Peer Bode

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Peer Bode video still from Blue 1975

Blue

1975 4:50 min

An electronic synthetic color video, based on a memory of Larry Gottheim’s film “Blues”. Natural and electronic real time events, new American electronic cinema. B&W video camera, Paik-Abe colorizer, 1/2” vtr, blue berries, bowl and milk. The filmmakers stopped talking to me. Viva Video.

Peer Bode video still from 1-87 1976

1-87

1976 4:35 min

Inspired by Ralph Hocking’s fish biting video. Eighty-seven stones thrown, Volumes shifting of water sound, a real time performance event. Holding the camera and throwing 87 stones into the frame. 1/2” b&w reel to reel Sony portapack.

Peer Bode video still from 100 Sec. Lumination 1976

100 Sec. Lumination

1976 1:40 min

My first digital recording and my first and only recording with Don McArthur’s “Spatial and Intensity Digitizer”. The digitizer was not working properly. I had no idea. The shift I saw was stunning. Digitalization of luminosity, strange notion, wonderful light and early digital embodiment. Image / signal in digitized state / space, noise field. I always thought of this to be 100 seconds of very beautiful digital light noise.

Picture +/- Changes

1977 10:00 min

Electric chair. Chair and oscillator difference that is based on the varying image light intensities from broadcast television programing. 2 oscillators, b&w camera, David Jones keyer and colorizer, Peer Bode (personally built) light intensity to control voltage converter. You don't see the broadcast television program. You only see the electric chair controlled by it.

Peer Bode video still from Cup Mix (2 channels) 1977

Cup Mix (2 channels)

1977 10:47 min

A cup and saucer, pouring and drinking coffee, a duration ritual of contemplation and invigoration, doubled (tape copied), mixed, keyed + synthetic color, normal play and rewinding, sync events, the opening of a space to put the self in. 1/2 inch b+w portapack, 2 reel to reel videotape decks, David Jones keyer and colorizer.

Peer Bode video still from Apple(s) 1978

Apple(s)

1978 4:19 min

One apple, two b&w cameras, color burst, independently altered time base, in a permutation sequence of keying normal and reverse, camera one then camera two as key clip.

Peer Bode video still from Vibratory Sweep 1978

Vibratory Sweep

1978 2:50 min

A hand made raster deflection unit was used, inspired by Nam June Paik’s video synthesizer system. I also used a TV repair person’s test signal grid, early digital. Two b+w video cameras, audio oscillator sweeping up and then down. More keying permutations. Video, oscillator, keying, graphic timing buzzes.

Peer Bode video still from Music on Triggering Surfaces 1978

Music on Triggering Surfaces

1978

Peer Bode video still from Keying Distinctions 1978

Keying Distinctions

1978 3:30 min

Free floating sync, altered, drifting camera: video image and time. Bricks, white noise video. Keying permutations, switching via gray level values, using a modified b+w Sony special effects generator (SEG). Building the building, one brick at a time. In video what is a brick ? In spite of what was then a fierce cultural doxa, an antimaterialist pressure, and being quite anti-anti-materialist I was working hard to coax out significant features as expressive intensity zones, electronic energy points always engaging with the signals.

Peer Bode video still from Video Locomotion (man performing forward hand leap) 1978

Video Locomotion (man performing forward hand leap)

1978 5:00 min

Homage to Eadweard Muybridge. Muybridge photo grid put into a video system space. Movement is created by detuning the horizontal and vertical video sychronization (time base) signal of the video camera. Drift and horizontal doubling takes place. When the horizontal frequency doubles the man doubles on top of himself. A para-cinema shutter discovered by combining luminance keying of the video and sync signal together with time base drifting. A basic video structure, sync and a basic video process, keying, together create a video based

film-like shutter, creating a crude persistance of vision system. Primitive physical structures of the video signal, combined, bring Muybridge's photogrid into an electronic animation of false movements. The small muscles in my fingers are changing the speed of the Muybridge photogrid movements. The overall time composition of the piece is a simple structure of increased time display of the photogrid and decreased time duration of the photogrid drifting. One postcard, two b&w cameras, one screwdriver for time base detuning, fingers and video keying.

Peer Bode video still from Front Hand Back Hand 1978

Front Hand Back Hand

1978 2:50 min

Actions, states, one B+W video camera, the Paik Abe Colorizer, a video switcher. The two states, a b a b, I put my hand in the camera frame and saw a colored hand shifting. I moved my, the, hand, including back and forth, realizing or connecting to the visual and language potential of front hand and back hand. Giving it some veracity the play became attempting to keep up with the position changes together with verbally reciting front hand back hand, co-coordinating from hand to mouth and mouth to hand.

