Video History Project
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  1. 1 2 3 4: A Position Statement on Upstate Media Development Bibliography

    Position paper to the New York State Council on the Arts arguing that Upstate New York’s media arts environment differs from New York City and requires targeted State support; it links regional isolation, access to camcorders and editing equipment, and public access cable with cultural heterogeneity and development. The paper proposes a dedicated NYSCA Upstate Media funding category with initiatives including entry-level publications, equipment redistribution, artists’ residencies, small-scale public access TV, organizational development, video rental libraries, micro-grants ($200–500), and encouragement of entry-level videomaking. It also recommends a one-person NYSCA satellite office in Buffalo, Rochester, Binghamton, or Syracuse and expanded Media Bureau travel guidelines to support intra-State conferences and visiting-artist programs.

  2. A Birthday Celebration for Doris Chase Painter, Sculptor, Film/Video Pioneer. Program Notes for Exhibition Bibliography

    Birthday celebration screenings for sculptor and film/video pioneer Doris Chase were held at the New York Public Library Donnell Media Center (20 West 53rd Street) on April 22 and April 24, 2003; admission was free and Chase attended all four screenings. The program presented documentaries, video-dance works and Concept Series pieces including Full Circle (1974), Circles II (1973), Circle at the Center (2002) and Danse de Colour (2002); Tape-of-the-Day segments highlighted collaborations with dancers. The series was organized by Donnell Media Center and funded in part by the New York State Council on the Arts; Chase's public art has been installed from Atlanta to Osaka and her video art has aired on Channel 4 and PBS.

  3. A Brief History of "6673" Bibliography

    Aldo Tambellini made a black-and-white video in New York City in 1966 by shining lights directly into a video camera, which burned out a vidicon and produced permanent black spots; he collaborated with engineers at Video Flight to manipulate test patterns and used an oscilloscope for sound, later adding his own improvised voice. The 55 minute tape was reprocessed in 1973 at NYC Public Access Television Channel 13 with the Paik-Abe Synthesizer and titled 6673. The tape was transferred to DVD in May 2003 at CTL Electronics in New York City.

  4. A Closer Look: Hidden Histories - Introduction (Helen De Michiel) Bibliography

    A Closer Look: Hidden Histories - Introduction A CLOSER LOOK 2005 marks the twenty-fifth anniversary of NAMAC as a national organization serving independent media.We invited seven authors to look back at some of the hidden histories of the field: from underrecognized artists, collaborations and coll…

  5. A Closer Look: Hidden Histories - Radical Learning, Radical Perception The History of the Experimental Television Center (Kathy High, Ralph Hocking, Sherry Miller Hocking) Bibliography

    A Closer Look: Hidden Histories - Radical Learning, Radical Perception The History of the Experimental Television Center A CLOSER LOOK 2005 marks the twenty-fifth anniversary of NAMAC as a national organization serving independent media.We invited seven authors to look back at some of the ?hidden hi…

  6. A Conversation on Electronics and Black TV with Aldo Tambellini Tools

    A recorded conversation between artist Aldo Tambellini and engineers Charles Bruner, Ronald Reisdorf, John San Pietro and Kenneth Wise about electronic media and future aesthetics; participants discuss television, videotape recorders and monitors, cathode-ray tube walls, computers, lasers, holograms and three-dimensional immersive spaces. Tambellini proposes an art of Black as a moving, temporary force controlled by the artist's mind; Wise and Bruner describe domestic and architectural applications while Reisdorf and San Pietro emphasize collaboration between artist and engineer and the transmission of electronic image forms. The discussion links electronic light and energy to future social and spatial transformations.

  7. A PDF listing issues of Afterimage from 1972 through Vol 29 Issue 1 Bibliography

    A PDF listing issues of Afterimage from 1972 through Vol 29 Issue 1.

  8. A Public Trust. A Summary and Overview of the Findings and Recommendations of the Carnegie Commission on the Future of Public Broadcasting. Presented at the Conference Television Makers and Public Communications Policy Bibliography

    A Public Trust. A Summary and Overview of the Findings and Recommendations of the Carnegie Commission on the Future of Public Broadcasting. Presented at the Conference Television Makers and Public Communications Policy

  9. A Selected Chronology of Computer Art: Exhibitions, Publications, and Technology Bibliography

    A Selected Chronology of Computer Art: Exhibitions, Publications, and Technology

  10. A Statement on Video Bibliography

    Ernest Gusella reports making three trips to Europe in the past year to show and lecture on his videotapes at museums, galleries, and art schools; he characterizes his art with an idiosyncratic quartering of influences and describes himself as an eclectic, neo-romantic artist. He argues that video is a new medium with its own aesthetic that obliges artists to transcend clichés; he defends reliance on machines in art and cites Marshall McLuhan. The statement is dated March 1, 1979.

