce effects of compression and expansion of the video frame. In this tape of a walk through a farm in Moravia, a place of Woody Vasulka's childhood, images are processed through the scan processor so that certain elements are raised and others lowered, like memories in which some elements remain vivid and others fade. Woody Vasulka said about 'Reminiscence': 'Compared to my previous work on videotape, the work with the scan processor indicates a whole different trend in my understanding of the electronic image. The rigidity and total confinement of time sequences have imprinted a didactic style on the product. Improvisational modes become less important than an exact mental script and a strong notion of the frame structure of the electronic image. Emphasis has shifted towards a recognition of a time/energy object and its programmable building block -- the waveform.' Text courtesy of NIMk.3:59 mnreminiscence
ResoNations 2009Virtual Sound ExchangeResoNations » (2009) a rassemblé 5 ensembles intrumentaux de San Diego, Banff, New York, Belfast et Séoul, coordonnés/dirigés par Sarah Weaver (New York), Mark Dresser (San Diego), Chris Chafe (Banff), Pedro Rebelo et Franziska Schroeder (Belfast) et Woo Seung Yeo (Séoul). 75:00 mnresonations
Selected TreecutsSteina Vasulka1977Video work, Color. 'Selected Treecuts' is a formal examination of the distinction between camera-generated and digital images, and a layered juxtaposition of contrasting representations of reality.A zoom lens moves slowly in and out on a group of trees, alternating between digitized and camera-generated, 'real' images. The movement in the tape is produced by the automated zoom lens and rotating prism; the images switch rhythmically between camera images and digital images held briefly in computer memory. The contrast between the two types of images forms an essay in motion and stillness, the organic and the synthetic, tracing a trajectory from the photographic to the electronic. Text courtesy of NIMk.6:40 mnselected treecuts
Seymour Papert Interview Seymour Papert. ~1990~Interview at MIT (unknown date). 5:49 mnEducation.Seymour Papert Interview
Short History of the Electron P.A. Grünberg/2007/Lecture 42:53 mnCERN LectureShort History of the Electron
SketchesSteina & Woody Vasulka 1970Performances.The Vasulkas capture the countercultural spirit of the era in a series of performances by Jackie Curtis, Steina, Charles Hayworth, Helen Wong, Alfons Schilling, Thierry Benizeau and Daniel Nagrin. These 'sketches' also reveal the Vasulkas' early experiments with electronic image manipulation. Red Roses Steina and Woody Vasulka 1970, 5:10 min, b&w, sound Let it be Steina and Woody Vasulka 1970, 4 min, b&w, sound The Kiss Steina and Woody Vasulka 1970, 2:24 min, b&w, sound Charles' Story Steina and Woody Vasulka 1970, 4:59 min, b&w, sound Alfons Steina and Woody Vasulka 1970, 2:59 min, b&w, sound Thierry Steina and Woody Vasulka 1970, 2:56 min, b&w, sound Gundance Steina and Woody Vasulka 1970, 2:45 min, b&w, sound 24:03 mnsketches
Solo for ThreeSteina & Woody Vasulka1974Video work.4:24 mnsolo for three
SomersaultSteina Vasulka1982Video work, Color. 5:17 mnsomersault
Soundgated ImagesSteina & Woody Vasulka1974Video work, color. Soundgated Images is an early example of the Vasulkas' ongoing explorations of interfacing modes of simultaneously generated sound and image, in which abstract, processed images are transposed as electronic sounds.9:14 mnsoundgated images
SoundsizeSteina & Woody Vasulka1974Video work. Soundsize continues the Vasulkas investigation into the relationship of sound and image. Here a pattern of dots is modulated by sounds generated from a synthesizer, changing size and shape in a visual manifestation of electronic sound.4:39 mnsoundsize
Spaces IISteina & Woody Vasulka1972Video art.7:50 mnspaces ii
Spheres Steina Vasulka/2001/InstallationA 3 to 7 channel non-synchronous environment - 3 to 7 DVD Players/Projectors 3:51 mnSpheres
StallactitesDon Foresta and Georges-Albert Kisfaludi (prod.)Luc Martinez, Alex Grillo.1997Online musical performance.An online musical performance by Luc Martinez, 1997, Color. Luc Martinez and Alex Grillo improvise musically between the auditorium at the ITU in Geneva and St Cezaire-sur-Siagne, a cave in southern France. Produced by Don Foresta and Georges-Albert Kisfaludi for the ITU. 26:08 mnNetwork Art History.stallactites (short)
Stallactites (short) Don Foresta and Georges-Albert Kisfaludi (prod.)Luc Martinez, Alex Grillo.1997Online musical performance.An online musical performance by Luc Martinez, 1997, Color. Luc Martinez and Alex Grillo improvise musically between the auditorium at the ITU in Geneva and St Cezaire-sur-Siagne, a cave in southern France. Produced by Don Foresta and Georges-Albert Kisfaludi for the ITU. 11:54 mnNetwork Art History.stallactites
Steina exercices the MaidenThe Vasulka 1998 Interactive installation 1:31 mnSteina exercices the Maiden
