multimedia art

Halloween Head
created 28-30 August 2009
Multimedia video version

Stevo's Psychedelic Woodstock Experience
Mind-Altering Music Woodstock 40th Anniversary Special 15 August 2009
Woodstock 40th Anniversary Tribute Art created 16 August 2009
Jimi Hendrix Voodoo Child (Slight Return)
Multimedia Version

Apollo 11 Man On The Moon 40th Anniversary 20 July 1969-2009
Neil Armstrong & Buzz Aldrin
(20-21 July 2009)
Multimedia Version

featured videos

Tune In (2021)
Stevo In Yr Studio

I have long been fascinated by the nature of film as an art medium.
While watching the documentary "The Real Charlie Chaplin" (2021) on Showtime, there were deteriorated bits of film throughout separating segments, which inspired me to create this film.
Creating art though little effort and allowing spontaneity to prevail has continually been my modus operandi, based on past influences, such as the found footage works of Bruce Conner and experimental nature of Stan Brahkage films.
I set out to obtain found footage elements of deteriorated film bits to create this work and stumbled upon a website offering free high resolution clips of such.
I set the precisely edited and slowed down clips to an early music work, based on random sounds created by a mistuned radio dial, called "Tune In" on my 1988 album "Temple Of Rhythm" found on Bandcamp.
Created 27 December 2021

Train Be Goin' Slowsn (2021)
Stevo In Yr Studio

Skipping Video with processed audio
Created 15 July 2021

A Daisy Chain 4 Satan On Drugs (2020)
Stevo In Yr Studio

Another video art film inspired by Bruce Conner; made from various educational anti-drug films.
Created 23 March 2020
Music: A Daisy Chain 4 Satan (Extended Version) by My Life With The Thrill Kill Kult (1990)
Music and all rights owned by My Life With The Thrill Kill Kult

Swing (2020)
Stevo In Yr Studio

Experiment in Time via Sound & Video
Created 23 January 2020

Belcalmed (2016 Digital Remake)
Special 38th Anniversary Internet Edition
Stevo In Yr Studio
Music by Eno

In 1978, while studying video art at the University of Oklahoma, I was one day stuck when there was no equipment available to shoot a video. I had one TV and two color reel-to-reel machines.
I made a recording from the TV on PBS of a man walking along a road with a suitcase. I took that recording placed it on pause, slightly adjusting the pause so that it would slowly advance and step through frame fields and recorded this to the other recorder to Eno's Becalmed.
The video had a very heartfelt and emotional feel to it as the unstable picture pulsated giving the illusion of progression, as the slumbering music moves you forward in slow dream-like fashion.
This version, of a monk taking a step along a road, is a fully digital re-creation based on the original concept, yet lacking in the romantic dis-quality of 1970s video technology.
Music owned by Eno.

