Woody: “At first we looked at video as a singular discipline. We, as well as the others, used all expressions from abstract to documentary in an aesthetic unity, escaping genre division of other media. The portapack itself was a dominant tool for all. We were introduced to the alteration of video images through the basic equipment available. We could manipulate the scan lines by changing the deflection controls of the monitor, use the recorder to freeze frames, advance or backtrack tapes manually and look into processes within a frame [Decays I, II]. We learned forced editing and asynchronous overlays on the first generation ½ inch video equipment [CV] and practiced all methods of camera/monitor rescan, the only way for us to capture and preserve the violated state of a standard television signal…. A decisive tool in our early collection was a sound synthesizer [Putney] which pointed us in the direction in sound and image generation and in a mutual interchangeability of both. Most significantly, we used a matrix of video screens to relate movements of video frames, a function of time, from which the horizontal relationships lead us to a more environmental understanding of video.”