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Cantrills Filmnotes


Video articles in Cantrills Filmnotes

#3 (May 1971):
CinemaPoetry: at the Maze, Melbourne, (18 April 1971). Fred Harden – pre-recorded video of Garry Hutchinson events – Blast (Hutchinson reading the Blast manifesto with film projection on GH face, and graffiti and poster poems drawn on projected film image of Bob Hawke. Both in live playback onto three monitors, pp.10.
Fred Harden: showed some of the creative potential of video with his Video Portraits of Harry Hooton & Hugh McSpedden. “Distorting the image to increase contrast and texture ... and rotating patterns [that] spiral into infinity” produced through video feedback, with electronic music, pp.14.
Note on a section of film by Lynsey Martin filmed off the TV (midday TV). Includes some still frames of the off TV filming. He also notes the Nam June Paik Magnet TV experiments, pp.15.

#4 (July 1971):
The Video Revolution: on the independent creative use of video in Australia.
Television as Video; Alternate Television; Portable Video; Personal Video (Jim Wilson); Synaesthetic Video; Film & Video; The Video Screen; Video Techniques; Bucky Fuller on Video (Mick Glasheen's Teleologic Telecast); Videographic Cinema: David Perry, Mad Mesh, Arthur Cantrill and Fred Harden: Selfportrait (videographic film); Fred Harden: distorted forms and textures of image as a series of stills; VideoCinemaPoetry: at the Maze, Melbourne, (1971), pp.4-17.

#10 (September 1972):
An Open Letter to the Senate Standing Committee on Education, Science and the Arts, which presents a critique of the lack of opportunity for showing Australian film on Australian TV, p.3.

#11 (October 1972):
A reply to the Open Letter to the Senate Standing Committee on Education, Science and the Arts by Dr. G.N. Evans, secretary to the committee, which offers advice for film-makers who are intending to make a submission.

#13 (April 1973):
A note on Video Free America
An article Video-USA which includes interviews with Woody and Steina Vasulka and Nam June Paik, p.9.
Interview with Woody and Steina Vasulka who founded The Kitchen in New York, pp.10-17.
Interview with Nam June Paik on communication, on his music work in Germany and his video work in New York, pp.25-29.
Video at Nimbin with a quote from Joseph El Khourey, p.31.

#14/15 (August 1973):
Video-USA : Statement by Dan Sandin, Jim Wiseman, Philip Lee Morton. Includes notes on Sandin's Image Processor, a set p diagram for a live “electronically-energized-working-environment”, pp.52-56. Images from a Jim Wiseman videotape pp.62-63.
Jud Yalkut: Film-Video Interface, pp.58-61.

#16 (December 1973):
Ron Hays: Video Light. Discusses his abstract, synaesthetic video projects and other recent work including the use of the studio and video feedback to make synthetic images.
Book review of The Spaghetti City Video Manual, by Videofreex.
Joseph El Khourey: The Land is Not Empty. El Khourey writes about his film and video work and filming a Pitjantjatjara ceremony in Central Australia, pp.32-40.

#17/18 (June 1974):
Bo McCarver
: Notary Public, and his works. Conceptual video installation works – text and images, pp.1-3, 6-9.
Animation of Computer Generated Graphics:
1. John Whitney, pp.23-28
2. Doug Richardson. pp.29-32
3. Carter Bays. pp.32-40.
Bill Etra: Video Wall Paper. Abstract and surrealist video, bio-feedback video and research into physiological and psychological reactions to video. pp.41-47.
John Alberty and Joe Hobbs: Pro-West Video: on “The Professional Cowboy Today.” pp.38-39.

#20 (December 1974):
Interview with Nam June Paik, about Global Groove – TV Opera. pp.7-11.

#21/22 (April 1975):
Shigeko Kubota
Europe on Half Inch a Day. short note on Kubota and women video makers + images from her videotape, pp.30-31.
At Video Inn (videotape library and community video production facility: from a conversation with members of the Satellite Video Exchange Society, Vancouver, BC, Canada. pp.54-58.

