Video History Project

Bibliography

Open Source: Artists from the Institute for Electronic Arts

Editor
Ann Hoffman
Publisher
China Light Industries
Subjects
Texts by Author
ETC archive
ETC1797

Abstract

Catalog from the exhibition at the Central Academy of FIne Arts, Bejing, China, October 17 - November 9, 2001. Articles by Gara Edizel (Revolution by Digits), Pauline Oliveros (Tools of Change and Transformation).

Videos:

Time Machines /  the Owego Recordings  2001

Bell / Light  / Piano / Sound and Image Interface   1998

Oscillators / White Noise / Hand Built  Real Time Analog and Digital Video Processor  1983

Oscillators / Printouts / Books / Bell /Light  / Sound and Image Interface   1992 / 1998

Electronic experiments,

Real systems

Real time recordings, constructions, performances, mixes and remixes

Live creative noise

Live living and electronics

Quantities, vibrations, speed, amplifications, distances, changes, networks, interfaces

Live and memory, recordings  and grabs

Nervous systems meet nervous systems

Electronic wildernesses

Electronic genetics

Electronic memory

Quantity, generosity, experiences, ideas

Fragments of the past, fragments of the future

Moving images and moving sound

Moving territories

Constructions inside and outside of meanings

Desires, pleasures

Poetic electronics, poetic bodies

Structural causalities, expressive causalities

Negotiating, not trapped in identity

Different places, different logics

Electronic experiences, electronic ideas, electronic memories

Electronics and change

Ancient electronic inter net TV play

oscillator, noise, light, bell, piano, printouts and books

Emancipatory discourses and memory

Ancient, colonized, recolonized, reteritorialized

The changing ways of information

The changing ways of knowledge and memory

Emerging impacts, emerging plays

Information hover crafts

Wired generations

Ambient generations

Desiring generations

Information generations

Memory generations

Electronic entertainment, advertising, fashion, design, medicine, politics, military

And then there is electronic education

Electronic art  is electronic education is inter net and television for and about people

My television video electronic educational inter net art is for people, minds and bodies

Electronic art educational inter net television

Not so hard to imagine

It's a pleasure

Best to you

Peer Bode

Peer Bode is an internationally exhibiting American artist of German/Norwegian descent.  He is also an active educator and studio advocate and facilitator of independent electronic media. He is associated with the renowned American Owego and Alfred schools of new media imaging. He is Professor of Video Arts at the School of Art and Design and Co-Director of the Institute for Electronic Arts, Alfred University, Alfred, NY. His work is produced at the Experimental Television Center, Owego, NY, the IEA, Alfred NY and Pep Studios, Hornell and Rochester, NY. Peer Bode's work is included in "a Survey of American Video Art - The First Decade", a project of Chicago's Video Data Bank ( https://www.vdb.org ), curated by Chris Hill. Peer Bode has collaborated on numerous electronic tool building projects with video systems designer David Jones and artist Ralph Hocking.

Cite this record

Open Source: Artists from the Institute for Electronic Arts. China Light Industries. 2001.

Download RIS citation
From the Experimental Television Center archive

ETC1797

Catalog from the exhibition at the Central Academy of FIne Arts, Bejing, China, October 17 - November 9, 2001. Articles by Gara Edizel (Revolution by Digits), Pauline Oliveros (Tools of Change and Transformation).

Submit a change or correction

If unchecked, this will appear as a public note on the site immediately. Spam filters may delay publication, but all submissions are reviewed by staff.

Changes will be reviewed and integrated as time permits. For major changes, feel free to email [email protected].

Last modified 13 September 2026

Related records

  • Time as Medium: Five Artists' Video Installations Bibliography

    Essay examines how five artists—Bruce Nauman, Nam June Paik, Dan Graham, Bill Viola, and Gary Hill—use video time in site-specific installations; discussed works include Nauman's Corridor Installation (1970), Paik's TV Buddha (1974), Graham's Present Continuous Past(s) (1974), Viola's Decay Time (1974), and Hill's Suspension of Disbelief (for Marinne) (1992). It traces the emergence of video art to the mid-1960s Portapak and situates artists' temporal experiments alongside ideas from Clement Greenberg, Einstein, Husserl, and William James; technologies cited include Portapak cameras, monitors/rasters, strobes, hidden cameras, and computer-controlled switching.

  • Video Bibliography

    Meditative and theoretical prose on video as a medium, arguing that video fabricates light and sound, creates retrievable representational domains, and neutralizes traditional notions of truth, memory and history; it treats buffering, inscription, and virtual realities alongside political and libidinal economies. The text examines the body and fetishization in relation to television and screening, includes a short Epitaph poem, and contains sections titled Video ii, Videola and Video; it also references over four hours of videowork produced in weeks of autumn and discusses tape as an inert/active material.

  • Art Statement Bibliography

    Artist states that their image-synthesis/image-processed video works are serial constructions produced with custom-built analog and digital processors; each section is a synthesized real-time recording in which sound and image are parallel electronic structures mutually controlled by predetermined waveshapes. The work addresses people, interaction, time, physical and psychic space and remembering, often rendering primitive social and biological functions such as flirtation, courtship, penetration, fission and fusion as tactile, schematized movements and transitions. Periodic wave forms (sine, triangle, ramp, etc.) are most often used as image source; their temporal makeup and iconic video display are said to evoke archetypal forms and myth and to express primordial rhythmic and natural ordering principles.

  • The Electronic Gallery Bibliography

    The Electronic Gallery. Peer Bode: investigation into his body of video work. Videographic information listed: VIDEO LOCOMOTION: MAN PERFORMING FORWARD HAND LEAP (B&W/silent), 1980- 5 minutes, KEYING DISTINCTIONS (B&W/silent), 1980- 3:30 minutes, MUSIC ON TRIGGERING SURFACES (B&W/sound), 1980- 3 min…

  • The Movement Within: Images Created on a Video Synthesizer Bibliography

  • Light and Darkness in the Electronic Landscape: Some Aspects of the Video Image Tools

    Barbara Buckner's lecture, presented at the Collective for Living Cinema in February 1978, analyses the video image's technological and aesthetic properties, describing electron-beam scanning (525 horizontal lines, 30 frames/second, two fields per frame, 1/60th second vertical retrace), tape recording, monitors and sync pulses. She contrasts video and film, discusses video image processors and computer-based video synthesizers (citing Donald E. McArthur, Experimental Television Center, June 1977) and considers implications for storage, automated composition and the artist's role in machine-assisted image-making.