artworks : generative analog video
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    Please keep in mind that these pieces are not intended for use on the web, and the versions offered
here are excerpts with compromised image quality, frame rates, and sound quality
These videos were created using video feedback as a chaotic generative system. The soundtracks were also created using generative methods implemented using MIDI programming tools. They are intended for use in living and working spaces, as well as art gallery installation. All have been broadcast in New York City, Amsterdam and Rotterdam in the Netherlands, and other locations.

Untitled ( devil )

(V092239) 29 minutes - 1993

Like the other works shown here the video portion was generated using video feedback as well as various in-camera tricks. Video feedback is considered a complex generative system because it exhibits deterministic chaos.

The audio portion was created using MIDI synthesizers driven by a sequencer application created by the artist using the Max/MSP programming environment. In some ways similar to a programmable drum machine, the sequencer has two clocks, and those clocks are set to two slightly different tempos. The result is two audio loops different only in their length. As the two loops go in and out of phase harmonic variations and changing rhythms result.

Untitled ( sweeps )

(V070539A) 29 minutes - 1993

Like the other works shown here this piece uses video feedback as a chaotic generative system.

The audio portion was created manually using MIDI synthesizers. The synthesizer patches, however, include various forms of modulation at the same approximate frequency as the time-constant exhibited by the video feedback system. This reinforces the visual rhythms in the video, and ties together the picture and sound.

Untitled ( cables )

(V072739A) 29 minutes - 1993

Like the other works shown here this piece uses video feedback as a chaotic generative system.

The audio portion uses the Max/MSP sequencer created by the artist as mentioned above. As the two streams of audio go in and out of phase long term rhythmic variations are created. Careful listening should reveal sections with a beat, then syncopation, then a double beat, then syncopation, then the beat again, and so on.

Untitled ( planet )

(V072739B) 29 minutes - 1993

This is another piece that uses video feedback as a chaotic generative system.

The audio portion uses the Max/MSP sequencer created by the artist as mentioned above. In this case the two streams of audio go in and out of phase at a slow rate. This is heard more as melodic variation than beat syncopation.

Untitled ( bug eye )

(V091439) 29 minutes - 1993

Like the other works shown here this piece uses video feedback as a chaotic generative system.

Like "Untitled (sweeps)" above, the audio portion was created manually using MIDI synthesizers. The synthesizer patches, however, include various forms of modulation at the same approximate frequency as the time-constant exhibited by the video feedback system. This reinforces the visual rhythms in the video, and ties together the picture and sound.

Untitled ( blue waves )

(V072039) 29 minutes - 1993

This is another piece that uses video feedback as a chaotic generative system.

The audio portion uses the Max/MSP sequencer created by the artist as mentioned above. In this case the two streams of audio go in and out of phase at a slow rate. This is heard more as melodic variation than beat syncopation.

Untitled ( green mist )

(V070539B) 29 minutes - 1993

Like the other works shown here this piece uses video feedback as a chaotic generative system. This online rendering suffers the most from artifacts because the fine mist-like details are all but lost.

This piece also exhibits a great deal of sound motion and timbral variation over the length of the piece, although that is not apparent in this short excerpt. Six different synthesizer patches using complexly modulated white-noise are cross-faded, one-by-one, over the length of the piece.