Texts by Author

Paik, N J. (1979).  How to Keep Experimental Video on PBS National Programming. Presented at the Conference Television Makers and Public Communications Policy.
Pincus-Witten, R. (1974).  Open Circuits: The Future of Television. Artforum.
Quasha, G. (undated).  Dialogos: On Gary Hill's Happenstance.
Quasha, G. (undated).  Dialog with Ralph Hocking, Sherry Miller, Willoughby Sharp, George Quasha, Gary Hill, Neil Zusman, Paul Davis, Peer Bode.
Quasha, G. (1982).  The Parapoetics of Video.
Quasha, G. (1982).  The Dialogical Mode.
Quasha, G. (1978).  Peer Bode Dialogos.
Ray, N. (1972).  Letter to Ralph Hocking; Highlights from Cannes - Ray - You Can't Go Home Again. April 1, 1972.
Reeves, D. (1997).  I am not so sure I know what I am doing anymore with this work....
Reichardt, J. (1969).  Cybernetic Serendipity: The Computer and the Arts. (Reichardt, J., Ed.).
Reilly, J. (1979).  The Independents, Media Arts Centers and Public Television. Presented at the Conference Television Makers and Public Communications Policy.
Rhizome (2002).  Rhizome ArtBase Management Policy.
Rinehart, R. (2002).  Preserving the Rhizome ArtBase.
Rosebush, J. (1976).  Everson Video 1975. (Rosebush, J., Ed.).
Roseman, C. (1977).  Videotape: Video Design and Modification - George Brown.
Ross, M. (1998).  Pioneers of Digital Photography.
Ross, D. (1998).  David Ross: The Success of the Failure of Video..
Ross, D. (1972).  Work from the Experimental Television Center: Introduction and Daily Performance Schedule.
Ruiz, J L. (1979).  The Case for Hispanic Recognition (The Case Against a Single Center for Independent Television). Presented at the Conference Television Makers and Public Communications Policy.
Rush, M. (2003).  New Media in Late 20th-Century Art.
Salloum, J. (2005).  Migration and Location: Transcultural Documentary Practice. the video installation as an active archive.
Sanz, L. (undated).  The Language of Video.
Schlanger, M. (undated).  Art Statement.
Schlanger, M. (2015).  Conversation with Barbara London, David Ross and Constance Dejong at Hunter College Art Gallery. matthewschlanger.com.
Schlanger, M. (2011).  Jones Modular Video Synth.
Schlanger, M. (1999).  Black Dog Dreams.
Schlanger, M. (1997).  ETC Memories.
Schlanger, M. (1997).  Video Hardware Development for Experimental Television Center.
Schreiber, R. (2001).  Net.art: Shedding the Utopian Moment?. Link. 7,
Sherman, T. (undated).  Granular Synthesis.
Sherman, T. (2007).  The Premature Birth of Video Art.
Sherman, T. (1996).  Memory and Hope (1996-2006). The Squealer. 11(2), 
Sherman, T. (1991).  Reflecting on the Future of Video.
Sherman, T. (1974).  The Art Style Computer Processing System.
Siegel, E. (1971).  Eric Siegel - Documents: Modifications to Portapak, Video Synthesizer 1971 - 1976.
Silverfine, D., & Earle L. (1994).  Set in Motion: The New York State Council on the Arts Celebrates 30 Years of Independents: Introduction to Set in Motion.
Simmons, R. (1998).  Psycho-Flux Reunion..
Simmons, R. (1981).  From the Academy to the Avant Garde.
Simmons, R. (1981).  From the Academy to the Avant Garde - The Family Jewels.
Simmons, R. (1979).  Everson Video Revue Introduction.
Simmons, R. (1979).  Everson Video Revue. Catalog with Images.
Simmons, R. (1977).  New Work in Abstract Video Imagery Abstract Video.
Sjolander, T. (2017).  Ture Sjolander - complete CV.
Sjolander, T. (2000).  Selected Articles Concerning the Works of Ture Sjolander.
Sondheim, A. (1994).  Presence of Future Presence of Video: Thing II. Art Vu.
Sondheim, A. (1994).  Throat. Art Papers.
Sondheim, A. (1991).  Video. Perforations 2.
Sondheim, A. (1988).  I Model; You Take My Picture. CEPA Journal.
Sondheim, A. (1988).  Noise Culture: Thing I.
Sondheim, A. (1983).  Theses on the Inversion of the Cinema. Millennium Film Journal.
Sonsbeek Foundation (1971).  Sonsbeek 71 Introduction and Statements by Artists. June 19 - August 15,
Sorensen, V. (1995).  Art, Science.
Sorensen, V. (1995).  Thoughts of a Computer Artist.
Sorensen, V. (1989).  The Artist in the 2 and 3 -D Marketplace.
Stein, A-M. (2004).  The Passing of an Era: Boston Film/Video Foundation. MAIN.
Stephens, R., & Hallock D. (undated).  Suggestions Toward a Small Video Facility. National Center for Experimental in Television Reports 2.
