Bibliography

Tom Swift Lives Bibliography

Published five times yearly. Contains articles about computing projects in the US. Focuses on home computing. This article concerns the development of terminals for the Community Memory public-access information retrieval system operating in Berkeley and San Francisco.

Tools by Bill Hearn Bibliography

Bill Hearn designed the Vidium, a color‑CRT X‑Y display based on a color modulation system patented in his name; the last Vidium was completed in 1970, used by musicians to generate images from electronic music signals, and was loaned to the Exploratorium. Hearn formed companies including Color Communications and Electronic Coop/Electronic Associates of Berkeley and produced the Hearn Colorizer (Model 100, 1972; Model 200 series, pre‑1975). The Hearn Videolab, conceived with Bill Etra and Steve Rutt in 1975 and citing Don Buchla as an influence, is a modular voltage‑controlled video synthesizer accepting up to six images and integrating genlock, switcher, SEG, colorizer and optional chroma keying.

Tools by George Brown Bibliography

George Brown developed the Video Sequencer (1972), which switched between two video sources at field or frame rate during the vertical interval and could be externally triggered, and the Multi-Level Keyer (1973), a digital sequencer controlling an analog keyer that layered six sources programmable via an external keyboard; the Multi-Level Keyer was constructed for Woody and Steina Vasulka and a computer interface was added in 1977. Brown modified commercial equipment and served as Technical Consultant to Alan and Susan Raymond on The Police Tapes (1976), broadcast by WNET-TV.

Tools, Technology and Access Bibliography

Light Work, formed as a programming affiliate of the Community Darkrooms at Syracuse University, developed public-access darkroom and imaging facilities from the late 1960s and expanded into color printing, xerography and digital imaging. Its programs included residencies and exhibitions such as 1979 Alternative Imaging; a 1989 NYSCA grant funded an Amiga 2000 and the lab converted to Macintosh in 1993; the Light Work Endowment Fund supported portfolios including John Pfahl's 1997 Iris series; the organization launched a website in 1995 and by 1998 had invested over $75,000 in its digital facility.

Toshio Matsumoto: Spanning Film and Video Bibliography

Total Design: An Essay on Buckminster Fuller Bibliography

Includes B&W photographs of the domes and map of the globe designed for dome formation, as well as Geodesic Structure Classification.

Toward a Noncommercial Technology: The Development of Image-Processed Video in the 1960s and 1970s Bibliography

Toward a Noncommercial Technology: The Development of Image-Processed Video in the 1960s and 1970s

Toward a Television Art Criticism Bibliography

Towards (a definition of) Experimental Music Bibliography

Towards (a definition of) Experimental Music. First section, title above, is composed of the following subsections: Composing, Identity, Time, Performing, Listening, and The Musical Consequences. Section 2, Backgrounds is brokendown into the following segments: Cage's rhythmic structures, Methodolog…

Towards A Primary Differentiation Between Film and Video Tools

Essay argues that film and video, though contemporaneous technologically, differ primarily in phenomenology and ontology: theater versus home viewing, film's irreversible mechanical materiality versus video's reversible electronic parameterization, rather than in quantitative resolution. It compares formats (Super 8mm, 3/4" U‑Matic, HDTV and industrial scanners up to 10,000 lines versus ~500 for commercial TV), links representational differences to psychoanalytic and narratological operations and institutional practice (Chicago Institute of Art), and lists two works: Sleazy and the Year 3000 (1987; sound by Damaged Life; woman: Marlis Schmidt) and Debrisfilm (1989; digital guitar by David Smith).

Towards a Visual Culture: Education through Television Bibliography

Towards a Visual Culture: Education through Television. Table of Contents holds a Preface, Introduction: Educating Televiewers by Educating Telecasters, Who makes television programs? What do they need to know?, Chapter 1: The Medium of Television: What are we looking at? What are we teaching with?,…

Tracking Video Art: Image Processing as a Genre Bibliography

Lucinda Furlong, Curatorial Assistant in the Whitney Museum of American Art's Film and Video Department, traces the emergence of image processing as a distinct video-art genre from the late 1960s through the mid-1970s; she examines terminology, aesthetic debates, and the modernist and formalist impulses that shaped the work. The text documents early tool-builders and artists (Dan Sandin, Steina and Woody Vasulka, Eric Siegel, Stephen Beck, Bill Etra, Steve Rutt, Nam June Paik and Shuya Abe), key technologies (video synthesizers, Sandin Image Processor, Rutt-Etra, Moog, Z-Grass), institutions (Whitney Museum, Radical Software, Experimental Television Center, SUNY Binghamton, University of Illinois Circle Campus) and funding developments including a $50,000 NYSCA grant to Hocking's Center.