Stevo In Yr Studio - Video Art Compilation

This is a compilation of experimental films and video art created at:
The University Of Oklahoma School Of Art 1979-1981
The School Of The Art Institute Of Chicago 1982-1983
1. Space Inno - 1:43 (1983)
First computer animation using the the Zgrass UV-1 Computer, with glissando guitar soundtrack.
2. Ambience/Infinity - 6:28 (1980)
First color reel-to-reel video loop art, with first multitrack modular synthesizer music.
3. States Of Mine - 31:06 (1980)
My final experimental film/video art work in undergraduare school. All footage was shot on super 8mm film and transferred to video as I edited the work with the assitance of Tim Boggs. This film earned me an invitation and eventual full scholarship to the graduate program at The School Of The Art Institute Of Chicago. The soundtrack was a compilation of German Kosmische Musik tape I hade made previous to the film and had been listening to a lot while making the film. When I completed my first rough edit I called my wife and best friend Max Maxwell to the studio to screen the film and since there was no soundtrack yet, I played the compilation tape and was amazed how perfectly it synced with the film, so left it as the official soundtrack.
4. Industrialization Of Dream Ejaculating Ecstasy Of Mind - 3:48 (1982)
First major work at SAIC using the Sandin Image Processor and my latest kaliedoscope video feedback technique. Music recorded with Emu modular synthesizer.
Note: For some reason this video plays twice!
5. Synoid - 5:01 (1983)
Created from hours and hours of my very best video feedback footage using only a camera and monitor and no special effects. Music was created using multiple synthesizers setup to play continuously with no further manipulation during the recording.
6. Hand Man Loop - 11:01 (1982)
The School Of The Art Institute Of Chicago became aware of my elobrate video feedback loop performance art setups using the Sandin Image Processor and requested to photograph me the next time I did one of these pieces. I created this work specifically for the photo shoot. Music created with Emu modular synthesizer and audio loop feedback system. Note: Sadly, I never saw the photos the school shot and am currently attempting to track the photos down.
7. Night Emerges Day (with Joe Reitzer & Paras Kaul) - 6:49 (1982)
Video art collaboration created in real-time using the Zgrass UV-1 Computer, Sandin Image Processor, Emu modular synthesizer, video feedback loop system and audio loop feedback system. We worked all night getting the system setup and recorded the work at sunrise.
8. Journey Through The Center Of Yr Set excerpt - 8:03 (1982)
Detail of a 23 minute work using the Sandin Image processor and video feedback loop system. Music recorded with Emu modular syntesizer and audio loop feedback system.
9. TVOD - 3:11 (1979)
Shot one frame at a time during a nearly 12-hour Saturday session beginning early in the morning and going until late at night to capture any interesting images on TV. Music: TVOD by The Normal. Used with permission of Daniel Miller.
10. Dangerous Stranger/Why Can't I Touch It - 6:42 (1979)
Influenced by filmmaker Bruce Conner, my criteria was to put a found footage film segment to a pop song with no editing. I was amazed at how well the film and music synced together.
11. Ronald Ray-Gun (with Kevin Stark) - 3:24 (1981)
Super 8mm film created with Kevin Stark for The Memluks performance at an upcoming Rock Against Reagan festival in Fort Worth, Texas. The film was edited in the camera as it was shot. I projected various art films during the Memluks live performance at the festival.
12. Devo: The Palladium, Dallas 3 August 1979 - 2:19 (1979)
Super 8mm footage of Devo performing live. I was in the fourth row and did some pretty wild filming techniques which, unbeknown to me at the time, drew the attention of Devo's security. The camera I used belonged to Max Maxwell, so as soon as the show ended I handed the camera to Max and his girlfriend put it in her purse. Leaving the venue, Max and his girlfriend walked out ahead of me, but when my wife and I attempted to leave we were stopped by security and asked where the camera was? I acted like I didn't know what they were talking about, but they were adamanent they saw me filming and were going to confiscate the film. They searched my wife and I but finding no camera had no choice but to let us go. Music is an edit of various Devo songs. Film and music used without the band's permisson!
13. Back To Normal (with Max Maxwell) - 4:24 (1980)
Another work influences by filmmaker Bruce Conner. This was a collaboration with Max Maxwell. Edited in the camera as shot, I projected the films and Max filmed them on super 8mm. Music: Home by Henry Hall And The Glendeagles Hotel Band.
14. Video Loop Experience - 10:12 (1980)
Documentation film of Video Feedback Loop Sytem at my first Group Art Show after earning my Bachelor Of Fine Arts degree. Music: Audio As Experience by Stark & Stevo. Early synthesizer and audio feedback loop delay system.
15. Water Colours - 3:34 (1980)
Super 8mm film of multicolored triangle flag string relecting on water. Film was projected in slow motion as it was transferred to video. Music: Ambience/Infinity.
16. KGOU: Stevo In Yr Stereo "Jazz Straight, No Chaser" - 5:04 (1980)
Super 8mm intervalometer film setup to capture three hour radio show in 3 minutes of Stevo In Yr Stereo doing "Jazz Straight, No Chaser" show at KGOU in Norman Oklahoma. Music: Loops & Such using tape loop delay system I devised in the KGOU production studio.
17. Dada Dali - 0:56 (1983)
During my graduate work at SAIC I took an Independent Study Art History class where I wrote an entire Salvador Dali documentary based wholly on Dali quotes. For extra credit I made this promo video to accompany the script. Music: Just Another Onionhead/Dada Dali by Todd Rundgren.
18. Video Experience - 1:12 (1979)
A primary concept developed in undergraduate art school was when creating art one is is typically lost in the moment unaware of self or time. However, it also become posible to become aware of oneself, then aware you are aware, then aware you are aware of being aware and so on. I created many audio and video works based on the theme: You are experiencing an experience which is based upon previous experiences. You are now experiencing the experience of experiencing an expereince which is based upon previous experiences. You are now experiencing the experience of experiencing the experience of experiencing an expereince which is based upon previous experiences, and so on. This was the first video art piece where I explored the concept.
19. Organic Ritual To The Eternal Video God excerpt - 7:52 (1979)
Inspired by the audio loop system diagram on the back cover of Brian Eno's Disceet Music I set out to replicate the system using reel-to-reel video. I worked for months attepting to get the system to work, and the signal to sync, and finally succeeded. This is a detail of the very first performance art piece created using the Video Feedback Loop System.
20. Space Outro - 0:24 (1983)
Return to first computer animation using the the Zgrass UV-1 Computer, with glissando guitar soundtrack.
Note: This compilation was taken from a 2nd generation VHS tape, which is all I had available to transfer, so the quality is a bit less than optimal.

