Texts by Author
298 records
New York State Council on the Arts: Proposal by Gary Hill - Sound/Image Water Environment Bibliography
New York State Council on the Arts: Proposal by Gary Hill - Sound/Image Water Environment. 1976 New York State Council on the Arts: Proposal by Gary Hill - Sound/Image Water Environment. 1976. excerpted
New York State Council on the Arts: Proposal for Development of Synthesis System by Walter Wright for Live Performance Bibliography
New York State Council on the Arts: Proposal for Development of Synthesis System by Walter Wright. 1973. Live performance. Video synthesis system development. New York State Council on the Arts: Proposal for Development of Synthesis System by Walter Wright for Live Performance. 1973
New York State Council on the Arts: Proposal for Development of Systems by David Jones Bibliography
New York State Council on the Arts: Proposal for Development of Systems by David Jones. 1976 Wipe Generator Bank, Digital Raster Manipulation Unit, and Modifications to Jones Colorizer. Wipe Generator Bank, Digital Raster Manipulation Unit, and Modifications to Jones Colorizer - all proposed systems…
New York State Council on the Arts: Proposal for Operation of Experimental Television Center Bibliography
New York State Council on the Arts: Proposal for Operation of Experimental Television Center. 1976. description of ETC programs; workshop; internship; artist in residence; research program; tool design and development; description of ETC programs; workshop; internship; artist in residence; research …
New York State Council on the Arts: Proposal for the Experimental Television Center Bibliography
Notes New York State Council on the Arts: Proposal for the Experimental Television Center, 1970. Excerpted. Initial proposal for the Community Center for Television Production (fore-runner of Experimental Television Center) to the New York State Council on the Arts. Partial. 1970
New York State Council on the Arts: Report for Development of Spatial and Intensity Digitizer and Jones Colorizer Bibliography
New York State Council on the Arts: Report for Development of Spatial and Intensity Digitizer and Jones Colorizer. 1975. Report on activities for program year 1974-975 relating to equipment development. Report from Experimental Television Center to the New York State Council on the Arts concerning t…
New York State Council on the Arts: Report on Experimental Television Center programs and activities for 1972-73 Bibliography
Report on Experimental Television Center programs and activities to the New York State Council on the Arts for 1972-73. Includes ETC artists in residence, and equipment assistance and workshops conducted for local and statewide community groups, educational organizations and civic and arts groups.
Noise Culture: Thing I Bibliography
Essay titled Noise Culture situates cultural fragmentation near the turn of the millennium and defines noise culture as social turbulence fed by surplus, information overload and parasitic commodities; it cites Michel Serres, Lautreamont and Biba Kopf (Tape Delay, ed. Charles Neal) and invokes technologies and phenomena including television, video disks, computers, data-banks, computer viruses, AIDS and bureaucratic systems. The text traces consequences for memory, language, bodies, pornography, games and war, arguing that histories, identities and communicative competency dissolve into simulacra and part-objects within transnational corporate and managerial domains.
Nonfiction Powwow in Poughkeepsie: The Flaherty Seminar at Fifty Bibliography
Report on the Robert Flaherty Film Seminar at Vassar College marking its 50th year; founded in 1955 by Frances Flaherty, the week-long program convened filmmakers, museum programmers, writers, students, and distributors for screenings, public and small-group discussions, and retrospectives. Programmer Susan Oxtoby (Cinematheque Ontario) juxtaposed documentary and experimental work and presented films including Brault and Perrault's Pour la Suite du Monde (1963), Ulrike Ottinger's Taiga (1992), Bruce Conner's Crossroads (1976), Marlon Riggs's Tongues Untied (1989), and Juan Manuel Echavarria's Bocas de Ceniza (2004). Panels debated media circulation strategies from a national Arte-style TV network to straight-to-DVD and internet distribution, and screenings provoked discussions of verite ethics, representation, and archival/experimental practice.
Not on the Shelf: Accounting for New York City Artists' Organizations' Bibliography
Alan Moore, an ex-artist turned scholar, describes his work in and with archives and notes that his personal archive includes a video distribution business. His dissertation traces politicized artists' organizations from the Art Workers Coalition through Art & Language, Artists Meeting for Cultural Change, Collaborative Projects, Political Art Documentation (PADD) and Group Material, spanning roughly 1969 to 1984. He discusses archival mortality, obsolete magnetic-media preservation and digital promises; he recounts a Syracuse experimental-video conference involving Ardele Lister and Ralph Hocking (Experimental TV Center) and references installations by Michael Smith and Josh White that invoke obsolete technologies.
Notes on Videotape and TV Bibliography
Kenneth Dominick examines videotape and television practice as processes that reshape inner and outer experience; he cites Paul Ryan in Radical Software (summer 1970) and frames videotape as feedback rather than mere transmission. He links the medium to Allegheny College and the Experimental Television Center's temporary presence in Meadville, noting that Allegheny will briefly gain television-producing capability. He argues for decentralization through portable recording-and-playback hardware and independent regional centers to counter network and cable control, and describes videotape's perceptual and affective effects.
Notes Toward a History of Image-Processed Video; Eric Siegel, Stephen Beck, Dan Sandin, Steve Rutt, Bill and Louise Etra Bibliography
Survey of the emergence of image-processing video as a genre situates its origins in the late 1960s alternative television movement and the pages of Radical Software; it describes tool types (raster manipulators, colorizers/mixers, synthesizers) and cites the Paik/Abe Video Synthesizer, the Rutt/Etra Scan Processor, Beck's Direct Video Synthesizer, Sandin's Image Processor, and Siegel's colorizer and prototype synthesizer. The article profiles Eric Siegel (built colorizers, prototype synthesizer, sold ~10 colorizers, later formed Siegel Electronics), Stephen Beck (NCET residency, completed synthesizer 1971, BeckTech), Dan Sandin (Image Processor finished by 1973, gave plans away, ~$3,000 Illinois Arts Council grant), and Bill and Louise Etra with Steve Rutt (built raster-scan device, WNET TV Lab support, ~20 machines produced; legal settlement ended marketing).
