"Most of his imagery [was] generated by audio equipment that [was] connected to the video gear. He talks about his latest work:
"...I've been doing some things sending an audio signal into a machine we have at the Center called a mixer, a colorizer, and a keyer. It takes audio signals from the oscillator inside the audio synthesizer and changes them into bands of various widths and expansion on the screen and puts color in , so the color gets mixed in gorgeous arrays. I've even begun to use the camera and to mix audio created images with camera images. The audio things will go right through the camera images and make strange new colors."
His idea is to make a work that is totally integrated aurally and visually. He feels the two should complement each other completely. The problem is to balance the work so that both visuals and audio are interesting. He explains: "in a lot of these experiments, I'm not even putting the sound on because the sound is dumb. The thing about sound is, it's so complex that when it's represented in images, the images are so complex, they become chaos. Whereas the simplest sounds make the clearest images...There's a lot of activity in sounds and it becomes blurry visually; it looks like noise. So the simplest sounds, like single tones, make the best images...working with sounds you actually want to use and save is a problem."
Ken Knowlton Mosaic received on visit to Bell Labs 00.08.68
Roger Hockney Galaxy Evolution (Tomorrows World) 00.07.71
rPERQ Screen Many Lines 05.03.81
Magnet Design Bill Trowbridge 03.11.80
Rutherford VDU Operator Ruth Jeans 10.06.76
Network DECNET 09.06.81
Office Automation Conference, Philadelphia 00.02.83
Susan Hockey- Chinese Poem in Rows 00.00.71
Strathclyde Transputer Centre 02.06.88
Found Video #1 is the first video of a serie that I intend to do as an exercise in reappropriating videos. This first exercise is based on the impossibility to understand the conversation that is taking place about video art and Nam June Paik. I decided to play with this element of foreign language and to use it as music. The framing and the video feedback transform this conventional interview into an abstract dance of images. As the interview goes, the images start to fade away, leaving place to light and abstract forms.
Illustrations and commentary by Syd Mead.
Source: Automobile Quarterly, vol 18 no.1, 1975
Standard public lease system vehicles enter a mobile lobby at left, containing shops, lounges and information centers, loading for the half mile transit to megastructure in background. Corporate and privately leased vehicles in middle foreground, fitted to specific use, await departure. Two personal enclosures float over the parking lane in foreground, while late afternoon strollers walk past an illusion cluster at far right: large sculpture overlooking illusion plaza is monument to first extra-terrestrial visitors.
An elegant robot serves party guests in vaporspheres out on the terrace, while conversational groups inside enjoy the atmosphere of halogram wall display, the sumptuous buffet, and pneumatic banquette seating. A couple are juste leaving, far left, after programming a travel enclosure from the special matrix wall.
Sara Ludy's work can be found here, here and here.