Matthew Schlanger
16 records
Art Statement Bibliography
Artist states that their image-synthesis/image-processed video works are serial constructions produced with custom-built analog and digital processors; each section is a synthesized real-time recording in which sound and image are parallel electronic structures mutually controlled by predetermined waveshapes. The work addresses people, interaction, time, physical and psychic space and remembering, often rendering primitive social and biological functions such as flirtation, courtship, penetration, fission and fusion as tactile, schematized movements and transitions. Periodic wave forms (sine, triangle, ramp, etc.) are most often used as image source; their temporal makeup and iconic video display are said to evoke archetypal forms and myth and to express primordial rhythmic and natural ordering principles.
Black Dog Dreams Bibliography
Matthew Schlanger recounts creating Black Dog Dreams in Brooklyn in 1999 after building a personalized video system while living upstate and working at the Experimental Television Center; the piece was made exclusively with his system and allowed patches to run for days, weeks or months. He describes Black Dog Dreams as a six-part movement with each section comprised of 2 or more shorter real-time recordings, and states it was the last new work he finished. During editing his black Labrador became sick and died, and an earlier 8mm film of the same name was shown once at an ad hoc East Village backyard 8mm festival, with a long double-exposure shot of the dog in a Binghamton backyard among cherry blossoms.
Conversation with Barbara London, David Ross and Constance Dejong at Hunter College Art Gallery Bibliography
Account of a panel conversation between Barbara London, David Ross and Constance DeJong at Hunter College Art Galleries presented in conjunction with The Experimental Television Center: A History, ETC... (Rose Goldsen Archive of New Media Art, Cornell Library; Sept 25–Nov 21, 2015). Panelists discussed histories of video and image-processing practices and named Nam June Paik, Bill Viola and Vito Acconci; Barbara London described efforts to bring video into MoMA and David Ross expressed skepticism toward some image-processed work. The attendee criticized the panel for limited attention to ETC artists, recorded Ross’s remark that one had to be stoned to watch image-processed work, and reflected on ETC technologies and practices including real-time patching, flow and works such as Global Groove and A Tribute to John Cage.
Dave Jones Colorizer in Experimental Television Center Studio System Manual Tools
David Jones designed and built the Jones Six Channel Colorizer for the Residency Program at the Experimental Television Center; the device was developed in 1974 and 1975 and funded by a grant from the New York State Council on the Arts. The multi-functional image-processing unit accepts up to six black-and-white video signals and assigns independent hue and intensity per channel; controls include gain, pedestal, polarity, saturation, clip level, keying with any channel selectable as clip source, hard/soft edge control and additive or diode mixing, and most parameters are voltage-controllable including high-frequency control voltages.
ETC 1972-73 Tools
While working for the Experimental Television Center the author and David built the first four Jones Frame Buffers; the pictured unit is the author's and may be the only one remaining in the original card rack after David rewired most into newer, larger boxes. The unit adds second-level control and 2v differential video inputs and output with a plexiglass panel; it was initially controlled by a Sinclair ZX81 with programs saved to audio tape and later adapted for control from an Amiga 1000. The buffer includes an internal keyer, four memory boards providing 64 frames and a pseudo-color option; Amiga Basic routines were compiled to C but required unbuilt libraries for blank switching, producing noisy routines.
ETC 1973-74 Tools
This Jones video synthesizer is comprised nearly exclusively of Jones designs. This synth includes a video patch panel made of an inset piece of hardwood with mini-jacks carrying 2vpp differential video (subsequent modules use Plexiglas). The advantages of this standard is that it limits crosstalk a…
ETC Memories Bibliography
Narrator joined the Experimental Television Center (ETC) in the late 1970s as a student and participant at Court Street; they processed images on a Paik-Abe and worked with Neil Zusman, Rich Brewster, Sherry, Hank, David, Peer and Ralph. The Center moved to Owego in 1979; in 1980 the narrator studied analog and sound with Rich Brewster and completed a synthesizer in winter 1980. In 1981 they became an ETC resident, received a CAPS grant, joined David's Tuesday club, commuted from Binghamton with synths through 1982–85 and later quit a TV-station job to draft circuit boards and build hardware with David in Owego before returning to the city.
