With subjects that are less than realistic, the video narrative maximizes its powers of innovation. Here, electronic imagery constructs a visual space where temporal shifts and geographical borders are as pliable as the written word. In Joan Jonas' Double Lunar Dogs, the narrative moves through outer and digital space. Aboard a rocket ship in perpetual flight, a group of passengers (played by Spaulding Gray, Jill Kroesen and Jonas) search desperately for identity. Digital panels travel across the frame bringing memories of a past world, and the visage of some scolding patriarch. Combined with Jonas' stilted performance-oriented staging, an induced psychological stasis pushes Double Lunar Dogs into synthetic space. The resulting claustrophobia befits the inner-space of these ego-less travelers. Gorski's Black Noise is a cautionary tale, told by an alien visitor. This extra-terrestrial sees the earth on a doomed trajectory and attempts to communicate his insights to an indifferent population. Using an economy of image and composition, Gorski has literally condensed The Day the Earth Stood Still into a nine-minute fable. Modest graphic effects, a staccato soundtrack, and ghostly editing create an otherworldly atmosphere well-suited to the alien's isolation. Bruce Charlesworth's Dateline for Danger, a mock thriller, pits Rafe, an airy undercover cop, against Vago, kingpin from the underworld. Vago's evil-doings are never truly revealed, but clipped compositions, striking set decor and oddly juxtaposed scenes add a nefarious, but cheerful tone to his posturings. -Steve Seid