Oscillator Frames

1978

Rich Brewster

1978

Activity 1, 2, and 3

1978

Summer Mix, Four Channels

1978

Peer Bode video still from Ring Modulation 1978

Ring Modulation

1978 7:47 min

Image states / sound states. A bell, hand held, ringing, two oscillators each independently controlling a sync event- a red and blue color together with sound and no sound state and a sweeping video clip, together with audio filtering. Both oscillators sweep up incrementally one after the other and then down. The visual and sound bell is immersed in the electronic space / state. One b&w camera, two oscillators, David Jones keyer and colorizer, audio filter. Vibratory spaces to live in, calm and ecstatic.

Peer Bode video still from Counting and Remapping 00-ff (partial disclosure) 1979

Counting and Remapping 00-ff (partial disclosure)

1979 7:16 min

A table, a cup,a saucer, a typewriter, a hexadecimal number and letter count. I am remembering a Hollis Frampton film, “Poetic Justice”. In the “Counting and Remapping...” video the image is slowly undulating from the magnetic deflection. This is a digital video recording using a hand built analog to digital and digital to analog converter with arithmatic logic unit. Design and built in collaboration with David Jones. We were building the buffer together by hand. This was the first stage, a to d and a d to a wth alu. No memory yet. We were using an Elf 2 computer to control the real time digital video system. We were aware of and inspired by

Woody and Steina Vasulka’s buffer building and work in Buffalo. This recording is a counting through logic permutations; adding, subtracting, oring and noring, to change the order of the sixteen shades of grey. The color subcarrier that is mixed into the video signal is also cut up and altered, resulting in the amazing color shifts. The image is an analog and digital video text, a time dependent wave based system fusing with a quantized and time independent system. Is this the mixing of classical and quantum physics, an analog and digital culture mix? We were looking at what we had never seen before.

Peer Bode video still from Lava Shifts 1979

Lava Shifts

1979

Peer Bode video still from Flute with Shift 1979

Flute with Shift

1979 4:38 min

Newly hand built digital video A to D and D to A with ALU bit flipping. Controlled by an ELF II computer. The image brightness changes also controlled analog synthesizer parameters of the live flute playing. I sat in the camera image zone and played along with the programmed staccato picture and sound shifts. David Jones, digital video design.

Peer Bode video still from More Selections from Process Tapes 1979

More Selections from Process Tapes

1979

Peer Bode video still from Switch / Drift 1980

Switch / Drift

1980 7:30 min

Two cameras / video sequenceing back and forth, opposite ends of the studio space of the Experimental Television Center, Owego, NY.. The sound is the oscillator running at the speed of the switching. Electronic montage, continuous performance. I am watching and changing the switching sequencing of the two cameras showing one end of the space and then the other. I am in the room and also in the electronic space. Electronic system’s designer and technology art hero David Jones comes to visit.

Peer Bode video still from Video Movements 1980

Video Movements

1980 4:55 min

Self image; camera looks at its own power sync box mixed with a second camera looking at the large contained studio space. Hand controlled shifts in the sync time base, mixes, and color. This performance takes place in the presence and witnessing of the image and the recording.

Peer Bode video still from Site(s) 1980

Site(s)

1980 7:42 min

Real time mix of digital and analog electronic processes; digital grey level flipping, oscillator signals converted to video, two b&w cameras, keying and video feedback. The recording involved an intuitive action process within a multileveled system. The changes moved through a permutation of parameters, waiting and then changing, waiting and then changing. Water flows, system flows, observation sites.

Peer Bode video still from Comp Book Updates 1981

Comp Book Updates

1981

Peer Bode video still from Studio Time 1981

Studio Time

1981

Peer Bode video still from Noise Window 1981

Noise Window

1981

Peer Bode video still from Neil Punches Pixels 1981

Neil Punches Pixels

1981

Peer Bode video still from Light Bulb (with circular update, camera zoom +pan +variable clock) 1981

Light Bulb (with circular update, camera zoom +pan +variable clock)

1981 3:30 min

Real time digital buffer recording, light bulb, panning camera motor and turntable. Light Bulb, the title says it almost all. Real time recording events. Two cameras, light bulb, camera panning motor, electric lazy Susan, spinning white paper rectangle for the clip. Using the first digital video frame buffer I built together with David Jones, video buffer number one with variable clock. Several minutes of Rube Goldberg like digital electronics and optical props and motors. No computer, just energetic digital slivers, shimmering and shattering.