Experimental Television Center Studio System Manual - Keying Tools
Two manual sections from the Experimental Television Center Studio Manual: Keying Process by Matthew Schlanger (c. 1984) and Keyers by Sherry Miller Hocking and Richard Brewster with Peer Bode, Hank Rudolph and Matt Schlanger; both appear in the 1980 and 1986 studio manuals. The text defines keying as mixing two video signals under control of a clip reference, explains synchronization of vidicon tubes/CRTs across 525-line frames and 262.5-line fields and notes a horizontal line frequency of 15,750 Hz. It describes three-input luminance keyers with VCA channels A and B, clip-level thresholds, internal versus external keying, and wipes using an externally synced oscillator.
Image Processing Manual: Studio Manual for the Experimental Television Center Bibliography
Image Processing Manual (1986). Signal graph leaflets. Information on The Experimental Television Center's Analog Synthesizer. Image Processing Manual contents follow: Theory of Signals, Theory of Sync, Introduction, Setting Up the System, Processing Modules (Voltage Control Amplifiers, Keyers, Colo…
Jones Frame Buffer in Experimental Television Center Studio System Manual Tools
The Jones Buffer is a black-and-white image buffer that operates standalone or under Z-80 computer control; front-panel controls allow real-time digitization, single-page grab/store and a keyer-like selective storage between live and stored signals. Memory totals 128,000 bytes (256×256 resolution yields 16 pages) and the buffer outputs a digital signal converted to analog; video I/O is routed via a matrix with two inputs (video and clip) and one output. In stand-alone mode it supports software such as STROBE64 and TESPNEW and can be routed with the CAT buffer; in computer mode it requires buffer-specific programs (e.g., NEWGRAB) and occupies the Z80 and D+7A, preventing CAT use.
Jones Keyer in Experimental Television Center Studio System Manual Tools
Richard Brewster, c.1976, documents Jones Keyers as hard-edge luminance keyers in the Sequencer case, describing I and II with two VCA channels, a clip channel, and voltage-controllable parameters accepting ±5 V signals. The manual includes step-by-step operating instructions. Keyer III is a hand-wired prototype with VC jacks for Ch. A and C; Keyers IV and V are three-input VC keyers that use Ch. C as the clip input, employ a BAL control in place of separate pedestals, and have manual-only On/Off and Normal/Reverse controls.
Jones Sequencer in Experimental Television Center Studio System Manual Tools
Technical documentation for the Jones 8 Input Sequencer, an eight-input, one-output voltage-controllable switcher that operates in sequence, binary (three-bit) and manual modes; it can process video signals or ±5 V control/audio/shape signals via front-panel mini-jacks. The entry details front-panel controls and indicators (including pushbuttons, pedestals and switches), sequence/count and sync inputs, sync modes for below and above 60 Hz (including a 60-sync option), interaction with external oscillators and the Analog Control and Image Processing systems, and use of sample-and-hold modules for vertical interval switching.
Paik/Abe Colorizer - Experimental Television Center Studio System Manual Tools
The Paik/Abe Colorizer is a manual video mixer combining up to seven video signals into the three inputs of a color encoder and routing the output through an amplifier; channel controls include gain pots, on/off switches, color selectors and pan pots. Selector positions include Red, Green, Blue, R-G, R-B and G-B; the unit performs additive mixing, is sensitive to input gain (producing key-like or negative effects), has no built-in voltage control inputs (external video VCAs and voltage-controlled processors can be used). Photographs by Evangelos Dousmanis and Pamela Hawkins document Charlotte Moorman, Shuya Abe (1971), an early Paik/Abe Colorizer and Nam June Paik at Bonino Gallery.
Schematics and notes in regard to First Jones Frame Buffer from Matthew Schlanger to Peer Bode (11 pages) Bibliography
Schematics and notes in regard to First Jones Frame Buffer from Matthew Schlanger to Peer Bode. (11 pages).
Special Effects Generator - excerpt from the Experimental Television Center Studio System Manual Tools
Excerpt from the Experimental Television Center Studio System Manual describing the Panasonic Special Effects Generator (SEG), a multi-input processor that combines two inputs via mixing, wiping, internal and external keying. The manual documents routing and controls: three main inputs plus an external key at the matrix split to buses A, B and preview; transitions Mix, Wipe, Int and Ext; bar, SUP and Cut functions; inputs 5, 6 and 4 assigned to color bars, black and genlock; outputs to the matrix and patch panel and uses including sending color bars to monitors/VTR, using a color monitor as preview, bypassing the Jones output amp.
VSynths: Video Hardware Development for Experimental Television Center Bibliography
Video Hardware Development for Experimental Television Center My video hardware development work for the Experimental Television Center, and for Design Lab, included a contribution in building the last generation of custom Jones analog and digital image and sound synthesizers currently installed at …