Texts by Author
298 records
The Role of Technology in the Art of Nam June Paik: The Social Implications of Television Bibliography
Nam June Paik made television the central medium of his art; early works include Participation TV (1965), exhibited at the New School for Social Research and Galeria Bonino and later at the Howard Wise Gallery, New York (1969), and Magnet TV (1965), developed at the New School to distort broadcast images with a large magnet. He developed a Video Synthesizer with Shuya Abe (1969–70) to manipulate video and immersed himself in electronics and engineering, citing Norbert Wiener and the electronic music studio. As a Fluxus artist he and Wolf Vostell staged destructive performances from 1959, and Vostell showed smashed television sets at the Smolin Gallery in 1963.
The School of Experimental Viewing from Edison Black Maria Film and Video Festival Bibliography
A SUNY Binghamton graduate and programmer active since 1971 reports that the Black Maria Film and Video Festival tours experimental films and video art to remote locales, including Central/Western New York. He notes a Central New York Programmers Group and cites regional centers such as Owego Experimental TV Center, Portable Channel (Rochester), Ithaca Video Project and Media Study/Buffalo. He credits SUNY Binghamton—recently turned twenty—faculty including Ken Jacobs and alumni with shaping programming and pedagogy, and names works such as Tom Tom the Piper's Son and other historical and contemporary experimental films.
The Second Emerging Expression Biennial: The Artist and the Computer Bibliography
The Second Emerging Expression Biennial: The Artist and the Computer Introduction by Luis Cancel; texts by Patric Prince and Shalom Gorewitz Institution/Organizer: Bronx Museum Site: Bronx Museum Curator(s): Prince,Patric Gorweitz,Shalom Exhibition Dates: 9/17/87-1/24/88
The Television Establishment, the Independent Producer and the Search for Diversity. Presented at the Conference Television Makers and Public Communications Policy Bibliography
The Television Establishment, the Independent Producer and the Search for Diversity. Presented at the Conference Television Makers and Public Communications Policy
The Video Art of Takahiko Iimura Bibliography
Takahiko Iimura, a leading non-commercial Japanese film artist since the early 1960s, moved toward conceptual film in the early 1970s with works including Film Strips (1969), Film Strips II (1969), Counting, 1 to 100 or Xs (Models, Reel 2, 1972) and 24 Frames Per Second (1978). He began video work in 1970 and developed syntactical and closed-circuit pieces—Camera, monitor, Frame (1976), the Observer/Observed series (1975–76), I=YOU=HE/SHE (1979), TV FOR TV/TV Confrontation (1983), Self-Introduction (1982) and other tapes and installations—using portapaks and later formats (Betcams, VHS, Video8) with cameras, monitors, switchers and headphones; writings and exhibition documentation cited include Art & Cinema (1978), Asahi Shimbun (1976), the Whitney Museum catalog (1979) and The Soho Weekly News (1979).
The Video Stretch Bibliography
The Video Stretch
The Videotape Collection at Media Study/Buffalo Bibliography
Media Study/Buffalo, a not-for-profit workshop, exhibition, and study center in Buffalo, NY, has established a 125-hour Videotape Collection of experimental video from 1964–1976; the initiative was funded by the National Endowment for the Arts and the New York State Council on the Arts and documents tools such as the Paik-Abe Synthesizer, Stephen Beck’s Direct Video Synthesizer, and the Rutt-Etra Scan Processor. Holdings include over 80 hours from NCET (selected and transferred by William Gwin), about a dozen hours from WGBH, works from WNET, and significant individual holdings by Skip Sweeney and Woody and Steina Vasulka; the collection comprises completed works, process experiments, and residency productions and is available for research and in-house viewing by appointment (contact John Minkowsky).
The Videotapes of Tony Oursler Bibliography
The Videotapes of Tony Oursler Originally published in French as "Les Bandes video de Tony Oursler" in the catalogue, Spheres d'Influence, Centre Georges Pompidou, Paris, 1985.