Transcript from The International Video Art Symposium Bibliography

Transcript from The International Video Art Symposium. Transcript from The International Video Art Symposium. Table of Contents follows: Introduction, Video Artists and Television as a Medium, Support Structure for Artists working with Videotape: Notes, Video Lunch, Making Video: Cable Access, Artis…

Transmission: Theory and Practice for a New Television Aesthetics Bibliography

A source book on new television theory and practive. Theory; Practice; Distribution. Chronology. Videography. Bibliography.

Transnational Documentaries: A Manifesto Bibliography

John Hess and Patricia R. Zimmermann argue for a construct of transnational documentaries as adversarial media practice to contest corporate transnational concentration, deregulation and privatization; they document activist media practices and works such as Zoned for Slavery, Walt Disney in Haiti, El Naftazteca, Spin and Sonic Outlaws and cite institutional events including the February 1, 1996 telecommunications law and the 8th MacBride Roundtable (Seoul, Aug 24–27, 1996). The manifesto situates film and media scholarship within policy, political economy and international coalition-building and calls for interdisciplinary, transnational alliances and public-space interventions; both authors teach in Ithaca College’s Department of Cinema and Photography.

Trent Harris: Beaver Trilogy Bibliography

Chris Chang reviews filmmaker Trent Harris's Beaver Trilogy, a three-part project begun in 1980 and brought to light at the New York Video Festival; the films follow a local performer named Gary across iterations filmed as cinema verité video (1980), a 1981 black-and-white video sequence starring Sean Penn as Larry, and the 1985 grainy-color film The Orkly Kid featuring Crispin Glover. Chang discusses the project’s interrogation of documentary, remake practices and originality; the work was screened at the Walter Reade Theater July 21–27, 2000.

Tu-Art Digital Interface Instruction Manual. Cromemco Incorporated Bibliography

Tu-Art Digital Interface Instruction Manual. Cromemco Incorporated. Manual includes coverpage photograph, introduction, assembly and operating instructions, applications information, block diagrams and schematics. The manual is bound in a brown plastic binder with notebook paper and 2 operating manu…

Tube of Plenty Bibliography

Tune (In))): Radio Community in Microcosm Bibliography

free103point9's Tune(In))) is a multi-channel, site-specific installation of live performance, sound, and video art using FM frequencies that engages listeners as active participants and stages a temporary, autonomous radio community. The text situates Tune(In))) within historical radio-art practices, citing Filippo Tomasso Marinetti's La Radia, Ezra Pound's radio operas Le Testament and Cavalcanti, John Cage's Imaginary Landscape #4, John Corbett's Radio Dada Manifesto and Ben Vautier's 1965 mail art The Postman's Choice. It outlines pirate and microcasting activity from early 1960s European offshore stations to Radio New York International (1987) and the 1990s microcasting campaign led by M'banna Kantako and Stephen Dunifer, noting a watered-down Low Power FM program implemented in 2001.

Tuning in to Nam June Paik Bibliography

Ture Sjolander - complete CV Bibliography

Ture Sjolander - CV

Ture Sjolander and Bror Wilkstrom Raster Scan Device Tools

Swedish artists Ture Sjolander and Bror Wikstrom produced early electronic paintings for National Swedish Television, notably TIME (1965–1966; commissioned 1966, televised 1966–69) and MONUMENT (1967; televised in France, Italy, Sweden, Germany and Switzerland in 1968). Their work used a temporarily built video synthesizer and waveform-generator modulation of video-scan-line rasters; Nam June Paik visited Elektronmusic Studion in Stockholm in July/August 1966. A March 12, 1974 letter from Rutt Electrophysics (signed Sherman Price) requests documentation on raster-distortion circuitry and modulation of the deflection voltage in the flying-spot telecine; a block diagram and image are included.

TV as a Creative Medium Bibliography

Serge Boutourline; Frank Fillette and Ira Schneider; Nam June Paik and Charlotte Moorman; Earl Reiback; Paul Ryan; John Seery; Eric Siegel; Thomas Tadlock; Aldo Tambellini; Joe Weintraub. Exhibition Dates: May 17 - June 14, 1969

TV as a Creative Medium at Howard Wise Gallery Bibliography

TV As a Creative Medium: Howard Wise and Video Art Interview

Howard Wise, a Cleveland-born gallery owner who opened the Howard Wise Gallery on W. 57th St. (1960), organized the May 17, 1969 exhibition TV as a Creative Medium, which showcased video installations (Wipe Cycle), performances by Nam June Paik and Charlotte Moorman, and experiments with portapaks and video synthesizers. Wise closed the gallery and founded Electronic Arts Intermix (EAI) in 1971 to fund, edit and distribute video art; EAI received NYSCA and NEA support (including $35,000 from NYSCA its first year), established editing/postproduction facilities and a distribution service, and built a collection of over 350 videotapes.