"This is the first of a set of pieces that involve combining a series of electronic video process recordings, musics, texts and appropriated materials. These multiple elements, simple and tricky grammars, trigger expanding electronic narratives. The trajectories and drags of multiple narratives color the electronics and visa a versa. The piece is the scene of many animal migrations unpacked as sliding tropes and grammars: diagrammatic sound image complexes, crawling texts on time query, circus performers, astronauts, psychologist fathers, texts on mathematical computer graphics woven with scenes of mid-Century artist monkeys a la Life magazine and painting machines... Oh my, o you, o them."
– Peer Bode
Animal Migrations (and why they don't get lost)
Peer Bode
1985 00:11:30 United StatesEnglishColorStereo4:33/4" U-matic videoDescription
About Peer Bode
Working in film until the early 1970s, Peer Bode was first exposed to electronics by his father Harold Bode, a developer of the first modular audio synthesizer. He worked as program coordinator for the Experimental Television Center in Owego, New York, collaborating with resident artist/engineers in constructing prototype imaging tools, thus continuing his commitment to “tool expansion” and “personal studio making.” Recognizing the limits imposed by designers of industrial and consumer technology, Bode sought to externalize the “hidden coding and control structures” of the video signal. His videotapes investigate the semiotics and phenomenology of the medium, specifically through the synthesis of audio and video signals.