Woody: “This movement was mediated by two influences. First, the portapak, the first ever portable system [which was comprised of a camera cabled to an open reel-to-reel ½ inch videotape recorder strapped on one's shoulder] which made this closed-circuit 60s experiment in television/video into a national movement. And second, the possibility of generating images by non-photographic/filmic means. No longer was the camera necessarily carrying the narrative codes. It was a very optimistic period. Between 1969-73 I produced synthesized images, either using feedback [an effect which usually appears as infinite mirroring/tunneling, obtained by pointing the video camera at the monitor itself] or using various other techniques or video instruments. Steina gave up her violin career and went full time as well. We happened to like the same way of making pictures. But later in the 70s when all the ideals about the new vocabulary and the new syntax had tempered down, video migrated toward the gallery, festivals, closed circuit special purpose, distribution … ”