I met Carol on her first residency at the Institute for Studies in the Arts when she arrived to discuss her project with the entire ISA group. During this initial brainstorming session it became obvious to me that we would be working together to create part of her vision through the use of video, the moving cousin to the nineteenth century photograph. After weeding her idea garden of film examples such as Lawrence of Arabia and Sense and Sensibility, we began the process of videotaping original imagery to use in the piece. Excursions around the Phoenix Valley and various locations in southern Arizona helped us to locate sand, camels, vineyards, orange groves, sandolas (similiar to gondolas), and bare feet walking on the ground, finding our subjects in some very unusual places. When we reached the point of having to use canned footage of steam trains and ocean vessels, Anna Vida, Research Assistant at the ISA, graduate student in Intermedia, and assistant videographer/editor on the project, was relentless in obtaining the necessary permissions.

Now that we had all of the footage, we needed to begin the editing process that ultimately generated over 50 video sequences of approximately 25 seconds each. These were pressed to laser disks that would be controlled within the installation by computer through the magic of Robb Lovell's programming . A 64" x 48" flat panel upon which the hand crafted photo album was situated became the projection surface for the video clips. Above this surface hung a mirror that allowed us to reflect the projection onto the flat surface without severe keystoning problems. In order to light the album so that the photos could be seen at the same time as the video played, we devised an editing process that used the "picture in picture" transition/effect. After many hours of experimentation, using the Media 100 XS system, a white rectangle the exact size of the album was edited into the video clips. This helped to eliminate physical lighting components in the installation that would, when activated by the viewer, wash out the video. Our method allowed for the lighting needs to be met directly from the video source. In doing this we also created a need for the exhibiting venues to pay close attention to the distance from the projector to the mirror. Any change in this dimension or the distance of the ceiling from which the mirror is hung to the table surface would change the size of the projection and affect the size of the lighting mask used on the book.

Working with Carol on Journeys 1900/2000 has been an incredible journey in and of itself. Not only did we discover new ways to use the tools of our time in realizing her vision but we also developed a great friendship that promises to continue on other projects in the near future. I would do it all over again.

As Media Artist, Technologist, and Media Lab Co-Manager for the Institute for Studies in the Arts since 1992, Patricia Clark has been engaged in video production as editor, videographer, associate producer, director, and production manager, in both analog and digital media. She is responsible for archival documentation for all sponsored projects within the Institute and participates in studio and location video productions for use in performance, interactive media, web development/broadcast, presentation, and for network broadcast. At ISA, she has participated in various capacities in projects which include but are not limited to Journeys 1999/2000, an interactive installation by media artist Carol Flax; Virtual Justice, Token City, and World's Women Online by media artist Muriel Magenta; CRASH by composer Mary Ellen Childs; The Day Don Came With the Fish by curious.com (performance artists Helen Paris and Leslie Hill); Nocturne by dancer and choreographer Michael Cole; Chaing Kai Chek by director William Akins; and Falling to Earth by choreographer Ellen Bromberg and media artist Douglas Rosenberg and Daniel Nagrin: The Great Loner of American Dance by writer and director Sheilah Britton with John Mitchell as project director. Her creative research involves the use of media technologies in collaborative art making, focusing those interests in multi-cultural and bilingual projects such as First World Order and and Mirrors & Smoke by media artist Philip Mallory Jones with Kathrine Milton, El Salvador: Art Under Duress and Contemporary Art From Cuba: Irony and Survival on the Utopian Island by curator Marilyn Zeiltin, Rosca Izquierda and La Edad de Oro by Cuban artist José Angel Toirac and writer Meira Marrero. She is currently involved as video art collaborator with Tempe artist Laurie Lundquist in a Scottsdale percent-for-the-arts project entitled Running Water For Arizona.