TABLE OF CONTENTS

Christopher Miles

WHEN I FIRST MET GREGORY KUCERA, HE HAD recently returned to Los Angeles from a stint in Prague working on Czech TV commercials and was earning his MFA at Art Center College of Design in Pasadena, covering tuition by doing freelance video production. I was organizing a video show, under deadlines, and I needed technical support. That was all I wanted of him. It seemed like a situation best handled with the just-fix-my-car-and-let’s-not-get-too-familiar attitude, as I knew I’d be making several visits to his studio and I feared it was only a matter of time before he’d ask me to look at his work. But in conversations we had while waiting for files to load and discs to burn, I realized that Kucera’s keyboard wizardry and buzzing equipment played second fiddle to a keen intellect interested in overlapping questions about duration, simultaneity, location, motion, point of view, and perspective,

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