= VANCE?. “AH, -BSING A REAR SCREEN PROJECTOR IN THE MIDDLE AND. INTERVIEW DENIS VANCE; THE “ELECTRONIC ARTES Tg EXTRAORDINATRE; 15: BG PAST 2 RUNNER » THESE DAYS. BUT. L CAUGHT, ‘HEM FOR’ A BRIEF INTERVIEW - - BEFORE CHRISTMAS. Tr HAPPENED THAT WE WERE. WATCHING A -VIDEO ‘TAPE. OF TWO - “SHADOW FIGURES | "DANCING" AMIDST FLICKING LIGHTS: - _, AGAINST A BACKDROP THAT - REMINDED ME: OF TROPICAL FISH -SCALES. ; s “HOW WAS ALL THIS EXOTICA: BEING- MADE | IN HIS FUN AND COLOR CLASS? 80; WE RAPPED,: “RAPED, -RAPPED, is IVSINS = THES Xt “Hoy DO: ‘You Go “ABOUT. PRODUCING SOMETHING LIKE THIS? “TWO. PROJECTORS ON “BACH SIDE, THEN JUST ee THE TWO DANCERS: FROM SIDE. CE SIDE. “THAT'S ALL. , Paine ieee : WHAT” DOES THE BACKGROUND: CONSIST OF? : IT'S A TWO SLIDE PROJECTED IMAGE OF THE SAME SLIDE. AND’ THAT'S. HOW YOU CREATE THE TEXTURE OF THE BACKDROP. “YEAH, WELL EACH" ONE ... ; OHI SEE ‘WHAT YOU MEAN. : DID: YOU SEE THAT? THAT WAS A GOOD SHOT. IT'S ALL SORT OF. LIKE SUPERIMPOSITION. WELL, NO. IT'S SHOT AS IS. THERE'S NO SUPERIMPOSING OR © ANYTHING ELSE. IT'S TWO MODELS MOVING IN ALMOST TWO DIFFERENT WORLDS, BUT, BUT, THEY EACH HAVE A SHADOW. WITHIN THE” COMPOSITE SHADOW OF THE TWO IS WHAT WE'RE INTERESTED IN. " X: WHAT DO YOU MEAN BY COMPOSITE? Vi TO COMPOSITE THINGS MEANS TO PUT THINGS TOGETHER. X:° TO COMPOSE. , : ae V: TO COMPOSE. TO HAVE TWO AND TWO COME TOGETHER TO MAKE. A THIRD X: NOW, WHAT'S CAUSING THOSE LIGHT OSCILLATIONS WE'RE SEEING ‘NOW V: OH THAT'S RIGHT NOW IT'S JUST A SIMPLE HAND STROKE. WE'RE USING OUR HANDS AND BLOCKING LIGHT AND OPENING IT... BLOCKING, OPENING IT, BLOCKING, OPENING IT. . os . X%: IN FRONT OF THE PROJECTOR. V: YEAH. ee X: OH I SEE . ._. WHAT WOULD YOU CALL THIS SORT OF PRESENTATION: S V: WELL, AT THE MOMENT IT'S AN EXPLORATORY USE OF HARDWARE. “TO PRODUCE IMAGES THAT GIVE AN UNDERSTANDING OF WHAT * HAPPENS WHEN YOU USE SIMPLE PROJECTIONS. THE ee ag UP 80 BES. aA. AH A MUCH FURTHER STATEMENT. WHAT. .° | WE'RE DOING RIGHT NOW IS JUST GATHERING IDEAS MORE .THAN. rae ANYTHING ELSE. SO BASICALLY WHAT KIND OF HARDWARE HAS BEEN USED? = V: THE WHOLE COURSE HAS BEEN BASED ON A SIMPLISTIC APPROACH | © TO THE USE OF HARDWARE: 2 SLIDE PROJECTORS, REAR SCREEN PROJECTOR AND 2 MODELS. AND THAT'S IT. RECORD WITH. A VIDEO CAMERA. OUR USE OF VIDEO IN THIS WHOLE COURSE HAS BEEN STRICTLY AS DOCUMENTATION AND NOT AS AN EXPERI- * MENTAL OR CREATIVE MACHINE. WHAT ABOUT OTHER PROJECTS? ; V: UM. AH, WE'VE DONE A LOT OF PROJECTING ON EDIBLES. ‘ - THINGS LIKE A MILK PROJECTION, IT WAS DONE TODAY, © . THE USE OF WHITE MILK AS A RECEIVER OF A PROJECTED IMAGE. USING SLIDE PROJECTORS Be V: A SLIDE PROJECTOR