Experimental Television Center, LTD.: Chronological History of the Center: 1969-present

1971-72 Funding was received from the New York State Council on the Arts for construction of the Paik/Abe Video Synthesizer. One system was designed and built in 1972 at the Center by Shuya Abe and Nam June Paik for eventual placement at the TV Lab at WNET-TV. This system was used while still at the Center by the TV Lab, including David Loxton, John Godfrey and Russell Connor, to produce a portion of Paik’s “The Selling of New York”, included in the PBS series Carousel, broadcast in 1972 by WNET. “Selling of New York” became a part of WGBH and WNET’s production “Tribute to John Cage” as well as the opening segment for “My Shuttle - New York - Moscow,” a collaboration with Dmitri Devyatkin, aired over the PBS system. A second system was built for the Artist in Residency program at the Center and used in 1972 by artists such as Nam June Paik, Ernie Gehr, Shigeko Kubota, Hollis Frampton, Jackson MacLow and filmmaker Nick Ray, and also included in exhibitions at the Bonino Gallery in New York and the Everson Museum in Syracuse. A February 25th, 1978 letter by Nam June Paik clarifies the vital support the Experimental Television Center (then in Binghamton) and Ralph Hocking gave to Paik and Shigeko Kubota in creating their tools and art. He notes that the Paik-Abe Video Synthesizer which had officially premiered at WGBH was not up to WGBH’s broadcast standard. The “tool was finally welded into [the] broadcast standard at Binghamton. [Paik writes that] “without Ralph Hocking, this machine would not have been completed.” While working with ETC, Paik made two of his well known sculptures, Video Bed and TV Cello. In February 1972 in a collaborative exhibition with Nam June Paik and Charlotte Moorman at the Everson Museum, TV Bed and TV Cello were exhibited. Shigeko Kubota completed “Duchamp-Chess” at ETC in collaboration with Ken Dominick. The piece was shown at the Whitney’s “Projected Video”; the Rene Block Gallery, New York City; the Kitchen at Mercer Art Center; and the Japan House Gallery in 1978. We assisted artists Joan Jonas, Tina Girourd and Carlota Schoolman with extended equipment loans. A raster scan manipulation device was also constructed, the principles of which were defined by Paik’s early TV experiments such as “Dancing Patterns”. The Center’s name is changed to the Experimental Television Center. We participated in the 9th Annual Avant Garde Festival, produced by Charlotte Moorman. The Center produced Access, a weekly cable series of original programming produced by the community. Sherry Miller Hocking, Assistant.

• A Chronological History
• To visit the Experimental Television Center website

A Chronological History  Sherry Miller Hocking, on-going

The Experimental Television Center began as an outgrowth of the Student Experiments in Television program formed in 1969 by Ralph Hocking on the campus of Binghamton University. SET provided access to the newly developed small-format portable video equipment for regional arts, educational and community groups and individuals as well as by students and faculty of the University.

Incorporated in 1971, the Center created programs to facilitate the uses of the new technology by three major constituencies: artists; community organizations; and interested citizens. Access to equipment and editing facilities as well as an annual exhibition series and regularly scheduled instructional workshops were offered. For two years the Center sponsored a weekly community cable show, Access, which programmed tapes produced at the Center.

Involvement with artists interested in investigating video as a contemporary art-making medium has always been an integral part of the Center's activities. A Research Program, initiated to provide a more flexible set of imaging tools to artists, facilitated the design and construction of new video tools. One of the early projects involved the construction of the Paik/Abe Video Synthesizer, under the direction of Nam June Paik and Shuya Abe, for the TV Lab at WNET-TV. After the installation in 1972 of a second system at the Center, the Center began a Residency Program, inviting artists such as Paik, Shigeko Kubota, poet Jackson MacLow and video activist Rudi Stern to use the facility. An annual exhibition series brought video artists like Beryl Korot, Gary Hill, Dickie Landry and many others to the Southern Tier.

Today, the Center continues to offer a variety of unique programs which provide production, research and support services and a grants program for artists and cultural organizations. The programs are designed to encourage independent and creative uses of new media technologies across genres; to help design and implement cost-effective models for disseminating information about these technologies and their artistic applications; to nurture opportunities for the exhibition of independent film and media works in all regions of the State; and to preserve the primary artifacts of the history of video, particularly as it has unfolded in upstate New York over the last quarter century.

1968-70
Ralph Hocking began the Student Experiments in Television project on the campus of Binghamton University. Along with students, community members were introduced to portable video production tools and techniques. In 1969 Angel Nunez taped "Bedford Stuyvesant Kids", a street-tape which documented neighborhood kids arrested by police after stealing from a factory, This tape was shown widely throughout the State and proved instrumental in obtaining funding for a number of drug-related and inner city improvement projects. It was eventually broadcast by WNET-TV. Equipment was used by many community-based organizations. Ralph Hocking, Director.

1970-71
With support from the New York State Council on the Arts, Hocking incorporated SET as the Community Center for TV Production, a non-profit media center and moved to a loft space in downtown Binghamton. The initial programs emphasized production training for community organizations, educational institutions and individuals. In meetings with Nam June Paik, Hocking addressed artists' uses of video and began a program to support the development of imaging tools. The programs included access to portable tools, instruction programs, exhibition of works, and a residency program for artists. We participated in the 8th Annual Avant Garde Festival. Equipment was used by the Veterans, NAACP, Awana, First Presbyterian Church, Owego Girls Club and many other civic, governmental and religious organizations. Woody and Steina Vasulka presented video works and installations. Ken Dominick, Coordinator.

1971-72
Funding was received from the New York State Council on the Arts for construction of the Paik/Abe Video Synthesizer. One system was designed and built in 1972 at the Center by Shuya Abe and Nam June Paik for eventual placement at the TV Lab at WNET-TV. This system was used while still at the Center by the TV Lab, including David Loxton, John Godfrey and Russell Connor, to produce a portion of Paik's "The Selling of New York", included in the PBS series Carousel, broadcast in 1972 by WNET. "Selling of New York" bacame a part of WGBH and WNET's production "Tribute to John Cage" as well as the opening segment for "My Shuttle - New York - Moscow," a collaboration with Dmitri Devyatkin, aired over the PBS system. A second system was built for the Artist in Residency program at the Center and used in 1972 by artists such as Nam June Paik, Ernie Gehr, Shigeko Kubota, Hollis Frampton, Jackson MacLow and filmmaker Nick Ray, and also included in exhibitions at the Bonino Gallery in New York and the Everson Museum in Syracuse. A February 25th, 1978 letter by Nam June Paik clarifies the vital support the Experimental Television Center (then in Binghamton) and Ralph Hocking gave to Paik and Shigeko Kubota in creating their tools and art. He notes that the Paik-Abe Video Synthesizer which had officially premiered at WGBH was not up to WGBH's broadcast standard. The "tool was finally welded into [the] broadcast standard at Binghamton. [Paik writes that] "without Ralph Hocking, this machine would not have been completed." While working with ETC, Paik made two of his well known sculptures, Video Bed and TV Cello. In February 1972 in a collaborative exhibition with Nam June Paik and Charlotte Moorman at the Everson Museum, TV Bed and TV Cello were exhibited. Shigeko Kubota completed "Duchamp-Chess" at ETC in collaboration with Ken Dominick. The piece was shown at the Whitney's "Projected Video"; the Rene Block Gallery, New York City; the Kitchen at Mercer Art Center; and the Japan House Gallery in 1978. We assisted artists Joan Jonas, Tina Girourd and Carlota Schoolman with extended equipment loans. A raster scan manipulation devise was also constructed, the principles of which were defined by Paik's early TV experiments such as "Dancing Patterns". The Center's name is changed to the Experimental Television Center. We participated in the 9th Annual Avant Garde Festival, produced by Charlotte Moorman. The Center produced Access, a weekly cable series of original programming produced by the community. Sherry Miller Hocking, Assistant.

1972-73
The Residency Program continued, including artists such as John Randolph Carter, Tom DeWitt and Bill T. Jones and Arnie Zane, John Reilly, Joe and Patsy Scala, Rudi Stern, Ed Melnick, and Peer Bode. Walter Wright was an Artist in Residence, actively conducting workshops in electronic imaging throughout the State and Canada. Workshops were conducted for the New York State Art Teachers Annual Conference, and at the Everson Museum and The Kitchen. Works from the Experimental Television Center, a large exhibition produced for the Video Program, at the Everson Museum curated by David Ross, included installations, tapes and performances. Many individuals and groups from the community produced tapes, and participated in workshops. These tapes as well as artists' tapes were cablecast weekly in the series "Access", produced by the Center. Bob Diamond, Technician. David Jones, Technician. Walter Wright, Artist in Residence. Oscillators were designed by David Jones for use as signal inputs to the synthesizer. Initial research began into the Jones gray level keyer and production of a black and white keyer. Modification of an existing Sony SEG for direct sync interface with the Paik/Abe with provision for external wipe signal input

1973-74
David Jones became technician at the Center. Artists participating in the Residency program included Jean Pierre Boyer, Howard Gutstadt and Survival Arts Media, Tom DeWitt, Toby Carey, Lois Welk, Mimi Martin, Meryl Blackman, Francis Lee, Evangelos Dousmanis, Taka Iimura, Carlota Schoolman, Doris Chase, and Michael LV Butler. We conducted a regularly scheduled series of workshops on the basic principles of video production. Workshops in imaging and synthesis were also held regularly at the Center; Walter Wright presented the system at many locations, including the Kitchen, Global Village and at York University in Toronto. We provided equipment support for Astral Projections: A Polyfusion of Media, at the Rochester Planetarium. We consulted with the Lake Placid Video Theater, the Collective for Living Cinema, and attended the Video in New York State conference at the Whitney Museum and the Video and the Museum conference at the Everson Museum. Oscillators were designed for use as signal inputs to the Paik/Abe Synthesizer. We hosted the Gay Video Workshop, a three day workshop for gay media artists, and presented a concert by Richard Landry We begin initial research into the Jones gray level keyer and production of a black and white keyer, as well as modification of an existing SEG for direct sync interface with the Paik/Abe, with provision for external wipe signal input. The equipment we design and create is either not available commercially or is so expensive it is beyond the reach of independent artists.

1974-75
Artists included Gary Hill, Arnie Zane, Neil Zusman, and Jane Wright. Workshops and performances based on image processing were conducted at The Kitchen, Anthology Film Archives and the Contemporary Art Museum in Montreal. NYSCA supported a series of traveling performances by Walter Wright on the video synthesizer. Over ten organizations throughout New York State and Canada took part. The workshop program at the Center included Basic Video Synthesis and Advanced Video Synthesis by Walter Wright; Black and White Imagery by Meryl Blackman and Peer Bode; Digital Video by Don McArthur; Video for Young People; Photography by Van Dousmanis.. NYSCA provided funding for the development of the Jones Colorizer, a four channel voltage controllable colorizer with gray level keyers. The oscillator bank was completed and installed. In April 1975 the SAID (Spatial and Intensity Digitizer) was developed by Dr. Don McArthur, an outgrowth of research on black and white time base corrector. Work was begun by David Jones, Don McArthur and Walter Wright on a project to explore computer-based imaging, and the interface of a computer with a video processing system. This project was initially based on an LSI-11 computer. The Experimental Television Center and Woodstock Community Video jointly sponsored several performance events, including a showing of tapes from Expovision and discussion of works by Ken Mash of WCV and the showing of works produced at the E.T.C. with a discussion by Walter Wright of the E.T.C. Collaborative performances included "Synergism 1," a live event including video synthesis by Walter Wright and audio synthesis by Gary Hill of W.C.V.; and "Synergism 2," a live performance of video and audio synthesis and dance with Sara Cook, Gary Hill, Ken Marsh and Walter Wright. Exhibitions included the 11th Annual Avant Garde Festival, Exprmentl 5 in Knokke, Belgium, Expanded Cinema at York University, MultiMedia Festival at Hofstra University, Videoscape and L'Image Electronique at the Musee d'Art Contemporain in Montreal. Director, Ralph Hocking; Assistant Director, Sherry Miller; Administrative Assistant, Helene Dorph; Engineering and Design, Richard Brewster, Paul Davis, Dave Jones and Don McArthur; Artists in Residence Meryl Blackman, Peer Bode, Michael L. V. Butler and Walter Wright; with Photography by Evangelos Dousmanis.

1975-76
The Residency Program included artists Nam June Paik, Phil Jones of Ithaca Video Projects, Ken Marsh, Ken Jacobs, Michael Convertino, Gary Hill, Joey Skaggs, Jim St. Lawrence for Channel 19 in Toronto, and Broadway Central in Kingston. David Jones, Walter Wright and Don McArthur participate in Tele-Techno conference sponsored by the VideoFreex/Lanesville TV. The National Endowment for the Arts in 1975 provided support for initial research into the computer-video processing project, which was expanded by Jones, McArthur, Wright and Brewster to incorporate parallel research efforts by Woody and Steina Vasulka and Jeffrey Schier. The LSI-11 computer was chosen as the standard. Jones developed hard and soft edged keyers and a sequential switcher, which along with the Jones Colorizer was incorporated into the processing system. A commercially available SEG was modified to incorporate these keyers. A 64-point push button switching matrix was designed and built. We began to write a manual, developed initially to be used as an operator's guide to 1/2" reel-to-reel equipment, portapaks and editing equipment. The concept was later broadened to include step-by-step construction information on a Paik Raster Control Unit. By 1985, the information was expanded to include systems structure and theory of electronic signals and processing techniques. These manuals have been distributed to many individuals and organizations over the years. Sherry Hocking is a correspondent for TeleVisions magazine. The Regional Exhibition Program Audio and Slide Workshop, sponsored by the NYS Historical Association, was held at the Center. Cloud Music by Robert Watts, David Behrman and Bob Diamond was presented at Center. Johanna Gill interviewed Ralph Hocking for her research publication Video Art sponsored by the Rockefeller Foundation. Tapes were presented at the Fifth International Experimental Film Festival in Brussels, Expovision at Woodstock Community Video, at Anthology Film Archives, Manhattan Cable Channel D and Media Study/Buffalo. Performances included Rhada, Couple 513, At the Crux of...and Track Dance with Bill Jones and Arnie Zane and the American Dance Asylum, as well as Movements for Video, Dance and Music by Peer Bode, Meryl Blackman and Company. Sonatina for Piano and Harpsichord by Nam June Paik was presented at Binghamton University. Walter Wright appeared in performance at Expovision at Woodstock Community Video. The tape library is established. We participate in the Internship Program for Off Campus College, Binghamton University providing credit and work experience for students. Richard Brewster, Technician. Brian Byrnes, Coordinator. Helene Dorf Antel, Secretary.

1976-77
Artists such as Barbara Buckner, Aldo Tambellini, Nam June Paik, Mary Ross, Percy Borde, Sara Dickenson, Carol Goss, Richard Salzman, Carl Geiger, Fitzgerald and Sanborn and the American Dance Asylum continued to participate in the Residency Program. The exhibition series, Video by Videomakers, was begun; this is the first and only video programming in the region and brings artists such as Beryl Korot, Barbara Buckner, Steven Kolpan, Richard Simmons of the Everson Museum, and many others to the area to present and discuss works. In collaboration with Binghamton University, we presented Videofictive, showcasing the work of Robert Longo, Vito Acconci and Ed Bowes. Works produced here are shown at the Herbert Johnson Museum; in New Work in Abstract Video Imagery and Information, Works and Activities, both at the Everson Museum; Museum of Modern Art, the Collective for Living Cinema, Open Stacks at Williams College Museum of Art, the Third Annual Ithaca Video Projects Festival and the CAPS Festival. The computer was installed as part of the system and made available to artists; software research began. For the second year, we conducted a series of workshops in school districts throughout the region, in collaboration with Binghamton's major cultural institution, Roberson Center. Evangelos Dousmanis continues to offer a comprehensive series of photography workshops and exhibitions at the Center, including works by Arnie Zane, Anna Williams, Carl Geiger, Mary Ross and Van Dousmanis.

