In a recent interview, Omer Fast asserted much of his interest as a video artist and filmmaker is grounded on media: e.g., the impact television was having on the way my generation experienced reality and how we recall and retell it. (1) He has qualified assertion by stating elsewhere: There is a shorthand way of reading my work as a media critique, which is pretty much a dull and dead end as far as I'm concerned. (2) Between impact, experience, and critique, Fast seems to approach the media from a perspective is clearly stated at the end of The Casting (2007), when his alter-ego (a director conducting auditions) says he is not interested in exploring a political angle in the film he is making, but rather how experience turns into memory, and then becomes stories are ... recorded, and then broadcast. In view of the piece, this may seem rather reductive and self-evident but its frankness anchors its purpose and asserts authorial commitment to its goals. If the transition of live experience to reproduced memory and simulated reality is indeed a large concern for Fast, his work questions what narratives and histories these transformations produce. In our ultra-mediated world, how might the excess of reproductions affect our experiential apprehension of the world, no less our comprehension of the past? Mid-twentieth century cultural philosopher Walter Benjamin announced the eclipse of the aura-infused object to its mechanically reproduced image and theorized the attendant shifts in perception this seismic change inaugurated. Fast seems to have concerns about the same fate for experience itself, as it is replaced through multiple forms of replication, duplication, and recreation. Fast's earlier work demonstrated a more direct interventionist stance toward the media. In T3-AEON (2000), fast, altered then returned video store copies of The Terminator (1984) to include disturbing personal anecdotes interrupt the film's soundtrack. In CNN Concatenated (2002), a single-channel video, he created a phantasmagoric narrative out of 10,000 words spoken by a series of CNN newscasters he recorded alter September 11, 2001. This mass of borrowed words, he said, is an aggregate of what's out there, in public, on the air.(3) Through cutting, splicing, and using single words and short phrases, Fast edited eighteen minutes of talking heads into imaginary narrative driven by manipulation, need, abuse, and desire. Fast explained his technique of interventions these conspicuous cuts and splices in the footage ... highlight what is generally suppressed in narratives are based on the real.(4) Thus, what begins as a combination of words strung into seemingly factual sentences becomes increasingly ominous and devolves into derangement, abuse, and need: need to know I'm being understood, the staccato of newscasters announce, that I'm alive ... We've developed a taste for each other's weaknesses ... we thrive on consuming each other ... I feel more alone in your company ... no more than ever. [ILLUSTRATION OMITTED] Fast's subsequent work seems more firmly sealed in the process of transcription itself by examining the change occurs as events and experiences travel toward their recreations, fabrications, reenactments, and reproductions. In Godville (2005), a two-channel video installation, Fast interviewed actors at the historic theme park in Colonial Williamsburg, then aggressively cut and spliced the piece to highlight the discordance produced between contemporary reality and fabricated reenactment. However, not all his work posits replication and reproduction as products of increasingly mediated landscape, but rather as a generative process of narrative function itself. A recent piece he created for Performs 09 dramatized this process of transformation. For Talk Show (2009), Fast used the format from the game Broken Telephone to depict how a single story, told by invited guest, might transform when it is repeated down a chain of professional actors. …