{"id":7669,"title":"Ken Marsh","kind":"bio","url":"https://www.videohistoryproject.org/ken-marsh","version":"2ac79b65e0bd1ad23fc575b1932227e04854d07515d76f0ed0356e066553563b","modified":"2011-06-18T00:00:24+00:00","credits":[],"authorKeys":[],"subjects":["bio"],"metadata":[{"label":"First name","value":"Ken","url":null},{"label":"Last name","value":"Marsh","url":null}],"citations":{"page":"\u0022Ken Marsh.\u0022 Video History Project, Experimental Television Center, 2011. https://www.videohistoryproject.org/ken-marsh.","publication":null,"risUrl":"https://www.videohistoryproject.org/citation/7669.ris"},"links":[],"sections":[{"name":"body","source":"VHP record body","generated":false,"characters":1754}],"content":{"section":"body","source":"VHP record body","generated":false,"text":"As the porta-pak emerged on the scene in New York City in the late 1960s, I was among those whose imaginations were set afire with dreams of an utopianesque mass and personal media. I had been exposed to the cinema verite work of Leacock-Pennebaker as an assistant editor in the early 1960s during a year leave of absence from Cooper Union. Finding the complexities of celluloid a turn off, my return to school was also a return to painting, the medium of expression I invariably return to again and again. In the late 60s, I met Eric Siegel, who turned me back on to the moving image, this time via magnetic tape and electronic cameras. As a close associate of David Cort, and collaborator with Howie Gutstadt, following the lead of Videofreex, Raindance and Global Village, I co-founded People\u0027s Video Theatre with Elliot Glass in 1970. Seeking an environment in which to do community television, I moved out of NYC to Woodstock in 1971 and set up Woodstock Community Video. There and in the area for the next 8 years, with help from both friends and others, among whom were Bob Dacey, Gary Hill, Toby Carey, Morty Schiff and many others who gave and took something from the experience, I developed and programmed a town cable-TV channel, produced annual video exhibitions, maintained a post-production studio for artists; and wrote two books, Independent Video and The Way The New Technology Works. With Elaine Milosh, my partner during this period, my daughter Katherine was created. I left the world of video upon leaving Woodstock in 1979, only to visit on occasion cashing in on the currency of my place in its earlier history. I confess to entertaining periodic fantasies of future acts of video, but until then, I remain a retired video pioneer.","offset":0,"nextOffset":null,"totalCharacters":1754,"complete":true},"rightsUrl":"https://www.videohistoryproject.org/terms-service"}