Steina and Woody Vasulka, Participation, 1969-1971 This anthology consists of excerpts from videos shot in the late 1960s and early 1970s. | Steina and Woody Vasulka, Discs, 1970 The Vasulkas were particularly interested in examining the horizontal traveling of the image. |
Steina and Woody Vasulka, Calligrams, 1970 The horizontal drift is "deliberately maladjusted" causing the image to repeat vertically. | Steina and Woody Vasulka, Matrix, 1970-1972 Matrix is a series of multi-monitor works that explores the relationship of sound and image in electronic signals. |
Steina and Woody Vasulka, Black Sunrise, 1971 The sound again comes solely from the video signal, which has been interfaced with a sound synthesizer. | Woody Vasulka, Golden Voyage, 1973 For Golden Voyage (1973), the Vasulkas were inspired by Magritte's painting The Golden Legend (1958). |
Woody Vasulka, Vocabulary, 1973 Woody’s hand is placed in the foreground of a sphere, the hand and sphere seem to loose their shape. | Woody Vasulka, The Matter, 1974 The visual and aural pattern in The Matter is created by the waveform generator as it is displayed on the screen of the Scan Processor. |
Woody Vasulka, C-Trend, 1974 The videotape depicts the experiment of recording images and sounds with a camera pointing out of the window and onto street traffic. | Woody Vasulka, Explanation, 1974 Woody uses the pattern of the Broadcast Signal Generator, whose shapes are displayed on the Scan Processor. |
Woody Vasulka, Reminiscence, 1974 The real-life material that Woody records with a Portapak camera during his visit to a farmhouse in Moravia. | Steina and Woody Vasulka, Heraldic View, 1974 In Soundsize and Heraldic View the pattern will be modulated through sounds that are generated from an audio synthesizer. |
Steina and Woody Vasulka, Noisefields, 1974 The Video Sequencer is used to switch between two video sources to create similar flickering effects. | Steina, Machine Vision, 1975- The Machine Vision (1975-) corpus was born out of research into perception begun by Steina in 1975 and pursued ever since. |
Steina, Allvision, 1975 In Allvision, two cameras "face" each other, adjusted in a stable position in relation to each other on a horizontally turning axis. | Woody Vasulka, No. 25, 1976 In No. 25, we see on the screen recorded accidents of the signal as it’s shaped through voltage and frequency. |
Steina, Orbital Obsessions, 1977 Orbital Obsessions superimposes and alters the different image sources through processing, keying, and sequencing devices. | Steina, Violin Power, 1978 Besides being the performer, Steina plays the violin and the video so that in intermediary ways the observer and the observed converge. |
Steina, Bad, 1979 This work provides another example of sound-image inversion, in which the digital differs from the analog modulation of wave forms. | Steina, Urban Episodes, 1980 For these six urban capsules filmed in Minneapolis, Steina attached different lenses and mirrors to the camera. |
Steina, Cantaloup, 1980 The Vasulkas are interested in maneuvering the smallest amount and the highest density of image clusters. | Woody Vasulka, Artifacts, 1980 In Artifacts, Woody experiments with constructing and deconstructing digital visual imagery. |
Steina, Summer Salt, 1982 Summer Salt is an exercise in an immersive space. | Voice Windows, 1986 Steina renews her efforts to generate a complex sound-image interface. |
Steina, Lilith, 1987 Lilith (with analog processing) shows the mobile face of painter Doris Cross, talking and shifting in a natural background. | Woody Vasulka, The Brotherhood, 1990-1998 After moving to New Mexico, Woody began sifting through the military surplus waste cast off by the nearby Military Research Centre in Los Alamos. |
Woody Vasulka, The Theater of Hybrid Automata, 1990 In this ongoing project begun in 1985, Woody combines hardware with sophisticated software for processing real-time images. | Steina, Orka, 1997 Orka expresses motion, a motion that runs counter to the laws of physics and the "frame-bound image". |
Steina, Warp, 2000 The effects in Warp are produced with the software Image/ine. |