#23/24 (July 1976):
Paul Wong
(video maker from Vancouver) talks about his 4 playback 6 screen work Earthworks in Harmony + images from his tapes, pp.26-32.
Ant Farm in Australia: notes on the events/performances they held in Australia in May 1976, plus background on their visit to Sydney by Bob Perry of Chameleon, and Canberra by Andrew Pike and a note on Media Burn, an event they held in San Francisco, California, + images, pp.56-62.
Film and Video in Auckland, New Zealand: The First Pan Pacific Biennale included video works from Keigo Yamamoto: participatory video game Five Pins and Hand (1976, No.2); John Henry (NZ) abstract colour video made at a commercial TV facility in Auckland; extracts of tapes by Nam June Paik, Ed Emschwiller, Peter Campus. Interview with Liz England on the Mani Tape, Phil Dadson and the origins of the Scratch Orchestra plus the video of Earth & Air A.R.T. (1976), pp.68-80.

#25/26 (May 1977):
Dragan Ilic at Pinacotheca.
Video documentation of one of his 10,000 pencils performances, pp.34-35.
Joseph El Khourey: Notes Towards an Alchemy of Communications – notes on his video work and on the history of Bush Video (recorded July 1975), pp.44-51.
Letter from Phil Dadson re exhibition of a new video work and performance show (Dec 4. 1976) plus Crossings, a work for two pianos, typists and CCTV.

#27/28 (March 1978):
Mick Glasheen
talks about Uluru his video/film on the sacred knowledge of the site, text and pics plus notebook drawings that tie various cultural knowledges together, pp.8-21.
John Dunkley-Smith talks about his films and his systems procedures in production, pp.30-45.
Announcement by Stephen Jones of the gathering of tapes for a catalogue of experimental video production, p.46.

#31/32 (November 1979):
Peter Dallow
: Some notes on recent video works. Co-Instants is a video about the surveillance network controlling the flow of traffic on Sydney roads. Two tape/monitor installation; one of driving a preplanned route through the city and two of following the drive on the city surveillance system, p.8.
New Zealand video-maker Nicholas Spill: Getting Plastered. A videotape of a Studio Performance and shown during New Zealand Sculpture at Mildura (1978/79) and the Sculpture Centre, Sydney (April 1979), pp.16-17.
Richard Larter and Pat Larter; a showing of their films and videos at the Sculpture Centre, Sydney (c.April 1979), pp.36-39.
Solrun Hoaas interviews Nakai Tsuneo on his film and video work. Some discussion of the video tapes and installations, with diagrams for Horizontal Line (1975) a version of which was in the 1976 Biennale of Sydney, Video Plastic – 1 (1974), and Blue Sky Video (1977), pp.40-45.
Arthur Wicks discusses the work Sand Memories at Durras at Broome St., pp.46-47.
Martin Wesley-Smith: Intermedia – A Composer's View, works for music, tapes, slides, actors, etc., pp.53-55.
Philip Dadson et al: From Scratch, notes from their performances at the Biennale of Sydney, 1979, pp.56-57.
Margaret Benyon's Holography. The Cantrills interview Benyon about her involvement in holography and her recent exhibitions at the Australian Academy of Science in Canberra, Watters in Sydney and Ewing and George Paton in Melbourne, pp.58-71.

#35/36 (April 1981):
Warren Burt:
Der Yiddisher Cowboy (1980), a film in English by Ronald Al Robboy & Warren Burt. A film that started out as comic opera only to turn into a narrative, socio-historical documentary, pp.27-29.
->|-> : Suddenly I Moved (1979). A performance with pre-recorded looped across 4 b&w video monitors, two live synthesiser players and one live speaker, pp.36-37.
->|-> : A Non-Space (1981). A four videotape piece with dubbed soundtracks. In presenting the work four monitors are placed against the walls of the room with the audience seated in the centre, pp.38-39.
Video In A Public Space : Melbourne City Square Video Screen ... 1 year later. A commercial takeover with very little opening for any interesting video. However for a short moment during Moomba videomakers Chris Wyatt, David Chesworth, Ron Nagorcka, Robert Randall, Frank Bendinelli, Gary Willis, Eva Schramm, Chris Mann and Warren Burt were given the opportunity to show some of their works, pp.48-50.
Warren Burt: On the relation of Sound and Image in Moods. On the use of various voltage control synthesiser techniques in working with synthetic images, pp.56-64.

