The Emergence of Video Processing Tools Volumes 1 & 2

Description

The Emergence of Video Processing Tools presents stories of the development of early video tools and systems designed and built by artists and technologists during the late 1960s and 70s. Split over two volumes, the contributors examine the intersection of art and science and look at collaborations among inventors, designers and artists trying to create new tools to capture and manipulate images in revolutionary ways. The contributors include 'video pioneers,' who have been active since the emergence of the aesthetic, and technologists, who continue to design, build and hack media tools. The book also looks at contemporary toolmakers and the relationship between these new tools and the past. Video and media production is a growing area of interest in art and this collection will be an indispensable guide to its origins and its future.

VOLUME ONE:

Section 1: Histories

Introduction – Kathy High

Beginnings (With Artist Manifestos) – Kathy High

Mapping Video Art as Category, or an Archaeology of the Conceptualizations of Video – Jeremy Culler

Impulses – Tools – Christiane Paul and Jack Toolin

The Art-Style Computer-Processing System, 1974 – Tom Sherman

Machine Aesthetics Are Always Modern – Tom Sherman

Electronic Video Instruments and Public Sector Funding – Mona Jimenez

TV Lab: Image-making Tools – Howard Weinberg

The New Television Workshop at WGBH, Boston – John Minkowsky

The National Center for Experiments in Television at KQED-TV, San Francisco – John Minkowsky

The Experimental Television Center: Advancing Alternative Production Resources, Artist Collectives and Electronic Video-Imaging Systems – Jeremy Culler

Interstitial Images: Histories

Section 2: People and Networks

Introduction – Sherry Miller Hocking

From Component Level: Interview With LoVid – Michael Connor

Memory Series – Phosphography in CRT 5", Mexico, 2005 – Carolina Esparragoza

The Rhetoric of Soft Tools – Marisa Olson

Jeremy Bailey and His ‘Total Symbiotic Art System’ – Carolyn Tennant

De-commodification of Artworks: Networked Fantasy of the Open – Timothy Murray

Virtuosity as Creative Freedom – Michael Century

Distribution Religion – Dan Sandin and Phil Morton

A Toy for a Toy – Ralph Hocking

Woody Vasulka: Dialogue With the (Demons in the) Tool – Lenka Dolanova with Woody Vasulka

A Demo Tape on How to Play Video on a Violin – Jean Gagnon

Application to the Guggenheim Foundation, 1980 – Ralph Hocking

Thoughts on Collaboration: Art and Technology – Sherry Miller Hocking

Interstitial Images: People and Networks

VOLUME TWO:

Section 3: Tools

Introduction – Mona Jimenez

Mods, Pods and Designs: Designing Tools and Systems – Kathy High

Computer-Based Video Synthesizer System, ETC – Donald McArthur, Walter Wright and Richard Brewster

Design/Electronic Arts: The Buffalo Conference, March 10–13, 1977 – John Minkowsky

Instruments, Apparel, Apparatus: An Essay of Definitions – Jean Gagnon

Expanding ‘Image-processed Video’ as Art: Subverting and Building Control Systems – Jeremy Culler

The Grammar of Electronic Image Processing – Sherry Miller Hocking

ETC’s System – Hank Rudolph

On Voltage Control: An Interview With Hank Rudolph – Kathy High and Mona Jimenez

'Insofar as the rose can remember…' – Carolyn Tennant

Analog to Digital: Artists Using Technology – Yvonne Spielmann

Analog Meets Digital In and Around the Experimental Television Center – Kathy High, Mona Jimenez and Dave Jones

Multi-tracking Control Voltages: HARPO – Carl Geiger and Mona Jimenez

Finding the Tiny Dot: Designing Pantomation – Mona Jimenez

Preserving Machines – Mona Jimenez

A Catalog Record for the Raster Manipulation Unit – Mona Jimenez

Copying-It-Right: Archiving the Media Art of Phil Morton – Jon Cates

Proposal for Low-cost Retrieval of Early Videotapes Produced on Obsolete Equipment and/or Videotape That Will Not Play Back, or Resurrection Bus (1980) – Ralph Hocking

Interstitial Images: Tools

 

Sujets

• Sciences et techniques
• Película fotográfica
• Reference
• History of film
• Design
• Cultural Studies
• Electronic
• Digital
• Film

