Here is an excerpt of an interesting text from Ben F. Laposky about his approach using the oscilloscope. The rest can be found on the Vasulka archives.



Between 1962 and 1963, Gerstner made his first attempts at optically distorting television images with lenses made of Plexiglas. In 1964, he exhibited his results for the first time in an installation that used 12 television sets, each one shown wearing a different pair of so-called «glasses». ( Exhibition: «Crazy Berlin» at Haus am Lützowplatz, Berlin)



I just finished this video for Boxcutter... Having a lot of fun with video feedback.

Track 'TV Troubles' taken from his album The Dissolve released on Planet Mu 25 April 2011.



Warner Jepson 'in-video-cognito'

"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."


Лунная радуга

Lunnaya Raduga, directed by Andrei Yermash and V. Karpichhyov, 1984
Music by Eduard Artemyev...
Where can we find this film?



A review of computer art, graphics capabilities of computers and professional computer graphics systems. Episode year: 1984




This Gallery is still under development. It currently contains over 3000 photographs that relate to Computing and computer staff on the Chilton site that housed both the Atlas Computer Laboratory and the Rutherford Appleton Laboratory.


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

Transputer 07.04.87

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.



Stills from a work in progress.



Syd Mead is a visual futurist and concept artist. He is best known for his designs for science-fiction films such as Blade Runner, Aliens, and Tron. Of his work, Mead was once moved to comment: "I've called science fiction 'reality ahead of schedule." -Wikipedia

Illustrations and commentary by Syd Mead.
Source: Automobile Quarterly, vol 18 no.1, 1975

In the early evening guests arrive in gyro gondolas with their cyborg pets and android attendants. The residents have programmed the illusion pool, filled the foyer with halographic crystal lattices, and provided elegant pneumatic enclosures for the occasion.

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.



I rarely post contemporary works on this blog, since I'm usually more inspired by older works. But here is a contemporary artist who's work slowly grew on me, to the point that I consider her as one of my favorite. Her work often takes place in familiar spaces where a surreal atmosphere emerges; there's a striking tension between the banal and the fantastic.
Sara Ludy's work can be found here, here and here.