Texts by Author
298 records
Bill Viola: Installations and Videotapes The Poetics of Light and Time Bibliography
Bill Viola (born 1951, Flushing, New York) is a video artist who since the 1970s has used broadcast-quality electronic technology to produce videotapes and video-and-sound installations exploring layers of human consciousness; he trained at Syracuse University (College of Visual and Performing Arts, 1973) and worked at Synapse and WNET/Thirteen's Artists' Television Laboratory. He has collaborated with Kira Perov and engineers such as John Godfrey, lived and worked in Japan (including Sony's Atsugi facility), settled in southern California in 1981, and created works including Four Songs (1976), Chott el-Djerid (1979), Ancient of Days (1979–81), Hatsu Yume (1981), Reasons for Knocking (1982), Room for St. John of the Cross (1983), I Do Not Know What It Is I Am Like (1986), and Passage (1987).
Black Dog Dreams Bibliography
Matthew Schlanger recounts creating Black Dog Dreams in Brooklyn in 1999 after building a personalized video system while living upstate and working at the Experimental Television Center; the piece was made exclusively with his system and allowed patches to run for days, weeks or months. He describes Black Dog Dreams as a six-part movement with each section comprised of 2 or more shorter real-time recordings, and states it was the last new work he finished. During editing his black Labrador became sick and died, and an earlier 8mm film of the same name was shown once at an ad hoc East Village backyard 8mm festival, with a long double-exposure shot of the dog in a Binghamton backyard among cherry blossoms.
Black Filmmakers, Black Audiences, and Public Television Programming: An Examination of Issues and Options for the Future. Presented at the Conference Television Makers and Public Communications Policy Bibliography
Black Filmmakers, Black Audiences, and Public Television Programming: An Examination of Issues and Options for the Future. Presented at the Conference Television Makers and Public Communications Policy
Bode videotapes 2003 Bibliography
Bode videotapes 2003
CAPS / ICI 1981 Travelling Video Festival Bibliography
CAPS/ICI 1981 Travelling Video Festival Upstate artists - Skip Blumberg, Deans Keppel, Peer Bode, Joe Steinmetz Curator(s): Sundell,Nina
Cemeteries of Old Media - The Continued Interest in Optical Machines and Visual Apparatuses Bibliography
Cemeteries of Old Media
Changing channels: media arts in the '90s Bibliography
Changing channels: media arts in the '90s
Changing License Bibliography
Changing License
Chris Petit and Iain Sinclair Asylum Bibliography
Chris Petit and Iain Sinclair's Asylum is a television film about exile, memory and madness; it is their third collaboration and is subtitled The Final Commission. Darke describes multilayered production—re-filmed digital video, super-8mm, Dave McKean graphics and Bruce Gilbert sound-design—and summarizes a Year Zero+14 narrative in which Kaporal and Agent Matthews investigate fragments of The Perimeter Fence and seek cultural figures such as Michael Moorcock. The film screened at the Walter Reade Theater's New York Video Festival, July 21–27, 2000; Darke's Light Readings was due from Wallflower Press in October 2000.
Circle 8: International Forum of Super-8 Catalog Bibliography
Painter-turned-filmmaker adopted a Sony CV open-reel video camera in the late 1960s while teaching in The Bronx and funded the purchase with a bank loan; he produced experimental videotapes including CRIPPLE and KELSEY (screened at the First Documentary Festival of Global Village) and ran a Video Journal from 1971 to 1975. After returning from Europe he bought S-8 sound equipment, produced films including RUNNER (1981), learned double-system sound editing at Lindo's in Brooklyn, composed synthesized soundtracks and offered S-8 post-production in New York to clients from New England and Latin America.
Circuit Bending & Living Instruments: The Trigon Incantor Bibliography
Circuit Bending & Living Instruments: The Trigon Incantor
Color Video Synthesizer with Improved Image Control Means. US Patent Bibliography
Color Video Synthesizer with Improved Image Control Means. US Patent
Community Video: An Inner Look Bibliography
Introduction traces community video to the late sixties and notes the author's almost eight years of involvement in New York City and Woodstock; interviews were recorded in the Woodstock area. The record contains three interviews: Val Cadden, Woodstock Town Supervisor, describes the town-designated cable channel opened in May, 1972, access by town board permission, WCV programming and its suspension last fall for lack of local funding and a roughly $1,700 franchise fee; Judi Mills, a recent Vassar graduate, discusses 1/2-inch videotape practice and networking videotaped social-service information to Mid-Hudson cable systems; Jon Berg, a Woodstock sculptor, reports minimal viewer response and limited community participation.
Computers and Art: Issues of Content Bibliography
Computers and Art: Issues of Content
Concepts in Performance: Taka Iimura Bibliography
Taka Iimura's I equals You equals He/She was a participation/performance through the medium of video presented June 5–17, 1979, with a performance June 9 at the Whitney Museum of American Art, 945 Madison Av. The installation used three video camera/monitors, three audiotapes heard through three sets of headphones and a swivel chair; audience and Iimura exchanged live and recorded front/side/rear self-views and repeated intonations of I am/you are/he is, she is, while Iimura recorded and replayed phrases. Iimura links his approach to Allan Kaprow and frames an East/West dialectic, emphasizing video technology for self-identification.
