Texts by Author
298 records
Video Conference Held at Albany Bibliography
Educational Communication Centers and the Television Arts convened Nov. 21–22 at SUNY Albany; Gerald O'Grady, director of the Center for Media Study at SUNY Buffalo, coordinated and William Mulvey, director of SUNY Albany's Educational Communications Center, hosted. The program combined theoretical presentations and technical demonstrations, including O'Grady's Three Universes of Media; works by Mulvey and the Vasulkas; a video-synthesizer demonstration at Binghamton; and a funding panel with representatives from NYSCA, NEH and the Corporation for Public Broadcasting. Laddy Kite is coordinator of the Visual Studies Workshop Media Center.
Video Feedback: How to Make it; An Artist's Comments on its Use; A Systems Approach Bibliography
Video Feedback: How to Make it; An Artist's Comments on its Use; A Systems Approach National Center for Experiments in Television (NCET) reports, no date; list of participants also included
Video from Tokyo to Fukui and Kyoto Bibliography
Video from Tokyo to Fukui and Kyoto, organized and first shown at The Museum of Modern Art in April 1979, is part of "Japan Today," a series of cultural programs held during the spring of 1979 in five United States cities. "Video from Tokyo to Fukui and Kyoto" was made possible by grants from the Na…
Video History Conference - Funding Reports Bibliography
Video History Conference - Funding Reports 1997, 1998, 1999 ETC Video History Conference 1997-1998 New York State Council on the Arts Final Report ETC Video History Conference 1998-1999 Warhol Foundation Report ETC Video History Conference 1998 New York State Council on the Arts Report The conferenc…
Video is Being Invented Bibliography
Nam June Paik is presented as a seminal figure in the emergence of video art; he experimented with television in Germany and Japan, moved to New York in 1964, and with Shuya Abe developed the Video Synthesizer in 1970, producing works such as the T. V. Chair and the Television Bra. The text surveys artists working in video—Keith Sonnier, Linda Benglis, Joan Jonas, Nancy Holt, William Wegman, Michael Snow, Bruce Nauman, Peter Campus and George Boiling—and documents practices using portable videotape recorders, live feedback, colorization and synthesized color, video environments, and independent video groups and cable/public-access distribution.
Video Rewind: A Seminar on Early Video History with Deirdre Boyle, Barbara London, Paul Ryan and Perry Teasdale Bibliography
Video Rewind: A Seminar on Early Video History with Deirdre Boyle, Barbara London, Paul Ryan and Perry Teasdale. Video History: Making Connections, a conference organized by the Experimental Television Center, at Syracuse University.Video Rewind: A Seminar on Early Video HistoryVideofreex, Radical S…
Video Spaces: Eight Installations Bibliography
Survey essay tracing video art from the mid-1960s Portapak to international installations of the early 1990s; discusses technological shifts (half-inch open-reel tape, Paik-Abe image processor, 3/4-inch videocassette) and early exhibitions at MoMA (1968), Howard Wise Gallery (1969), ICA Philadelphia (1975), Centre Pompidou (1990), and Documenta IX (1992). Presents eight environmental video projects and artists with dates and works: Judith Barry/Brad Miskell Ha®dCell (1994), Stan Douglas Evening (1994), Teiji Furuhashi Lovers (1994), Gary Hill Inasmuch as It Is Always Already Taking Place (1990), Chris Marker Silent Movie (1994–95), Marcel Odenbach Make a Fist in the Pocket (1994), Tony Oursler System for Dramatic Feedback (1994), and Bill Viola Slowly Turning Narrative (1992).
Video-Music: New Correlations Bibliography
Video-Music: New Correlations Video works by Sara Hornbacher, Reynold Weidenaar, Shalom Gorewitz, Rii Kanzaki, The Lubies. ETC.
Video: A Selected Chronology, 1963-1983 Bibliography
Video: A Selected Chronology, 1963-1983 in Art Journal: Video - The Reflexive Medium
Video: State of the Art Bibliography
Prepared by Johanna Gill (Ph.D., Brown University; teaches at the Massachusetts College of Art) and prefaced by Howard Klein (Director for Arts, Rockefeller Foundation; June 1976), this report documents video artists, groups and centers across the United States and Canada. It traces the medium's emergence around 1968–69 with portable portapak equipment and profiles practitioners such as Nam June Paik and Les Levine. It surveys centers such as KQED/NCET and WGBH and notes institutional support from the Rockefeller Foundation and the New York State Council for the Arts.
Video: The Reflexive Medium Bibliography
Sara Hornbacher, Guest Editor, frames eleven articles and reviews and includes Barbara Londons Selected Chronology covering 196393 to outline the brief history of video art. Contributors examine technological and institutional change, including Benjamin Buchloh on developments since the mid-1960s; Katherine Dieckmann on Electra at the Mus6e d'Art Moderne de la Ville de Paris (1984); Lucinda Furlong on image-processed video and Nam June Paik and the marketing of portable video equipment by SONY/Japan; and the rise of media centers funded by state and federal agencies and university programs. Hornbacher is a visual artist, curator and artist-in-residence at The Experimental Television Center, Owego, New York, since 1976.