Stern, R. (1975).  Stern Media Information.
Stern, G. (1974).  Educational Communications Centers and the Television Arts Conference: November 22, 1974 - Media, Information and Then?. Educational Communications Centers and the Television Arts Conference: November 22, 1974. November,
Sturken, M. (1996).  The Politics of Video Memory: Electronic Erasures and Inscriptions from Resolutions: Contemporary Video Practices.
Sturken, M. (1994).  Set in Motion: The New York State Council on the Arts Celebrates 30 Years of Independents The Moving Image in Space: Public Funding and the Installation Form.
Sturken, M. (1987).  Private Money and Personal Influence: Howard Klein and the Rockefeller Foundation's Funding of the Media Arts. Afterimage. 14(6), 
Sturken, M. (1985).  Feminist Video: Reiterating the Difference. Afterimage. 12(9), 
Sturken, M. (1983).  Out of Sync: Electronic Visions at the Hudson River Museum. Afterimage.
Sturken, M. (1982).  Denman's Col (Geometry): Mary Lucier. Afterimage. 9(7), 
Sturken, M. (1980).  Media Independents Push for Access. Afterimage.
Sundell, N. (1981).  CAPS/ICI 1981 Travelling Video Festival.
Supanick, J. (1999).  Quest for What: Video by the HalfLifers. Film Comment.
Tajchman, E. J. (1977).  The Incredible Animation Machine. Videography. 2(11), 
Tambellini, A. (2003).  A Brief History of "6673".
Tambellini, A. (1968).  A Conversation on Electronics and Black TV with Aldo Tambellini. Artscanada.
Tambellini, E. (1967).  The Gate Theater. Artscanada.
Templeton, L. W., Hallock D., & Stephens R. (1972).  A Video Processing Facility for Artistic Use: Design Philosophy and a Description of Components.
Tennant, C. (1998).  Video Rewind: A Seminar on Early Video History with Deirdre Boyle, Barbara London, Paul Ryan and Perry Teasdale.. (Tennant, C., Ed.).
The College of New Jersey (2000).  Feature Presentation: Black Box Video Shorts (+).
Thompson, S. (2003).  Evolving traditions: artists working in New Media. Afterimage.
Troy, M., & Seid S. (1999).  Back to the Future of Television: National Center for Experiments in Television Preservation Project Progress Report. MAIN.
Tsuchiya, A. (1981).  From the Academy to the Avant Garde - Introduction.
Turim, M. (1999).  Artisanal Prefigurations of the Digital: Animating Realities, Collage Effects, and Theories of Image Manipulation. Wide Angle. 21(1), 
Turim, M., & Nygren S. (1996).  Steina and Woody Vasulka: Machine Media - Reading the Tools, Writing the Image.
Turim, M. (1980).  The Electronic Gallery. (Turim, M., Ed.).
University Art Gallery, Binghamton University (1988).  Untamed Video: Artists' Tapes from the Experimental Television Center.
University Art Gallery, Binghamton University (1983).  The Electronic Gallery.
Vasulka, W., & Schier J. (1992).  Eigenwelt Der Apparate-Welt, Pioneers of Electronic Art: Don Mc Arthur - Spatial and Intensity Digitizer.
Vasulka, W. (1992).  Aldo Tambellini: Black Spiral.
Visual Studies Workshop (1974).  Astral Projections: A Polyfusion of Media.
Wallace, L. (2003).  material media: artefacts from the digital age. Disseration thesis Australian National University , Canberra. Chapter 3 mediazone.
Webber, M. (2007).  Evolution : Aldo Tambellini - Electromedia & The Black Film Series.
Weinger, R. (1975).  Color Video Synthesizer with Improved Image Control Means. US Patent.
White, R., Schanzenbach R., & Mojtabai C. (1984).  Beyond Video: Media Alliance Directory I. (White, R., Ed.).
Wooster, A-S. (1997).  Memories - 25 Years of the Experimental Television Center.
Wooster, A-S. (1990).  Reach Out and Touch Someone: The Romance of Interactivity.
Wooster, A-S. (1985).  Why Don't They Tell Stories Like They Used To?. Art Journal: Video - The Reflexive Medium. Fall(1985), 
Wright, W. (2006).  Multimedia Performance: Beginnings.
Yalkut, J. (1984).  Electronic Zen: The Alternate Video Generation.
Youngblood, G. (1983).  The New Renaissance: The Computer Revolution and the Arts. exposure: New Technology. 21(1), 
Youngblood, G. (1970).  Expanded Cinema - Aldo Tambellini.
Zimmermann, P. (2005).  Reverse Engineering.
Zimmermann, P. R. (2000).  States of Emergency: Documentaries, Wars, Democracies.
Zimmermann, P. R. (2000).  De-Fantasizing the Profession and Re-Public-izing Cinemas or Holding on to the Real.
Zimmermann, P. R. (1999).  NAMAC Conference Keynote Address - States of Emergency. Main.

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