Segments

" No I have actually. Having constant -- seizures. That's pretty. Pretty rare -- like to bring that good. Really the people have apple contends these things tend to enjoy my work more than give them an extra buzz I think. Beginning it. That has more heightened via physical effect. To school it's possible to let undiagnosed at what they tendencies. They derive some pleasure. There's certainly engaging. In the when I'm working it's always sort of writing the threshold of you know organization. NK. For -- not I don't really think of them as -- binary system mean. Everything's -- proportionate -- those two things."

" I think about conceived colors. Multiple different colors for moving in sequence -- refuses into this composite retinal but he does this for Britain in the moved into bases after images like hearing multiple votes on the piano being placed -- multiple colors and time simultaneously. But magic. Actually I can't -- magic because."

" conceptual rules are constraints because there's so much you can possibly do. And computers and working with abstractions to open totally open field are vast universe within me Greenpeace. If you doing very can often have very systematically structures you don't wanna do intuitively. I feel like they're I have the sense. Where there's like there's an awareness of the internal logic. And when I was in when I was younger maybe in the past they've worked -- that we were that's what it comes out. Naturally but I always wanted that to happen but I wasn't able to me be. Sort of identified with sort of the processes by which happened and now sort of working in this way that's more conscious of what this process these are this is."

" Count myself up for generating a lot of stuff what I use is is basically just Cheney. Even tell -- digital and analog hardware stuff -- and -- discusses it's a mystical analog oftentimes actually it's you know it's like digital both analogue controls before I started. We're from video -- do was make music and so we'll come in us Indians obviously. In high school and going out -- performers is always someone die and yeah I started manipulating -- working with the video using software like Jeter and then they'll analyze and process these are modified analog video in here and it. A lot of my work is sort of derived from real time processes. Actually translates. Performance performance type situations. -- and making it into. Well the stuff is harvested performance. For me with inspiring stuff is. Oftentimes old school stuff things going down the seventies and sixties."

" This utopian optimistic time. About more people recycle the revolutionary potential video or I guess who didn't come directly referencing nets that. This sort of air even -- using. A totally new tools is done is come -- this hunt is old school look to it but. I don't want to look old school or you schools when trying to get that you know wanna complicate that."

" Considered that in some -- psychedelic films certain filmmakers like -- meals golf shortly. Think when Jordan belts and all the finest psychedelic filmmakers and we've all been pretty important. Thank you -- sort of problematic in that something cool thing psychedelic but then but ultimately. You know be swallowed up by like the commercial industry you know they'll become the next thing you see on MTV or whatever. Well I think you can refer to you know a type of experience that challenges your normative -- of consciousness. And he'd been deeply influenced by you know what -- call it but if it's structural films which are trojans there's kind of work. We're conceptual approach it gets to me and film. Yeah it's definitely psychedelic."

" No I have actually. Having constant -- seizures. That's pretty. Pretty rare -- like to bring that good. Really the people have apple contends these things tend to enjoy my work more than give them an extra buzz I think. Beginning it. That has more heightened via physical effect. To school it's possible to let undiagnosed at what they tendencies. They derive some pleasure. There's certainly engaging. In the when I'm working it's always sort of writing the threshold of you know organization. NK. For -- not I don't really think of them as -- binary system mean. Everything's -- proportionate -- those two things."

" I think about conceived colors. Multiple different colors for moving in sequence -- refuses into this composite retinal but he does this for Britain in the moved into bases after images like hearing multiple votes on the piano being placed -- multiple colors and time simultaneously. But magic. Actually I can't -- magic because."

" conceptual rules are constraints because there's so much you can possibly do. And computers and working with abstractions to open totally open field are vast universe within me Greenpeace. If you doing very can often have very systematically structures you don't wanna do intuitively. I feel like they're I have the sense. Where there's like there's an awareness of the internal logic. And when I was in when I was younger maybe in the past they've worked -- that we were that's what it comes out. Naturally but I always wanted that to happen but I wasn't able to me be. Sort of identified with sort of the processes by which happened and now sort of working in this way that's more conscious of what this process these are this is."

" Count myself up for generating a lot of stuff what I use is is basically just Cheney. Even tell -- digital and analog hardware stuff -- and -- discusses it's a mystical analog oftentimes actually it's you know it's like digital both analogue controls before I started. We're from video -- do was make music and so we'll come in us Indians obviously. In high school and going out -- performers is always someone die and yeah I started manipulating -- working with the video using software like Jeter and then they'll analyze and process these are modified analog video in here and it. A lot of my work is sort of derived from real time processes. Actually translates. Performance performance type situations. -- and making it into. Well the stuff is harvested performance. For me with inspiring stuff is. Oftentimes old school stuff things going down the seventies and sixties."

" This utopian optimistic time. About more people recycle the revolutionary potential video or I guess who didn't come directly referencing nets that. This sort of air even -- using. A totally new tools is done is come -- this hunt is old school look to it but. I don't want to look old school or you schools when trying to get that you know wanna complicate that."

" Considered that in some -- psychedelic films certain filmmakers like -- meals golf shortly. Think when Jordan belts and all the finest psychedelic filmmakers and we've all been pretty important. Thank you -- sort of problematic in that something cool thing psychedelic but then but ultimately. You know be swallowed up by like the commercial industry you know they'll become the next thing you see on MTV or whatever. Well I think you can refer to you know a type of experience that challenges your normative -- of consciousness. And he'd been deeply influenced by you know what -- call it but if it's structural films which are trojans there's kind of work. We're conceptual approach it gets to me and film. Yeah it's definitely psychedelic."