through a wooded background. The man becomes an apparatus of seeing and movement. Later works in computer animation—e.g., Liminal Objects (1995-), Frustrum (2006)—challenge one's sense of "object" and mind-body boundaries and the very basis of our "reality." Major projective installations—Tall Ships (1992), HanD HearD (1995–96), Viewer (1996), Wall Piece (2000), Up Against Down (2008)—raise these issues of physicality, objectivity, polyvalent signification, and language itself to a further human dimension—a principle of torsional engagement both within one's own mind and body and up against the surface and face of the other. He was influenced by the intellectual orientation of conceptual art which dominated art of the 1970s, but he instinctively evolved beyond the conceptual as such, working into a refined domain of principle that put him in full processual and open dialog both with electronic media and the language of thinking. His reading of the fiction and philosophical literary essays of Maurice Blanchot, in particular, provided him with ideas relating to the way in which language impinges on phenomenological experience, and a notion of 'the other'. Such reading informs Hill's visual-poetic explorations of the interrelationships between language, image, identity, and the body. For example, in Cabin Fever he uses the binary opposition of light and darkness to convey the notion of an interaction between a self and an 'other'. He has also explored immersive environments, as seen in his 1992 piece Tall Ships. Hill's work thoroughly exploits the capacity of video to offer complex nonlinear narratives that encourage active engagement on the part of the viewer. In Roland Barthes' terms, Hill's video narratives can be understood as 'writerly' texts. Single-channel works viewable online The following works (alphabetical order) may be viewed at Gary Hill's Videos on Vimeo.com: Around & About (1980), Electronic Linguistic (1977), Equal Time (1979), Figuring Grounds (1985/2008), Happenstance (part one of many parts) (1982–83), Incidence of Catastrophe (1987–88), Isolation Tank (2010–11), Mediations (towards a remake of Soundings) (1979/1986), Picture Story (1979), Processual Video (1980), Site Recite (a prologue) (1989), Site Recite (a prologue) (1989), Tale Enclosure (1985), Videograms (1980–81), Why Do Things Get in a Muddle? (Come On Petunia) (1984). These works are discussed in detail in An Art of Limina: Gary Hill's Works and Writings, George Quasha & Charles Stein, with a foreword by Lynne Cooke (Barcelona: Ediciones Polígrafa, 2009), which also contains detailed descriptions of Hill's major installations. Updated descriptions and new exhibitions at Gary Hill's