StudiesSteina & Woody Vasulka 1970Early VideoStudies features the Vasulkas' seminal explorations of electronic image manipulation. These exercises trace the development of the Vasulkas' techniques of image and sound processing. Interface Steina and Woody Vasulka 1970, 4:08 min, b&w, sound Discs Steina and Woody Vasulka 1970, 5:24 min, b&w, sound Calligrams Steina and Woody Vasulka 1970, 3:30 min, b&w, sound Tissues Steina and Woody Vasulka 1970, 1:31 min, b&w, sound Descends Steina and Woody Vasulka 1970, 4:12 min, b&w, sound Decay I Steina and Woody Vasulka 1970, 1:57 min, color, sound Decay II Steina and Woody Vasulka 1970, 1:11 min, color, sound21:59 mnstudies
Summer Salt Steina Vasulka1982Video work, Color. Includes 'Sky High' (2'30), 'Low Ride' (3'07), 'Somersault' (5'15), 'Rest' (2'15), 'Photographic Memory' (5'15). 17:56 mnSummer Salt
Swan LakeWoody Vasulka1971Video art, dance.7:25 mnswan lake
Talking TurtleSeymour Papert.~1980~Presentation.14:41 mnPresentation/Lecture. seymour papert, talking turtle
Techne and Eros Woody Vasulka (organisation)1999Santa Fe Art Institute, summer 1999. 14:16 mnTechne and Eros
Telc Steina & Woody Vasulka 1974Video work 5:15 mnTelc
The Brotherhood Woody Vasulja1998Video work 21:41 mnThe Brotherhood
The CommissionWoody Vasulka1983Video work, Color.We witness an extraordinary event during the video opera The Commission. 'The commission' concerns Paganini, the 19th century virtuoso violinist (who is played by video artist Ernest Gusella), and his contemporary, the composer Berlioz (who is played by the composer Robert Ashley). The 'story' deals with one of the characters paying the other 20.000 francs for a piece of music. But it's also about the death of Paganini who drifts through 'The Commission' as a digital ghost. Over the years Woody and Steina Vasulka have developed a wide range of analogue and digital techniques that are responsible not only for 'The Commission''s exceptional design but also for its unconventional and layered narrative structure. Both the audio and the video signals have a controlling function so that sound and vision assume an equal status. Vasulka has created a work about opera and the narrative form which also serves as a metaphor for the passion of making art. And 'The Commission' is the result of that passion. Text courtesy of NIMk39:16 mnthe commission
The Making of Eigenwelt Woody Vasulka (organization)1992Exhibition 15:08 mnThe Making of Eigenwelt
The Making of Urban EpisodesThe Vasulkas1980Installation2:22 mnthe making of urban episodes
The Matter Woody Vasulka1974Video work. 4:02 mnthe matter
The Matter (short)Woody Vasulka1974Video work.3:41 mnthe matter
The making of SomersaultThe Vasulkas1982Installation.1:32 mnthe making of somersault
Training LightGeorge Quasha2005Axial drawing musicGeorge Quasha's axial video, 'Training Light (Axial Drawing Music 2),' engages the act of axial drawing on a train between New York and Rhinecliff. Under the late afternoon light from the West, it evolves in dynamic relation to the rhythm of the train and the play of light and shadow. Here the foirmal action of light and shadow both mirror and reconfigure the drawing. Light shows itself as substance. This is an event of incrementally slow-motioning video not available to natural experience. By focusing below the frame rate threshold (30 fps) the piece exposes the otherwise invisible gaps between rapid actions and invents its own strange beauty in which space itself is figurative and image is temporalized to the point of abstraction.13:9 mntraining light
TrevorSteina Vasulka1999Video work.11:5 mntrevor
Twisted Waters Steine Vasulka2004Video artThe video is a tribute to the powerful and wild water element. Monumental shots of a water course, tides, and waterfalls fill the entire screen. While the sound of rolling water is left in its natural form as a reference point for the visual information, the video image is manipulated, but only to the extent to make the viewers hesitate whether they are watching the stream of water or clouds in the sky, a waterfall or steam emerging from a lava flowing down the hill. 4:33 mnTwisted Waters
UnknownUnknownVideo Art.Feu, plusieurs plans, ... 17:04 mnUnknown
UnknownUnknownMusic & Video Art.3:20 mnUnknown
UnknownUnknownVideo Art.Japon, danse, plusieurs plans, ... 21:27 mnUnknown
UnknownUnknownVideo Art.Images en damier, constructions, 1:05 mnUnknown
UnknownUnknownMusic & Video Art. Four vids, id 1004, 1019, 1024 and 1051, files damaged? 4:32 mnUnknown
UnknownUnknownVideo art. Quatre plans, silhouettes, éléments. 10:31 mnUnknown
UnknownUnknownVideo art. Structure, zoom. Caméra embarquée (avion). 28:08 mnUnknown
Unknown (Documents long)UnknownVideo art. Destruction de documents30:08 mnUnknown
Unknown (Documents short)UnknownVideo art. Destruction de documents 11:44 mnUnknown
Unknown (Huichol?) UnknownMusic & Video Art.Four vids, id 1004, 1019, 1024 and 1051, files damaged?5:35 mnUnknown (Huichol?)
