Imaging systems that penetrate the body reveal more than organ, artery, or tumor. Private spaces are exposed, surveillance enacted; reason-in the form of the eye-comes to roost where once only superstition and mystery resided. In tonight's program, film and video artists turn these images back upon themselves, contemplating the implications of invasive technologies. More importantly, they use these very images-X-rays, CATscans, endoscopic video, ultrasound, etc.-to advance an alternative exploration of the bioscape. Amie Siegel's Inclusum Labor Illustrat (1996, 10 mins, Silent, 16mm) hints at the similarity between cinema and science, the splicing and cutting, the mediated intimacy. Aline Mare's S'Aline's Solution (1991, 9 mins, 3/4" video) takes the debate over abortion directly to that site of contention, the womb. In Chris Munger's X-Ray Film (1970, 4:20 mins, 16mm), the entire arc of life, from birth to death, is played out with medical footage. Michelle Handelman and Monte Cazazza's Hope (1994, 5:15 mins, 3/4" video) imagines the thinness of being through medical illustrations projected onto a body. Using the famous motion X-rays of J. S. Watson, Barbara Hammer's Sanctus (1990, 19 mins, 16mm) depicts a body as prone to deterioration as film emulsion is. Paul Bush's A Rumor of True Things (1996, 25 mins, 3/4" video) goes beyond the body to look at the broader implications of life filtered through sensing devices and pictorial technologies. Finally, Prototype (1990, 5:30 mins, 3/4" video), by Viricode duo Andrea Mancuso and Peter D'Auria, speculates about an evolved human, using fake viscera, computer modeling, and bio-mechanical implants.-Steve Seid