Left Shift is comprised of material from November 2024. Yes some of the patches look familiar. There was carry over of a patch from the previous year.

Redshift came from material recorded in January 2022. Here I had some fun moving between a composition with periodic waveforms and a Rutt Etra rendering of the same.

Smash is compiled from work created in December 2023. It's a three part composition. This time I edited much shorter segments.

Lumpy Banger comes from work recorded in two sessions in June and July of 1985. Lumpy Banger symbolically displays a range of emotion from joy and excitement though frustration and rage. It is meant to be playful and is a graphic rendering for the human condition.This is an absurdly stingy edit from sessions that had a good range of solid work. I had also created a contemporary video fetish object with the same name that used a 10 minute cut from this same material. After a time I preferred to show the longer edit for single channel presentations, when possible.

This material was created at a Signal Culture residency in 2015. This is an odd piece as throughout most of this Signal Culture residency, I kept up a core patch, making small incremental changes and recording long segments in real time playing the knobs performance like. The first piece shown here, Twist, is 6:01 and yet comes from a larger stash of work. A good amount of this was recorded with wall works in mind rather than a single channel piece, like what you see here.

Video Haiku was a 3/4" tape compilation. It included work that also appeared in Lonesome Blues and Green River Blues. Video Haiku originally leaned heavily on the work from the September '82 session, now seen in Lonesome Blues; none of those segments are shown here. In creating this version. I defined Video Haiku as work that was created in the 3 ETC sessions from November '82 thru May '83.

This version contains:

Video with charcoal is a thread that I explored from 1980 probably through 1983. This cut shows a few of those experiments. A couple more are seen in Green River Blues. This grew out of sequencer work that was being done at the Experimental TV Center, by Ralph Hocking, and by others. I was also influenced by Ken Jacobs who, while I was at SUNY Binghamton, had us look at and explore his work that utilized Alfons Schilling's shutter experiments - all amazing work and you should get yourself to one of Jacob's performances if you have not seen this.

Green River Blues is the title of the first compilations of ETC work I created in 1981 - 82; it is also the title of the first piece in the series. At that point I was distributing compilation tapes, usually 20 to 30 minutes in length. The problem in creating digital versions now is that there were several compilations with the title Green River Blues, and all were different. The same goes for the next compilation called Video Haiku.

This was recorded in 1986 in Brooklyn, NY. Terry Mohre and I used to drive out to Hank Linhart's house in Greenpoint where the three of us had a weekly video poker night (no cards were played). My video and audio synthesizers were installed in Hank's studio at the time. I don't recall us finishing much other than this piece, which Terry sent to the 1986 Bon Videonale where it won some recognition. I soon moved my studio to a new apartment in Park Slope and our weekly meetings stopped.

YouTube and Vimeo lend themselves to short singular work, which would be perfect for so much of my earlier real-time video segments. I intended to create singular clips for posting some of the many short works that went into my early compilations like Green River Blues, Lonesome Blues, and Video Haiku, see Untitled #20. Looking at this material though, I changed course and cut a compilation of work called Lonesome Blues, originally known as Suicide Blues.