Peer Bode video still from Ladder (with vertical update, camera zoom and pan) 1981

Ladder (with vertical update, camera zoom and pan)

1981

Peer Bode video still from Rectangle Update 1981

Rectangle Update

1981 3:00 min

I was looking at postcards run through the David Jones digital video frame buffer. The buffer had two inputs, a video image of white noise and a video image of holding a post card, blank back to the camera as a clip. The post card shape defined the frozen memory portion of the video white noise image. I watched the video as I moved the postcard and alternated the live and frozen memory states. White noise and memory. This 3 minute performance recording took 3 minutes to record.

Peer Bode video still from Digital Recordings 1982

Digital Recordings

1982

Peer Bode video still from Floodlight Notes 1982

Floodlight Notes

1982

Peer Bode video still from Camel with Window Memory 1983

Camel with Window Memory

1983 4:22 min

The “Camel with Window Memory” piece was made one weekend in the early 80s. I pulled out my post card collection and began to look at specific postcards run through the new digital video buffer I had built together with David Jones. The buffer had only one frame of memory but it was real time. It had the capability of displaying the image memory space, either as live or frozen. “Camel with Window Memory” was a live performance recording: hand held postcard, stop watch for timing and the live or frozen memory mode switch. A second key input to the buffer determined where the image would be live or freeze. I used two synched oscillators to create the square key clip shape. For sound, I sampled two areas

of the image for grey level values that were turned into control voltages to control the Brewster and Bernie Hutchins modular audio synthesizer in the studio. The image and sound changes were live as I turned on and off the image freezing, watched the stopwatch and heard the sound changes as I moved the postcard, reactive, as in looking and listening, real time image and sound recording. The camel and man postcard also was particularly resonant as we were experiencing gas rationing and gas lines in the states, oil politics of the time then also. I remember reflecting that the camel was historically the traveling water storage unit of the desert, an organic system for storing water, energy and memory.

Green Window

1983

Peer Bode video still from Invented Eye #1 and #2 1983

Invented Eye #1 and #2

1983 2:48 min

Pedagogy and real time electronic processing. Composition notebook patterns are encoded as analog and digital video signals and reworked through a high speed audio oscillator controlled sequencer. Pedagogy becomes biology? Vibrations...

Peer Bode video still from Memory Memory Memory 1983

Memory Memory Memory

1983

Peer Bode video still from Landscape 3 x 3 x 16 x 3 1984

Landscape 3 x 3 x 16 x 3

1984

Peer Bode video still from Synthetic Series #2, songs of the synthete 1984

Synthetic Series #2, songs of the synthete

1984 2:45 min

Recomposite recordings of "Video Locomotion (man performing forward hand leap)" 1978, "Ring Modulation" 1978, "Counting and Remapping 00-FF (partial disclosure)" 1979, "Site(s)" 1980, and parts of "Art of Memory " 1985. Linked singular sites and performances become visual and sonic proto sequence intelligences, timely births of electronic narrative, struggled and negotiated codes, automatic artificial intelligences.

Digital Recordings

1984

Memory Zones

1985

Niagara Passing

1985

Peer Bode video still from Art of Memory 1985

Art of Memory

1985 3:30 min

Pacing in the studio and also various still and hand held Muybridge images digitally video buffered and updated with an analog oscillator. Real time image reworking. Para celluloid cinema seen through early digital cinema strategies.

Peer Bode video still from Buffer Recordings 1985

Buffer Recordings

1985

Peer Bode video still from Blind Fields 1985

Blind Fields

1985

Peer Bode video still from Animal Migrations (and why they don’t get lost) 1985

Animal Migrations (and why they don’t get lost)

1985 11:20 min

This is the first of a set of pieces that involved combining a series of video process recordings, music, texts and appropriated materials. These multiple elements, simple and tricky grammars, trigged expanding electronic narratives. The trajectories and drags of the multiple narratives colored the electronics and visa a versa. The piece is the scene of many animal migrations as in grammars together with Hollywood embodied cybernetics.

