"A camera registers the passage of time by continuously monitoring the observer through a polaroid shutter. At intervals the shutter is momentarily released - triggered by the observer's movement across a photoelectric switch. The comparatively brightly lit images are burnt, or inscribed, on to the camera's vidicon signal plate. Both the time continuum reflex and the retained (and subsequently fading) "static punctuations" of that continuum are exhibited as one on a video monitor" (David Hall, Video Show, Tate Gallery, Londres, 18 mai - 6 juin 1976.) (Source, pdf, site web Rewind)
"Requirements: 1 monitor, 1 video camera with polaroid shutter and photo-electric switch (in the artist's possession), lighting, plinth, custom-built corridor enclosure." (Source, cité depuis le site web Rewind)
Photographs of Vidicon Inscriptions (The Installation). (Source, site web Rewind)
"Over-lighting exceeds capacity for assimilation in a 1970s video camera and images are burnt into the surface of its 'vidicon' tube. Here a unique property is explored where both the passage of time and trace of that continuum are registered as one... In this, the original tape, one of three sections records the image of the artist with a camera (via a mirror) panning, by stages, across the screen. Before movement the lens is covered and re-exposed after the change, and each time the image appears inscribed onto the screen. In the interactive installation a camera registers the live passage of time through a translucent polaroid shutter. Periodically the shutter lifts - triggered by participants' movements - and images are fixed and inscribed." David Hall, 1974 (Source, cité depuis le site web Rewind)
"...Images are burnt into the surface of the 'vidicon' tube.. Here a unique property is explored where both the passage of time and trace of that continuum are registered as one. In this interactive installation a camera registers the live passage of time through a translucent polaroid shutter. Periodically the shutter lifts - triggered by participants' movements - and images are 'frozen' and inscribed...." (David Hall 1975) (Source, cité depuis le site web Rewind)
"...Here preserved are the traces of ghostings, perhaps most poignantly in the installation where the mugging of participants is at once improvisationally real and yet caught already in a moment simultaneously of capture and decay. The work is about the materiality of the screen technologies of the day, for sure. It is also, especially in retrospect, an elegy for the passing of time - the time of the gesture as it fades from the screen, the time of technologies that have their moment and pass away..." (Sean Cubitt, David Hall, Luxonline, 2005) (Source, cité depuis le site web Rewind)
- Tamara Krikorian, "Video - Report by Tamara Krikorian", Studio International, May/June 1976. (Source, pdf, site web Rewind)
- David Hall, "British Video Art. Towards an Autonomous Practice", Studio International, May/June 1976, p. 248-254. (Source, pdf, site web Monoskop)
- Bettina Gruber & Maria Vedder, Kunst und Video, Dumont Buchverlag, Köln, 1983. (Source, pdf, site web Rewind)
- Tamara Krikorian, "Video Installations in Britain", London Video Arts Catalogue, 1984. (Source, pdf, site web Rewind)
- Joanna Heatwole, "Media of Now: an interview with David Hall", Afterimage: The Journal of Media Arts and Cultural Criticism, Volume 36, Aug/Sep published by the Visual Studies Workshop, Rochester, New York, 2008. (Source, pdf, site web Rewind)
- Stephen Partridge & Sean Cubitt (dir.), REWIND| British Artists' Video in the 1970s & 1980s, John Libbey Publishing, East barnet, Herts, 2012.