Murmur (two channel video installation), also a single-channel video (12:30) 2007

In “Murmur” ancient undeciphered texts are reconstituted, and symbols emerge as if from some primal source into our contemporary society. They are then consumed or disseminated by animals and people before they ultimately disappear again. The video references a range of ideas such as the recurrence of similar mythologies and ideologies in distinct cultures, the existence of a
universal consciousness, and the limitations of memory and language itself.

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This Call May be Monitored (video installation, 8:00 continuous loop) 2004

In “This Call May be Monitored”, a group of pigeons gather around a lost cellphone in an urban park. As they peck at the keyboard, they inadvertently dial a company that employs an Automatic Voice Recognition System. This curious encounter between the pigeons and the preprogrammed computer results in erroneous interpretations and techno cul-de-sacs.
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Realtime/Currency Exchange (two channel video installation),

also a single channel version (6:30) 2003

In “Realtime”, a cricket is trapped inside a clock. The internal timing of a cricket's song is juxtaposed with the clock's mechanical ticking. A small drama ensues. The clock misses beats, the cricket song becomes more mechanical. In “Currency Exchange”, crickets consume $100 bills. The bill's symbolic value is meaningless to the crickets who view them as a food source. In a world where green is disappearing every day, our abstractions are often at conflict with or irrelevant to the natural world.

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Attend to Your Configuration
(video installation, 9:00 continuous loop) 2001

In this video installation, a series of images are projected onto a bed of sugar on the floor. The images show a variety of insects interacting with a children's Connect the Dots game. At times the insects appear to be creating pictures from the sequence of letters...or maybe not. The video points towards a human tendency to seek out figuration and narrative, and to impose inappropriate human structures onto other life-forms.
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The Cock Fight (3:15) 1998

“The Cockfight” engages the viewer in a hypnotic orgy of violence, color, and speed so as to call into question the seductive powers of spectacles that overemphasize the importance of victors and victory, and disregard the consequences of its violent constructs.
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Circumscriptions (7:00) 2000 Also a longer live video mix performed with
Scanner, Steven Vitiello & Stevie Wishart

“Circumscriptions” enlists the circle as a template and access point to probe the concepts of perception, image making, and collective memory. The circle sometimes is a metaphor for the viewfinder and at other times a tunnel-like vehicle transmitting ancient texts and icons. Some of the many images included are abstractions of zootropes, film loops, perceptual devices, and the interior of the body. The frenetic images contaminate each other inimplosions and explosions of cells and universes where societal culture and biological culture are not distinct. The visuals are very closely edited with the sound collage/composition of Stevie Wishart. The sound reinforces and plays with the concepts of the persistence of vision and the fragmented image. We see flip books, then art history books and then eventually a Lascaux cave painting literally comes to life, calling to mind the photographic series of horses by Eadweard Muybridge.
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Corrections and Clarifications (10:00) 2000

“Based on the “Corrections” section of the New York Times and Science Magazine, and introduced at this year's Rotterdam Festival, this work is an investigation on the relativity of truth in media. The errors in articles and news from these publications, which are among the most important in the West, can surface in the most diverse topics, from science to religion. As in previous works by DiLillo, “Corrections and Clarifications” is a conceptual video that tackles one of the key issues in mass media society: the impossibility of finding an absolute reference system or an alleged truth, as well as the subjectivity of mass media. Despite the gravity of this premise, the video is full of humor, albeit a kind of humor that does not prevent us from questioning our own ability to understand both the world we live in and the role of the media.”

–-by Berta Sichel, Director of the Department of Audiovisual Art,
Reina Sofia National Museum of Art

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FBI Warning
(2:00) 1996

A set of unofficial FBI warnings, starting with the ubiquitous FBI copyright warning.
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DOCUMENTARY WORK:



Tongues Don’t Have Bones: A Journey into Burma (30:00) 2001

“Videomaker Lisa DiLillo's documentary, “Tongues Don¹t Have Bones”, tells of Burma in the throes of a long-running stranglehold courtesy of one brutal military regime. “Tongues” sounds no blaring wake-up call. It's not by-the-book, not on-the nose. Instead, DiLillo works with a specific pool of key words and images, letting them flow, collide and even tear at one another to reveal tumult in a nation under siege.

To get at what's real, “Tongues” focuses on that which can't be subjugated. Social indictments sprout from the small, personal anecdotes of student leaders. The savaging of national character unfolds in the words of noted poet Kyi May Kaung, now a producer with Radio Free Asia. The horrors of “freedom lost” find voice in Daw Aung San Suu Kyi, Nobel Peace Prize winner and repeated recipient of Burmese house arrest. Yet most irrepressible are “Tongues” images of Burmese rivers. The water providing life is the same water choked with the blood of civilian casualties, water that DiLillo uses as a constant mirror of all the regime would like hidden.”

--by Art Jones, Shout Magazine