1. An experimental, and unofficial video made while in residency at the Experimental Television Center in Owego, NY. This song happened to come on randomly as I was working with a set of cameras, and this is what I ended up with.

    The entire video was (sort of) made in one shot. I set up 4 cameras pointed at different parts of the scene, and used audio triggers from the song to automatically switch between the cameras. All camera switches were unique to the time I played the song back, so I couldn't really plan for a progression.

    The first pass was recorded off of the screen of the wobbulator to give it a security camera feel. I then played back that first pass back through the wobbulator again and had the audio drive the drawing of the scanlines, resulting in the jiggling lines of the video. You'll notice that bass sounds result in an all over image wobble, while high notes are more visual as you can see their frequency in the lines.

    More info on the wobbulator: blairneal.com/blog/the-wobbulator/

    # vimeo.com/16443609 Uploaded 2,234 Plays 0 Comments
  2. Blue Mercury was recorded at the Experimental Television Center in July 1986. A year had gone by since making Bad Knees. After living for a year in Owego, building hardware for the Center and developing my own synths at the same time, I had moved back to NY in the summer of 1985.

    At the center we often saw recording as documentation of a real time process, one that could exist as performance without ever being recorded. A patch would go in, you would work and rework it, until it gets recorded and then another and another. My edits almost entirely followed these sequential recordings chronologically, with a great deal of the documentation cut away.

    Blue Mercury turned out to be recorded in a session that was my last trip to the ETC as a resident. Like Bad Knees I cut a super short 3 minute edit that I showed around for a while. The title was inspired from the first segment, after that the rest of the work veers toward a bloody place.

    I later made a 15 minute edit of this material for an installation that was shown a few times, finally it evolved into a collaboration with Charlie Citron. We first showed it at Monte Video in Amsterdam and then in 1991 at the old Thread Waxing space.

    see:
    blog.lumpybanger.com
    lumpybanger.com

    # vimeo.com/18416146 Uploaded 567 Plays 2 Comments
  3. Black Dog Dreams is structured as a six part movement. Each section is comprised of 2 or more shorter real-time recordings.

    While living upstate and working at the Experimental Television Center, I had built a group of video and audio synthesizers that paralleled the ETC system. Black Dog Dreams was one of my first pieces created exclusively with my system, and not at the ETC.

    Black Dog Dreams was recorded through many sessions in Brooklyn starting on May 18, 1987 and ending in April 1988. At that point my system also included midi to cv and cv to midi control. in addition the analog and digital synths I built, the BDD recordings explored these midi tools, an Amiga 1000 for additional real time image processing and midi sequencing, and I eventually used a mac SE with Vision for midi control.

    see:
    blog.lumpybanger.com
    lumpybanger.com

    # vimeo.com/19138548 Uploaded 541 Plays 1 Comment
  4. Bug-Eyed Ramrod was recorded at the Experimental Television Center in a single session in February 1984. By this that time I had long been combining my own video synthesizers with the center's. Bug-Eyed Ramrod was one of many works that used custom voltage control video mixers to combine waveforms in ways I could not have managed with the ETC hardware alone. In this, and probably all the work that came after, color came from a crude method of mixing processed subcarrier into pedestal or gain controls of my keyers, or mixers, rather than using the colorizer we had built for the residents.

    When I made Bug-Eyed Ramrod, in 1984, we were still using the Cat frame buffer which had a blink frame every time it made a grab. Many times I was tempted to edit it out, as others have done, but I always decided against the effort. The Jones buffer must have come soon after this.

    This piece was one of few that I allowed myself to let 5 segments run almost 6 minutes. There were a few Bug-Eyed Ramrod cuts, some longer and some shorter. This one is a little bit on the longer side. The first segments were based on rhythms while the later segments evolved from the movement and became matted behind the surface, inside, rather than on top.

    also see:
    lumpybanger.com
    blog.lumpybanger.com

    # vimeo.com/19708551 Uploaded 187 Plays 0 Comments
  5. made with the Sandin/Sippel Image Processor at Experimental TV Center.

    bentoncbainbridge.com
    experimentaltvcenter.org

    # vimeo.com/8249604 Uploaded 180 Plays 1 Comment

Experimental Television Center

Benton C Bainbridge

An unofficial channel for video made at Experimental TV Center in Owego, NY. Please send me a message if I missed your work!

experimentaltvcenter.org

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  • Dmitri Frolov

    film by Dmitri Frolov, S8 mm, 1991
    Please pay attention to the energy that is sliding from the screen! A full day of St.Petersburg artistic Boheme in three minutes of this film.
    vimeo.com/dmitrfrolov/kara

    by Dmitri Frolov

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