Videography' What Does It All Mean? Bibliography
"Videography" What Does It All Mean?
Videotape: Video Design and Modification Bibliography
Videotape: Video Design and Modification - George Brown. 1977. Filmmakers Newsletter. June 1977. George Brown, video design
Visual Intelligence: The First Decade of Computer Art (1965-1975) Bibliography
Visual Intelligence: The First Decade of Computer Art (1965-1975)
Visual Music Bibliography
Visual Music Works by Ren Weidenaar, Celia Shapio and Benny Powell, Cecelia Condit, Dara Birnbaum, Shalom Gorewitz, John Sanborn and Dean Winkler, Ron Hays, Tom DeWitt, Vibeke Sorensen, Merrill Aldighieri and Joe Tripician
VSynths: Video Hardware Development for Experimental Television Center Bibliography
Video Hardware Development for Experimental Television Center My video hardware development work for the Experimental Television Center, and for Design Lab, included a contribution in building the last generation of custom Jones analog and digital image and sound synthesizers currently installed at …
Walter Wright and his Amazing Video Machine Bibliography
Walter Wright, artist-in-residence at the Experimental Television Center in Binghamton, NY, toured New York State with a portable video synthesizer for demonstrations and workshops and presented a live performance in Rochester under Portable Channel sponsorship; Chuck Heuer assisted during the week-long session. The project was funded as an individual project by the New York State Council on the Arts; Wright discussed studio and portable synthesizer systems (including a Shuya Abe colorizer, Nam June Paik wobulator, Rutt/Etra and direct-video units), collaborative development of a voltage-control video synthesizer and equipment issues such as time-base correctors and emerging video-disc distribution.
Who's in Control? Issues in Interactive Media Art Bibliography
A discussion of control in interactive digital art centered on the authors sound-and-video installation The Listening Microphone; users vocalize into a microphone, Max (Opcodes Max) converts voice to MIDI via analog-to-MIDI converters to trigger SampleCell playback (32 MB of voice samples recorded live) and QuickTime video jump-cuts, with spatialized output through small amplified speakers. The text situates the project with reference to John Cage (indeterminacy), Walter Ong (sound vs visual sensorium), Sherry Turkle (simulated presence), Donna Haraway (the cyborg) and Thomas Edison (recorded voices).
Why do I keep repeating myself? Bibliography
Essay for Felix, prompted by conversations with artist Joe McKay and philosopher Jan Zwicky, examines how integrated computer and electronic systems shape perception and behavior, citing examples such as mobile phones, pagers, bank machines, GPS and Canal Street electronics shops. The author links chip miniaturization, compression, programmable chips and the decline of solderable components to information hiding and surveillance; the text addresses cultural manifestations in television and consumption and frames video and computer animation as tools to simulate and critique mass-media and military structures, noting distribution via web pages and live webcasts.
Why Don't They Tell Stories Like They Used To? Bibliography
Essay traces the history and persistent critical opacity of video art from its emergence in the late 1960s through post-1975 developments; it situates early single-channel tapes and multi-channel installations in galleries and museums and surveys practitioners, institutions, broadcasts, and technologies including Nam June Paik, his Paik-Abe colorizer/synthesizer, three-quarter-inch color tape, image processing, WNET and independent video productions. The text links video practices to antecedents in literature, Dada, Surrealism, experimental film and Fluxus, and cites representative works such as Paik's Global Groove (1973), Bruce Connor's A Movie (1958), and Michael Snow's La Region Centrale.
Women's Video Festival Bibliography
Introduction to the Women's Video Festival situates the festival as a response to women's underrepresentation in media and to social changes from the late 1960s; it describes the arrival of portable half-inch videotape (Sony portapak, 1967) that lowered costs and enabled immediate playback. The Kitchen (begun 1971) and Steina Vasulka's 1972 call for work led to a six-evening open-entry show organized with Shridhar Bapat and Laura Kassos. The festival received New York State Council on the Arts funding via Electronic Arts Intermix in 1973, moved production to the Women's Interart Center in 1974/75 with NEA support, has used juried selection since 1974/75, and solicits work across the U.S. and Canada.
Work from the Experimental Television Center Bibliography
Work from the Experimental Television Center Charlotte Moorman performance; Nam June Paik performance; Shigeko Jubota performance; catalog essay by David Ross Institution/Organizer: Everson Museum of Art Site: Everson Museum of Art Exhibition Dates: September 19-October 2, 1972
Work from the Experimental Television Center: Introduction and Daily Performance Schedule Bibliography
Catalog Introduction Daily Performance Schedule Catalog Introduction The artist is not ahead of his time, he is in it. The consumer is living in the past. Video breaks down that gap. -Mike Goldberg, Intermedia, Vancouver The development of a popular art-oriented television system as a technically vi…