In conjunction with Jonas' video/performance artist-in-residency, she will appear in person and discuss three of her most recent videotapes, as well as an early collaborative work produced with Richard Serra and Phil Glass.

Anxious Automation
Taped at Windsor Total Video, set up such that two cameramen, standing slightly apart, zoom in and out on Joan Jonas who is lying on her back performing a series of four movements that range from slow to quick. There are six variations on the zoom between the two cameras: the zoom held at its closest extent; at its farthest extent; the cameras in opposition to each other; and the two simultaneous zooms in or out. Richard Serra, in the control booth, operates a special effects generator in switching or "punching" rapidly between the two camera images. The soundtrack is by Phil Glass, who taps the microphone out of sync with the movement. Produced with Richard Serra. (l971, 4 1/2 mins.)

Disturbances
A parallel is made between the surface of water in a pool and that of the video screen: between the rippling of water and the television noise that Joan Jonas has left between each scene rather than making clean cuts. The imagery of the tape exists on several physical levels - reflection on the water surfaces, bodies in the water, and the bottom of the pool. (1974, 15 mins.)

Good Night, Good Morning
A tape made for the vertical monitor, shot with camera on its side. It is composed of three sections, shot in May, August and October of 1976. Every day for a week, upon waking up and going to bed, Jonas turned on the monitor to say either "Good Morning" or "Good Night." The tape was a way for Joan Jonas to observe herself over periods of time; as the tape progressed her behavior became more self-aware and consciously controlled. Within this structure nothing could be rejected or retaped, like a journal. (l976, 20 mins.)

I Want to Live in the Country (And Other Romances)
A tape in two parts made at WNET, uses the studio structure as a frame for Jonas' images. The entire screen is bordered by red, and the back of Joan Jonas' head can be seen at the lower left, just inside the frame, looking at what is going on in the center of the screen - watching her own work. (1976, 30 mins., color)