#37/38 (April 1982):
Arthur Wicks: Videotapes, 1981
. Four Seasons – a twelve month diary of a block of land taken from one vantage point. Notes From The Beach Inspector – on sun-baking in Australia. A formalist construction form small sections of marked off male and female skin exposed to the sun. Notes From The Boatman – a videotape made during an installation/performance on a lake at the 1st Australian Sculpture Triennial in Melbourne 1981, pp.12-14.
The Work of Dick and Pat Larter. Notes on their film and video works continued from Cantrills Filmnotes #31/32, November 1979. pp.15-17.

#41/42 (June 1983):
Martin Munz & Steve Wigg
: Targets – a videotape locating Darwin “as a site of depredation and annihilation by the use of a metaphor of military action, pp.2-3.
Lesley Stern: Shadows – video work from Japan shown at the Australian Screen Studies Conference, 1982, pp.22-26.
Mike Sukolski (NZ) : Video as Video - “consists of a continuous streaming of images: the continuous present.” Shown at Anzart, Hobart (1983), pp.42-43.
Kim Beissel : Video and Philosophy – Working in “video, film, music, acting, writing, collage, photography” to come “to terms with reality. Finding my way in the world. It is itself part of a process.”. Video works described include Drumming (1982), Reproductions (1983), Competence/Performance Sing 'Audition' (1982), The Dirty Joke (1983), pp.47-49.
Ralph Traviato : The Truth Approaches, a textual and visual comment on a certain moment in the TV commercial, pp.50-52.
Kim Beissel : Melbourne Video Overview – A list of video from Melbourne, c.1983, p.52.

#43/44 (February 1984):
Adrian Martin
: Video: The Ghost in the Machine, asks what does video mean? A critique of the romance and myth of video, pp.32-36.
Arturo Silva interviews Stelarc : Between the Serenity of the Horizon and the Turbulence Below. “From multi-media events in the late 60s, to harness-suspensions in the early 70s Stelarc's art developed in 1976 into challenges of gravitational pull...” pp.58-61.

#47/48 (August 1985)
William Moritz
: Towards A Visual Music – a survey of its history, including mention of A.B. Hector in Sydney, pp.35-42.
Greg Burke : Two Works – Sub: A Video Tableau, shown at F1 Festival, Wellington (Dec 1982); Hum: An Installation, shown at Art in Dunedin (May 1984), pp.70-71.

#49/50 (April 1986)
David Chesworth
: Don't Harp On It. Describes how he made his use of video synthesis videos: Don't Harp On It (1979); Abstraction on the Move (1979); One Plus One (1979); Glaring in Secret (1980); Indefinite Objects (1981) and why he “left video synthesis alone.” in making Do The Metaphysical (1983-4), Factory (1984), Industry and Leisure (1979) and Skippy Knows (1979), pp.6-14.
The work of Fujiko Nakaya founder of Video Gallery Scan (Tokyo). She talks of the history of video art in Japan and the origin and exhibition policy of Scan gallery, her own video work and her fog sculpture, pp.54-57.

#61/62 (May 1990)
Music/Film/Video/Performance – an interview with Chris Knowles about his sound and film works, his use of film and video in performances and his non-performance video work such as Approximate Video and his use of live musicians, e.g., Rodney Berry, in film/performance works like White Space at The Performance Space in Sydney, pp.17-27.

#73/74 (May 1994)
John Conomos
on his video and neon installation Night Sky(1993). 3 channel video. Autobiographical essay on cultural dislocation and migration, the “foreigner, caught in-between conflicting value systems,” pp.9-11.

#89/90 (June 1998)
Time Tracing, Digital Editing and Dirt, by Vikki Wilson and Rick Mason - (Retarded Eye). Using digital editing to find, and by various forms of digital manipulation bring out the artefacts of the digitisation to mutate a hand crafted look within the video, pp.2, 4-6.
Warren Burt on Diversity, his interactive multi-media work for music, movement and video which he composed and performed, with direction and choreography by Sylvia Staehli. The work uses hand-held tripod based camera work, computer generated video, movement controlled computer music, voice and text and manipulated with the Fairlight CVI, pp.16-23.
Lindzee Smith and Nightshift on their multi-media performance work, Autogeddon, some of which used material he made with Tim Burns, pp.47-51.