PROJECTS AN IMAGE UNTO A GLASS OF MILK,: ~ e” | AH PREFERABLY A DULL GLASS SO THAT WHEN IT'S CAST AN IMAGE. (UNTO THE GLASS) IT DOESN'T RECEIVE AN IMAGE.. AND THE °* NET RESULT OF THAT IS IS WHILE YOU DRINK THE MILK, THE = oC IMAGE DISAPPEARS AND THEREFORE YOU'RE DRINKING YOUR IMAGE. ° OR ANOTHER ONE WOULD BE A MARSHMELLOW; PROJECTING AN IMAGE ON A MARSHMELLOW AND THEN EATING IT. ¥ WHAT WAS THE IDEA BEHIND YOUR GENERATIONS? GENERATIONS? YOU MEAN LIKE SOUND GENERATIONS? NO, I-REMEMBER YOU WERE DOING VIDEO GENERATIONS. OH, THAT'S RIGHT: CREATING WINDOWS, AND COMING THROUGH - DIFFERENT VIDEO WINDOWS, VIDEO IMAGE WINDOWS AND THAT SORT OF THING THESE ARE ALL STUDENT PROJECTS. WHAT I THINK A TEACHER SHOULD BE DOING MORE THAN ANYTHING ELSE, IS BEING A CATALYST AND NOT PROJECTING OUR WILLS Pe PR ee OS, = $ = cat Se TT Teast: ' SIIceSs “TRASFERITARE RECEIPT | 608 Soret WTRATIO: BY Ace B.S HYDRO | Le 2 a " Co-Baitor-—Gerry rely oe ire 67 8: Fito ee —- = 19:92 513: 141195 Ae Waa a out wueRed ® > se ° x = Acting - Co-Editor--Ed Ivsins Support ae ‘Staff-- Michael chet stoplier | Lawlor, Bill Rummel, - Dave Cran, Lorraine Chung, — ‘Michael Lawlor has es ‘the X. Many t @ strong supe * Paul Ewert OF Z Ld @ The ‘X’ is published bi- weekly by Student Services, “ECCA, 249 Dunsmuir” Street, Feneret VoB coat “This i issue ot x! was ‘printed by PRESS GANG. as co-editor of the X due to overwhelming obligations in his personal artistic life. ‘He will continue to contribute “articles and commentary to thanks for your Michael. gk INTERVIEW DENIS VANCE, THE ELECTRONIC ARTES] EXTRAORDINATRE, TS A FAST. AUNWER THESE DAYS. BUE 1 CAUGHT HIM TOR A BRIE INTERVIEW BEFORE CHRISTNAS. 1? HAPPENED THAT WE WERE WATCHING A VIDED TAPE OF TWO SHADOW FIOURES, "oANCHGY antiosT FLICKING LIGHTS AGAINST A BACKDROP THAT REMIHDED ME: OF TROPICAL, FISH. SCALES. HOW WAS ADL THIS EXOTICA BEING MADE. 8 HS. FUN AND COLOR CIASS2 S0,WE RAPPED,:RAPPED, RAPED... E TvsTyS ‘Thee: How Do-"YOU Go ABOUT, PRODUCING SOMETHING LIKE THIS? VANGE!.-AHS-YSING A REAR SCREEN’ PROJECTOR IN THE MIDDLE, AND. © 99> “TWO. PROJECTORS ON BACH SIDE, THEN JUST MOVING THE TWO DANCERS: "FROM SEDE'T0 SIDE. “THAT'S ALL... X: WHAT’ DOES THE BACKGROUND: CONSIST OF? vi ET's A TWO SLIDE PROJECTED IMAGE OF THE SAME SLIDE. X: AND THAT'S. HOW YOU CREATE THE-TEXTURE OF THE: BACKDROP. v x YEAH, WELL EACH ONE : OH E SEE WHAT YoU MEAN. Vs DID. YOU SEE THAT? THAT WAS A GOOD sHoT: Xi IT'S'ALL SORT OF LIKE SUPERIMPOSITION. - Vs WELL, NO. IT'S SHOT AS IS. THERE'S NO SUPERIMPOSING OR ‘ANYTHING ELSE. IT'S TWO MODELS MOVING IN ALMOST TWO DIFFERENT WORLDS, BUT, BUT, ..,. THEY EACH HAVE A SHADOW. WITHIN