1. After our event, Brand toured the project to the Orphan Film Symposium in Columbus, Ohio and Pittsburgh Sound + Image in April of 2026.

2. For an excellent analysis of this film’s complicated structure, see Alberte Pagán, “‘It’s All About Pattern Recognition’” in Invisible Fisherman: The Art of Bill Brand, edited by Scott Hammen (Visual Studies Workshop Press, 2026), 38-57.

3. For discussion of the “interval” in these works, see Esperanza Collado, “Bill Brand: Three Intervals” in Invisible Fisherman: The Art of Bill Brand, 65. I also discuss Masstransiscope at length in Annie Dell’Aria, The Moving Image as Public Art: Sidewalk Spectators and Modes of Enchantment, Experimental Film and Artists’ Moving Image (Palgrave Macmillan, 2021).

4. Andrew V. Uroskie, Between the Black Box and the White Cube: Expanded Cinema and Postwar Art (University of Chicago Press, 2014), 234–37.

5. In addition to this new volume, there is a book dedicated to Brand’s significant work as a film preservationist. See: Andrew Lampert, ed., Results You Can’t Refuse: Celebrating 30 Years of BB Optics (Anthology Film Archives, 2006).

6. Exploring the history of this institution was part of the museum show’s curatorial mandate. The Western College Alumnae Association and the Western Program, a small interdisciplinary initiative that came out of this history, were key sponsors for the re-staging and Brand’s visit. Other sponsors included the Humanities Center, Department of Art, Department of Media Journalism, and Film, and the Richard and Carole Cocks Art Museum.

7. Special thanks to artist and Western Coordinator Billy Simms for all his help in making this project come to life, including making an emergency run to Home Depot to acquire rolls of black and white Gorilla Tape.

8. Prior to this the students in my class had only been shown one 16mm film, Michael Snow’s Wavelength (1967).

1. TBD
2. p. 18
3. TBD
4.  p. 114
5. (1981–82; p. 15).
6. (p. 62)

1. Chris Hill. “Interview with Peer Bode,”  in The Squealer,  Vol. 11, Issue 2, Buffalo, NY, 1996.

2. Peer Bode, “Signal Into Memory” catalog, Visual Studies Workshop, February, 2026, p. 024.

3. Dan Sandin. “Distribution Religion,” in Lucinda Furlong, “Notes Toward a History of Image-Processed Video: Steina and Woody Vasulka,” Afterimage, October, 1983.

4. Ibid.

5. Chris Hill, “Attention! Production ! Audience!: Performing Video in Its First Decade,” in Chris Hill, editor, Rewind: A Guide to Surveying the First Decade, Video Data Bank, 1995. https://www.vdb.org/sites/default/files/2020-04/Rewind_VDB_July2009%202.pdf

6. Peer Bode. “Letter to Chris Hill,” 1995.

7. Peer Bode, “Signal Into Memory” catalog, Visual Studies Workshop, February, 2026, p. 025.

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