Peer Bode video still from Synthetic Series: Digital Rhetoric’s 1986

Synthetic Series: Digital Rhetoric’s

1986

Peer Bode video still from Synthetic Series: Acting Vocabularies 1987

Synthetic Series: Acting Vocabularies

1987

Peer Bode video still from Artist’s Studio (after Braque) / Conversation 1988

Artist’s Studio (after Braque) / Conversation

1988

Electro-Terrain

1989

Peer Bode video still from Invisible Histories 1989

Invisible Histories

1989

Invisible Landscapes

1990

Peer Bode video still from A Few More Magic Words 1993/94

A Few More Magic Words

1993/94

Peer Bode video still from Animal Migrations (and the mediums they face) 1985/95

Animal Migrations (and the mediums they face)

1985/95

Peer Bode video still from Image and Voice 1996

Image and Voice

1996

Belly Bell / Flashy Flash

1997

Electro Memory Notes

1983/1998

Lightening Memory

1998

Bonzai Mem-ory for Two Windows, A Sea of Circuitry (White Boxes /Black Boxes)

1998

Moments for Kathy Acker

1998

Peer Bode video still from Silicon Alley Allegany / Manhattan 1999

Silicon Alley Allegany / Manhattan

1999 20:00 min

Lived spaces, loved spaces, begun on Sept. 11, 1998, (strange) driving towards Manhattan, NY, driving towards Allegany County, NY. High speed video memory and updates, forward, forward and back, present and past continuously reinscribing, Allegany, Manhattan, USA, machine vision and memory, embedded histories, landscapes, urbanscapes, emersion tensions, emersion ecstasies, information with and with out history, spaces never the same again in the time of new electronic memory, silicon alley.

Peer Bode video still from Give it Away 2000

Give it Away

2000

History Electronic

2000

Peer Bode video still from Transport 1, 2 and 3 2001

Transport 1, 2 and 3

2001 3:30 min

Composite mix with notebooks and sound elements from Harald Bode, my father and inventor of the first modular audio synthesizer.

Peer Bode video still from Memory Song (twice) 2002

Memory Song (twice)

2002 2:00 min

Toy piano, bell, signal light, book printouts, white noise, oscillators, deflection and video buffer grabbing. History, evolution, sounds then texts then digital memory spaces.

Peer Bode video still from World People 2002

World People

2002 2:30 min

Seven channels of oscillator inter-modulation, image and sound, zoomed out, volumed up.

Peer Bode video still from Uber Organ (body of life) 2003

Uber Organ (body of life)

2003

Peer Bode video still from Ring Shift 2003

Ring Shift

2003 7:47 min

Ring Modulation 1978 Switch / Drift 1980

Peer Bode video still from Light Counting Memory Lumination 2003

Light Counting Memory Lumination

2003 4:20 min

Light Bulb (with circular update, camera zoom + pan + variable clock) 1981 Counting and Remapping 00-FF (partial disclosure) 1979 Art of Memory 1985 100 Second Lumination 1976

Synthetic Eye Changes

2003 3:47 min

Synthetic Series #2 1984 Invented Eye #1 1983 Picture +- Changes 1977

Site(s) Movements

2003 8:00 min

Site(s) 1980 Video Movements 1980

Peer Bode video still from Camel 87 2003

Camel 87

2003 4:45 min

1-87 1976, Camel with Window Memory 1983

Man Apple

2003 5:00 min

Video Locomotions (man performing forward hand leap) 1978, Apple(s) 1978

Peer Bode video still from Cup Blue 2003

Cup Blue

2003 7:00 min

Cup Mix 1977, Blue 1975

Peer Bode video still from Plus Equals 2003

Plus Equals

2003

Peer Bode video still from Theater of Metonomic Delights 2003

Theater of Metonomic Delights

2003 8:22 min

Table, typewriter, cup, slow deflection, ALU bit flipping sequence counting 00-FF. Muybridge sequence, time based drifting thru video key space. studio objects drifting with sound triggering hot spot. composition notebook pattern drifting, high speed sequencing and digital grabbing. spatial and intensity digitizer noise recording art historian Fan Xiaoming with 1000 year old tree outside of Hongzhou, China. emper(or)(ess)’s bed on display, Forbidden City, Beijing, China.

Peer Bode video still from Songs for Beijing 2003

Songs for Beijing

2003 5:30 min

Royal costuming at the Forbidden City, Beijing, China. dvd / cd store (new media temple) Beijing, China. media technology studio, artist research built technologies (art stars), ETC, Owego,NY. raw analog white noise (all frequencies) into digital buffer.

Peer Bode video still from Freedom Concert 2004

Freedom Concert

2004

Peer Bode video still from That Thinking Feeling 2009

That Thinking Feeling

2009

Peer Bode video still from Dirt Face 2009

Dirt Face

2009

Peer Bode video still from Memory Songs expanded 2010

Memory Songs expanded

2010

Peer Bode video still from Going Private Public 2010

Going Private Public

2010