1977-78
NYSCA funding helped support the development by David Jones and Richard Brewster of the Analog Control Box, allowing the production of electronic sounds and also signals which controlled parameters of the video signal. The computer project proceeded, assisted by Paul Davis, then director of the student computer lab and instructor at the School for Advanced Technology at SUNY-Binghamton. Artists in Residence included Shalom Gorewitz, Sara Hornbacher, Steve Keeler, Mark Cavanagh, Steve Parr, Arnie Zane, Barbara Kristaponis, Henry Rudolph, Julie Harrison, David Held, Johanna Vanderbeek, Norman Pollack, and Hank C. Linhart. We conduct workshops for the City of Binghamton, Headstart, Tri Cities Opera, 4H Program and the Center for Media Studies at Buffalo. Exhibitions included Paul Bley and Sun Ra in New York; Art V, at the Albright Knox Art Gallery in Buffalo; Media Study/Buffalo; Roberson Center, Binghamton; University Wide Committee on the Arts at Binghamton; Arnolfini Art Center; Projects Video series at the Museum of Modern Art; Franklin Furnace; A Salute to NYSCA in NYC and The Meet the Maker series at the Donnell Library. We conducted workshops at Media Study/Buffalo, the 29th Annual NYS Art Teachers Association conference; and at the Center for Tri Cities Opera, the Headstart Program, and many regional schools. The Video by Videomakers exhibition series at the Center included presentations by Steina Vasulka, Peer Bode and Barbara Buckner. Peer Bode is Video Coordinator at the Center.

1978-79
Tapes produced at the Center were included in such exhibitions as New York in Abstract Video Imagery, a traveling exhibition produced by Richard Simmons of the Everson Museum; School of the Art Institute of Chicago; West Deutsch Rundfunke; Performance Gallery, Syracuse; Women, Artists Filmmakers at Global Village; tapes by Barbara Buckner at the Whitney Museum Biennial; Albright Knox Art Gallery, Buffalo; Media Study/Buffalo; the CAPS Traveling Festival.; Boston Film/Video Foundation; Holly Solomon Gallery; and the Fifth Annual Ithaca Video Project Festival. The Video by Videomakers screenings at the Center included video presentations by Shigeko Kubota, Gary Hill, Ernest Gusella and Ralph Hocking and photographs by Daile Kaplan. Artists include Peer Bode, Barbara Buckner, Doris Chase, Shalom Gorewitz, Sara Hornbacher, Taka Iimura, Henry Linhart, Mimi Martin, and Neil Zusman. We provided equipment assistance to the Roberson Center, Sullivan County Community College, Rape Crisis Center of Binghamton, The Vasulkas, BC Pops, Cooperative Extension of Broome County, the Broome County Red Cross and many other agencies. The computer interface continues to be developed, and the system includes a ¾" editing system.

1979-80
The processing system computer is the Z-2, an 8 bit system with an S-100 bus, and dual floppy drives. A CAT digital frame buffer is interfaced to the computer; at the time this is one of the only commercially available "low-cost" digital devices, which incorporated concepts of video, and recordable signal output. The Z-80 is interfaced also with the analog box. Software begins to be developed for specific video uses. Artists working in residence include Barbara Buckner, Rii Kanzaki, Alan Powell and Connie Coleman, Doris Chase, Shalom Gorewitz, Philip Mallory Jones, Charles Atlas, Victor Velt, Jud Yalkut and Ren Weidenaar. Ralph Hocking and Sherry Miller Hocking presented "The Electronic Workshop", a series of lecture/demonstrations concerning image processing, for 17 organizations around New York State. Works produced at the Center were represented in touring exhibitions including the CAPS Exhibition, the 5th and 6th Annual Ithaca Video Project Festivals, the Everson Video Review and Video: New York, Seattle and Los Angeles, curated by Barbara London of the Museum of Modern Art. Video by Videomakers 1980 included presentations at the Center by Doris Chase, Peer Bode, Barbara Buckner, Shalom Gorewitz, Paul Davis, Maureen Turim and Harald Bode. The Center moves to Owego.

1980-81
The need for artist-oriented software increases. The Print Program is developed by David Jones, allowing artists to develop videographic still frames, captured on disk, then printed out with variable gray level control. This is a natural extension of the use of video image processing as an electronic darkroom for photographic techniques, an area that was explored by a number of artists since the early 70s. Additional software is developed by graduate-level interns under the direction of Paul Davis and Ralph Hocking. Artists working at the Center include Dan Reeves and Jon Hilton, Sara Hornbacher, Terry Mohre, Celia Shapiro and Benny Powell, Jud Yalkut, Maureen Nappi, and Peter D'Agostino. Works were exhibited in the Women's One World Festival, the San Francisco Video Festival, Athens Video Festival, Atlanta Video Festival, CAPS Video Festival, and at the Kitchen Center, Inter-Media Art Center, Visual Studies Workshop, Synapse, International Center for Photography, Hallwalls, PS 1, And/Or Gallery, Video Free America, Boston Film Video Center and the AFI National Video Festival. Artists participated in the Residency Program at WNET TV, and received awards from the NEA, CAPS, and the New York State Council on the Arts, the Athens Video Festival and the Rhode Island Video Festival among many others. Hank Rudolph is Coordinator.

1981-82
Artists working in the studio include Frank Dietrich, Thierry Kuntzel, Ron Rocco, Larry Gartel, Alex Roshuk and Matt Schlanger. Work produced through the Residency Program is exhibited widely at Siggraph, the Donnell Library, Global Village and included in the 7th Annual Ithaca Video Projects Festival and the San Francisco International Video Festival. The Center helped curate programs for Anthology Film Archives, The Kitchen and the American Center in Paris, and for the Art Gallery at Binghamton University. Tapes were exhibited at Processed Images I and II, curated by Shalom Gorewitz for The Kitchen; Los Angeles Contemporary Exhibitions; UCLA; AFI 1982 National Video Festival; Siggraph; Video Free America; George Pompidou Center; Australian Biennial; and broadcast on WXXI-TV in Rochester, WGBH in Boston and KQED in San Francisco. The Center sponsored productions by Gary Hill, Peer Bode, Harland Snodgrass and Shalom Gorewitz and for a Rockefeller Foundation Fellowship by Gary Hill

1982-83
NYSCA provides funding for a General Purpose Interface Board, which interfaces analog imaging equipment with an 8-bit computer, allowing manually-changed knob settings to be "remembered" and repeated digitally. David Jones and Peer Bode collaborate on the initial research for a real-time frame buffer, which digitizes in real time analog video images, with a resolution of 256x256, 16 shades of gray. The Pattern Program, a software project, is designed an internship project by Master's candidates at SUNY. Patterns or textures can be drawn and then stored and used as movable windows. Artists include Nancy Buchanan, Amy Greenfield, George Landow, Larry Gartel, Karos Burrows, George Stoney, Barbara Sykes, Alex Roshuk, Julius Vitali, Jeannie Mellinger, Bob Harris, Annette Barbier, Kjell Bjorgeengen, and Ann Wooster. Exhibitions included The United States of the Arts: The Contributions of the Arts Councils 1963-1983; Monumental Art Show; Siggraph '83; CAPS 1982; Video Music: New Correlations; Athens Video Festival; Solomon Guggenheim Museum; Whitney Museum Biennial; First Asian American International Video Festival; World Wide Video Festival,; Documenta 7; Festival 1982 at Video Inn and the Australian Biennial. Artists received awards from the Pennsylvania Arts Council, the NEA; National Federation of Cable Programmers; Media Bureau; 11th International Electroacoustic Music Competition and the Women in Film Festival. The Center sponsored projects by Shigeko Kubota (Green Video) and Barbara Buckner (Analogs).

1983-84
Assisted by Matt Schlanger, David Jones continues work on the Four Board Project, which consists of a four channel colorizer, keyers, multi-channel programmable sequencer, and oscillators. In addition to providing equipment for the Residency Program, one intention of the project is to define a comprehensive, low-cost imaging system and to then help artists to acquire or to build the tools. We believe that electronic media artists must have a more natural access to their tools, in order to develop and refine their art form. We begin to study the newly available Amiga computer. Artists include Shigeko Kubota and Paul Garrin, Arthur Tsuchiya, Richard Snow, Bradley Eros and Aline Mare, Paul Lamarre, Abby Luby, Annette Barbier, Barbara Sykes, and Hunter Yoder. Ren Weidenaar received the Grand Prix award at the 6th Tokyo Video Festival; artists also received awards from the Canada Council, CAPS, and several State Arts Councils. Tapes were exhibited at Overmac; the Venice Biennial; Abstraction and Image Processing, curated by Bob Harris; AIR Gallery; the 1983 Whitney Biennial; Electronic Visions, curated by John Minkowsky for the Hudson River Museum; Video Art: A History at the Museum of Modern Art; New American Video Art: A Historical Survey at the Whitney Museum; Video at Mobius Gallery; and the World Wide Video Festival at Den Haag. The Center sponsored projects by Peer Bode, Gary Hill and Jud Yalkut for a manuscript concerning the history of video art.

1984-85
The Four Board Project is completed and the devices are installed at the Center. David Jones and Matt Schlanger begin work on the documentation, assisted by Connie Coleman and Alan Powell. The equipment manual is revised to include the new tools, and to explicate such processes as keying, colorization, switching. Artists include Merrill Aldighieri and Joe Tripician, Tom Baggs, Irit Batsry, Peter D'Agostino, Lee Eiferman, David Blair, Jim Duesing, Larry Gartel, Megan Roberts and Raymond Ghirardo, Richard Snow, Peter Rose and Kathy High. The Center sponsored projects by Shigeko Kubota (Niagara Falls), Daniel Reeves (Execution of the Clouds) and Matt Schlanger (Bug Eyed Ramrod and other works). Artists received awards from the Ohio and New York State Arts Councils, the New York Foundation for the Arts, the NEA, the Canada Council, the Guggenheim Fellowship program, and from the Miami Film Festival, the San Francisco Film Festival and the Three Rivers Arts Festival. Works were broadcast on the Learning Channel; New Television, WNET-TV; USA Cable; Not TV, curated by Visual Studies Workshop; and Swedish Television. Works were exhibited at Kijkhius Video Festival; the Black Maria Video Festival; the Locarno Video Festival; the 1984 Asian American International Video Festival; Techno Bop, curated by Sara Hornbacher; Painted Bride Art Center and the Cincinnati Film Society.

1985-86
The Four Board Project is premiered at the Media Alliance Annual Conference at The Kitchen. NYSCA funds the development of a black and white frame buffer by David Jones and Peer Bode to be interfaced to the Amiga computer. Artists include Ben Britton, Jon Burris, Carlos deJesus, Doris Hayes, Alex Hahn, Marshall Reese, Linda Gibson, Lee Eiferman, Richard Kostelanetz and Megan Roberts and Ray Ghirardo. Tapes were exhibited at the NY Experimental Video Festival; SONY's Visions of US; Video in the Boroughs, curated by Sara Hornbacher for Locus Communications; Techno Bop; TV: Through the Looking Glass, curated by Media Alliance; New American Filmmakers at the Whitney Museum; Ars Electronica, Austria; Black Maria Festival; A Video Sampler at the American Museum of the Moving Image; Video Viewpoints at the Museum of Modern Art; New Television, produced by WNET. Artists received recognition from Checkerboard Foundation and various State Arts Councils, at the Athens Video Festival, the Mid Atlantic Media Arts Fellowship Program and the Mid American Music Festival. . The Center sponsored projects by Peer Bode (Frame Buffer), Gary Hill (URA ARU - There is a Reverse Side) and Ann Sargent Wooster (Carmen). Judy Vassallo, professor at Moore College, received a Critics Fellowship from the Mid Atlantic Arts Foundation through the Center. Sherry Hocking helped curate Video as Art, a month-long exhibition for the Cortland Arts Council as well as two exhibitions for the American Film Festival National Council and the Whitney Museum.

1986-87
The Print Program is revised for the Amiga. Customized software is devised to allow the computer to control the frame buffer. With support from the NYSCA, the Amiga is expanded with genlock and additional memory, Artists include Irit Batsry, Gretchen Bender, Jon Burris, Phil Edelstein, Kathy High, Rohesia Metcalfe, Carol Parkinson, Alex Hahn, Peter Rose, Michael Schell, Mary Ann Toman, Reynold Weidenaar, and Charlie Woodman. Tapes were exhibited at the Video Viewpoints at the Museum of Modern Art; Meet the Makers, Donnell Library; Techno Bop 1987; GRID, curated by Peter Chamberlain for the Arnot Art Museum; Whitney Museum 1987 Biennial; New Museum of Contemporary Art; Real Art Ways; The Other New York: Regional Reflections, curated for the American Film Institute's National Video Festival. Tapes were broadcast by WNET in the New Television series, on the Learning Channel, and included in cable series such as No TV, Rochester, and Bad TV, curated by Lisa Cramer, Hank Rudolph and Loren Stephanelli for Ithaca cable. Artists received awards from the Columbus Video Festival, the San Francisco Video Festival, the Jerome Foundation, the Henie Onstad Museum in Norway and several State Arts Councils. The Center sponsored David Blair's WAX: or the Discovery of Television Among the Bees.

1987-88
We work on devising educational strategies to help artists to become fluent on the computer and digital devises as quickly as possible. A second Amiga is added to the system, one dedicated to buffer control, and one for videographics and audio software. Artists include Shu Lea Cheang, Kevin Cook, Bob Doyle, Larry Gartel, Mark Gilliland, Ernie Gusella, Barbara Hammer, Armin Heurich, Taka Iimura, Mona Jimenez, Margot Kernan, Bianca Miller, Scott Nygren, Robert Russett, Diane Teramana, Jo Wright Whitten and Jud Yalkut. Tapes are exhibited in the Black Maria Festival; The Endangered Documentary at Global Village; the Monday Wednesday Friday Club; Walker Art Center; Video Transformations, curated and toured by Independent Curators; Second Emerging Expressions Biennial, at the Bronx Museum; Videoville, The Learning Channel; AFI National Video Festival; Siggraph 88; the Berlin Film Festival; Image Video Festival; Cast Iron TV cable series; the Video Arts Music issue of Tellus, distributed by Harvestworks; Fukai International Video Biennial 88, Japan. The Center sponsored projects by Daniel Reeves (Try to Live to See This), Larry Gottheim (Cantos de Oriol). Artists received awards from the Swiss National Council, the Canada Council, the Samaya Foundation, New Jersey Arts Council, New York Foundation for the Arts, and the Jerome Foundation.

1988-89
The audio section of the system is expanded to include a Mirage and mixing capacity. We begin work on MIDI and control voltage exchange boxes. Artists include Alan Berliner, Laurie Beth Clark, Peter Callas, Vanalyne Green, Andrea Jenik and Paper Tiger TV, Jon Knecht, Richard Kostelanetz, John McCarthy, Sherry Millner, Silvia Pengilly and Matt Schlanger. Works were exhibited at Untamed Video, the University Art Museum, curated by Maureen Turim, and screened at the NAMAC Annual Conference; Post Currents: A Gallery of Electronic Arts, University of Buffalo, curated by Neil Zusman; the Robert Flaherty Film Seminar; Video Shorts Festival; PRIM Video, Montreal; Symposium on Electronic Art, Utrecht; 3rd Videonale, Bonn; Infermental VIII, Tokyo; Atlanta Video Festival; Media Festival, Osnabruck; Women in the Director's Chair Festival; Cast Iron TV; Independent Focus, WNET; Night Visions, cable series produced by Raindance. Shalom Gorewitz received a Guggenheim Foundation Fellowship; artists also received awards from the NEA, Hallwalls Disciplinary Arts Award, the World Wide Video Festival in Den Haag, The NYFA Fellowships, the Canada Council and many others. Ralph Hocking and the Center received the Indie Award from the Association of Independent Video and Filmmakers for its "unique role in providing an oasis for innovation in the electronic arts". Ralph Hocking was recognized as a Champion of the Arts by the New York Foundation for the Arts in 1989. The Center sponsored productions by Larry Gottheim (Machete Gillette...Mama), Ken Jacobs (The Alps and the Jews), David Blair (Wax: Or the Discovery of Television Among the Bees) and Alex Hahn (Dirt Site). The Center begins the Electronic Arts Grants Program, with support from the New York State Council on the Arts. Presentation Funds provides support to organizations in the State for the exhibition of works of electronic art. Finishing Funds provides assistance to artists for the completion of projects.

