Steina talks about early rejection of video as an art form, working within the contemporary art scene.

Woody Vasulka discusses the deconstruction of the image, working with analog signals of audio and video as materials, and binary digital codes. Woody discusses his works 'Didactic Video: Organizational Models of the Electronic Image' (1975) and 'Syntax of Binary Images' (1978) both published in Afterimage.

Steina talks about the process of making videos, sharing tapes, festivals, and when these practices began to taper away.

Woody talks about cinematic space, 2D and 3D space, perception and experience and why he has avoided practicing within virtual space.

Steina talks about early reel to reel tape experiments, making loops, delays, and how these experiments were equally pursued in audio and video.

Woody discusses his ideas surrounding the New Epistemic Space, looking for other works, anti-anthropocentric viewpoints, and the influence of Jazz on the 20th century.

Steina discusses her choice of image material and how she reacts to different settings.

Woody questions the new possibilities with the gathering of vast data sets, and what the future possibilities may be for using such data, and the drive to restructure the human condition.

Steina talks about her background in music, relying on what you know, working with multi-channel video, and thinking in musical terms with visual materials.

Woody Vasulka talks about process, phenomena within media, and the veil of secrecy that is lifted through the practice with the medium.

Woody Vasulka talks about moving to New York in the 1960s, Steina's musical practice, his early work and education in cinema, Nam June Paik, the post war avant-garde, poetry, literature, transformation of values and popular culture.

Woody Vasulka talks about Nam June Paik, and the 60s and 70s in New York.

Steina talks about colleague Nam June Paik.

Woody Vasulka describes his approach to interactivity and the problems he associates with interactivity in art as he explores the New Epistemic Space.Woody Vasulka describes his interest in feedback loops, the "new knowledge" of his generation, organizing time and energy into artistic/aesthetic units and the painful conclusion of electronic music in pop culture.

Steina talks about the different ways of moving an image and her collaborations with Woody that lead to multi-axis camera movements used in the 'Theater of Hybrid Automata'.

Woody Vasulka describes his interest in feedback loops, the "new knowledge" of his generation, organizing time and energy into artistic/aesthetic units and the painful conclusion of electronic music in pop culture.

Steina talks about the tape recorder as an essential tool in recording long-form video experiments for later review.

Steina discusses her musical background and perspectives on training as a soloist, her early experiences in New York City as a professional musician and the alternatives afforded by video.

Woody Vasulka describes his interest in machines as an environment to practice ideas, 'Theater of Hybrid Automata' as exoskeleton that carries media and his interest in the uselessness of the ritual.

Steina compares multi-channel installations to single-channel tapes, noting her changing use of each through time. Steina discusses her views on "playing" and her methods for resolving works-in-progress.

Woody describes the effects of living through WWII as a child in Czechoslovakia, the increased power of film as a medium after WW2 and the effects it had on his generation growing up under socialism.

Steina describes her experiences with video as an accessible alternative to film and the prevalence of industry support she witnessed in developing artist's video works.

Woody Vasulka talks about the post-war climate, ideology, immigrating to the United States, 'art strategy', the American avant-garde, mainstream culture, Steina's transformation from concert musician to working with electronic media, and their pioneering the exhibiting of electronic media.

Woody Vasulka talks about process, ethically immune systems (machines), revolution and subversion of the establishment through media, communism, populism, democracy, and finding strategies to subvert the delivery of the message.

Woody Vasulka presents his newest finds- a Celestial Navigator, a Gyroscope, and several controllers - to Russ Gritzo, an engineer at Los Alamos National Laboratory, and one of the programmers and engineers on his team. These elements would later be integrated into 'The Brotherhood' series.

Steina describes early video feedback experiments and Automation House, a New York City venue that was an early model and source of audiences for The Kitchen, where La Monte Young was the first performer.

Steina talks about unknowingly renting Morton Subotnick's Buchla synthesizer, their first tests with video as a control voltage for audio synthesizers and meeting Rhys Chatham, the first musical director of The Kitchen.

Steina describes their early interest in the unification of image and sound, the differences between the early analog versions of 'Violin Power' compared to later MIDI violin controlled performances, her need for spontaneity and play when making work and the rigidity of "official art".

Steina describes seeing the Erik Siegal colorizer at the 1969 Howard Wise Gallery show " TV as a creative medium" and how they subsequently started working with engineer George Brown designing and building a dual-channel colorizer, a keyer and a flip-flop switcher.

Steina describes their use of video as a means of understanding the world, the dialogue between tools/material/mind and the philosophy of Woody's constructions.

Steina discusses compositional strategies for making new videos and her techniques for constructing multi-channel video installations.

Woody speaks about his personal experience growing up during WWII in Czechoslovakia, topics discussed : the theater of the battlefield, communism, ideologies, youth culture, and the post war experience.

Steina talks about the inexpensive access to video equipment in the early years of video, and the collegiality between practitioners.

Steina describes early collaborations with Woody, later collaborations with Joan La Barbara, Tom Joyce and Doris Cross and the construction of the Digital Image Articulator with Jeffrey Schier.

This video documents a few moments during the making of Woody Vasulka's series 'The Brotherhood'. The footage includes early tests of surveillance systems that were implemented to monitor and diagnose the installations remotely. Featuring Russ Gritzo and Bruce Hamilton who were the chief programmers and engineers of 'The Brotherhood' team.

Woody Vasulka discusses his rejection of materiality and initial distaste for objects in a gallery, war machines as concentrated knowledge, constructing installations as a way to practice his philosophy, 'Theater of Hybrid Automata' and cinematic vectors, the celestial navigator and Jeffrey Shaw's 'Golden Calf', 'Table I' and 'Table III', complexity in installations, the saturation of a system and his desire to operate as an amateur rather than a "true artist".

Woody Vasulka and Gene Youngblood in the Vasulkas home studio discussing the exhibitions 'Machine Media' and Woody's series 'The Brotherhood.'

Woody Vasulka gives a talk to museum trustees during a tour of the Machine Media exhibition at the Museum of Fine Arts, Santa Fe New Mexico. Works featured in the video are 'The West', Theater of Hybrid Automata', 'Table I', and 'Table III' from 'The Brotherhood' series.

Steina performs 'The Maiden' during Woody Vasulka's exhibition of 'The Brotherhood' series at the NTT InterCommunications Center in Tokyo, Japan (1998).

After the performance Steina gives a short demonstration, which is translated in Japanese, on how she uses the violin to perform and control video and sound, and 'The Maiden'.

Steina performs 'The Maiden' from Woody's series 'The Brotherhood' at the NTT InterCommunications Center, Tokyo, Japan 1998.