Unknown (Water Canyons?)UnknownMusic & Video Art. Four vids, id 1004, 1019, 1024 and 1051, files damaged? 2:56 mnUnknown (Water Canyons?)
Urban EpisodesSteina Vasulka1980Video work, Color. 'Machine Vision' is a series of installations created by Steina Vasulka that signify the awareness of an intelligent, yet non-human vision. Where ordinarily the viewpoint of the camera is associated with recreating human perspective, Steina's vision machines use rotating platforms, mirrors, prisms and cameras to redefine ideas of space while transcending restrictions of human vision. The works do not require the use of video tape, but rather use real-time space surveillance and can be performed in a studio, outdoors or in the context of an exhibition. In 'Urban Epispodes', Steina set up a Machine Vision device outdoors in a public plaza in downtown Mineappolis. With a rotating camera that could 'see' using mirrors and prisms and an exaggerated fish eye lens, this device was pre-programmed to scan the city plaza with pan, zoom, tilt and rotation movements. The effect is an abstract interpretation of a familiar urban landscape, free from restraints of gravity and human perception. Steina's intention was to generate images rigorously specific to video, that could not be produced without the machine and therefore understood as being representative of a vision proper to the medium. She explains: 'The act of seeing, the image source and the kinetic resources come from the installation itself, choreographed and programmed by the cyclical nature of its mechanized performance.' Text courtesy of NIMk.8:59 mnurban episodes
Variation on GrazingWoody Vasulka & Brian O'Reilly197616mm + Scan Processor R/E 33:45 mnVariation on Grazing
Variation on Grazing (short)Woody Vasulka & Brian O'Reilly197616mm + Scan Processor R/E 18:39 mnVariation on Grazing (short)
VideogramsGary Hill1980-81B&W.13:25 mnvideograms
Vidéo et AprèsDon Foresta2017Présentation.Centre Pompidou 2 octobre 2017. Présenté par Etienne Sandrin.117:25 mnPresentation/Lecture.Vidéo et Après
Violin PowerSteina Vasulka1978Video work, B&W. 'Violin Power' is an ongoing work, with experiments dating back to 1970. It is a study of the relationship between music and electronic image, in which Steina's violin becomes an image generating tool. The sounds, movements and vibrations of the violin affect the sculptural patterns and images that we see in live performances, and video documentations. Originally interfacing the sounds of her acoustic violin with a microphone, the classically trained Steina performed for a camera on the violin which was connected to multiple image-processing devices. Since 1992 these acoustic demonstrations have been replaced by performance using a 5-string Zeta Violin with MIDI output, allowing for a much wider variety of control. Since the late nineties Steina has used a PowerBook and the software program Image/ine, which she developed at STEIM in consultation with Tom Demayer. Text courtesy of NIMk.9:18 mnviolin power
Violin Power -Teatro Palladium Staina Vasulka2004PerformancePerformance at Teatro Palladium in Roma, 20047:26 mnViolin Power -Teatro Palladium
VocabularyWoody Vasulka1973Video work.4:29 mnvocabulary
Vocalizations - quad configurationSteina Vasulka with Joan La Barbara1990Video work 11:36 mnvocalizations - quad configuration
Voice WindowsSteina & Woody Vasulka with Joan La Barbara1986Video work, 1986, B&W.Voice Windows, a work for interactive voice and video, is the result of a collaboration between Steina (who was originally a violinist) and the composer and media artist Joan La Barbara who frequently experiments with vocal techniques. Steina and Woody Vasulka have developed an interactive system where the sound patterns created by La Barbara's voice can be visualized as video images so that sound and image are completely integrated. Hence the specific sounds of La Barbara's voice influence the forms and patterns that appear on screen. Her experimental singing forms 'windows' or grids that open out onto Steina's images of moving landscapes. In Voice Windows image and sound combine into an interactive and spatial unity. Text courtesy of NIMk.8:07 mnvoice windows
WarpSteina Vasulka2000Video work.4:13 mnwarp
Wiesner DedicationSeymour Papert.1985Presentation.49:28 mnPresentation/Lecture. papert -wiesner dedication
Woody plays with the Maiden The Vasulka1998Interactive installation 6:07 mnWoody plays with the Maiden