1989-90
Artists in Residence include Benton Bainbridge, Kevin Cook, Vanalyne Green, Francis James, Bianca Bob Miller, Gardner Post and Joshua Pearson, and Eva Schicker. Tapes were exhibited at the Kolnischer Kunstverein; Image World: Art and Media Culture, Whitney Museum; Video and the Computer, Museum of Modern Art; Visions/Revisions: The Media Arts in Motion, Media Alliance annual conference; the Wexner Center; Carnegie Museum of Art; The Kitchen; CAGE; the Black Maria Festival; World Wide Video Festival, Den Haag; arTVideo, curated by Carlota Schoolman for the New York Foundation for the Arts; Video 101, Brooklyn Museum; After Collapse, University of Buffalo; Distant Lives, curated for The Learning Channel; and Independent Focus on WNET. The Center sponsored projects by Alex Hahn (The Kircher Itinerary), Megan Roberts and Raymond Ghirardo (Digital Interface) and Larry Gottheim (Machete Gillette...Mama). Artists received awards from Art Matters, Johnson Foundation, and many State Arts Councils. Presentation Funds provided support to many organizations in the State including Hallwalls, Downtown Community TV Center, the Brooklyn Museum and the Asian American Video Festival. Finishing Funds recipients include Robert Attanasio, Maria Beatty, Abigail Child, Barbara Hammer, Kathy High, Mona Jimenez, John Knecht, John Sturgeon and Neil Zusman, selected by panelists Raymond Ghirardo and Arthur Tsuchiya

1990-91
A third Amiga is added to the system, along with the Toaster, to further expand the digital imaging potential of the systems. Artists in residence include Mara Alper, Irit Batsry, Alan Berliner, Laurie Beth Clark, Peter D'Agostino, Tami Gold, Brian Goldfarb, Shalom Gorewitz, Alex Hahn, Philip Mallory Jones, Richard Kostelanetz, Barbara Rosenthal and Ann Wooster. Tapes were exhibited at Exchange of Information, Museum of Modern Art; Time Based Review, Visual Studies Workshop; Third Emerging Expressions Biennial, Bronx Museum; Rome Video Festival; MIX Festival; International Video Days, Turkey; Bonn Videonale; Osnabruck Video Festival; and the Stockholm Video Festival. They were included on Growing Up, The Learning Channel; Independent Focus, WNET; Maybe but Not Necessarily Music, Rochester; and Deep Dish TV. Artists received awards from the Checkerboard Foundation; the NEA; the Grand Prix at the Locarno Video Festival; First Prize for Short Experimental Work at the Athens International Video Festival; and the Jerome Foundation. The Center sponsored projects by Alex Hahn (The Kirchner Itinerary) and Shalom Gorewitz (Roots and Branches). Presentation Funds provides assistance to the Brooklyn Museum (AFI Video Festival), Asian Cinevision (Videoscape: An Asian American Showcase), the Adirondack Cultural Foundation (The Logging Project), Cornell Cinema Presentations by Michael Smith and Carol Ann Klonarides), Dance Theater Workshop Silent Echoes), DCTV (Video History III and the Video Witness Festival), Harvestworks (Presentations by Alvin Lucier, Terese Svoboda, Helen Thorington and Paul DeMarinis), Media Alliance (11th Annual Media Conference), Media Network (keynote address by Marlon Riggs for Immediate Impact conference), and the MIX Festival. Finishing Funds 1991 recipients include Bill and Mary Buchen, Jean de Boysson, Bradley Eros and Jeanne Liotta, Cara Mertes and Ellen Spiro, selected by panelists Shu Lea Cheang, Robert Doyle and Philip Mallory Jones.

1991-1992
Artists in residence include, Irit Batsry, Kjell Bjorgeengen, Jon Burris, Andrew Deutsch, Shalom Gorewitz, Thomas Allan Harris, Pamela Jennings, Cheryl Jackson, Joel Katz, Mary Ann Petit, Trish Rosen and Kate Farrell, Kathleen Ruiz, Michael Schell, William Seery and Maria Venuto, and Ann-Sargent Wooster. Works are screened at the Video Viewpoints, Museum of Modern Art; Wexner Center; CEPA; Asian American Vision at the Brooklyn Museum; the Ostee-Biennale; the Dallas Video Festival; the Black Maria Festival; and the London Film Festival. Work was included in cable or broadcast programs The 90s and Independent Focus. David Blair wins Grand Prize for Wax at the 6th Montbeliard Video Festival. We begin a project to catalog the collection of antique equipment, artists' videotapes, print materials and audiotapes, using a computerized relational database. The project is inspired by our work for the Ars Electronica Video Pioneers exhibition at Linz, Austria in the Summer of 1992. Dan Reeves receives assistance from NYSCA for Obsessive Becoming and Philip Mallory Jones receives support for First World Order. Finishing Funds 1992 recipients selected by Larry Gottheim, Chris Hill and Pam Jennings include Yau Ching, Abigail Child, Vincent Grenier, Jody LaFond, Lynn Masterson and Jim Supanick, and Brian Springer. Presentation Funds recipients include Art in General (Electric Spaces by Bill and Mary Buchen), DCTV (77HZ performance), Drift Distribution (Flesh Histories, at The Kitchen), Saratoga Public Library (Video on Video series), iEAR Studios (Joseph Celli performance); Media Network (RePackaging Paradise: Media Strategies for a New World, conference); Squeaky Wheel (Second Annual Native American Indigenous People's Video Festival); Third World Newsreel (Emerging Latin American Film and Video at Hunter College); Women One World Festival; and The Wooster Group (Scopic Drive at The Performance Garage).

1992-1993
Artists in Residence include Charlie Ahearn, Peer Bode, Emily Breer, Laurence Brose, Connie Coleman and Alan Powell, Lara Davis, Shalom Gorewitz, Alex Hahn, Pamela Hawkins, Bianca Bob Miller, Ray Rapp, Van McElwee, Alan Sondheim, Nancy Meli Walker, Walter Wright and Jud Yalkut. The Museum of Modern Art presented three shows, Two Decades, Video Fest Berlin and Between Word and Image, all of which included works produced at the Center. Works were also screened at the MIT Media Lab; the Franklin Institute; the DAAD Galerie in Berlin; The Final Frontier at the New Museum of Contemporary Art; and included in the Bonn Film Festival, the Atlanta Film Festival, the Worldwide Video Festival in the Netherlands, and the Vancouver International Film Festival. Artists received recognition from the Swiss Cultural Council; DAAD Fellowship; Fulbright Scholarship; McDowell Colony; French Ministry of Culture; and the MacArthur Foundation Production Fund. Finishing Funds 1993 recipients selected by Rii Kanzaki and Carlota Schoolman include Kelly Anderson, Maria Beatty, Skip Blumberg, Yau Ching, Johan Grimonprez, Sara Hornbacher, Kit Fitzgerald, Jeffrey Lerer, Dean Moss, Richard Povall, Reggie Woolery, Ned Sublette, and Ann-Sargent Wooster. Beginning in 1993 we were able to support film series programming in addition to the exhibition of single-evening media presentations. Presentation Funds recipients include the Adams Art Gallery Film series in Chautauqua County); Alfred University (Tony Conrad Video Works); the Brooklyn Museum (African American Women Behind the Camera, with appearances by Julie Dash and Jacqueline Shearer); CEPA Gallery (Ballet DiGiTal, by Connie Coleman and Alan Powell); Franklin Furnace (The Emerging Performance Artist series); Harvestworks (The Interactive Show at Thread Waxing Space); Roulette (Works by Neil Rolnick and Pat Abt); The Kitchen (STELARC); Third World Newsreel (Drinking From Our Own Wells, curated by Thomas Harris); Squeaky Wheel (Annie Goldson and Visible Women, with works by Chris Hill, Annie Fergerson, Jody LaFond and other Western NY women); Willow Mixed Media (Amiga Artists on the Air, curated by Toby Carey).

1993-1994
Artist in Residence include Alan Berliner, Sandi DuBowski, Annie Fergerson, Shalom Gorewitz, Sara Hornbacher and Robert Natowitz, Tatiana Louriero, Darrin Martin, Andrea Mancuso and Peter D'Auria, and Robert Wyrod. Works were screened at Film/Video Arts; Iterations: The New Image at the International Center of Photography; the Venice Biennale; Montage 93, Rochester; the Knitting Factory; Venice Biennial; and the Osnabruck Media Art Festival. The Center is a member of the Preservation Working Group of Media Alliance, and the National Moving Image Database project of the American Film Institute. Artists received recognition from ZKM, Astraea Foundation, Jerome Foundation and the Mid Atlantic Regional Media Arts Fellowship Program. Finishing Funds 1994 recipients selected by Anne Fergerson and Mona Jimenez include David Blair, Vivek Renjen Bald, Larry Brose, Vincent Grenier, Pamela Susan Hawkins, Carol Kalil, Michael Schell and 77 Hz, Branda Miller and Stephen Vitiello. Organizations receiving exhibition support include the Afrikan Poetry Theatre (Black Women Film Festival); Electronic Arts Intermix (Emerging Women Artists); Experimental Intermedia Foundation (Jerry Hunt concert); Rome Art and Community Center (Film Series); the Matrilineage Symposium at Syracuse University; Squeaky Wheel (Works by John Knecht); OffLine cable series; and Videoteca del Sur (Cuban Media Artists).

1994-1995
Artists in Residence include Veena Cabreros-Sud, Anita Cheng and Ronaldo Kiel, Abigail Child, Lisa DiLillo, Genevieve Hayes, Barbara Hammer, Walid Raad, Dave Ryan, Debra Robinson, Sarah Smiley, and Sui Kang Zhao. Exhibition sites include Exit Art; Art in General; Colgate University; @ Café; the New Museum; Hallwalls; the Black Maria Festival; the 5th International Symposium of Electronic Art in Helsinki; the 8th Annual MIX Festival; the New York Video Festival; the Copenhagen Film Festival; the Atlanta Video Festival; the Bonn Videonale; ISEA, Helsinki; Osnabruck Media Festival. Artists were recognized by the Canada Council, the Lyn Blumenthal Foundation and the New England Film and Video Program. Presentation Funds support went to almost 40 organizations in 22 counties throughout NYS and included Bard College (George Kuchar); City Lore (9th Annual Festival of Folk Cultural Documentaries); Corning Museum of Glass (Film Series); Electronic Arts Intermix (NY International Video Festival); Gallery 53 (Winter Films Series); Ithaca College (Works by Liss Platt, Mona Jimenez, Carl Geiger and Amy Hufnagel); Polish Community Center (Kino Polski III); Women Direct (Works by Barbara Hammer and Not Channel Zero). Finishing Funds recipients selected by Bob Harris and Steina Vasulka include Tom DeWitt, Carl Geiger and Amy Hufnagel, Jody Lafond, Simon Leung, Michelle Lippitt, Rohesia Hamilton Metcalfe, Duston Spear, Kristin Tripp, and Cathy Weis. The State Arts Council supported creative projects by Shalom Gorewitz (Now What?), Alex Hahn (On the Nature of Things), and Jeffrey Lerer (Memory Box). Susan Muska and Greta Olafsdottir received support from the Astraea National Lesbian Action Foundation for The Brandon Teena Story.

1995-1996
Artists in Residence include Mara Alper, Kjell Bjorgeengen, Barbara Columbo, Michael Betancourt, Andrew Deutsch, Linda Gibson, Sooz Hewitt, John Knecht, Kristin Lucas, Darrin Martin, Diane Nerwen, Jessie Shefrin, Barbara Sternberg, Virgil Wong, Reynold Weidenaar and Jud Yalkut. Works were exhibited at Momenta Art; the Donnell Media Center; the Not Still Art Festival at the Boswell Museum; the Knitting Factory; Threadwaxing Space; and the Whitney Museum. They were included in the 6th International Symposium on Electronic Art in Montreal; the 15th Annual Small Computers in the Arts Festival; the 4th NY Video Festival; and selected for inclusion in the distribution package Video: The First Decade, curated for Video Data Bank. Work was also included in Set in Motion, a survey of works created with support from the New York State Council on the Arts. Artists received awards from the Black Maria Festival, the NYFA, the Lynn Blumenthal Foundation and the Swiss Arts Foundation. Finishing Funds recipients chosen by panelists Peer Bode and Ken Jacobs include Shawn Atkins, Zoe Beloff, Alan Berliner, Diane Bertolo, Bill and Mary Buchen, Tirtza Even, Jane Greenberg, Bob Harris, John Knecht, Richard Kostelanetz, and Jeanne Liotta. Presentation Funds programming reached over 40,000 people in 28 counties in the State. Presentation Funds support was provided to American Museum of the Moving Image (A Spike Lee Retrospective); Anthology Film Archives (Winter Program of Early Films); Artists Space (The Poool); Cooper Union (Work by Su Friedrich, and Jeff Preiss); Crandall Public Library (Meet the Maker series); Matrilineage Symposium at Syracuse University; OffLine, a nationally distributed cable series; the Rochester Lesbian and Gay Film/Video Festival; and Olean Public Library (Work by Ngozi Onwurah and Four Evenings of Film). The Center continues its sponsorship of The Brandon Teena Story, an experimental documentary by Susan Muska and Greta Olafsdottir.

1996-97
The Residency Program invited the participation of Gretchen Bender, Daniel Cooney, Terry Cuddy, Lisa DiLillo, Janet Grau, Jolie Guy, Jillian McDonald, Laura Parnes, Joseph Scheer, Liselot vander Heijden, Xiomin Gu, Jed Speare, and Charlie Woodman. Works were exhibited in the American Film Institute Video Festival; the 10th Annual MIX Festival in New York; The Knitting Factory; Do Not Adjust Your Set at Hallwalls; the Biennial and the Lesbian Genders exhibitions at the Whitney Museum; Video on Video series at the Saratoga Springs Public Library; Private TV at the Los Angeles County Museum of Art; the Museum of Fine Arts in Boston; and at museums and galleries in France, Germany, Canada, Poland and New Zealand. The 25th Anniversary of the Center was curated by Ann Wooster and Joanna Spitzner for Art in General. Artists received awards from the Black Maria Festival, the Louisville Film Festival, and the NAP Video Festival and from the Jerome Foundation, the New York Foundation for the Arts and several State Arts Councils. Mary Ann Petit won First Prize at the Thaw 96 Festival. Kristin Lucas work Host was selected for inclusion in the Whitney Museum Biennial and exhibited at the NY Film and Video Festival at Lincoln Center and at the Museum of Modern Art. The system available to artists includes modules designed at the Center as well as commercially available tools. The digital portion of the system was expanded a PC computer system with a Miro non-linear board. The Center sponsored several artists' projects this year. Slawomir Grunberg and Ben Crane received support from the New York State Council on the Arts for School Prayer: A Community Divided, a documentary illuminating the debate over prayer in the public schools. The project received additional support from the Soros Documentary Fund and the Independent Television Service. Barbara Hammer's experimental documentary The Female Closet traces the closeted lesbian histories of three artists. In addition to support from the New York State Council on the Arts, the project was also supported by the Wexner Center. The Brandon Teena Story, a documentary by Susan Muska and Greta Olafsdottir, received support from the New York State Council on the Arts, the Astraea Foundation and private contributors. Through Presentation Funds we provided partial support to 54 organizations representing 20 counties throughout the State, providing nearly 40,000 people the opportunity to view independently produced work. The organizations contributed well over $300,000 from other sources in support of these exhibitions. This year the American Museum of the Moving Image (Isaac Julien Retrospective); Downtown Community TV Center (Guerilla Television, works by Shu Lea Cheang and Dee Dee Halleck); the George Eastman House (Films by Laurence Brose and Christine Russo); Movies on a Shoestring Annual Festival; Northern Westchester Center for the Arts (Politics from a Multicultural Perspective); Queens Museum of Art (Satyajit Ray Retrospective); and the Schroon Lake Arts Council (Film by Mike Camoin) all received support for media exhibitions. Finishing Funds artists include Luca Buvoli, Roz Dimon, Amy Jenkins, Jody LaFond, Uzi Parnes, John Roach, Lynn Sachs, and Keith Sanborn. Serving as panelists were independent artist and educator Pia Cseri-Briones of Rochester and curator and preservation consultant Jim Hubbard of New York. In 1996, the Center formally organized the Video History Project, which we have been working on for many years. A goal of the project is to document the early historical development of video art and community television.

