精神分裂者
同步雙聲道錄像裝置，67分鐘 ，2001
1996年由葛斯范桑重新拍攝的驚魂記( Psycho, 彩色)，忠實地呈現希區考克在1960年執導的同名黑白作品，而椎格的Schizo Redux，將這兩部片推向另一個新的高峰，他重製影片，利用剪輯對剪輯，畫面對畫面的方式，讓兩部電影的場景幾乎行進一致，最後，他再利用數位合成的技術，把這兩部電影融合，創造出一部新的電影，在他的Schizo Redux當中，所有的影像以雙重視野呈現，而希區考克驚魂記的原音在左邊的音響，右邊的聲音則是葛斯重製的電影，就好像同一時間看同一部電影兩次一樣，而驚魂記就變成了精神分裂者，影片中的每個人物，都好像有一個長相打扮相近的代言人、每句台詞好像都是卡農二部曲(canon)、而人物說話時，好像都有回音似的，當觀賞者適應了這種奇怪的現象，他的大腦就能把這部作品看做是一部新片，這種讓人很不舒服的效果，事實上可以引發出真正幻覺般的感受，甚至可以讓觀賞者真的產生精神分裂的體驗。
Schizo
Synchronized two channel video installation, 67 mins, 2001
Gus Van Sant’s remake Psycho (1996, color) of Alfred Hitchcock’s Psycho (1960, b&w) is the most exact reconstruction of a movie in the history of cinema. Christoph Draeger’s Schizo Redux synchronizes these two films even further: They were re-edited cut by cut, frame by frame in a way so each take in both movies became almost exactly synchronized. Finally, by digitally dissolving the two films into one another, Draeger created a new film, in which all images appear as double visions. The soundtrack of the original is on the left, the remake on the right of the stereo spectrum. It’s like seeing the (almost) same movie twice at the same moment: Psycho becomes Schizo. Every protagonist has a doppelganger, every line is spoken in canon, or else carries an echo. As the viewer's perception is getting used to this distortion, his brain starts to accept the new film as one: a deeply troubling effect that can trigger a truly psychedelic, or better, schizophrenic experience.