THE COMPOSITE SHADOW OF THE TWO IS WHAT WE'RE INTERESTED IN. 2 WHAT DO YOU MEAN BY COMPOSITE? Vi TO COMPOSITE THINGS MEANS TO PUT THINGS TOGETHER. X: 70 COMPOSE. Vi 70 COMPOSE: TO HAVE TWO AND TWO co x : NOW, WHAT'S CAUSING THOSE LIGHT OSCILLATIONS WE'RE SEEING Now OH THAT'S . . . RIGHT NOW IT'S JUST A SIMPLE HAND STROKE. WE'RE USING OUR HANDS AND BLOCKING LIGHT AND OPENING IZ . BLOCKING, OPENING IT, BLOCKING, OPENING IT Xz TN FRONT OF THE PROJECTOR. Vi YEAH. Xs OH T EE... WHAT WOULD YOU CALL THIS sort o} Vs WELL, AT THE MOMENT IT'S AN EXPLORATORY USE OF HARDWARE TO PRODUCE IMAGES THAT GIVE AN UNDERSTANDING OF WHAT HAPPENS WHEN YOU USE SIMPLE PROJECTIONS. THE PIECES. END UP TO BE Att A MUCH FURTHER STATEMENT. WHAT WE'RE DOING RIGHT NOW. IS JUST GATHERING IDEAS MORE -THAN ANYTHING ELSE. Xz SO BASICALLY. WHAT KIND OF HARDWARE HAS BEEN USED? V; THE WHOLE COURSE HAS BEEN BASED ON A SIMPLISTIC APPROACH. TO THE USE OF HARDWARE: 2 SLIDE PROJECTORS, REAR SCREEN PROJECTOR AND 2 MODELS. AND THAT'S IT. RECORD WITH. A VIDEO CAMERA. OUR USE OF VIDEO IN THIS WHOLE COURSE HAS BEEN STRICTLY AS DOCUMENTATION AND NOT AS AN EXPERI- MENTAL OR CREATIVE MACHINE. X WHAT ABOUT OTHER PROJECTS? Vi UM. . . AH, WE'VE DONE A LOT OF PROJECTING ON EDIBLES THINGS LIKE A MILK PROJECTION, IT WAS DONE TODAY, THE USE OF WHITE MILK AS A RECEIVER OF A PROJECTED IMAGE. USING SLIDE PROJECTORS... . = Vz A SLIDE PROJECTOR PROJECTS AN IMAGE UNTO A GLASS OF MILK,‘ AH PREFERABLY A DULL GLASS SO THAT WHEN IT'S CAST AN THAGE (UNTO THE GLASS) IT DOESN'T RECEIVE AN IMAGE... AND TH x RESULT OF THAT IS IS WHILE YOU DRINK THE MILK, THE IMAGE DISAPPEARS AND THEREFORE YOU'RE DRINKING YOUR IMAGE. - OR ANOTHER ONE WOULD BE A MARSHMELLOW; PROJECTING AN. IMAGE ON A MARSHMELLOW AND THEN EATING 17. X WHAT WAS THE IDEA BEHIND YOUR GENERATIONS? {ERATIONS? YOU MEAN LIKE SOUND GENERATIONS? NO, I REMEMBER YOU WERE DOING VIDEO GENERATIONS. _ : OH, THAT'S RIGHT: CREATING WINDOWS, AND COMING THROUGH « DIFFERENT VIDEO WINDOWS, VIDEO IMAGE WINDOWS AND THAT SORT OF THING . . . THESE ARE ALL STUDENT PROJECTS. WHAT I THINK A TEACHER SHOULD BE DOING MORE THAN ANYTHING ELSE, IS BEING A CATALYST AND NOT PROJECTING OUR WILLS ‘TOGETHER TO MAKE. A THIRD: ore) Taube Taamyit | SERVICES Ww @avrerRkwhnr ave oO, en Support Staff Michael Christopher Lawlor, Bill Runmel, Dave Cran, Lorraine Chung, Paul Evert WOL.2 No.7) “Tis he ot wep inted by PRESS GANG. Michael Lawlor hes resigned as co-editor of the x due to overwhelming obligations in his personal ertistic life. He will continue to contribute ‘articles end commentary to the X. Meny thenks for your @ strong support, Hichsel.