1997-98
Artists in residence include Peter Chamberlain, Honolulu, HI; Leah Gilliam, Tivoli, NY; Sara Hornbacher, Atlanta, GA; David Knoebel, West Center, PA; Kristin Lucas, Brooklyn, NY; Tarja Nieminen, Helsinki, Finland; Mary Ann Petit, New York, NY; Cara O'Connor, New York, NY; John Roach, New York, NY; Lynn Sachs, Brooklyn, NY; Barbara Sternberg, Toronto; Sue Wrbican, Berkeley Heights, NJ. Works produced through the Residency Program were exhibited at Cornell Cinema, the Brooklyn Museum of Art, Nexus Contemporary Art Center, Atlanta; Artists Television Access, San Francisco; and the Institute of Contemporary Art, Boston. They were included in Reel NY, a series focusing on independent works produced by WNET, Channel 13, NY and at circuits@nys, The Governor's Conference on Art and Technology. They were included in the Ohio Independent Film Festival, the 6th New York Video Festival at Lincoln Center, the Montreal International Festival of Cinema and New Media, the Robert Flaherty Seminar, and the Osnabruck Video Festival. Works are distributed by Video Data Bank, Electronic Arts Intermix; Women Make Movies; Filmmakers Coop; Drift; Canyon Cinema; Facets. The Center sponsored independent videomakers Slawomir Grunberg for School Prayer which received support from the New York State Council on the Arts, ITVS, and the Soros Documentary Fund; Barbara Hammer for Culture Doctor which received support from the New York State Council on the Arts; and Susan Muska and Greta Olafsdottir for The Brandon Teena Story. The International Student Residency, organized by Pamela Hawkins and Hank Rudolph was held in the Spring at the Center, attracting the participation of 30 students representing Alfred University, the University of Buffalo, Binghamton University, Atlanta College of Art and the National Art Academy, Oslo. Presentation Funds supported 59 organizations in 23 counties around New York State, providing almost 35,000 people the opportunity to view independently produced works. These organizations provided over $300,000 in direct support for these programs. Organizations which received support include Aaron Davis Hall (Visions of New Black Filmmakers); Albany Public Library (Fall Film Festival); Anthology Film Archives (Presentations by Kenneth Anger and Stan Brakhage); Castellini Art Museum (John Knecht); Everson Museum of Art (Alan Berliner); Institute for Electronic Arts (Steina Vasulka and Mona Jimenez); Olean Public Library (Annual Film Exhibition Series); Renssalear Polytechnic Institute (The Poool); and Visual Studies Workshop (Lynn Corcoran and Wendy Smith). In partnership with the Institute for Electronic Arts at Alfred University and the New York State Alliance for Arts Education, the Experimental Television Center continues to sponsor the Video History Project, which documents the early historical development of video art and community television in upstate New York during the period 1968-1980. The goals of the project will be realized in an interrelated set of activities combining research, the collection of oral histories, the creation of educational resource materials, a World Wide Web site, and a Video History Conference. The conference will be held at Syracuse University on October 16-18, 1998 in conjunction with the Common Ground Conference, sponsored by the New York State Alliance for Arts Education. This project has received support from the Challenge Grant Program of the New York State Council on the Arts, The Andy Warhol Foundation for the Visual Arts, the Media Action Grant program of Media Alliance and individual and corporate contributors.

1998-1999
This year's 48 artists represent eight states as well as Canada, Switzerland and Puerto Rico. Artists this year included Juan Alonso, Binghamton, NY; Torsten Burns, New Haven, CT; Sarah Drury, New York; Phil Galanter, New York, NY; Lisa DiLillo, New York, NY; Jed Speare, Boston, MA. Greg Bowman, Director of the nationally syndicated cable series OffLine showcasing the new media work of independent artists, worked on Detour, a multimedia exploration of the psychology of detours. Tim Dallett, multi-disciplinary artist and past Program Officer at the Canada Council, and collaborator Graham Collins, performer and writer, both of Ottawa worked on an integration of audio and video for their live performance pieces. International artist Alex Hahn worked with five other theater artists on Theater of Memory, a mixed media theater work for the Theatre House Gessner Allee in Zurich, the Festspiele Overhausen and the Hebbel Theater in Berlin. Lyell Davis, Lecturer at Hunter College and member of the video collective Paper Tiger TV, worked on an experimental narrative aka Hollywood, concerned with the filmmaking industry.

Tapes produced at the Center were again included in exhibitions throughout the United States and Europe. Artists were represented in the 18th Annual Black Maria Film and Video Festival, Reel NY and the 11th Annual MIX Festival in New York. Tapes were shown at such venues as the Museum of Modern Art, the Whitney Museum, the New Museum of Contemporary Art and at museums and galleries in France, Germany, Canada and Amsterdam. Tapes are distributed by Electronic Arts Intermix, Filmmakers Coop, Drift Distribution, Facets, Women Make Movies and many others.

As a sponsoring organization for independent artists' projects, the Center has recently administered awards to artists totaling $186,100. Completed projects have received worldwide exhibition and distribution. Slawomir Grunberg completed School Prayer: A Community Divided, a documentary illuminating the debate over prayer in the public schools. The project received support from the New York State Council on the Arts, the Soros Documentary Fund and the Independent Television Service. Alan Berliner received a major grant from the National Endowment for the Arts for work on The Language of Names. This project has received support from the National Endowment for the Arts, ITVS, ARTE-TV, and Channel 4. David Blair, a visual artist working in New York City whose feature-length film and Internet text project Wax has received world-wide exhibition and distribution, received support from the New York State Council on the Arts for The Telepathic Motion Picture of the Lost Tribe, a feature-length project with Internet, installation and videotape versions. The New York State Council on the Arts also supported Time Shifts: A Visual Narrative, a new work for computer graphics, text and video installation by collaborators Peer Bode, Joseph Scheer and Jessie Shefrin. Barbara Hammer was able to complete work on The Female Closet, with assistance from the New York State Council on the Arts and the Wexner Center; she received support in 1998 for Culture Doctor. Susan Muska and Greta Olafsdottir completed The Brandon Teena Story, a documentary which received two awards from the Astraea Foundation. Muska's new work in collaboration with Greta Olafsdottir, Women and Genocide, has received support from the Mary and John McCarthy Foundation, the Rockefeller Foundation and the Joy Weiss Foundation.

Presentation Funds provided support to 49 organizations in 16 counties around the State. This year we supported programs at the American Museum of the Moving Image (Ernie Gehr); CEPA Gallery (Peggy Ahwesh, Ghen Dennis); Dance Films Association (Amy Greenfield, Dennis Diamond); Gallery 53 (Film Festival); New City Library (Cinema Down Under); NY Animation Festival; NY Expo of Short Films; Thread Waxing Space (Cecilia Dougherty, Luther Price) Videoteca del Sur (Patricio Gutzman, Julio Garcia Espinoza).

Since 1989, Finishing Funds has provided over $115,000 to 200 media artists from throughout the State to help with the completion costs of moving-image, new media and sound art projects. The work is very diverse and encompasses documentary and experimental film and video, animation, interactive digital and Web projects, works for CD ROM, and installations. This year's recipients include Erika Beckman, Terry Cuddy, Rebecca Herman, Ken Kobland, Megan Michalak, Prema Murthy, John Roach and James Rouvelle, and Michael Smith.

The Media Arts Technical Assistance Fund responds to the needs of the media community in the State, helping to stabilize, strengthen or restructure media arts organizational capacity. This year we have supported conference participation at the 14th NAMAC conference, Media Generation: What Works to What's Next by representative from Paper Tiger Television, Squeaky Wheel, Women Make Movies, Deep Dish TV, and Media Alliance. The Media Arts Fund also assisted with Access 2000, a Statewide meeting of representatives of media arts organizations, held at Downtown Community TV Center. The purpose of the meeting was to share information and strategies for addressing the demands of new media technology, and to strengthen networked partnerships among participants. We also supported conference participation at Video History: Making Connections organized by the Center and held at Syracuse University in conjunction with the Common Ground Conference of the NYS Alliance for Arts Education.

In keeping with our educational objectives, we hosted the 5th Annual International Student Residency, a week-long intensive residency for 25 graduate and undergraduate students representing Alfred University; University of Buffalo; Binghamton University; Atlanta College of Art; and Syracuse University. The workshop was co-taught by Pamela Susan Hawkins and Hank Rudolph.

For the past five years, the Center has been working on the Video History Project an on-going research initiative, which documents the early historical development of video art and community television, with particular focus on upstate New York during the period 1968-1980. The goals of the project will be realized in an interrelated set of activities combining research, the collection of oral histories, the creation of educational resource materials, a World Wide Web site, and Video History: Making Connections, a conference concerning the links between the early history and contemporary practice.

The project goals are to identify and make accessible information which describes and locates resources concerning independently created media; to facilitate partnerships for preservation of the works; to encourage the exhibition and study of these materials among curators, educators, and scholars; and to increase public awareness of and appreciation for media history throughout the State and nationally.
The website is crafted as both a research collection and dissemination vehicle. Main areas include a resources section, an area for contributions of images and personal recollections by visitors, and a search area. Topics addressed in the Resources area include: profiles of organizations, artists' biographies and interviews, media tools, magnetic media preservation, bibliographies, distributors and collections, all with Internet links. The website is an on-going project depending on much volunteer effort.

The conference Video History: Making Connections was held October 16-18, 1998 at Syracuse University in conjunction with the Common Ground Conference, sponsored by the New York State Alliance for Arts Education. Bringing together media makers active in the 70s with artists working today in new media and interactive technologies, the conference celebrated our history and established new partnerships with cultural and educational institutions across the country. Over 250 individuals from around the country attended the conference, representing many of the major media institutions on the East Coast.

The Video History Project is under the direction of the Experimental Television Center. The website partner is the Institute for Electronic Arts at Alfred University. The conference partner was the New York State Alliance for Arts Education. The Project is under the direction of Sherry Miller Hocking of the Experimental Television Center, with assistance from independent preservation consultant Mona Jimenez. The project is made possible with support from The Andy Warhol Foundation for the Visual Arts, the New York Foundation for the Arts Technology Planning Grant Program, with public funds from the Statewide Challenge Grant Program and the New York State Council on the Arts, and from the Everson Museum of Art and the Media Action Grant Program of Media Alliance, with corporate support from Dave Jones Design and VidiPax as well as individual contributors.

1999-2000
Residency Program
Matt Biedermann (San Francisco, CA), Peer Bode (Hornell, NY), Yael Braha (San Francisco, CA), Greg Bowman (Troy, NY), Torsten Burns (New Haven, CT), Lynn Cazabon (Philadelphia, PA), Graham Collins (Ottawa, Canada), Tim Dallett (Ottawa, Canada), Lisa DiLillo (New York, NY), Robert Doyle (Palmyra, NY), Sarah Drury (New York, NY), Brendan Earley (Ireland), Raymond Ghirardo (Ithaca, NY), Nancy Golden (Jersey City, NJ), Jackie Goss (Boston, MA), Alex Hahn (Zurich, Switzerland), Susan Hamovich (Brooklyn, NY), Genevieve De Monvel Hayes (New York, NY), Pamela Susan Hawkins (Hornell, NY), Janene Higgins (New York, NY), Sara Hornbacher (Atlanta, GA), Jody LaFond (Buffalo, NY), Kaelo La Belle (Luzern, Switzerland), Kristin Lucas (Brooklyn, NY), Mary Magsamen (Brooklyn, NY), Dena Mermelstein (Brooklyn, NY), Cara O'Connor (New York, NY), Bob Paris (New York, NY), Megan Roberts (Ithaca, NY), Lynne Pidel (New York, NY), Ron Rocco (New York, NY), Mary Ross (Binghamton, NY), Lynne Sachs (Baltimore, MD), E Jessie Shefrin (Alfred Station, NY), Alan Sondheim (New York, NY) Jed Speare (Boston, MA), Jim Supanick (Brooklyn, NY), Diane Teramana (Cincinnati, OH), Liselot van der Heijden (New York, NY), Julius Vitali (Flicksville, PA), Walter Wright (Boston, MA), Jud Yalkut (Dayton, OH).

With support from a Technology Grant from the New York State Council on the Arts, the system to include a G4 Mac with nonlinear editing and other image processing software.

Exhibitions
Artists' works have been recently included in the 18th Annual Black Maria Film and Video Festival, Reel NY and the 11th Annual MIX Festival in New York. Tapes were shown at such venues as the Museum of Modern Art, the Whitney Museum Biennial, the New Museum of Contemporary Art and at museums and galleries throughout Europe. Tapes are distributed by Electronic Arts Intermix, Filmmakers Coop, Drift Distribution, Facets, Women Make Movies and many others. Artists working at the Center this year have received awards and recognition from the Ohio Arts Council, the New York Foundation for the Arts, the New York State Council on the Arts, Canada Council and won numerous awards and citations in festivals around the world.

Motion, a two month long exhibition curated by John Knecht for the Munson Williams Proctor Institute in Utica, included a tape exhibition honoring the artists who have worked at the Center over the past 25 years. The Center also organized a panel, The Video/Cyber Connection: Technologies in the Arts, exploring the common grounds between the historical evolution of video art and the emerging Web works.

Education and Research
In keeping with our educational objectives, we will host the 6th Annual International Student Residency, a two week intensive residency for 25 graduate and undergraduate students representing Alfred University; University of Buffalo; Binghamton University; Atlanta College of Art; Syracuse University; Temple University. The workshop is co-taught by Pamela Susan Hawkins and Hank Rudolph, and is offered for university credit.

The Video History Project received assistance from the New York Foundation for the Arts to assist with the planning for revisions to the website. The site was launched Summer 2000

Sponsored Artists Projects
Slawomir Grunberg received support for initial work on the film Through the Eyes of Albert Maysels. Alan Berliner received a major grant from the National Endowment for the Arts for work on The Language of Names. This project has received support from the National Endowment for the Arts, ITVS, ARTE-TV, and Channel 4. Alan also received support for a new work Elegy. The Righteous Persons Foundation awarded Alan a major grant for his films in 1999. Susan Muska completed The Brandon Teena Story, a documentary which received two awards from the Astraea Foundation. Muska's new work in collaboration with Greta Olafsdottir, Women and Genocide, has received support from the Mary and John McCarthy Foundation, the Rockefeller Foundation and Rosie O'Donnell. Irit Batsry received support for Neither There Nor Here, which was produced in association with the Academy of Media Arts, Cologne, La Sept/ARTE, the French Ministry of Culture, the Central St. Martins College of Art and Design, Grand Canal and The Lux Center.