Informations

• Publié par: Intellect Books
• Date de parution: 01 janvier 2014
• Nombre de lectures: 0
• EAN13: 9781783203017
• Langue: English
• Poids de l'ouvrage: 2 Mo

Extrait

The Emergence of Video Processing Tools
Television Becoming Unglued
Volume 1
The Emergence of Video Processing Tools
Television Becoming Unglued
Volume 1
edited by Kathy High, Sherry Miller Hocking and Mona Jimenez

Intellect Bristol, UK / Chicago, USA
First published in the UK in 2014 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2014 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright 2014 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover image: Photo courtesy Experimental Television Center Archives.
Production manager: Tim Mitchell
Cover designer: Ellen Thomas
Copy editor: Michael Eckhardt
Typesetting: John Teehan
ISBN 978-1-84150-663-0
ePUB ISBN 978-1-78320-301-7
ePDF ISBN 978-1-78320-300-0
Printed and bound by Hobbs the Printers Ltd, UK
Dedication
For those who have passed on - Barb Abramo, Connie Coleman, Evangelos Dousmanis, Dara Greenwald, Bill Hearn, David Loxton, Don McArthur, Phil Morton, Nam June Paik, Mary Ross, Steve Rutt, George Stoney and Jud Yalkut. Your work helped shape this project and still inspires.
And for the artists and technologists who have contributed to the creation of instruments and those who continue to do so
Contents
ACKNOWLEDGMENTS
PREFACE
SECTION 1: HISTORIES
Introduction
Kathy High
Beginnings (with Artist Manifestos)
Kathy High
Mapping Video Art as Category, or an Archaeology of the Conceptualizations of Video
Jeremy Culler
Impulses - Tools
Christiane Paul and Jack Toolin
The Art-Style Computer-Processing System, 1974
Tom Sherman
Machine Aesthetics Are Always Modern
Tom Sherman
Electronic Video Instruments and Public Sector Funding
Mona Jimenez
TV Lab: Image-making Tools
Howard weinberg
The New Television workshop at WGBH, Boston
John Minkowsky
The National Center for Experiments in Television at KQED-TV, San Francisco
John Minkowsky
The Experimental Television Center: Advancing Alternative Production Resources, Artist Collectives and Electronic Video-Imaging Systems
Jeremy Culler
Interstitial Images: Histories
SECTION 2: PEOPLE AND NETWORKS
Introduction
Sherry Miller Hocking
From Component Level: Interview with LoVid
Michael Connor
Memory Series - Phosphography in CRT 5", Mexico, 2005
Carolina Esparragoza
The Rhetoric of Soft Tools
Marisa Olson
Jeremy Bailey and His Total Symbiotic Art System
Carolyn Tennant
De-commodification of Artworks: Networked Fantasy of the open
Timothy Murray
Virtuosity as Creative Freedom
Michael Century
Distribution Religion
Dan Sandin and Phil Morton
A Toy for a Toy
Ralph Hocking
Woody Vasulka: Dialogue with the (Demons in the) Tool
Lenka Dolanova with woody Vasulka
A Demo Tape on How to Play Video on a Violin
Jean Gagnon
Application to the Guggenheim Foundation, 1980
Ralph Hocking
Thoughts on Collaboration: Art and Technology
Sherry Miller Hocking
Interstitial Images: People and Networks
INDEX
COLOR PLATES
Acknowledgments
First and foremost, many thanks to Ralph Hocking, for your vision in starting the Experimental Television Center and for inspiring so many to think and work in the service of creativity. We deeply appreciate your honesty, pioneering and irreverent attitude, and always insisting on rigorous thinking. Of course, we thank you for your amazing cooking.
We are very grateful to all of the contributors - present in the texts, interviews, photographs and ephemera. For the writers, we give special thanks for their effort, generosity and patience.
There were many along the way who helped us with our understanding of the tools and their context, guiding and correcting us and enriching our work. Gifted in comprehending the most complex of processes and patient in describing them, Hank Rudolph gave us many hours of his time. Dave Jones (Dave Jones Design), who has a mind like a tack and a memory to match, also took numerous questions and provided endless technical counseling sessions and assistance. We especially appreciate your good humor discussing technical issues over meals at the Tioga Trails Caf . We also give big thanks to Carolyn Tennant for her countless hours of work, contagious enthusiasm and thoughtful commentary; she contributed substantially to the overall content and shape of the book.
Many thanks to the very generous Jason Livingston, who spent time researching, consulting and giving insightful feedback on our essays. Along with Dave and Hank, Pamela Hawking s excellent work on the DVD set Early Media Instruments was essential to making visible the processes of the tools. Diane Bertolo, thank you for your expert graphic design work and wise counsel on a very short timeline. We also give thanks to Suzie Silver, Jeff Martin and Anna McCarthy, among others, for taking the time to read and comment on essays.
