Three monitors on a couch, each showing a different film, accompanied by a spoken text broadcast by speaker.  The installation is programmed to loop for as many hours as is necessary.

A concern for the artist is finding common references that everybody will get.  This is impossible, of course.  But I've found three disreputable movies that everybody in the world has seen.  More to the point, these three scruffy films have served as babysitters for literally billions of children since the early 1980s.  

This is because the films are in the public domain; anyone can market them without having to pay royalties to their creators or producers.  They have been marketed on video since the beginning of the VHS/Beta era to the recent past of dollar store DVDs.  Now they abide as streaming videos on the web.   Over the years they were released first singly, in invariably subpar dupes.  Later they were delivered as double features.  Finally, all three turned up on a single disc, effectually providing four to five hours of hands-free babysitting.  

All three are horror movies in mounting levels of intensity.  They have always existed outside of approved standards of quality.  By now, a half century after their release, billions of people have watched them.  The earliest is aimed frankly at a juvenile audience.  The middle is teenage drive-in product.  The last was conceived to be a deliberate provocation, and has indeed proved to be the seed of one of today's key cultural metaphors.  The promise indicated by their titles and poster art is irresistible to 92.3% of the world's  children, because horror movies are a revelation or warning of secrets from the adult world.  

House on Haunted Hill, 1959,  was originally a gimmick film ( a skeleton on a pulley flew above the theatre audience ) which despite or because of its naive dramatic ideas can be watched as an extremely satisfying surrealist fairy tale.  The exterior shots of the house itself, for example, are of Frank Lloyd Wright's modernist Ennis House.  The interiors, with wonderful cognitive dissonance, look like the Addams Family home.   Late in the film Vincent Price operates a skeleton-marionette mechanism that could be a precursor of a Rebecca Horn body modification machine.  

The Terror, 1963, was collaged together from footage shot by five directors (including Francis Ford Coppola) over a weekend to take advantage of days left on Boris Karloff's contract and some impressive gothic sets by the sea.  It is a true Frankenstein monster of a film, an Exquisite Corpse-piece from the fringes of Hollywood.  

Night of the Living Dead, 1968, is the low budget Pittsburgh trifle ( an oblique critique of the Vietnam war ) which implacably swept the world (translated into more than 25 languages) and forms the seed of today's ubiquitous all-purpose zombie apocalypse metaphor. 

Two slight films and a corker, which end up travelling together in an unforced way on a single DVD which can be popped on while parents and babysitter have better things to do.   The first is silly but genuinely uncanny.  The second is a moody bore.  The third still has visceral power and stands at the beginnings of the desensitization to film violence (in North America at least).  

In this piece, three monitors on a couch show the three films simultaneously side-by-side.  Occasionally the images display arresting juxtapositions among films made a decade apart.  The films have different running times.  In a gallery setting it can function as a chamber piece:  the films run out one by one.  In a public setting they are burned to disc on a loop so that the work continues for six hours, with different juxtapositions.  The sound volume is set to a level that approximates white noise:  equal, self-cancelling stimulation from all three sources.

The visual stream is accompanied by a spoken narrative that continues throughout the six hours.  The voice stimulus acts as a Scheherazade mechanism meant to arrest a passer-by's conscious attention with an interesting story while the collage of images soothes or stimulates while denying an anchoring narrative thread.  The story to be used will be chosen after more experiment with the film loops.