Finishing Funds
Zoe Beloff (Shadow Land or Light from the Other Side); Richard Bloes (Night Space); Lawrence Brose (Crossing); Anita Cheng (Daily Dance); David Crawford (International Velvet); Brian Frye (Wormwood's Dog and Monkey Show); Neil Goldberg (Random Walk); Shalom Gorewitz (IVRI); Barbara Hammer (Culture Doctor); Janene Higgins and Zeena Parkins (Arch); Amy Jenkins  (Shelter for Daydreaming); Jodi Kaplan (Onto); Jody Lafond (Sigh...); Jeanne Liotta (Placid unto Vermont); Michelle Lippitt (Ausencia); Rik Little (Home Invasions); Dena Mermelstein (Lucy 1974); Ken Montgomery (One Less Sense); Diane Nerwen (Blindspot); Megan Roberts and Raymond Ghirardo (Cone Field); Jason Rosette (Book Wars);  Caspar Stracke (Threads); Maria Venuto (She Sleeps with the Fishes); Jennifer Whitburn  (Esperanza). Panelists: Mara Alper, Ithaca, NY; Robert Attanasio, New York, NY.

Media Arts Technical Assistance Fund
Support for attendance at professionalevents, including National Association of Media Arts and Culture and the Association of Moving Image Archivists conferences. Organizational support was awarded to the New York Expo, Felix, Columbia County Council on the Arts, Thundergulch, Film/Video Arts, Paper Tiger, Association of Hispanic Arts, IMAP, Media Alliance and the Williamsburg Brooklyn Film Festival.

Presentation Funds
Supported in-person presentations by film, video and new media artists sponsored by 50 organizations representing 18 counties throughout New York State. Sponsors provided almost $250,000 in additional funding. Organizations included Cornell Cinema, Educational Video Center, Firefly Cinema, Foundation for Hellenic Culture, Hallwalls, Millennium Film Workshop, New Radio and Performing Arts, Saratoga Springs Public Library, and Squeaky Wheel.

2000-2001

The Residency Program offers self-directed creative time to mediamakers from throughout the country. Since 1971 we have assisted over 1100 artists in the creation of works using new electronic video, audio and computer technologies. Each year from among 80 applicants, about 45 artists are invited to work in the studio, in a retreat-like workshop environment, which offers access to an image processing system, intensive individualized instruction and time for exploration and personal creative growth. This year's 50 artists represent 11 states, Canada and Switzerland. Over one-third are artists from outside New York State.

This year's residents are Mara Alper (Ithaca, NY), Stephan Apicella-Hitchcock (NY, NY), Bebe Beard (Boston, MA), Peer Bode (Hornell, NY), Yael Braha (San Francisco, CA), Elinore Burke  (Alfred, NY), Kristine Marx (NY, NY), Jillian McDonald (Brooklyn, NY), Bianca Bob Miller (NY, NY), Michael Pope (NY, NY), Blithe Riley (Chicago, IL), Megan Roberts (Ithaca, NY), Ron Rocco (Brooklyn, NY), Mary Ross (Binghamton, NY), Dean Snell (NY, NY), Alan Sondheim (Brooklyn, NY), Jed Speare (Ayer, MA), Jim Supanick (Brooklyn, NY), Kristin Tripp (Baltimore, MD), Liselot van der Heijden (Jackson Heights, NY), Julius Vitali (Allentown, PA), Dan Walsh (Atlanta, GA), Virgil Wong (NY, NY), Charlie Woodman (Cincinnati, OH), Ann Sargent Wooster (NY, NY), Jud Yalkut (Dayton, OH), Angela Zorzi (NY, NY)

exhibitions throughout the United States and Europe. Artists have been recently included in NY Expo of Short Films, Book/Ends, The Dumbo Short Film and Video Festival, the NY Video Festival and the Ohio Independent Film Festival. Tapes were shown at such venues Donnell Library, Millennium, Museum of Modern Art, the Whitney Museum, Anthology Film Archives, CEPA Gallery, The Kitchen, The Knitting Factory, and Art in General and at museums and galleries throughout Europe. Tapes are distributed by Electronic Arts Intermix, Filmmakers Coop, Drift Distribution, Facets, Women Make Movies and many others. Artists working at the Center this year have received awards and recognition from the Ohio Arts Council, the New York Foundation for the Arts, the New York State Council on the Arts, Canada Council and won numerous awards and citations in festivals around the world. For Black Box, a month-long exhibition at New Jersey College Art Gallery, the Center curated an installation of historical works created here over the last 30 years. Other organizations represented include MWF Video, Creative Television Association, Experiments in Art and Technology, Museum of Contemporary Art (Chicago) and The DeCordova Museum (Boston).

The Center serves as a sponsoring organization for artists' projects in the electronic and film arts. We provide support services, assist with development and provide fiscal and administrative management services. We sponsor about 20 projects. Since 1996, total requests to foundations were over $800,000. We have administered awards to artists totaling almost $200,000. Completed projects have received worldwide exhibition and distribution.

Irit Batsry received support from the New York State Council on the Arts in 1999-2000 for "These Are Not My Images (neither there nor here)", a work which questions the way we see and show reality. It was premiered at the International Film Festival, Rotterdam in 2000, and has been widely screened in Europe. It received additional support from Academy of Media Arts, La Sept/ARTE, The Experimental TV Center, Central St. Martins College of Arts (London), Grand Canal (Paris), and The Lux Center (London).

Slawomir Grunberg completed "School Prayer: A Community Divided", an Emmy-award winning documentary illuminating the debate over prayer in the public schools. The project received past support from the New York State Council on the Arts, the Soros Documentary Fund and the Independent Television Service.

Alan Berliner received a major grant from the National Endowment for the Arts for work on "The Sweetest Sound". This project has received support from the National Endowment for the Arts, ITVS, ARTE-TV, and Channel 4.  SXSW Film Festival; BBC2, London; Austin, Texas; Taos Talking Picture Festival; and the Berlin Film Festival. Alan's new film, "Elegy", received support this year from the New York State Council on the Arts.David Blair, a visual artist working in New York City whose feature-length film and Internet text project "Wax" has received world-wide exhibition and distribution, received support from the New York State Council on the Arts in 1999 for "The Telepathic Motion Picture of the Lost Tribe", a feature-length project with Internet, installation and videotape versions.

In 1999-2000, the New York State Council on the Arts supported "Time Shifts: A Visual Narrative", a new work for computer graphics, text and video installation by collaborators Peer Bode, Joseph Scheer and Jessie Shefrin.

Barbara Hammer was able to complete work on "The Female Closet", with assistance in 1999 from the New York State Council on the Arts and the Wexner Center; she received support in 1998 for Culture Doctor.

Susan Muska completed "The Brandon Teena Story", a documentary which received two awards from the Astraea Foundation.

Since 1989 the Film and Electronic Arts Grants Program, has awarded over $650,000 to individual artists and arts organizations in the State.

Presentation Funds provides support to New York State organizations for in-person appearances by film and media artists.  This year's organizations are AIR Gallery (NY); Albany Center Galleries (Albany); Institute for Electronic Arts Alfred University (Alfred); Apexart (NY); Catskill Art Society (Hurleyville); CEPA (Buffalo); Chashama (NY); Collaborative Projects (Staten Island); Columbia County Council on the Arts (Spencertown); Cooper Union (NY); Cornell Cinema (Ithaca); Crandall Public Library (Glens Falls);  Cooperative (NY); Hallwalls (Buffalo); Harvestworks (NY); Howland Public Library (Beacon ); Ithaca College (Ithaca); Lower Manhattan Cultural Council (NY); Manhattan Neighborhood Network (NY); Media Loft (NY); Millennium Film Workshop (NY); Northern Westchester Center for the Arts (Mt. Kisco); Perimeter Media + Culture Projects (NY); Riverside Church (NY); Saratoga County Arts Council (Saratoga Springs); Saratoga Springs Public Library (Saratoga Springs); Sephardic House (NY); South Bristol Cultural Center (Canandaigua); Squeaky Wheel (Buffalo); Standby Program (NY); The Kitchen (NY); Theater for the New City (NY); Thundergulch (NY); Ti-Ahwaga Community Players (Owego); Upper Catskill Community Council of the Arts (Oneonta); Women Direct Film and Video (Ithaca)

Now in its 12th year, Finishing Funds has provided over $150,000 in support of New York State artists, to assist with the completion of diverse and innovative work.  belongings; Luca Buvoli - Trailer for Not-A-Superhero's Non-Adventures; Nancy Goldenberg  - 201: A Space Algorithm; Vince Mistretta – Medea; Ken Montgomery - Inner Eye; Yasuaki Nakajima - After the Apocalypse; Jenny Perlin - Perseverance and How to Develop It; Eric RosenzveigThe Media Arts Technical Assistance Fund is designed to help non-profit media arts programs in New York State stabilize, strengthen or restructure their media arts organizational capacity, services and activities. This year we are supporting projects by Third World Newsreel, NY Expo, Thundergulch, Film/Video Arts, Film Fleadh, Intelligent Agent, Children's Media Project, the Media Archive of the Jewish Museum, Paper Tiger, Dumbo Art Center, Squeaky Wheel, and Filmmaker's Coop. In addition we are able to assist organizations in attending such professional conferences as the NAMAC conference, Changing Media/Mediating Change, held October 11-14, 2000 in Minneapolis; the AMIA Annual Preservation conference, and the Alliance for Community Media – NE Regional Conference, held in March 2001. Over 20 organizations throughout the State participated in conferences with help from the Technical Assistance Fund.

In keeping with our educational objectives, we hosted the 6th Annual International Student Residency, a 10 day intensive residency available for academic credit to graduate and undergraduate student. The workshop is co-taught by Pamela Susan Hawkins and Hank Rudolph. This year's program featured a public appearance by media artists Kristin Lucas and Joe McKay at the Ti-Ahwaga Theater in Owego. We participated in "Revisioning Television" a three-week on-line salon organized by Eyebeam Atelier, incorporating three threads of conversation about the history of television. Representatives from over 30 institutions participated.Main and on-line at the NAMAC website.

The Center is committed to the early history of media art and its preservation. Housed at the Center is a collection of over 1000 videotapes which chronicle work produced here over the last 27 years. We are a founding member of Independent Media Arts Preservation. As a past participant in the National Moving Image Database project of the American Film Institute, we have constructed computer-based catalog of videotapes, which will be integrated with institutional library holding around the world.

Since 1994, the Center has been working on the Video History Project an on-going research initiative which reflects the multiple and interrelated histories of the media arts field, and gives voice to the those engaged with the early historical development of video art and community television. The project involves an interrelated set of activities combining the identification of primary resource materials, research, the collection of oral histories, the creation of educational resource materials, a World Wide Web site, and Video History: Making Connections, a conference concerning the links between the early history and contemporary practice.The project goals are to identify and make accessible information which describes and locates resources concerning independently created media; to facilitate partnerships for preservation of the works; to encourage the exhibition and study of these materials among curators, educators, and scholars; and to increase public awareness of and appreciation for media history throughout the State and nationally.

The Video History: Making Connections conference concerning the links between the early history and contemporary practice was held October 16-18, 1998 at Syracuse University in conjunction with the Common Ground Conference, sponsored by the NYS Alliance for Arts Education. Bringing together pioneering practitioners and contemporary artists working in new media and interactive technologies, the conference celebrated our history and established new partnerships with cultural and educational institutions nationally. Over 250 individuals from around the country attended.

Launched in the Summer 2000, the Video History Web functions as a both a research collection and dissemination medium. The site is dynamic and interactive, encouraging contributions by visitors. Resources include critical essays, manuscripts, interviews, biographies, an extensive bibliography and information on collections, distribution, tools, preservation, organizations, and individuals. The site is fully searchable.We are now at work organizing Looking Back/Looking Forward, a two-day symposium to be held in Buffalo in the Fall of 2001, concerning moving image preservation inviting participation of 35 individuals from throughout the US and Canada.

The Center's programs are supported by the Electronic Media and Film Program at the New York State Council on the Arts, the Statewide Challenge Grant Program, the Media Arts Program of the National Endowment for the Arts, The Andy Warhol Foundation for the Visual Arts, the New York Foundation for the Arts, the Media Action Grant Program of Media Alliance, by corporate support from Dave Jones Design and Black Hammer Productions and by the contributions of many individual artists.

2001-2002

The Residency Program offers self-directed creative time to mediamakers from throughout the country. Since 1971 we have assisted over 1100 artists in the creation of works using new electronic video, audio and computer technologies. Each year from among 80 applicants, about 45 artists are invited to work in the studio, in a retreat-like workshop environment, which offers access to an image processing system, intensive individualized instruction and time for exploration and personal creative growth. This year's 50 artists represent 11 states, Canada and Switzerland. Over one-third are artists from outside New York State.

Residents in 2001-02 included Mara Alper (Ithaca, NY), Stephan Apicella-Hitchcock (NY, NY), Benton Bainbridge (NY, NY), Irit Batsry (NY, NY), Kjell Bjorgeengen (Stabekk, Norway), Peer Bode   Tim Dallett (Sackville, New Brunswick), Ghen Zando Dennis (Brooklyn, NY),  Nicholas  Nancy Golden (Jersey City, NJ), Pamela Hawkins (Rochester, NY), Janene Higgins   Sara Hornbacher (Atlanta, GA),  Darrin Martin (Alfred Station, NY),  Aaron Miller (Alfred, NY), (Lahti, Finland),  Shawn Onsgard (Binghamton, NY),  Frank Shifreen (NY, NY),  Jim Supanick (Brooklyn, NY),  Charles Woodman (Cincinnati, OH),  Robert York (Clifton Park, NY),

Tapes produced at the Center were again included in exhibitions throughout the United States and Europe. Artists have been recently included in festivals including Media Art Friesland (Netherlands); Mediaterra (Greece and traveling); Not Still Art Festival (NYC); Three Rivers Film Festival (Pittsburgh); The Culture Project; Darklight Digital Film Festival (Dublin); Digging the Channel/Mediating the Channel, an international cultural exchange exhibition (Croatia).  C.U.A.N.D.O., "From The Ashes: Artist Reflections on the Recent Tragedy", a benefit for WTC victims, and featuring the work of over 100 artists; Teachers & Writers Collaborative (NYC); Visual Studies Workshop (Rochester); MIX at Anthology Film Archive (NYC); "Band of Outsiders" @On Line and on the Web; Gale Gates (Brooklyn); Julia Friedman Gallery (Chicago, IL); Miami University Art Museum (Oxford, Ohio); Gallery at 111 (NJ);

Tapes are distributed by Electronic Arts Intermix, Filmmakers Coop, Drift Distribution, Facets, Women Make Movies and many others. Artists working at the Center this year have received awards and recognition from the Ohio Arts Council,In keeping with our educational objectives, we hosted the 7th Annual International Student Residency, a 10 day intensive residency available for academic credit to 18 graduate and undergraduate students. The workshop is co-taught by Pamela Susan Hawkins and Hank Rudolph. We also presented workshops for the Department of Art and Art History University of Rochester and the Department of Art and Design, Alfred University. We were invited to participate as a panelist in "Media Preservation" a four-week on-line salon organized by NAMAC. We were invited to contribute several articles for "The Squealer", a publication of Squeaky Wheel, concerning media preservation.

