Woody Vasulka

This work is Woody's first entry into the narrative sphere, whereby the "story" is continually undermined with the aid of various anti-narrative strategies: In each of the eleven segments of this "electronic opera", different effects are used. Fascinated with the remarkable personality of infamous violinist Niccola Paganini and his complicated relationship to Hector Berlioz (played by artists Ernie Gusella and Robert Ashley, respectively), the author meditates over the intricacies of artistic geniality as connected not only with fame but also with the necessity of painful survival under the pressures of the art market.

This is an attempt to process abstract images without the use of camera. The central circle divides the creen into two parts that continually vibrate hypnotically and change colors to the accompanying rumbling of modulated sound.

This series of short films offers a representative cross-section of the work produced at this famous Prague film school over the course of its 80-year history.

Matrix II explores the properties of images and sounds in the medium of video. Geometric shapes travel across a ‘matrix’ (grid) of cathode ray tube (CRT) screens. CRT televisions, which use manipulated electron beams to display images on a fluorescent screen, remained in widespread use until the early 2000s. The Vasulkas sought to test the limits of each monitor, creating a fluid motion resembling the behaviour of electronic signals. Matrix II is an early example of video art, which first developed in the late 1960s and 1970s as artists came into contact with new consumer technologies for capturing moving images.

The work is inspired by the surrealist René Magritte's unsettling painting La Legende doree, depicting French baguettes flitting in a window frame. Woody and Steina used a three-camera construction and through the use of horizontal deflection created objects migrating through a landscape. Maureen Turim called this work "a meta-discourse on painting and video".

One of the works assembled in the series Sketches. These early sketches, created not without the irony, examine ways of manipulating the video image. They indicate that the documentary trend in the Vasulkas' work was from the beginning mingled with free experimentation. These short tapes were modified from the early documentary tapes.

With Voice Windows (1986), Steina renews her efforts to generate a complex sound-image interface

An Interface not only between two continually switched over images but also between documentary tape, imagery taken from "reality", and its transformation in the electronic sphere.

Progeny is a collaboration with sculptor Bradford Smith. Smith's organic and sensual sculptural forms are transformed by the merging of one of Steina's Machine Vision devices — a rotating, mirrored sphere with pre-programmed camera movements and optical transpositions — with Woody's digital processing.

In Studies cycle, abstract studies are assembled, which document the Vasulka's early work with electronic material. The visual aspect of Tissues is the work of Steina, whereas Woody engineered the sound.

Real time development of a video feedback, processed and controlled through a video keyer. Sound results from video signals, interfaced with audio synthesizer.

In Discs, originally made as installation for a set of monitors, the creators experiment with the phenomenon of horizontal drift trhough the indtroduction of purposeful time error. The result is the repetitive abstract pattern of a distorted magnetic field. Furthermore, this horizontal stream also travels thorugh a set of TV screens stacked on top of each other, giving the work a vertical dimension as well. The image thus demonstrates the flexibility of the frame in video.

Documentation and experimentation in real time, "Orbital Obsessions" is an example of early video self-portraiture, eerie and calm in its radical implications for the medium. The Vasulkas were interested in the building of control systems for the manipulation of electronic signals, resulting in their collaborations with several designers and engineers. One such example was the Multi-Level Keyer, a tool designed in 1973 by George Brown at the request of the Vasulkas, who were interested in expanding their range of source imagery. Steina’s manipulation of the image through keying, layering, and the manual control of luminance is seen here.

A film by Steina and Woody Vasulka

A recording of a meeting in the studio where Jeffrey Schier and Woody show colleagues and teachers a new tool. Between 1976 and 1980, Woody and Schier designed a prototype device, the Vasulka Imaging System, or Digital Image Articulator. It was one of the first digital audiovisual tools to generate image algorithms and convert them to an analog signal. In the 1970s and 1980s, the Department of Media Study at the State University of New York at Buffalo became one of these places of, teaching and mediating, in the area of Media Art, developing into what was perhaps to the most influential school for media in the twentieth century. Teaching there under the leadership of the founder Gerald O’Grady were the (meanwhile canonized) structuralist, avantgarde filmmakers Hollis Frampton, Tony Conrad, and Paul Sharits, documentary filmmaker James Blue, video artists Steina and Woody Vasulka, and Peter Weibel.

In 1977 the Vasulkas were commissioned by public television to create six half-hour programs (Steina, Objects, Digital Images, Transformations, Vocabulary, Matrix) for broadcast on WNED in Buffalo, New York. The resulting series, entitled Vasulka Video, is innovative and informative television. The Vasulkas introduce and contextualize their works and discuss their processing techniques, providing invaluable insights into their groundbreaking experiments with electronic image and sound manipulation.

This tape was created when Woody visited his native Moravia with a Portapak camera. In the course of signal modulation an alteration in the field of raster lines is taking place, in which the lines are being vertically deformed and gain the contours of objects (with the use of a Rutt/Etra synthesizer).

short documentary film on an Icelandic whaling station

This work shows paradoxical space relations in electonic depths, where the common space coordinates no longer apply and where the images become objects in space. The numerals on the cakes were captured by four cameras and then processed with the Multikeyer.

The image and sound are being simultaneously generated from a single source, which at the same time shapes the visual pattern as well as electronic sound of the resulting signal. The potential of the Scan Processor enables the modification of the shape and scale of geometrical patterns, resulting in the creation of a new kind of "image behavior".

This period compilation of documentaries shot with a Portapak camera from the early era of video experimentation offers an immediate view of the independent New York art scene (concerts and theater perfomances on the streets and in the clubs of downtown). It is a sort of summary of Steina and Woody Vasulka's first creative period, a period of fascination with the more bizarre aspects of "new American decadence". Thanks to the video camera and its revolutionary implications, the creators were able to penetrate into spheres where the documentarians of more classical media were neither allowed nor interested to enter, thereby helping to expand the ideas of documentary possibilities. Steina has remarked that she learned the craft of camerawork as documentarian thanks to these celebratory, countercultural scenes of the "sexual avant-garde"-- Participation also features a pulsing light show projection at the Fillmore East, and a scene from Off-Broadway drag theater.

Short experimental film by Steina, Woody Vasulka