 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
Test Mix is transitional in that it both music driven and what I'll call collage/archival. All the other works are collage/archival, typically drawn from television or radio. During the 80's, especially the early 80's I amassed a large collection of short clips from tv. InterProbe and (80's)Time Capsule are derived from that collection.
Punk Turns 20 is about the very early days of NY punk that I was lucky enough to witness. The band Television is featured and this demo was made for the 20th anniversary of their first performance. (March '74/94) Bracketing the early days is a sampling of what happened when mainstream media started to notice Punk. More info can be found on the Punk disclaimer page, which leads to the demo itself. Punk Turns 20 is the only interactive piece on this page.
Time Capsule (11min.) was probably one of the first things ever edited on an Avid. Its a good thing because it would been very hard to outline with paper and pencil. I started work on this in 1989 and finished it the next year. Time Capsule was made from a pretty vast collection of off-air recordings I made through the Eighties, especailly the early part of the decade.
Cold War Shortwave (6min.) reflects the last years of communist propaganda on international radio. Shortwave radio fascinated me in the 80's the way the early Internet did for so many in the 90's. There is a lot to the piece besides propaganda. It was edited on a Mac Plus in 1987 with SoundCap.
InterProbe; the Cream of International Broadcasting (7:40min.) was inspired by two things. First all the cable networks being launched in the 1980's, many of which I work for. I edited many "launch" tapes that would introduce a new cable network. InterProbe is a "launch" tape for a make-believe network. Second, when I first saw cable television I was fascinated by all the international and ethnic programs that I never saw on regular tv. InterProbe is the only thing I've written, as in "narration."
Pil Tape (30min.) was a surprise gig the band did on their 1st US tour in 1980. My friends Pat Ivers and Emily Armstrong of Advanced Television helped organize the production. I spent a few months editing the 3 camera coverage down to an 1/2 hour program that has only been screened for closed-circuit audiences. That is until some fink leaked a copy and it is now on the bootleg market. John L's management refused to grant permission to show parts of it here.
Test Mix With Random Pix (7min.) is set to music and features bits from a radio program about conspiracy theories. Conspiracy theories don't do much for me now but at the time I found them exotic, though bogus. Several hundred images were culled from magazines and were generally arranged in a random way.
Frankie Teardop (10:22min) was named after the Suicide song came about as result of an introduction made by Jaime Davidovitch. I helped him with his Cable Soho project and in connection with that he introduced me to Edit deAk and Walter Robinson (also known for the zine ArtRite) who had a film projection project set to Frankie Teardop. After shooting some additional footage I edited the piece guided by their original outline, then added more visual effects in a high-end editing room. Their original film project already had fantastic visual effects made by refilming multiple projections.
Big Ship (2:45min.) was shot with Dimitri Devyatkin and Debora von Mosler using their camera package. I had the idea to set the footage we shot around NYC to Brian Eno's instrumental Big Ship. The signature quality of this tape is the slow dissolve. Hard to believe now but "dissolve" was a rare luxury to video makers back then.
White Collar Funk (2:40min.) My first video edited at the Syracuse University's Synapse when I worked for their Visiting Artist Program.