The Center serves as a sponsoring organization for artists' projects in the electronic and film arts, providing support services, assistance with development and fiscal and administrative management services. We sponsor about 20 projects each year.Recent participants include Irit Batsry, winner of the prestigious Bucksbaum Award for Neither There Nor Here, with a world premiere at the International Film Festival, Rotterdam and inclusion in the Whitney Biennial 2002; Alan Berliner for The Sweetest Sound, featured on POV; David Blair for The Telepathic Motion Picture of the Lost Tribe; Slawomir Grunberg for the Emmy-award winning documentary School Prayer: A Community Divided; Barbara Hammer for Culture Doctor, The Female Closet, and her new work Resisting Paradise; Ken Jacobs for NY Ghetto Fishmarket, 1903; Kristin Lucas for The Electric Donut; Susan Muska for The Brandon Teena Story;For the present year the following artists have received awards. This year's projects were supported by the New York State Council on the Arts, Creative Capital, New York Foundation for the Arts, The Radcliffe Institute for Advanced Study at Harvard University, the Jerome Foundation, and National Geographic.

Barbara Hammer for Resisting Paradise, a 16mm film documentary contrasting the lives of three women French Resistance Fighters from a small fishing village in Provence, with the lives of the famous painters Matisse, Bonnard, Derain who were also working during the last two years of the Vichy occupation. The work asks questions about art during political crises.

Jeffrey Lerer for Manuscript Fragments Found at the Gilbert Hotel, a 3D computer animated surreal black comedy taking place at a single room occupancy hotel circa 1959, premieringon on Reel TV.

Ken Jacobs for N.Y. Ghetto Fishmarket1903, The original one minute pan is expanded to 80 minutes during which time unique visual phenomena is generated by Jacob's Kristin Lucas for Supervision, an experimental video and installation which constructs her personal visions of the future. Visions of future as presented through mass media and adopted by the populous have shaped perceptions of reality, inspired hope and optimism about the future, and fueled the capitalist drive to conquer the unknown regardless of the consequences of our actions.

Joseph Scheer for Night Flyers Night Flyers is a new technology installation that will be comprised of video projection from DVDs, triggered sound pieces and high resolution, large format digital prints. The work explores the inherent basis of the human need for nature, called biophilia by EO Wilson.

Since 1989 the Film and Electronic Arts Grants Program, has awarded over $750,000 to individual artists and arts organizations in the State.

Presentation Funds provides support to New York State organizations for in-person appearances by film and media artists.In 2001-2002 Presentation Funds supported in-person appearances before 17,300 people in 13 counties throughout the State. The 41 sponsoring organizations contributed over $450,000 toward these media projects, and included  Azure Mountain Friends,  Barnstormers,   Chatham Film Club,  Cornell Cinema,  Downtown Community TV,  Film/Video Arts,  Hallwalls,  Loisaida Arts,  N. Westchester Center for the Arts,  NY Expo,  NYS Summer School for the Arts,  Perimeter Media + Culture Projects ,  Riverside Church,  Rotunda Gallery,  Saratoga Springs Public Library,  Squeaky Wheel,  The Kitchen,  Theater for the New City,  Thundergulch,  Visual Studies Workshop,Now in its 13th year, Finishing Funds program has provided over $165,000 in support of New York State artists, to assist with the completion of diverse and innovative moving image and sonic works.Finishing Funds 2002 supported 16 electronic media and film projects by artists from all regions of the State.=s awards recognize work which is very diverse, encompassing web projects, performances, site-specific installations and interactive works, and includes experimental documentary and narrative, stereoscopic projections, hand-processed films and sonic arts presented on the Internet, CD, DVD and LP. The works addresses such issues as September 11^th, magic lantern shows of the late 18^th century, robotics, communications technology, the 19^th century cultural forces that contributed to the rapid transformation of the Western US and the railroads, and global activists who deliver a lecture to a group of high-powered lawyers, who believe they are listening to the World Trade Organization.The works have received additional support from the Smackmellon Residency Program, the New York State Council on the Arts, New York Foundation for the Arts, Jerome Foundation, the Harvestworks Van Lier Grant program, the Boston Museum of Fine Arts, Tufts University, Creative Capital Foundation, as well as corporations and individuals. Exhibitions are planned for the Whitney Museum, the Basel Art Fair, New York Digital Salon, Maxis Sound and Experimental Music Festival (UK), the International Computer Music Conference, and the Flaherty Seminar. Artists include Leesa and Nicole  Beloff, Torsten  Cowie, Raul Vincent  Lancaster, Julia  Renaud, Kathleen  Shimada, Scott Mark  Strom, Ray=s peer review panel was composed of independent  Ariana Gerstein and Kathy High.

This year we provided about $50,000 in support of 18 organizations which included the Adirondack Lakes Center for the Arts, Arts Engine, Children's Media Project, Cinema Arts Center, Dumbo Arts Center, Electronic Arts Intermix, Experimental Television Center Ltd., Fales Library, Global Action Project, Havana Film Festival, Independent Media Arts Preservation, International Film Seminars, Media Alliance, Millennium Film Workshop, National Museum of the American Indian, Squeaky Wheel, Working Waterfront Association and fieldwide assistance projects. Approximately 65% of applicants received support.

The Center is committed to the early history of media art and its preservation. Housed at the Center is a collection of over 1000 videotapes which chronicle work produced here over the last 30 years. We are a founding member of Independent Media Arts Preservation. We are past participants of the Regional Cataloging Initiative and the National Moving Image Database project of the American Film Institute, and will participate in the Pilot Union Catalog project in NYS.

Begun in 1994, the Video History Project is an online research initiative which reflects the complex evolution of the media arts field, and encourages a collective voice in the crafting of our histories.

The goals of the Video History Project are to provide a dynamic vehicle for the creation and dissemination of an inclusive media history, crafted by those who are shaping it; to help establish bridges for intellectual access to information regarding the history of the field and current information about the preservation of its artifacts; to position independent media arts activities within a broader cultural context by cultivating research and public programming of these materials by those in the arts, humanities and sciences; and to encourage alliances among collecting institutions and educational and curatorial programs for the preservation of critically endangered works, instruments and documents

Goals are realized in an interrelated set of activities combining research and scholarship, realized on the web and as collaborative projects supporting issues in electronic moving image preservation through the hosting of conferences and seminars.

The focus since 2000 has been on the continued enrichment of content on the Video History Web and the development and implementation of collaborative strategies for advancement of electronic moving image preservation resources and tools.

Launched in 2000, the Video History Website continues to serve as a both a research collection and dissemination medium. Visitors are encouraged to contributed information to the chronology and bibliography areas, and also to those areas which provide access to historically significant texts concerning the evolution of media art and community television.

The Preservation resource area of the site includes two commissioned papers.  by Sherry Miller Hocking and Mona Jimenez, was originally written in 200, with assistance from a Media Action Grant from Media Alliance. Sherry Miller Hocking engaged in a significant revision of the text in 2002.  Preservation resource area also contains a selection of historically important texts concerning early efforts at media preservation. 2003.On May 31^st and June 1^st the Center invited over 60 media arts professionals, conservators, technical experts, and artists to gather at the historic firehouse home of Downtown Community TV Center in New York for Looking Back/Looking Forward, a working symposium on moving image preservation. The symposium was organized by the Experimental Television Center, in association with Independent Media Arts Preservation (IMAP) and Bay Area Video Coalition. Focused on the physical preservation of independent electronic media works and related issues concerning tools and ephemera, Looking Back/Looking Forward facilitated an honest and sometimes disturbing evaluation of our progress as a field and informed discussion about necessary and realistic initiatives and partnerships.

Participants at the symposium included representatives of Art and Science Laboratory (Santa Fe),  Bay Area Video Coalition (San Francisco), Electronic Music Foundation, Electronic Arts Intermix, Experimental Television Center, George Eastman House, Guggenheim Museum, IMAP, la foundation Daniel Langlois (Montreal), La Guardia Community College, MercerMedia, Museum of Modern Art, National Museum of the American Indian, New York University Preservation and Cinema Studies Departments, New York State Council on the Arts, Smithsonian Institution Archives (Washington), Standby Program, Tate Gallery (London), The Kitchen, V Tape (Toronto), Video Data Bank (Chicago) and WNET.

www.experimentaltvcenter.org/history later in the Fall. Looking Back/Looking Forward was also documented by Bay Area Video Coalition. With funding from the National Endowment for the Arts, BAVC is The Video History Project is under the direction of Sherry Miller Hocking of the Experimental Television Center; independent preservation consultant Mona Jimenez served as major contributor for conference and web planning and for the symposium. David Jones Design implemented the web design, and David serves as webmaster.

The Center's programs are supported by the Electronic Media and Film Program at the New York State Council on the Arts, the Media Arts Program of the National Endowment for the Arts, The Andy Warhol Foundation for the Visual Arts, the New York Foundation for the Arts, the Media Action Grant Program of Media Alliance, by corporate support from Dave Jones Design and Black Hammer Productions and by the contributions of many individual artists.

2002-03

The Residency Program offers self-directed creative time to mediamakers from throughout the country. Since 1971 we have assisted over 1200 artists in the creation of works using new electronic video, sonic and digital technologies. Each year about 40 artists are invited to work in the studio, in a retreat-like workshop environment, which offers access to an image processing system, intensive individualized instruction and time for exploration and personal creative growth. The image processing system is a hybrid tool set, permitting the artist to create interactive relationships between older historically important analog instruments and new digital technologies, and to explore boundaries and intersections within narrative, documentary and social issue traditions as well as more experimental forms. With a grant in 2003 from mediaThe foundation, we were able to significantly advance the digital components of the imaging system, incorporating a second G4 computer, other sonic and control modules by Doepfer, interactive software including Max/MSP and Jitter, as well as DVD authoring and editing software.

This year's artists represent 11 states, Canada, Sweden and Switzerland. Over one-third are artists from outside New York State. Applicants in 2002-03 included Mara Alper (Ithaca, NY), Michael Betancourt (Miami, FL), Bebe Beard (Boston, MA), Peer Bode  Economos (Alfred Station, NY), Raymond Ghirardo (Ithaca, NY), Ronald Gladkowski (Mt Upton, NY), Nancy Golden (Jersey City, NJ), Tyler Gooden (Clarkton, NC), Alex Hahn (Switzerland), Jennifer Hamilton (Regina, Canada), Pamela  Elodie Lauten (NY, NY), Darrin Martin (Alfred Station, NY), Laura McGough with Steve Bradley  Petty (Brooklyn, NY), Blithe Riley (Chicago, IL), Patricia Riske (Wall, NJ), Megan Roberts  Jed Speare (Ayer, MA), Jim Supanick (Brooklyn, NY), Liselot van der Heijden (Jackson Heights, NY), Angel Vasquez (San Francisco, CA), Julius Vitali (Allentown, PA), Tobaron Waxman (NY, NY), Tony Weathers (Seattle, WA).

Tapes produced at the Center were again included in exhibitions throughout the United States and Europe. Recent exhibition venues have included the Detroit Museum of New Art, Memling Museum (Brugge, Belgium), New York Center for Media Arts (NYC), New Museum (NYC), Eyebeam Atelier (NYC), Smackmellon Gallery (Brooklyn), Squeaky Wheel (Buffalo), Hallwalls (Buffalo), Visual Studies Workshop (Rochester), Robert Beck Memorial Cinema (NYC), MoMA (NYC), Roulette (NYC), Centre de Cultura Contemporania de Barcelona, Art in General (NYC), PS 1 (NYC), and in festivals including the Dumbo Under the Bridge Annual Festival, New York Expo of Short Film Festival,In keeping with our educational objectives, we hosted the 8th Annual International Residency, a 10 day intensive residency available for academic credit to 18media makers. The workshop is co-taught by Pamela Susan Hawkins and Hank Rudolph. Several projects which will be developed in the coming year include a cinema cookbook, and a touring program concerning collaborative strategies in moving imagemaking. We also participate in online salons hosted by NAMAC and other information and advocacy groups.

The Center serves as a sponsoring organization for artists' projects in the electronic and film arts, providing support services, assistance with development and fiscal and administrative management services. We sponsor about 20 projects each year.Recent participants include Irit Batsry, winner of the prestigious Bucksbaum Award for Neither There Nor Here, with a world premiere at the International Film Festival, Rotterdam and inclusion in the Whitney Biennial 2002; Alan Berliner for The Sweetest Sound, featured on POV; David Blair for The Telepathic Motion Picture of the Lost Tribe; Slawomir Grunberg for the Emmy-award winning documentary School Prayer: A Community Divided; Barbara Hammer for Culture Doctor, The Female Closet, and her new work Resisting Paradise; Ken Jacobs for NY Ghetto Fishmarket, 1903; and Kristin Lucas for Supervision. Recent projects have been supported by the New York State Council on the Arts, Creative Capital, New York Foundation for the Arts, The Radcliffe Institute for Advanced Study at Harvard University, the Jerome Foundation, and National Geographic.

For 2002-2003 the following artists have received awards.

Ariana Gerstein (Barton, NY) for Milk, a feature experimental documentary with accompanying video installation, researching the relationship between food and technology. In addition to the NYS Council on the Arts, the University Research Foundation, Kodak and The Rockefeller Foundation provided substantial support. Distributors for Milk include Documentary Educational Resources & Indican Pictures. Her recent work, Hybrid, completed with Monteith McCollum is a feature-length award winning documentary included in the 2002 POV series. Ariana Gerstein is an Assistant Professor in the Cinema Department at Binghamton University.

Jacqueline  and the image-driven post-literacy of global multimedia and the World Wide Web. The project has received support from the New York State Council on the Art (2003), The Jerome Foundation (2003) and Eyebeam Atelier, and premiered at Eyebeam in 2003. Jacqueline Goss works in many electronic media and explores the fundamental issue of how ideas are translated between text, image and sound.

Jeanne Liotta (NY, NY) for Observando el Cielo, a 16mm experimental color sound film, imagining the human relationship to the cosmos. In addition to films, Liotta also creates digital media including Quicktime movies and interactive web works. Her works have been exhibited at the Whitney Museum, Viper International Film Festival, European Media Arts Festival and the Museum of Modern Art.

Jenny Perlin (Brooklyn, NY) for Perseverance and How to Develop It, a work which grew out of the discovery of a 1915 self-help book, discovered at a yard sale. Her films are grounded in the tradition of the "essay-film". The film received its world premiere at the Rotterdam International Film Festival, (2003) and was recognized with a Special Jury Award at the 2003 Ann Arbor Film Festival. Perseverance has received support from the New York State Council on the Arts, and through the Experimental Television Center's Finishing Funds program (2003). Exhibition: Premiered at the Rotterdam International Film Festival; Madcat International Womens Film Festival; Wexner Center for the Arts; Gene Siskel Film Center; Images Film Festival, Toronto; Belluard Bollewerk International Festival, Switzerland; "Power and Representation," Conference, Finland. Jenny Perlin's films work within and against the documentary tradition, incorporating innovative stylistic techniques to emphasize issues of truth, misunderstanding, and personal history.

Since 1989 the Film and Electronic Arts Grants Program, has awarded over $800,000 to individual artists and arts organizations in the State.

