Four Cuts 1″ color videotape, sound, 1975
Image from color video "Four Cuts", 1975
“Four types of images. Some change noticeably through time. The cuts occur at precise times. An encyclopedia of cuts. Notice what sort of attributes are involved in each cut. What atmospheres do these attributes generate? Where did we learn to read these attributes?” R Edgar, 1975
Hideout, 1/2″ B&W Porta-pak video tape, audio, 1974
Image from "Hideout", 1/2" B&W video, 1974. Two young lovers apply medicine to each other.
Unclose (Video, Color, Sound, 13 min., 1974)
“In using time and flow direction of fixed material as design elements, I am able to construct a system that activates memory, anticipation, and metaphoric perceptions the tare usually activated only by manipulation of story (literary) devices. Some of the elements consciously juxtaposed are (1) the act of reading form a script (visual track) (2) the script read voiced (audio track) (3) the script read voiceless (audio track) (4) the action of my physically sculpting photographs of myself, the action reversed (visual track) (5) and audio track of a voice speaking played at several differing speeds. Again, a recontextualizing of older material, in this case, the last scene from Shakespere’s Othello presented, not as if acted, but as read.” R Edgar, 1974
Intersticies
16mm Color Film, video, kinescope camera, film chain, 1973
Intersticies , 1973
“Produced in 1973 at Synapse Video in Syracuse, NY. Material was shot on 16mm film, then transferred to video and electronically manipulated, finally kinoscoped back to 16mm film. For transfer to the web, the film was projected and captured using a Panasonic HVX200A at 24fps. The soundtrack I produced on a Moog synthesizer in 1974/5″. R Edgar, 2011.
ThroughDecember 73, 1/2″ B&W video, sound, 6 1/2 minutes, 1973
- Still from Through December 73 1/2″ B&W Video, 1973
“A videotape poem on perspective. The sound track was recorded in several different acoustic environments; it is interesting to imagine the sizes of the rooms, the different parts of the soundtrack were recorded in, the fabrication in your mind of the spatial layout of the recording situation, based on the audio clues (relative amplitude of voice to ambient noise etc.); and the juxtaposition of this mental construction with the imaginary spaces of the video image.
“A girl gives her perspective of a visiting lecturer. Dogs bark at something. Visuals are close-us of areas from etchings by Jan Vredeman de Vries, 16th century.” R Edgar, 1973.
Point, 1/2″ Video, 1972, B&W, sound
“The text is from a short story by Jorge Luis Borges, the imagery is of a beach during sunset, looking towards Cape Kennedy (spaceport). This is where I grew up. The spoken text is sometimes covered by the sound of the ocean and not heard in its entirety. It tells of bits and pieces of materials found suggesting the existence of a country with fundamentally differing assumptions of reality from ours. This tape interested me because of the hanging, suspended nature of the story line, fixed framing, and actions taking place within that frame. The people and horizon of the beach reminded me of Eskimo drawings of people in snow”. R Edgar, 1972