As part of an oppositional practice, video artistsoften dwell on the power of language systems, visual or otherwise, to influenceeveryday life. This doesn't mean investigating television, "video art'sfrightful parent," but rather the larger cultural context of alliconographic models. Invented languages, ideographic subtitles, and mercurialtext supply the core of Rose's Pressures of the Text (1983, 17 mins), a somewhatjocular work about the construction of meaning. Using digital video techniques,Downey's formidable Information Withheld (1983, 28:30 mins) draws analogiesbetween ancient hieroglyphics and contemporary signs, throwing in such things asMichelangelo's paintings for good measure. Hill's astounding Incidence ofCatastrophe (1987, 43:50 mins) deploys an acute pictorial regime in which aspeechless protagonist finds voice through redolent images. Inspired by MauriceBlanchot's novel Thomas the Obscure, the tape wades into the murky waters whereconsciousness and language mingle. Overwhelmed by the limitations of words,Hill's hero retreats into a sub-lingual stupor, the last refuge of imbeciles andsaints. Incidence of Catastrophe is a muted testament to a man witnessing his ownsenses.-Steve Seid