When Steina went to Paris I didn't want to keep that apartment, it was not feasible for one person, so at
that time we teamed up with Alfons and he came across, he was already connected, he knew
Rauchenberg and all these people, and through his project, 9 Evenings in Armory he found out that
here just left Rauchenberg and Jasper Johns and others, they just left studio they worked in down in
Wall Street area what's called Front street and so we started to work there. What I introduced was film
camera I don't know what type of camera I had at that time and I started to put it into turntable, because
it was by challenge, how to do 360 degree recording. That was my interest and entrance to the film
again, into making the film. So I think it was one of the first projects that I did and he was part of it, he
was with it and we were both interested, and I wonder when he started to do 3D because I think it's
slightly later, because I think that's when we already moved, because when Steina came back, we found
somehow thru Alfons first fine place on 14th Street, so we moved very close to him and it was very nice
studio there, so we stared to kind of...we separated, he did 3D by buying himself these 3D cheap
postcards and he would unpeel the layer on lentical lenses and and he would just study it. And then he
would disclose the secret, because there were these vertical lenses that separate two images, if you
layer them correctly through those lenses. And that's how he started his practice.
And then I started to do electronic Sound, it was first through Steina when she came back from Paris,
we bough ourselves, she also started to play with this, she was still violinist, she played for money, at
that time I worked already with Lloyd, so I was doing these kinds of experiments and I still had film
camera so I was doing these documentary straight thing like Aimless People, there were some nudity
there...
...just sit here, I have some samples here...