For 14 years, Finishing Funds has provided over $185,000 to New York State artists, to assist with the completion of diverse and innovative projects, and works for the Internet and new media. Among this years' projects are 8 film productions. Five different counties throughout the State are represented; 20% of recipients live in the Upstate region. The works in progress have received recognition and support from other organizations including the Individual Artists Program of the New York State Council on the Arts, Eyebeam Atelier, Franklin Furnace, Thundergulch, the Lower Manhattan Cultural Council, the Swiss Institute, the Wesley New Media Center of Georgia Institute of Technology, Harvestworks, Pittsburgh Center for the Arts and Visual Studies Workshop. This year's peer review panel was composed of independent new media artist and educator Torsten Burns and Buffalo-based filmmaker and media activist Stephanie Gray.Presentation Funds provides support to New York State organizations for in-person appearances by film and media artists. The program brings innovative cinema programming, including independent film and media art, as well as audio installation works to new audiences and to underserved communities in all regions of the State. In addition, the program assists organizations which serve special constituencies and encourages the development of new presentation venues throughout the State. The program supported in-person appearances before about 12,000 people, with cable and web audiences estimated at an additional 15,000.  American Museum of the Moving Image,  Art Mission, Film Department Bard College, Carnegie Art Center,  Chatham Film Club, Cooper Union, Cornell University Cornell Cinema Crandall Public Library,  Downtown Community TV, Eldridge Street Project,  Everson Museum of Art,  Flux Factory, George Eastman House,  Millennium Film Workshop, Munson WIlliams Proctor Institute, New Museum of Contemporary Art,  Ocularis at Galapagos Art Space,  Saratoga County Arts Council,  Smack Mellon Studios,  Temenos,  Third World Newsreel,Founded in 1999 The Media Arts Technical Assistance Fund is designed to help non-profit media arts programs in New York State stabilize, strengthen or restructure their media arts organizational capacity, services and activities. The mission is to help organizations to address systemic issues within institutions and within the field. Through direct assistance the program supports organizational development, and the building of critical skills within the organization which will assure its vitality and longevity. An important component of the Media Arts Technical Assistance Program encourages the media arts community to meet and discuss issues which have bearing on the field's vitality and longevity. Media Arts Breakfast Meetings and other gatherings Upstate are held on a regular basis to meet and share visions and concerns.

In addition to direct support, Technical Assistance helps organizations to attend professional conferences, seminars and festivals including the Lake Placid Film Forum, NAMAC's Media Arts Leadership Institute, Looking Back/Looking Forward a symposium on moving image preservation, Info Fair sponsored by Media Alliance, NAMAC's Pull Focus 2002 conference, the National Arts Marketing Conference, (2003), the Alliance for Community Media's NE Region Connecting Media Democracy and an Open Artists Space, Asian Cinevision, Children's Media Project, at New York University, Film Society of Lincoln Center, Film/Video Arts, free103point9, Global Action Project, Guggenheim Museum, George Eastman House, Hallwalls, Imagenation Film Festival, IMAP, Japan Society, Konscious Media Inc., Lower Manhattan Cultural Council, Manhattan Neighborhood Network, Media Alliance, Museum of Modern Art, Milestone Films, National Black Programming Consortium, Smithsonian Film and Video Center National Museum of the American Indian,   and Women Make Movies.

The Center is committed to the early history of media art and its preservation. Housed at the Center is a collection of over 1000 videotapes which chronicle work produced here over the last 30 years. We are a founding member of Independent Media Arts Preservation. We are past participants of the Regional Cataloging Initiative and the National Moving Image Database project of the American Film Institute, and will participate in the Pilot Union Catalog project in NYS.

Begun in 1994, the Video History Project is an online research initiative which reflects the complex evolution of the media arts field, and encourages a collective voice in the crafting of our histories.

The goals of the Video History Project are to provide a dynamic vehicle for the creation and dissemination of an inclusive media history; to help establish bridges for intellectual access to information regarding the history of the field; to position independent media arts activities within a broader cultural context by cultivating research and public programming of these materials by those in the arts, humanities and sciences; and to encourage alliances among collecting institutions and educational and curatorial programs for the preservation of critically endangered works, instruments and documents

Goals are realized in an interrelated set of activities combining research and scholarship, realized on the web and as collaborative projects supporting issues in electronic moving image preservation through the hosting of conferences and seminars.

The first conference, Video History: Making Connections, (1998) brought together over 250 pioneering practitioners and contemporary artists working in new media and interactive technologies.

In June 2002, the Center invited over 60 media arts professionals, conservators, technical experts, and artists to gather at the historic firehouse home of Downtown Community TV Center in New York for Looking Back/Looking Forward, a two-day working symposium on moving image preservation. The symposium was organized by the Experimental Television Center, in association with Independent Media Arts Preservation (IMAP) and Bay Area Video Coalition. Focused on the physical preservation of independent electronic media works and related issues concerning tools and ephemera, Looking Back/Looking Forward facilitated an honest and sometimes disturbing evaluation of our progress as a field and informed discussion about necessary and realistic initiatives and partnerships.

Participants at the symposium included representatives of Art and Science Laboratory (Santa Fe),  Bay Area Video Coalition (San Francisco), Electronic Music Foundation, Electronic Arts Intermix, Experimental Television Center, George Eastman House, Guggenheim Museum, IMAP, la foundation Daniel Langlois (Montreal), La Guardia Community College, MercerMedia, Museum of Modern Art, National Museum of the American Indian, New York University Preservation and Cinema Studies Departments, New York State Council on the Arts, Smithsonian Institution Archives (Washington), Standby Program, Tate Gallery (London), The Kitchen, V Tape (Toronto), Video Data Bank (Chicago) and WNET.

We are now working on edited proceedings and reports to be posted on the Experimental Television Center's Video History site. Looking Back/Looking Forward was also documented on videotape by Bay Area Video Coalition.

Research and scholarship is an important aspect of our program. We contributed to Playback: Preserving Analog Video, a DVD produced by BAVC (2003) with major support from the National Endowment for the Arts. We provided research into the early commercial video recorders relying on original manuscripts, technical data, and product literature, as well as photo and video documentation of the early equipment.

The Preservation area of the Video History website contains two commissioned texts. Video Preservation: The Basics by Sherry Miller Hocking and Mona Jimenez, was originally written in 200, with assistance from a Media Action Grant from Media Alliance. Sherry Miller Hocking engaged in a significant revision of the text in 2002.In 2003 we produced a CD Early Media Instruments which features a database of significant imaging devices which played a critical role in the historical development of independent media art. The database contains photographs of the devices, examples of product literature, as well as texts and manuscripts describing the tools. The devices include video, audio and computer-based tools, both commercially available and designed by artists and engineers. The CD was featured in a three month long exhibition "Origins" at ArtsInteractive Gallery, curated by Mary Ann Kearns for the Cyberfest in Boston, along with representative tools from the era of the early 1970s.

The focus since 2000 has been on the continued enrichment of content on the Video History Web and the development and implementation of collaborative strategies for advancement of electronic moving image preservation resources and tools.

Formally launched in 2000, the Video History Web functions as a both a dynamic and interactive on-going research collection and dissemination vehicle for media professionals, educators, and media programmers as well as the general public. Resources include critical essays, manuscripts, interviews, biographies, an extensive bibliography with over 1000 entries and information on collections, distribution, tools, preservation, organizations, and individuals. In the Chronology area you can generate a timeline of events in media arts history, or view the events within a defined range.

The fully searchable site structure serves information contained in 12 databases holding nearly 5000 records. Results are reported topically, organized by resource area. The search function allows visitors to search all of the records, encouraging the visitor to discover broad interconnections among people, places and events. Each resource area contains historically significant texts, descriptive information and extensive links.

Visitors are encouraged to contributed information to the chronology and bibliography areas, and also to those areas which provide access to historically significant texts concerning the evolution of media art and community television.

We are now engaged in several related research projects which will contribute content to the Video History Web. We plan an update of the publication Magnetic Media Preservation Sourcebook published in 1998 by Media Alliance. We are nearing completion of the editing of transcripts and proceedings from Looking Back/Looking Forward for web posting, and will begin an initial analysis of transcripts from the Video History: Making Connections conference the Center organized in 1998. We hope to complete remaining inventory level collection records for the database of image processing tools and to begin an assessment of

The Center's programs are supported by the Electronic Media and Film Program at the New York State Council on the Arts, the Statewide Challenge Grant Program, the Media Arts Program of the National Endowment for the Arts, mediaThe foundation, The Andy Warhol Foundation for the Visual Arts, the New York Foundation for the Arts, the Media Action Grant Program of Media Alliance, by corporate support from Dave Jones Design and Black Hammer Productions and by the contributions of many individual artists.

The Residency Program offers self-directed creative time to mediamakers from throughout the country. Since 1971 we have assisted over 1400 artists in the creation of works using new electronic video, sonic and digital technologies. Each year about 40 artists are invited to work in the studio, in a retreat-like workshop environment, which offers access to an image processing system, intensive individualized instruction and time for exploration and personal creative growth. The image processing system is a hybrid tool set, permitting the artist to create interactive relationships between older historically important analog instruments and new digital technologies, and to explore boundaries and intersections within narrative, documentary and social issue traditions as well as more experimental forms., we were able to significantly advance the digital components of the imaging system, incorporating a second G4 computer, other sonic and control modules by Doepfer, interactive software including Max/MSP and Jitter, as well as DVD authoring and editing software.

artists represent 10 states, and . Over one-third are artists from outside . Applicants in 2003-04 included Mara Alper (Ithaca, NY); Kristin Anchor (Baltimore, MD); Sara Ayers (Albany, NY); Christopher Barker (Baltimore, MD); Bebe Beard (Boston, MA); Kjell Bjorgeengen (Norway); Peer Bode (Rochester, NY);  Torsten Zena Burns (Brooklyn, NY); Lili Chin (Brooklyn, NY);  Dolan (CO); Maria Dumlao (Brooklyn, NY);  (Ithaca, NY); Suzanne Goldenberg (NY, NY);  Michelle Handelman (Brooklyn, NY); Pamela  Zohar Kfir (Israel); Judge Kindel  (Louisville, KY); Kristin Lucas (Brooklyn, NY); Mary Magsamen and Stephen Hillerbrand (Brooklyn, NY);  Phillips  Joseph Reinsel (Baltimore, MD); Megan Roberts (Ithaca, NY);  Lynne Sachs (Brooklyn, NY); Josh Weinstein (Brooklyn, NY); Bart Woodstrup and Matt Biederman (Chicago, IL); Walter Wright (N. Chelmsford, MA);Tapes produced at the Center were again included in exhibitions throughout the United States and Europe and on the Web. Recent exhibition venues have included the Little Theater (Rochester), White Box  Millennium Film Workshop, Anthology Film Archives and in festivals including the Howl Festival (NYC), Mix Festival, the Under the Bridge Annual Festival, and the In keeping with our educational objectives, we hosted the 9th Annual International Residency, a 10 day intensive residency available for academic credit to 18media makers. The workshop is co-taught by Pamela Susan Hawkins and Hank Rudolph. Several projects which will be developed in the coming year including strengthening the collaborative strategies components and developing effective methods of instruction in Jitter and other complex software for moving image making. We also participate in online salons hosted by NAMAC, empyre Media Arts Technical Assistance Program we work with organizations from all regions of New York State to develop the media arts field.

The Center serves as a sponsoring organization for artists' projects in the electronic and film arts,   In the last 6 years, with requests totaling over one million dollars, artists have received over $400,000. Completed projects have received worldwide exhibition and distribution, and have been supported by the National Endowment for the Arts, the NYS Council on the Arts, the Rockefeller Foundation, ITVS, Astraea Foundation, Soros Documentary Fund, Chase Manhattan and many others.

SupervisionCreative Capital, New York Foundation for the Arts, The Radcliffe Institute for Advanced Study at Harvard University, the Jerome Foundation, and National Geographic.

For 2003-2004 the following artists have received awards: Mara Alper from National Video Resources for distribubtion of Wide Awake, a 60-minute, experimental documentary film exploring the frustrations, the struggles and the exasperations of insomnia; Norman Cowie from the Funding Exchange through the Paul Robeson Fund for Book Tick, a new media installation using robotics and open source software; Megan Roberts and Raymond Ghirardo from NYSCA for Agenda, which deconstructs NASA's implementation of the Sojourner Truth mythos and the human propensity to anthropomorphize mechanical objects; Barbara Hammer from NYSCA for  from NYSCA for Ghost in the Oat Bin, a hybrid long-wire audio installation and electro-acoustic instrument ensemble that investigates the musical potential of architectural narratives.

Other sources of support for these current projects has come from ETC Finishing Funds 2004, Women In Film, Wexner Center for the Arts, Longwood Cyber Residency Program, Bard College Faculty Research Grant, Huddersfield Media Center (UK),As works-in-progress, the projects have been exhibited at Pacific Film Archive, University of California, Powering Up/Powering Down (CA), Tapies Foundation (Barcelona, Spain), Columbia University Visiting Artist Lecture Series, Center for Contemporary Art (Prague), Consolidated Works Gallery (Seattle, WA), Marywood University (Scranton, PA), and the Mooste Kulalisstuudio (Estonia).

Since 1989 the Grants Program, has awarded over $850,000 to individual artists and arts organizations in the State.

For 14 years, Finishing Funds has provided over $200,000 to New York State artists, to assist with the completion of diverse and innovative projects, and works for the Internet and new media. This year we had a record number of applicants with requests totaling over $400,000. The awards went to artists in four different counties throughout the State, including the upstate communities of Troy and Alfred.

The works in progress have received recognition and support from other organizations including the Individual Artists Program of the New York State Council on the Arts, the Guggenheim Foundation, Harvestworks, Downtown Community TV Center, Eastman Fund, San Francisco Foundation, Battle Creek Foundation, Niagara Council on the Arts, Funding Exchange, and Liaison of Independent Filmmakers of Toronto. This year's peer review panel was composed of Kathy Brew and Joanna Raczynska.

The program supported in-person appearances before about 120,000 people, with cable and web audiences conservatively estimated at an additional 150,000. Founded in 1999 The is designed to help non-profit media arts programs in New York State stabilize, strengthen or restructure their media arts organizational capacity, services and activities. The mission is to help organizations to address systemic issues within institutions and within the field. Through direct assistance the program supports organizational development, and the building of critical skills within the organization which will assure its vitality and longevity. In addition to direct assistance, another important component of the Strengthening the Media Arts in New York State - A Statewide Media Arts Convening and NAMAC Regional Meeting, to be held in partnership with WAMC and the Electronic Media and Film Program of the New York State Council on the Arts. About 30 media arts and advocacy groups from around the State will be invited for one day of discussion surrounding issues of critical interest to the communities, and a second day devoted to one of 4 NAMAC think tank meetings held across the country each year.

In addition to direct support, Technical Assistance helps organizations to attend professional conferences, seminars and festivals including the East Coast Think Tank, the International Film Seminar's  This year's total request to Technical Assistance Association of Independent Video and Filmmakers, Anthology Film Archive, Art in General, Asia Society, Carnegie Art Center, Center for International Media Action, Central NY Programmers Group, Children's Media Project, Crandall Public Library, Dumbo Arts Center, Electronic Arts Intermix, Everson Museum of Art, Fales Library at NYU, free103point9, Film Fleadh, Hallwalls, Guggenheim Museum, Harvestworks, Independent Feature Project, IMAP, Ithaca College, Jewish Museum, Lower Manhattan Cultural Council, Museum of Modern Art, New Museum of Contemporary Art, New York Media Rights.org, Pelham Picture House Preservation, Inc., POV, Rensselaer Polytechnic Institute and iEAR Studios, Rhizome, Saratoga Film Forum, Squeaky Wheel, Third World Newsreel, Visual Studies Workshop, WAMC and Woodstock Film Festival.

The Center is committed to the early history of media art and its preservation. Housed at the Center is a Begun in 1994, the Video History Project is an online research initiative which reflects the complex evolution of the media arts field, the multiple and interrelated histories of the media arts field, and encourages a collective voice in the crafting of our histories.

The goals of the Video History Project are to provide a dynamic vehicle for the creation and dissemination of an inclusive media history, crafted by those who are shaping it; to help establish bridges for intellectual access to information regarding the history of the field and efforts to preserve its artifacts; to position independent media arts activities within a broader cultural context by cultivating research and public programming of these materials by those in the arts, humanities and sciences; to encourage alliances among collecting institutions and educational and curatorial programs for the preservation of critically endangered works, instruments and documents; and to increase public awareness of and appreciation for media history throughout the State and nationally. Goals are realized in an interrelated set of activities combining research and scholarship, realized on the web and as collaborative projects supporting issues in electronic moving image preservation through the hosting of conferences and minars.