Notes Toward a History of Image-Processed Video: Steina and Woody Vasulka Bibliography
Ed.'s note: This is the second in a series of articles on imageprocessed video. The first article examined the contributions of Eric Siegel, Stephen Beck, Steve Rutt Dan Sandin, and Bill and Louise Etra to the development of electronic imaging devices [see Afterimage, Vol. 11, Nos. 1 & 2 (Summer 198…
Notes Toward a History of Image-Processed Video: Steina and Woody Vasulka Bibliography
Notes Toward a History of Image-Processed Video: Steina and Woody Vasulka Steina and Woody Vasulka
NYS Council on the Arts 1969-70: Chairman's Review Bibliography
Seymour H. Knox, chairman of the New York State Council on the Arts for ten years, reviews the Council's development, legislative recognition, recurring financial crises, and the question of how well its structure works. He details ongoing programs (Touring, Traveling Exhibitions, Technical Assistance), later additions (Film, Poets and Writers, Composer in Performance), grantmaking (Museum Aid, Festival Program), partnerships with AFL-CIO and the Ghetto Arts Program, initiatives for mental hospitals and children's theatre (with National Council on the Arts funds), an opera costume bank, and a SUNY residency program. He names executive directors Laurance Roberts, John H. MacFadyen, and John B. Hightower and proposes a Performing Arts Aid Program.
NYS Council on the Arts 1969-70: Executive Director's Statement Bibliography
John B. Hightower, Executive Director of the New York State Council on the Arts, assesses funding and institutional crises as the Council enters its second decade (1969–70), warning that the Metropolitan Opera, Buffalo Philharmonic and Rochester Symphony face imminent bankruptcy and that many state museums are insecure. He traces funding from wealthy individual patrons aided by tax benefits to limited corporate giving and to public support hampered by bureaucracy and Title III grants; he cites Laurance Roberts' 1960 recommendation for a $450,000 initial appropriation and notes grassroots forms such as street theatre, electronic sound, rock, jazz and folk addressing new aesthetic and public demands.
Open Circuits: The Future of Television Bibliography
Open Circuits: The Future of Television
Open Source: Artists from the Institute for Electronic Arts Bibliography
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 experiment…
Origins: REdiscovering the Future of Video Art Bibliography
Origins: REdiscovering the Future of Video Art Origins: REdiscovering the Future of Video Art. Program catalog contains biographical information on Benton-C Bainbridge, Steina, Walter Wright, and Ben Piper. Origins introduction by curator, Mary Ann Kearns. Also features photographs of The Experiment…
Out of Sync: Electronic Visions at the Hudson River Museum Bibliography
Marita Sturken reviews Electronic Visions, a group exhibition of video and computer-based works guest-curated by John Minkowsky (video/electronic arts curator, Media Study/Buffalo) at the Hudson River Museum. The show included installations by Steina and Woody Vasulka, Dan Sandin (computer-generated holograms made with his self-designed Image Processor), Ralph Hocking and Sherry Miller (video The Tub and computer-derived stills), and Gary Hill (Happenstance; Glass Onion), plus single-channel tapes by Peer Bode, Barbara Buckner, Ed Emshwiller, Nam June Paik, and Jane Veeder; Sturken critiques the exhibition's spatial, audio, and installation decisions and highlights technological and curatorial issues.
Owego TV Pioneer Getting Arts Award Bibliography
Owego TV Pioneer Getting Arts Award Ralph Hocking receives Champion of the Arts Award from New York Foundation for the Arts
Peer Bode Dialogos Bibliography
Peer Bode Dialogos Peer Bode, George Quasha, Gary Hill, Susan Quasha, Robert Kelly, Charles Stein
Pending Legislation and Other Proposals Dealing with The Independent Television Makers. Presented at the Conference Television Makers and Public Communications Policy Bibliography
Pending Legislation and Other Proposals Dealing with The Independent Television Makers. Presented at the Conference Television Makers and Public Communications Policy
Pioneers of Digital Photography Bibliography
Mary Ross curated Pioneers of Digital Photography at Open Space Gallery, Allentown, Pennsylvania in 1998 and lectured at the Video History conference at Syracuse University, Oct. 16–18, 1998; the exhibition was supported by the Pennsylvania Council for the Arts and private foundations. The essay surveys 1960s–1980s artists who combined photographic processes with electronic and digital media, assembling 60 works by 18 artists. It documents technologies such as photocopiers, Kirilian photograms, Portapak recorders, video synthesizers and early computers at Experimental Television Center, citing practitioners Nam June Paik and Sonia Landy Sheridan.
Presence of Future Presence of Video: Thing II Bibliography
Essay deriving from seminars at the New School for Social Research and SVA in New York and field trips to the American Southwest; it argues that video has become indistinguishable from everyday reality, functioning as both panopticon and membrane and transforming representation, subjectivity, gender, sexuality and the body. The author traces technological shifts—time-code, digital encoding, format changes, fiber optics, satellites, AI, solid-state storage—and their political and ecological implications, including information flows, leakages, intellectual property dissolution, and inequality driven by capital. Urban and regional effects are illustrated via colonias, maquiladoras, and transnational programming; the essay situates autopornography and domestic microelectronics within these circulations.