Dangerous Stranger - Why Can't I Touch It?
Special 30th Anniversary Internet Edition
Pup Production 1979-2009
Music by The Buzzcocks

Inspired by Bruce Conner.
This piece was created with the concept of combining an unedited sequence of found film footage with an unedited pop song. The end result was very satisfying, as there are numerous occurences where the visual and audio are in harmony.
Additionally, this work speaks to the mental illness and delusion of child molesters. As it turned out, this was a favorite video of my eldest daughter, when she was very young, who found it extremely entertaining and educational.

Synoid - 1983 - 5:00
New digital remastered audio.

Pure video feedback with no special effects or processing of any kind, although the completed video has a few edits. The patterns were changed by slightly adjusting the camera aperture and focus.
The audio was created with various analog synthesizers configured to produce oscillating sequences and were not modified or altered during recording.
Both video and audio were created at The School Of The Art Institute Of Chicago and are examples of self-generating systems. This work explores the nature of the media and allows me to become audience to my own work.

The following image is from the session when Synoid was recorded.

48 hour marathon recording session @ SAIC Electronic Sound Studio
23-24 April 1983

The following five videos are courtesy of:

TVOD (edit) - 1979 - 0:40
Music by The Normal

Shot one-frame-at-a-time over a 17 hour period, TVOD depicts stereotypical television imagery and our ability to comprehend and identify split second exposure to rapidfire pop culture iconology.
This version is edited as shown on The 90's, PBS, WTTW, Chicago, 1990.

Dangerous Stranger/why can't i touch it? - 1979 - 6:41
Music by The Buzzcocks

Ronald Ray Gun - 1980 - 3:12
Music by Memluks

Created for the Rock Against Reagan concert to benefit United Farm Workers Association at Zeros New Wave Lounge in Fort Worth, Texas, January 1980.
From Image Union, 27 January 1987, PBS, WTTW, Chicago.

Back To Normal - 1980 - 3:40
Music: "Home" by Van Steeden, Clarkson & Clarkson
Performed by Henry Hall & The Gleneagles Hotel Band
Created by Mr. Nuclear & Stevo In Yr Studio

Inspired by Bruce Conner.
Culled from found footage of educational films from the 1940s and 1950s of subjects ranging from Amputee Veterans to Atomic Attacks to Juvenile Delinquency to Dangerous Strangers and Woodshop Safety!
From Image Union, 6 June 1983, PBS, WTTW, Chicago.
Note: Image Union announces two tapes, however, I have them presented separately. "Ronald Ray Gun" is the second one.