  11. A Video Processing Facility for Artistic Use: Design Philosophy and a Description of Components Bibliography

    A Video Processing Facility for Artistic Use: Design Philosophy and a Description of Components A Video Processing Facility for Artistic Use: Design Philosophy and a Description of Components by Lawrence W. Templeton, Don Hallock, Richard Stephens, and Ann Turner. Specifics include information on De…

  12. An Introduction to Computer Animation Bibliography

    An Introduction to Computer Animation

  13. Annotations 3--Frequencies: Investigations into Culture, History and Technology: Identity in the Video of Takahiko Iimura Bibliography

    Takahiko Iimura, active in experimental cinema since 1960 and video art since 1970, discusses two interrelated video works on identity produced in 1994 and 1996: AIUEONN Six Features and Performance: A I U E O NN Six Features. He details earlier works Self Identity (1972–74), Double Identities (1979) and the film 24 Frames Per Second (1975–78), describes use of computer-based image distortion (Sony System G) and bilingual visual material (hiragana and Roman alphabet), and notes presentation at the Frequencies seminar at SOAS, University of London (November 1996) and publication in the Lux catalogue (London Filmmakers' Co-op, 1998); assistance was provided by Sony Corporation and Sony PCL Inc., Tokyo.

  14. Art Statement Bibliography

    Artist states that their image-synthesis/image-processed video works are serial constructions produced with custom-built analog and digital processors; each section is a synthesized real-time recording in which sound and image are parallel electronic structures mutually controlled by predetermined waveshapes. The work addresses people, interaction, time, physical and psychic space and remembering, often rendering primitive social and biological functions such as flirtation, courtship, penetration, fission and fusion as tactile, schematized movements and transitions. Periodic wave forms (sine, triangle, ramp, etc.) are most often used as image source; their temporal makeup and iconic video display are said to evoke archetypal forms and myth and to express primordial rhythmic and natural ordering principles.

  15. Art, Science Bibliography

    Vibeke Sorensen (©1995) critiques the institutional and historical split between art and science in higher education and argues that the distinction is artificial and increasingly anachronistic; she surveys precedents from Leonardo da Vinci through photography, Impressionism, Cubism and film to contemporary computer graphics, ray tracing, virtual reality, cyberspace, networking and scientific visualization. Sorensen cites Leonard Shlain (Art and Physics, 1991) and Carver Mead (Caltech), notes the journal Leonardo and universities, and calls for multi-layered interdisciplinary education and lifelong self-education.

  16. Artisanal Prefigurations of the Digital: Animating Realities, Collage Effects, and Theories of Image Manipulation Bibliography

    Artisanal Prefigurations of the Digital: Animating Realities, Collage Effects, and Theories of Image Manipulation

  17. Artist Contributors Bibliography

    Art-Rite Artist Contributors Contributions: Vito Acconci, Eleanor Antin, John Baldessari, Joan Jonas, Alan Kaprow, Bruce Kurtz, David Ross.

  18. Artist's Video I: Video in the Boroughs Bibliography

    Artist's Video I: Video in the Boroughs Tapes by Peer Bode Site: Downtown Cultural Center Gallery Two Curator(s): Hornbacher,Sara

  19. Artist's Video II: Video in the Boroughs Bibliography

    Artist's Video II: Video in the Boroughs Tapes by Neil Zusman Site: Pratt Institute Curator(s): Hornbacher,Sara

  20. Astral Projections: A Polyfusion of Media Bibliography

    Astral Projections: A Polyfusion of Media Participants: Survival Arts Media; ZBS Media; Media Bus; Portable Channel; Visual Studies Workshop; Synapse Site: Strasenburgh Planetarium, Rochester

  21. At Arm's Length: (Taking a Good Hard Look at) Artists' Video Bibliography

    At Arm's Length: (Taking a Good Hard Look at) Artists' Video (PDF) Includes "Coming to Terms with the Frightful Parent: Video Art and Television"- John Wyver. "Light Years: An Eyewitness Report" - Leslie Fuller. "Political Video in the United States: A Statement for the 1990s" - John Downing. "The P…

  22. At Arm's Length: (Taking a Good Hard Look at) Artists' Video Bibliography

    At Arm's Length: (Taking a Good Hard Look at) Artists' Video An attempt to appraise video art, to understand how it fit into the bigger picture of culture and political economy. "Coming to Terms with the Frightful Parent: Video Art and Television"- John Wyver. "Light Years: An Eyewitness Report" - L…

  23. Back to the Future of Television: National Center for Experiments in Television Preservation Project Progress Report Bibliography

    Maria Troy and Steve Seid report a preservation project to locate, preserve and exhibit tapes from the National Center for Experiments in Television (NCET), an experimental TV lab established in 1967 at KQED with Rockefeller Foundation support; they were prompted by Brice Howard's 1972 book Videospace and scarce published material. They documented about 420 tapes in archives including Southern Methodist University, Media Study/Buffalo (now with Woody and Steina Vasulka), Stanford and UC Berkeley; SMU held multiple 2" quad tapes driven to Dallas in 1975 by former intern David Dowe, and the project plans cataloging, preservation and a touring exhibition.

  24. Barbara Buckner: Psychic Poetry Exemplified Bibliography

    Barbara Buckner: Psychic Poetry Exemplified

  25. Beyond Video: Media Alliance Directory I Bibliography

    Beyond Video: The Media Alliance Directory I traces the development of video art from the Sony portapak's U.S. arrival circa 1965 through the 1980s; it records early practitioners, guerrilla collectives and nonprofit centers including Young Filmakers/Video Arts (1968) and Global Village (1969). By 1972 at least nine New York organizations supported subsidized production, training and post-production, and academic workshops expanded in the 1970s. AIVF (1974) and ATN (1976) organized around cable and publishing; Anthology Film Archives received tape‑preservation funding in 1983 to transfer late‑1960s–early‑1970s tapes to 3/4" cassettes, and the 1980s brought broader exhibition venues.