Confessions of a Pixil-Picker Bibliography
Merrill Aldighieri recounts a career in experimental film and video beginning with filming the Nov. 14, 1969 Washington monument protest on an 8 mm camera and attending Massachussettes College of Art (1971–75), where Virginia Gunther influenced her. She volunteered as an associate producer at Santa Cruz's first cable-access station (CATV), apprenticed at Rombex, worked at the Muppet Workshop documenting The Dark Crystal and saving the original Kermit, and co-created Love Among the Mutants with Joe Tripician. She organised club-based VJ/video installations using 16 mm, U-matic decks and analog synthesizers, produced the DANSPAK series for Sony Home Video, worked with Amiga computers and ETC, and won Emmys for METAPHORIA and an animation series aired on Sesame Street.
Conversation with Barbara London, David Ross and Constance Dejong at Hunter College Art Gallery Bibliography
Account of a panel conversation between Barbara London, David Ross and Constance DeJong at Hunter College Art Galleries presented in conjunction with The Experimental Television Center: A History, ETC... (Rose Goldsen Archive of New Media Art, Cornell Library; Sept 25–Nov 21, 2015). Panelists discussed histories of video and image-processing practices and named Nam June Paik, Bill Viola and Vito Acconci; Barbara London described efforts to bring video into MoMA and David Ross expressed skepticism toward some image-processed work. The attendee criticized the panel for limited attention to ETC artists, recorded Ross’s remark that one had to be stoned to watch image-processed work, and reflected on ETC technologies and practices including real-time patching, flow and works such as Global Groove and A Tribute to John Cage.
Cybernetic Serendipity: The Computer and the Arts Bibliography
Cybernetic Serendipity: The Computer and the Arts Computer and music, dance, environments, texts, paintings, film, and computer graphics. Texts on Norbert Wiener, art works by Paik, Stockhausen, John Cage, Charles Csuir, Lejaren Hiller and others.
David Ross: The Success of the Failure of Video Bibliography
David Ross: The Success of the Failure of Video. David Ross: The Success of the Failure of Video. A presentation by Ross at the Video History: Making Connections Conference (October 16-18, 1998) at Syracuse University, and organized by the Experimental Television Center. Widely known as a champion o…
De-Fantasizing the Profession and Re-Public-izing Cinemas or Holding on to the Real Bibliography
Plenary address to the Society for Cinema Studies, Chicago, March 9, 2000; delivered by a film educator with two decades in a four-year undergraduate production program. The speaker maps an expanded field—film schools, communications, arts and medical curricula—and moving-image media (film, video, CD-ROM, web, installations), and diagnoses threats from corporatization, distance learning and declining nonprofit exhibition. Citing exchanges with NAMAC, Women Make Movies and the Robert Flaherty Seminar and referencing 1989 political events and global violences, they call for alliances with media-arts centers and offer ten programmatic wishes including anti-racist feminist politics, tenure lines and larger rental and programming budgets.
Denman's Col (Geometry): Mary Lucier Bibliography
Mary Lucier’s Denman’s Col (Geometry) was shown at the Whitney Museum in November; the installation comprises two synchronous video channels displayed on five monitors mounted in a jagged sculptural framework evoking a city skyline, with screen sizes ranging from 12 in. to 21 in. The work juxtaposes urban architecture and drinking-glass interiors, including a central wine-glass shot reflecting buildings, and uses rotated and inverted screens so a two-channel presentation reads as five channels. Lucier incorporates a layered soundscape—police siren, clothesline squeak, church bells, rain, wind, pouring liquids and a spinning rim note—and the title references a family name and the term col, a pathway between mountains.
Design / Electronic Arts Poster Bibliography
Design / Electronic Arts Poster Poster for the 4 day conference.March 10 - 13, 1977. Featuring Gerald O'Grady, Ken Knowlton, George Chaiken, Aaron Marcus, Laurie Spiegel, Joel Chadabe, Joseph Olive, Sonia Sheridan, Robert Ashley, James Clark, Charles Csuri, Larry Elin, Tom DeFanti, Dan Sandin, Phil …
Dialog with Ralph Hocking, Sherry Miller, Willoughby Sharp, George Quasha, Gary Hill, Neil Zusman, Paul Davis, Peer Bode Bibliography
Dialog with Ralph Hocking, Sherry Miller, Willoughby Sharp, George Quasha, Gary Hill, Neil Zusman, Paul Davis, Peer Bode
Dialogos: On Gary Hill's Happenstance Bibliography
Dialogos: On Gary Hill's Happenstance
Did the Portapak Cause Video Art? Notes on the Formation of a New Medium Bibliography
Survey of video art’s formation (1965–c.1977) arguing that its rise cannot be ascribed solely to the 1968 portapak; institutional uptake (Whitney Biennial 1973; MoMA Open Circuits Jan 1974) and a rapid proliferation of genres occurred in 1968–1972. The essay examines practitioners and technologies — including Woody and Steina Vasulka (video feedback; Didactic Video 1975), Steve Beck (synthesizers), Frank Gillette (Wipe Cycle 1969; Track/Trace 1973) and Paul Ryan (Earthscore; NYSCA support 1971–75) — to contrast intensive (materialist) and extensive (ecological/activist) strategies. It concludes that both technological primitives and ecological/communicative aims jointly shaped video’s early aesthetics before a shift toward normalization by c.1977–78.