Theses on the Inversion of the Cinema Bibliography
A set of theoretical theses contrasting cinema and the life-world; cinema is described as a totalizing, non-linear apparatus anchored to the film reel, credits, cuts and industrial projection, while the life-world is decompressed, linear, characterized by spill, clutter and continuous movement. The text treats inscription of character, scopophilic fetishization, the flow of capital and desire, the camera as pineal gland and frame rates (16, 18, 24, 25 fps), and cites Edison and Metz. It concludes by proposing an indefinite film traversing continuous space and asserting mutual dependence of cinema and subject.
Thoughts of a Computer Artist Bibliography
Vibeke Sorensen prepared this text for the Symposium on Innovation and the Information Environment at the University of Oregon School of Law in Eugene, Oregon, held November 3–4, 1995. She recounts beginning as an architecture student and musician in Copenhagen in 1971 and describes work in real-time computer animation, video, electronic/computer music and computer graphics. Sorensen addresses the convergence of telecommunications and information technologies and the World Wide Web and discusses innovation, market and access issues on the Internet, intellectual-property questions for digital art, and possible public funding and infrastructure models such as the World Bank or United Nations.
Throat Bibliography
Leslie Thornton's The Great Invisible is a film project (35 min. 16mm preliminary version, 1993; 90 min. 16mm version in process) that stages the life of Isabelle Eberhardt (1877–1904) through archival footage, four actresses, untranslated Arabic soundtrack sections, title cards, and references to technologies such as Edison-era phonography, railroads, and the Sony Pyxis GPS. The text recounts Eberhardt's biography: illegitimate child educated by a Russian Orthodox figure, flight to the Mahgreb at 20, cross-dressing, travels through Algerian oases, marriage to an Arab clerk, and death in a 1904 flash flood. The essay analyses cinematic strategies and themes including silencing, signifier/signified relations, neurasthenia, maternal chora, spectacle and placelessness, and notes performances by Thornton and Ron Vawter.
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.
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
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…
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.
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.
Ture Sjolander - complete CV Bibliography
Ture Sjolander - CV
Two Early Video Portraits. One-Eyed Bum by Andy Mann (1974, 6 minutes, b/w, sound). Ama L'uomo Tuo (Always Love Your Man) by Cara DeVito (1974, 20 min. b/w, sound) Bibliography
Two Early Video Portraits. One-Eyed Bum by Andy Mann (1974, 6 minutes, b/w, sound). Ama L'uomo Tuo (Always Love Your Man) by Cara DeVito (1974, 20 min. b/w, sound) minkowskitwo_2725.pdf The following were originally published as Program Notes for "The Moving Image Statewide" sponsored by the Univers…
UBER ORGAN ( body of life ) Bibliography
Peer Bode's UBER ORGAN (body of life) is a 30-minute video (2003) assembling interviews, archival sound and notebook material documenting Harald Bode (1909–1986) and his electronic instruments. Sources include a 1948 Melodium recording for North German Radio (Hamburg), 1972 b+w 1/2" portapack interviews by Ralf D. Bode and Lenore Bode, and digitized excerpts of Harald Bode's notebooks (1937–1977) processed at the Experimental Television Center (Owego, NY); nonlinear editing/performance occurred in 2002 at the Institute for Electronic Arts (Alfred, NY) and PEP Studios (Rochester, NY). The work employs a hand-built digital video frame buffer (FB-1) designed by David Jones and features collaborators including David Jones, Andrew Deutsch, Steina Vasulka, Pauline Oliveros and Ralph Hocking; the E.T.C. and I.E.A. receive partial support from the New York State Council on the Arts.
Untamed Video: Artists' Tapes from the Experimental Television Center Bibliography
Untamed Video: Artists' Tapes from the Experimental Television Center Tape exhibition including Peer Bode; Barbara Buckner; David Blair; Connie Coleman and Alan Powell; Alex Hahn; Shalom Gorewitz; Megan Roberts and Raymond Ghirardo; Sara Hornbacher; Matthew Schlanger; Reynold Weidenaar Institution/O…
Vibeke Sorensen: Demystifying Video Technology Bibliography
Vibeke Sorensen: Demystifying Video Technology
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.
Video art: dead or alive? Bibliography
Video art: dead or alive?