We are very grateful to Denise Rohlfs for deciphering and transcribing many hours of old audio recordings. NYU research assistants Violet Lucca and Maria Vinogradova also helped with many tasks, in particular interview transcriptions. Sean Lachut and Allison Berkoy gave us attentive help with much-needed early copyediting and citations. Thanks to Rebekkah Palov and Yaminay Chaudhri for their assistance with gathering photo permissions and preparing images for print.
We found very useful the online archives of the Vasulka Archive and Radical Software and Harald Bode. Special thanks to Vincent Bonin for his assistance while Mona Jimenez was a researcher-in-residence at The Daniel Langlois Foundation for Art, Science and Technology. Also to Brent Phillips at the Fales Library and Special Collections at NYU and Joan Gosnell at the DeGoyler Library at Southern Methodist University.
The ETC and Video History Project website was updated and revamped thanks to the devoted efforts of Matthew Schlanger and Blackhammer Design, who brought the site into this century. Researchers for the Video History Project website - including Pamela Hawkins, Aaron Miller, Austin Nichols, Neil Zusman, Nicole Zyatt and many others - organized and scanned resources that made our research possible. Thanks to Olivia Robinson for her photographic skills.
We offer deep thanks to Peer Bode and other faculty at Institute for Electronic Arts, Alfred University, for support along the way, for continuing image-processing work, and for teaching and passing on a living philosophy of tool building.
The archives of the Experimental Television Center have been established at the Rose Goldsen Archive of New Media at Cornell University: we especially thank Timothy Murray and his assistant Madeleine Casad, as well as M. J. Eleanor Brown, Elaine Engst and Danielle Mericle at the Kroch Library Division of Rare Manuscript Collections for their care and careful handling of these materials. Without archives like this, the past would be lost and forgotten.
The book is made possible with funds from many sources. A special thank you to The Daniel Langlois Foundation for Art, Science and Technology - to Jean Gagnon and Alain Depocas, for support for digitization of archival materials and for the Video History Project website. Funding was also provided by the New York State Council on the Arts, the National Endowment for the Arts, media The foundation inc., and faculty research funds from Rensselaer Polytechnic Institute (School of Humanities, Arts and Social Sciences FLASH Grant) and the NYU Department of Cinema Studies. We are grateful for this support.
With love, we thank those who gave advice and support along the way, including Arthur Tsuchiya, Debby Silverfine, John Hanhardt, Arlo Simon, Diane Nerwen and Shannon Johnson, among many others. We are of course completely indebted to the rich archives of the Experimental Television Center - which forms the spine of this project.
We sincerely thank Intellect Books and the staff - copy editors and designers - who helped make the book a reality. We especially appreciate the steady guidance and gracious assistance of our editor at Intellect, Tim Mitchell.
And finally, we three old video dames hope that this book and the works included will inspire the next generation - especially young women - to become imaginative and creative artists embracing technology with confidence and precision.
With apologies, we regret any errors; they are our own.
- Kathy High, Sherry Miller Hocking and Mona Jimenez
Preface
Kathy High, Sherry Miller Hocking and Mona Jimenez
Senses and the physical world have always been my main directors. The theoretical has not been of much interest to me.
- Ralph Hocking
The Experimental Television Center [ETC] was created by an artist for other artists, and is guided by that spirit. If the artwork is experimental, the process, the discourse and the practice should also be experimental. While many early organizations operated as collectives in order to produce collaboratively and share the cost and use of then-expensive tools, the Center was organized as an egalitarian assembly of individuals - artists, educators and technologists - working together to help define electronic media art and the programs which sustain it.
- Sherry Miller Hocking
M aking marks is an impulse as old as humankind. Throughout history, tools for art making have constantly evolved to reflect technological change. The Emergence of Video Processing Tools: Television Becoming Unglued explores the development of early video instruments and systems designed and built by artists and technologists during the late 1960s and 70s. It is a story of art and science, collaborations among inventors, designers and artists resulting in video tools that