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.
Cuprins
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 Lo Vid – 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 Mc Arthur, 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
Despre autor
Kathy High is an interdisciplinary artist working with technology, art and biology. She collaborates with scientists and artists, and considers living systems, empathy, animal sentience, and the social, political and ethical dilemmas of biotechnology and surrounding industries. She has received awards including Guggenheim Memorial Foundation, Rockefeller Foundation, National Endowment for the Arts. Her art works have been shown at documenta 13 (Germany), Guggenheim Museum, Museum of Modern Art, and Lincoln Center (NYC), UCLA (LA), Science Gallery, (Dublin), NGBK, (Berlin), Fesitval Transitio_MX (Mexico), MASS Mo CA (North Adams), Esther Klein Gallery (Philadelphia) and Para-site (Hong Kong). High is Professor in Arts, and has a lab in Center for Biotechnology and Interdisciplinary Studies at Rensselaer Polytechnic Institute, Troy. She hosts bio/ecology+art workshops and is creating urban enviromental center (NATURE Lab) with community media organization The Sanctuary for Independent Media.
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