Industrialization Of Dream Ejaculating Ecstacy Of Mind - 1982 - 3:53
Music by Pupaum

Experimental video art piece created at The School Of The Art Institute Of Chicago. Video synthesis using the Sandin Image Processor. Audio created using an EMU modular synthesizer.
This work explored images of the mind's eye via dreams, reveries and phosphenes (pressing the eyelids to create light hallucinations).
From Image Union, 27 January 1987, PBS, WTTW, Chicago.
Note: This piece was edited by Image Union, removing two lovemaking scenes.

feedback & loops

industrialization of dream ejaculating ecstacy of mind (1982)

The influence for my video loop work:

Eno's audio loop diagram (re-created by siys)

I began working with 1/2-inch reel-to-reel b+w video in 1973 at age 15, in high school. In 1978, while I was in college, I was staring at the diagram of an audio loop system on the back cover of "Discreet Music" by Brian Eno, and Eureka! -- I could apply this system to video, I thought!!! I immediately began experimenting with various video loop system setups. My first obstacle was realizing video had sync to contend with, making it a much more difficult medium to loop with than audio.
There were many variations and configurations of video looping systems which I devised, but I will explain the simplest system, which I used for many years (mostly using b&w equipment, and, often, employing video synthesis for creating color. others were done in color). Here's how it's done...

(refer to diagram)

Place two 1/2" reel-to-reel video machines as far apart as you want the delay to be and thread the videotape between the two. The first machine is recording, the second is playing back. A camera is feeding the recording deck and a video monitor is displaying the playback deck. Aim the camera at the video moniter and let the games begin.
Now, depending on what type of piece I wished to create, I could either have the camera stay zoomed in within the confines of the video monitor screen, or have it zoomed out showing the video monitor screen at varying ratios within the camera's frame. I created 'ambient', 'wallpaper' or 'abstract' (whatever you want to call them) pieces keeping the camera zoomed in within the frame of the video monitor. I would zoom out beyond the frame of the video monitor to create 'performance' oriented pieces.
The looping systems are difficult to get good results with, even when using perfectly functioning equipment. In many case I spent more than 20 times the amount of time setting up the looping system, in relation to the time I spent recording the piece!

Creating video loop art with Sandin Image Processor in the SAIC Video Studio, circa 1982

Journey Through The Center Of Yr Set (1982)

Night Emerges Day (1982)
created in collaboration with Joe Reitzer & Paras Kaul

In Search Of Divine Attributes (1982)

Hand Man Loop (1982)

The above video loops all employed the Sandin Image Processor

Dan Sandin and his Image Processor at SAIC, circa 1981

The Zgrass UV-1 Computer was also employed on "Night Emerges Day"

Synoid (1983)

group collaboration

Excerpts from Video: Live/Two-Way/Interactive Event
(2 December 1982)

In 2003 Jon Cates compiled a video called "Old Skool Revolutionaries" which is a composite of works by various artists from the Video Department at The School Of The Art Institute Of Chicago from 1977-2001.
This video is my composite of all the section of "Video: Live/Two-Way/Interactive Event" used in "Old Skool Revolutionaries".
"Video: Live/Two-Way/Interactive Event" was a day long collaborative performance event on 2 December 1982 utilizing the closed-circuit video system throughout the school.
The primary contributing artists for "Video: Live/Two-Way/Interactive Event" were Nancy Bechtol, Ben Kerns, Michael Markowski, Jessie Affelder and Mark Resch. I was Technical Director for the live event and also contributed video feedback and gliss guitar. That's Nancy on vocoder.

Old Skool Revolutionaries
Compiled by Jon Cates (2003)

SAIC Media Center 1983
Polaroid courtesy of Robert Johnson

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