Video differs from television and film due to the function of the apparatus specific to each medium. Firstly signals of the electronic medium (video) are output interchangeably as audio or video and can be fed back as video input, and so forth vice versa. Secondly, Video’s open apparatus structure includes the multiple possibilities for the audiovisual exchange of electronic waveforms. Therefore video is the first audiovisual medium. These differences do matter why video plays an important role in artworks as a part or as a whole.
The author argues video has not become obsolete with the development of computer, but on the contrary has incorporated analogue computer applications since the early 1970s. And video has further enriched an electronic media culture increasingly oriented toward signal processing and digital imaging.
Dan Sandin
He made an image processor named Sandin image processor for his own video works. It was video synthesizer and accepted basic video signals and mixed and modified them with audio. It’s an analog, modular, real time, video processing instrument.
Physically, an Image Processor system would be built out of modules. Several types of modules were defined and typically would be an aluminum box containing a circuit board inside, video connectors and knobs on front of box and power connector on back of box. It provided video processing performance levels and produced subtle and delicate video effects of a complexity not seen again until well into the digital video revolution.
David Stout: NoiseFold
NoiseFold is an interactive visual-music-noise performance that draws equally from mathematics, science and the visual and sonic arts. This networked performance duet explores the use of infrared and electromagnetic sensors to manipulate and fold virtual 3-D objects that emit their own sounds. The work integrates multiple techniques including; real-time 3-D animation, mathematic visualization, recombinant non-linear data-base, A-life simulation, image to sound transcoding, complex data feedback structures and a variety of algorithmic processes used to generate both sonic and visual skins. The result is a theater of emergence and alchemical transformation existing within an intricate cybernetic system. The endlessly folding objects, synthetic life forms, vortices and oblique spirals defy easy anthropomorphic projection - images of crumpled paper, nerve ganglia, dendrites, organic architectures, impossible animals, seed-pods and fungi may come to mind.
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