The VIDEO SCROLL is a conversation; a dialogue, a linguistic exchange of cultural signifiers, a symbolic exchange of psychic data. Conceived as an infinite autopoietic loop (roughly self-contained and self-referencing) of mythological scale, it is difficult to precisely locate the beginning and end of the reciprocating sequence unique to each video. Consequently the viewer is offered entrance into the perpetually unfurling system at any stage of its development. Indeed it is the viewing experience itself that maintains continuous reflexive examination throughout the series and while many specific references contained within each disparate work may be highlighted, one inevitably finds herself oscillating between micro sentient pulsations and macro tectonic shifts.

The VIDEO SCROLL is not an entropic system. On the contrary, each video piece is meticulously and consciously assembled according to a predetermined formula which in itself allows for a certain degree of flux and metamorphosis over time. To put it simply, each video begins with the creation of a text. This piece of writing is envisaged as a hybrid structure, containing a spectrum of articulations ranging from the subjectively poetic to the critical-theoretical, historical, and philosophical. The structural components of the text and the allegorical potential of the signifiers involved are then transmogrified into short video clips, image sequences, audio recordings, and other dynamic media, often sourced from a variety of public free-use internet archives and user-supported search engines. The composition of this pooled information is determined by the original text work, concretized by a narration by the artist, and presented in a manner so that one videotext continues the ideas, impressions, or logic structures of the previous.

It is through the process outlined above that the first installment of the VIDEO SCROLL was constructed. However, as each video acts as a contribution to a self-referencing dialogue, the second installment began to efface subtly nuanced shifts in methodology. The video sequencing began asserting influence over the text architectures, audio and video media affected placement of each other, and the entire installment began to indicate a redirection of concerns for future works. The third installment can be said to be determined more by pure sound than concrete language -- derivative information from speaking a text, which has survived as only a subliminal presence in the video itself. A fourth installment is currently under construction and will contain thousands of still images of various resolutions sourced from multifarious search engine manipulations, as well as other media. The entire corpus of the VIDEO SCROLL can be referenced as a text, consisting of words on a page or screen, as an autonomous video work, or perhaps most appropriately as an adhesive saturating and binding the interstitial concerns of all such communicative media.