The first Video History: Making Connections, (1998) brought together over 250 pioneering practitioners and contemporary artists working in new media and interactive technologies.

In June 2002, the Center invited over 60 media arts professionals, conservators, technical experts, and artists to gather at the historic firehouse home of Downtown Community TV Center in New York for Looking Back/Looking Forward facilitated an honest and sometimes disturbing evaluation of our progress as a field and informed discussion about necessary and realistic initiatives and partnerships.

The edited proceedings and reports are posted on the Experimental Television Center's Video History site. Playback: Preserving Analog Video, a DVD produced by BAVC (2003) with major support from the National Endowment for the Arts. We provided research into the early commercial video recorders relying on original manuscripts, technical data, and product literature, as well as photo and video documentation of the early equipment.

The Preservation area of the Video History website contains two commissioned texts. by Sherry Miller Hocking and Mona Jimenez, and In 2003 we produced a CD Boston, along with representative tools from the era of the early 1970s.

The focus since 2000 has been on the continued enrichment of content on the   We also target resources, gaining permission before materials are electronically published. Information is uploaded to the site on a regular basis.

The fully searchable site structure serves information contained in 12 databases holding nearly 5000 records. Results are reported topically, organized by resource area. The search function allows visitors to search all of the records, encouraging the visitor to discover broad interconnections among people, places and events.

The site is visited by thousands of people every year. With the assistance of the Daniel Langlois Foundation in 2004, as well as by the New York State Council on the Arts, we are focused presently on early video/media instruments - those tools designed individually or by artists and technologists working collaboratively, as well as innovative commercial devices. This research links associated texts, documentation, technical data, maker biographies and interviews, and tapes produced on these systems.

We have applied to the Cornell Library for assistance with the project Video History Web and the Preservation of Primary Materials Related to the Historical Development of the Field: Content Development Using the ETC Research Materials. We are proposing the digitizing of materials relating to development of media at the Center from 1969 thru the decade of the 80s, and also the activities in the upstate NY region during that period. Included are organizations such as Everson Museum of Art, Ithaca Video Projects, Portable Channel, Media Study/Buffalo, Synapse, Cornell Video Project and many others. The Cornell Library would digitize files including posters, program notes, artists' statements and other types of materials, and place digitized content in the Rose Goldsen Digital Archives; the materials would also be available on the Video History site.

The National Television and Video Preservation Foundation is providing in-kind support in 2004 to preserve and remaster 10 hours of very early videotapes from the Center's collection; the works were produced in the 1970s and showcase early analog and digital video imaging tools. Experimental Television Center: Programs 2004-05 (pdf)

The Residency Program offers self-directed creative time to mediamakers from throughout the country. Since 1971 we have assisted over 1400 artists in the creation of works using new electronic video, sonic and digital technologies. Each year about 40 artists are invited to work in the studio, in a retreat-like workshop environment, which offers access to an image processing system, intensive individualized instruction and time for exploration and personal creative growth. The image processing system is a hybrid tool set, permitting the artist to create interactive relationships between older historically important analog instruments and new digital technologies, and to explore boundaries and intersections within narrative, documentary and experimental forms., we were able to significantly advance the digital components of the imaging system, incorporating a second G4 computer, other sonic and control modules by Doepfer, interactive software including Max/MSP, Jitter and Pluggo as well as DVD authoring and editing software.

artists represent 8 states, as well as , , and . About 40% are artists from outside . Applicants in 2004-05 included Mara Alper (NY); Phyllis Baldino (NY); Rene Beekman (Bulgaria); Stephan Belovarich (NY); Torsten Zena Burns (NY);   (Ithaca, NY); Pamela  Zohar Kfir (Israel); Annie Langan   Darrin Martin (NY); Brian Milbrand and Courtney Grim (NY); Bianca Bob Miller (NY); Nicedisc (NY); Toban Nichols (CA); John Jud Yalkut (Dayton, OH); Neil Zusman (Ithaca, NY).

Tapes produced at the Center were again included in exhibitions throughout the United States and Europe and on the Web. Recent exhibition venues have included the The Robert Beck Memorial Cinema, Eyebeam, the Museum of Modern Art, The Kitchen, The Tank, Tonic, Art in General,New York Film Festival, the ) and the In keeping with our educational objectives, we hosted the 10th Annual International Summer Workshop, a 10 day intensive residency available for graduate and undergraduate academic credit to 16 media makers. The workshop is co-taught by Pamela Susan Hawkins and Hank Rudolph.We also participate in online salons hosted by NAMAC, empyre and other arts, information and advocacy groups. Through the Media Arts Technical Assistance Program we work with organizations from all regions of New York State to develop the media arts field. We helped organize meetings and other symposia including Deep Focus launch in NYC.

The Center serves as a sponsoring organization for artists' projects in the electronic and film arts,   Since 2001, with requests totaling over one million dollars, artists have received almost $350,000.

Completed projects have received worldwide exhibition and distribution, and have been supported by the National Endowment for the Arts, the NYS Council on the Arts, the McCarthy Foundation, Funding Exchange, the Rockefeller Foundation, ITVS, Astraea Foundation, Soros Documentary Fund, Chase Manhattan and many others.

By Desire; Slawomir Grunberg for the Emmy-award winning documentary School Prayer: A Community Divided; Barbara Hammer for Culture Doctor, The Female Closet, and her new work Resisting Paradise; Ken Jacobs for NY Ghetto Fishmarket, 1903; and Kristin Lucas for . Projects have been supported by the New York State Council on the Arts, Funding Exchange, NVR and the Distribution Fund, Creative Capital, New York Foundation for the Arts, The Radcliffe Institute for Advanced Study at Harvard University, the Jerome Foundation, and National Geographic.

For 2004-05 the following artists have received awards from the New York State Council on the Arts: Irit Batsry for Of Set; Abigail Child for By Desire; Norman Cowie for The Dimension in Which It Reigns Supreme with additional support from the Funding Exchange; Jeffrey Lerer for Manuscript Fragments Found at the Gilbert Hotel; Andrea Stake for The Birthday Party; Caspar Stracke for Cinemacity; Jim Supanick for Seed, Sold Back to the Farmer; Erika Yeomans for Pose-Down. Greta Olafsdottir and Susan Muska received support from the McCarthy Foundation for Other sources of support for sponsored projects currently in production has come from ETC Finishing Funds, Women In Film, Wexner Center for the Arts, Funding Exchange and the McCarthy Foundation.

Since 1989 the Grants Program, has awarded almost one million dollars to individual artists and arts organizations in the State.

For 16 years, the program has provided $300,000 to New York State artists, to assist with the completion of diverse and innovative projects which challenge the traditional boundaries of the media.

This year we had a record number of applicants with requests totaling over $370,000. Finishing Funds is supported in part with public funds from the New York State Council on the Arts and by mediaThe foundation. mediaThe foundation supported 3 special awards for New Media and Intermedia Performance which went to Angie Eng, Tali Hinkis and Kyle Lapidus of LoVid, and Koosil-Ja Hwang. The other Finishing Funds 2005 recipients are Kabir Carter, Abigail Child, Alex Hahn, Eunjung Hwang, Mary Mattingly, Jillian McDonald, Tammy McGovern, Federico Muelas, Laura Parnes, Jennifer Reeves, Jason Van Anden, Jeremy Xido and Adam Zaretsky.

The works approach such diverse issues as the wireless world, the works of Kathy Acker, modular image synthesizing tools, contemporary values, bisexual identity, the Hudson River Park and organic farming. The works in progress have received recognition and support from other organizations including the New York State Council on the Art, Harvard University, Renssalear Polytechnic Institute, Lower Manhattan Cultural Center, Jerome Foundation, Villa Croce Museum, Eyebeam Atelier, The Kitchen, Roulette, Harvestworks, Cultural Spanish Consulate and the Austrian Federal Government. This year's peer review panel was composed of independent media artist and educator Darrin Burns and Buffalo-based new media artist Aaron Miller.The program supported in-person appearances before about 150,000 people, with cable and web audiences conservatively estimated at an additional 150,000. This year's recipients included Institute for Electronic Arts at Alfred University, Apexart, Art in General, Art Mission, Bard College, Bowrey Arts and Sciences, Collective Unconscious, Cornell Cinema, Crandall Public Library, Dansology Inc., Diapason Gallery for Sound, Dumbo Arts Center, Evolutionary Girls Club,  Millennium Film Workshop, Movement Research, New Dance Alliance, Summer School for the Arts, Phoenix Action Network Listen with your Eyes Media Festival, Pratt Institute, Roulette, Saratoga Film Forum, Sephardic House, Squeaky Wheel, Theater for the New City and Visual Studies Workshop.

Founded in 1999 The is designed to help non-profit media arts programs in New York State stabilize, strengthen or restructure their media arts organizational capacity, services and activities. The mission is to help organizations to address systemic issues within institutions and within the field. Through direct assistance the program supports organizational and professional development, and the building of critical skills which will assure the vitality and longevity of the organization. Another important component of the This year we convened in Buffalo at CEPA Gallery, in Rochester at the George Eastman House, and in New York City at the Jewish Musem, the Tribeca Film Institute and at Kodak. We are collaborating with American Documentary/POV on Strengthening the Media Arts in New York State - A Statewide Media Arts Convening and NAMAC Regional Meeting, held in partnership with WAMC and the Electronic Media and Film Program of the New York State Council on the Arts. About 30 media arts and advocacy groups from around the State were invited for one day of discussion surrounding issues of critical interest to the communities, and a second day devoted to one of four NAMAC think tank meetings held across the country each year.

In addition to direct support, Technical Assistance helps organizations to attend professional conferences, seminars and festivals including the Association of Moving Image Archivists Annual 2005 Conference, World Social Forum, Alliance for Community Media Conference   Film Seminar   conferenceDeep Focus launch at the Smithsonian in New York City.

was about $ 90,000. The program provided about $ 52,000 in support of requests from 43 organizations in 11 counties including the The Center is committed to the early history of media art and its preservation. Housed at the Center is a Begun in 1994, the Video History Project is an online research initiative which reflects the complex evolution of the media arts field, the multiple and interrelated histories of the media arts field, and encourages a collective voice in the crafting of our histories.

The goals of the Video History Project are: To provide a dynamic vehicle for the creation and dissemination of an inclusive media history, crafted by those who are shaping it; To further the critical discourse among scholars and historians engaged with the study of the origins of media art; To contribute to the continued enrichment of knowledge within the media arts community globally; To capture the cultural environment, technological visions of individuals, and the modes of institutional support present during the early developmental years of media; To document and interrelate information about individuals, organizations, instruments, creative artworks, and events;To raise cultural awareness of the origins of media art;To increase public awareness of and appreciation for media history throughout the State and internationally. Goals are realized in an interrelated set of activities combining research and scholarship, through the enrichment of History Web content, and as collaborative projects supporting issues in electronic moving image preservation through the hosting of conferences and seminars.

The first Video History: Making Connections, (1998) brought together over 250 pioneering practitioners and contemporary artists working in new media and interactive technologies. Loing Back/Loing Forward, a two-day working symposium on moving image preservation. The symposium was organized by the Experimental Television Center, in association with Independent Media Arts Preservation (IMAP) and Bay Area Video Coalition. Focused on the physical preservation of independent electronic media works and related issues concerning tools and ephemera, Loing Back/Loing Forward was also documented on videotape by Bay Area Video Coalition.

Playback: Preserving Analog Video, a DVD produced by BAVC (2003) with major support from the National Endowment for the Arts. We provided research into the early commercial video recorders relying on original manuscripts, technical data, and product literature, as well as photo and video documentation of the early equipment.

The Preservation area of the Video History website contains two commissioned texts. by Sherry Miller Hocking and Mona Jimenez, and In 2003 we produced a CD Boston, along with representative tools from the era of the early 1970s.

The focus since 2000 has been on the continued enrichment of content on the   We also target resources, gaining permission before materials are electronically published. Information is uploaded to the site on a regular basis.

The fully searchable site structure serves information contained in 12 databases holding over 6000 records. Results are reported topically, organized by resource area. The search function allows visitors to search all of the records, encouraging the visitor to discover broad interconnections among people, places and events. The site had over 1.5 million accesses in 2004. Over 28 billion bytes of history information was provided, 4 billion in the first 12 weeks of 2005 alone. The site last year had over 6 million hits.

The site is visited by thousands of people every year. In 2004-2005 the Daniel Langlois Foundation for the Arts is assisting with the continued development of the Video History Website. The Foundation supported eight organizations that are encouraging the meeting of art and science in the field of technologies, as part of its new Strategic Grants for Organizations. The Foundation received 168 submissions in response to its call for proposals within this program, of which eight were selected: four from Canada, two from the United States, one from India and one from Peru.  Content derives from our tool and paper archives. We are electronically photographing the devices, and in some cases, creating moving image records of the functioning of the tool. We are scanning associated texts, documentation, and ephemera related to events which include posters, exhibition program notes, exhibition catalogs; and audio and video interviews. The data would be published on the existing History Project Website; we are exploring other modes of distribution of the information as well. These include a DVD publication, and a companion text, published in association with A Journal of Media Art and Communication to be co-edited by Kathy High, along with Sherry Miller Hocking and independent researcher Mona Jimenez. We intend to draw into the discussion new makers who have a relationship with analog devices either as part of their art practice or as an essential element of their conceptual base, and new media artists whose conceptual approaches are similar to those of early media practitioners. A Festival is planned for 2006 to focus on the research, and bring historical and new works to arts audiences. In this way we see the project as a bridge between "old" and "new" media, in the same way that the History Conference was conceived.

The National Television and Video Preservation Foundation provided   The project focused on those instruments - tools individually designed by artists and the collaboration of artists and engineers/technologists, modifications to existing technology, and innovative applications of commercial technology – and the collaborative relationships between artists and engineers, and the interdisciplinary nature of early media arts practice. The tapes which we are seeking to preserve feature important early video devices designed in the early to mid 1970s, including those created by Nam June Paik (wobbulator or scan processor, and the construction of the Paik/Abe Video Synthesizer and its use with the TV Bed, exhibited at the Everson Museum in 1972), David Jones, Bill Hearn, Steve Rutt and Bill Etra, Dr. Don McArthur, the Vasulkas and Dan Sandin. We have informational materials, technical information, ephemera including early posters and programs, and photographs related to the tools. We received an Artist in Residence Award from the Institute for Electronic Arts (2005) for the creation of series of DVDs which document the operation of artists' designed instruments, including the the Paik/Abe Video Synthesizer, Paik Raster Manipulation Unit, Rutt/Etra, Sandin Image Processor, Jones Colorizer, Frame Buffer, Keyer and Sequencer.

Other contributors have included The National Television and Video Preservation Foundation, The Andy Warhol Foundation for the Visual Arts, Statewide Challenge Grant Program, Media Alliance, Institute for Electronic Arts at Alfred University. Partners: the Institute for Electronic Arts, Independent Media Arts Preservation, Bay Area Video Coalition, Everson Museum of Art, Critical Artware.

The Center's programs are supported by the Electronic Media and Film Program at the New York State Council on the Arts; Daniel Langlois Foundation for Art, Science, and Technology; the Media Arts Program of the National Endowment for the Arts; mediaThe foundation; NYS Challenge Grant Program; The Andy Warhol Foundation for the Visual Arts; the New York Foundation for the Arts; the Media Action Grant Program of Media Alliance; by the Institute for Electronic Arts at Alfred University, the Everson Museum of Art, IMAP, BAVC, VidiPax; and by corporate support from Dave Jones Design and Black Hammer Productions and by the contributions of many individual artists.