from this side of space to the other side of the signal

The film utilizes footage produced on unique analog equipment from the early history of video during a residency at Signal Culture. Virtual landscapes pumped through the analog system become caught amidst sets of “meaningless” signs/ barriers and violent signals. Computer generated bodies and body parts glistening with video material generated via this system perform actions that queer the line between digital, physical and analog, homoeroticism and violence––entangled in a fragmented high-modernist grid. A voice from the other side of the signal attempts to lure the viewer into crossing over, only to be perpetually interrupted by barriers of interference. The film utilizes footage produced on unique analog equipment from the early history of video during a residency at Signal Culture. Virtual landscapes pumped through the analog system become caught amidst sets of “meaningless” signs/ barriers and violent signals. Computer generated bodies and body parts glistening with video material generated via this system perform actions that queer the line between digital, physical and analog, homoeroticism and violence––entangled in a fragmented high-modernist grid. A voice from the other side of the signal attempts to lure the viewer into crossing over, only to be perpetually interrupted by barriers of interference. The film utilizes footage produced on unique analog equipment from the early history of video during a residency at Signal Culture. Virtual landscapes pumped through the analog system become caught amidst sets of “meaningless” signs/ barriers and violent signals. Computer generated bodies and body parts glistening with video material generated via this system perform actions that queer the line between digital, physical and analog, homoeroticism and violence––entangled in a fragmented high-modernist grid. A voice from the other side of the signal attempts to lure the viewer into crossing over, only to be perpetually interrupted by barriers of interference. The film utilizes footage produced on unique analog equipment from the early history of video during a residency at Signal Culture. Virtual landscapes pumped through the analog system become caught amidst sets of “meaningless” signs/ barriers and violent signals. Computer generated bodies and body parts glistening with video material generated via this system perform actions that queer the line between digital, physical and analog, homoeroticism and violence––entangled in a fragmented high-modernist grid. A voice from the other side of the signal attempts to lure the viewer into crossing over, only to be perpetually interrupted by barriers of interference.