Surveying the First Decade

surveying the- ,< first ' decade Vdeo Art and Alternative Media in the United States

OCTOkFR 23-NOVEMBER 23 1997 SAN FRANCISCO MUSEUM OF MODERN ART " PHYLLIS WATTIS THEATER SCREENINGS AT 1 PM AND 3 PM ON FRIDAYS AND SUNDAYS

LECTURE AND SERIES PREMIERE BY KATE HORSFIELD , DIRECTOR OF VIDEO DATA BANK THURSDAY " OCT. 23 7 p.m .

This survey is a compilation of videotapes Video art and alternative-media production The recovery of that period through a historical that chart artists' experimentation with a new were developed by artists in the late 1960s and survey is, in part, an effort to link the cultural artmaking medium . Exploring the first ten years early 1970s as a form of public dialogue about insights and strategies of portable video's first of artists' application of video to their experience new cultural forms and access to communica- decade with those of the present. Attention to and expression, the series gives today's museum tions technology. A fundamental idea held by this the video projects of the late 1960s and 1970s audience the extraordinary opportunity to view first generation of video artists was that in order is timely in view of the advent of international sixteen hours o' essential work by artists whose to have a critical relationship with a televisual media hardware and software expansion and innovations, insights, and accomplishments society you must primarily participate televisually. new decentralized multimedia networks . The established new fields of social, technological, Inspired by the availability of the portapak (a democratic use of these tools can only be real- and artistic inquiry. portable video recorder and camera), at a time ized with considerable efforts toward widespread when culture was widely acknowledged as polit- media literacy, a necessary extension of basic Organized into eight programs, this presentation ical terrain, vldeomakers sought to radically reading and writing skills . includes an enormous volume of work that reconfigure art and communications structures, examines the genres of various independent Such an education for media-cultural fluency and to invigorate their respective communities' movements. Video's impact on the history of art must encompass access to and experience with capacities for informational and participatory and telecommunications is significant. production tools and an understanding of the feedback. Artists and independent producers Addressing the importance of ensuring the interpretive structures of moving-image media integrated production, exhibition, distribution, longevity of video artworks in the public record, "literatures"-video, film, sound, digital multi- transmission, audience feedback, and media each videotape included in the series has been media, television, the Internet-that have been education into their work, and they invited the restored by a conservation program that was produced to date . It is necessary to be wary of participation of individuals as artists, critics, inaugurated in 1986 at Video Data Bank to the emancipatory claims of new technologies, as scientists, citizens, and educators, creating a vital prevent the loss of significant works due to the well as of the liberal notion that the access to alternative infrastructure . decay inherent in the electronic tape material . production alone will bring about critical partici- In a period that advocated for expanded pation . However, the early 1970s participatory The program and accompanying notes were consciousness and a critical reassessment of affirmation of an alternative media practice assembled by Video Data Bank, a distribution, institutional authority, artists employed various merits examination in order to reconsider the production, and education archive at the School techniques of feedback from a newly accessible efforts of that earlier generation to initiate new of the Art Institute of Chicago. We wish to electronic time-based medium ; they experi- forms of cultural exchange, and to share the extend thanks to Kate Horsfield, director of mented with the fundamental structures of a authority of technologically intensive cultural Video Data Bank and executive producer of this new image language made available through production with diverse audiences and local series ; series curator Christine Hill ; consulting electronic materials; women producers asserted communities. In supporting the production of a editor for resources and texts Deirdre Boyle; and a gender-based subjectivity, and both women vital, multi-vocal, and accessible contemporary project coordinator Maria Troy . and men transgressed viewers' assumptions of media culture, artists and educators must The series is generously funded by the Susan the television medium primarily through perfor- continue to examine the cultural issues negoti- Wildberg Morgenstein Fund and by mance-based work ; and artists enlisted video in ated by past bodies of work and to determine Contemporary Extension, an auxiliary of an expansive documentary exploration of the who has the training and access to increasingly SFMOMA . vernacular, as well as in investigations of social sophisticated tools and how the work produced institutions . The first decade of video art and can reach diverse audiences on a broader scale Special thanks to Kate Horsfield, Mindy Faber, communications was characterized by a negotia- than has been accomplished to date . and the staff at Video Data Bank. Surveying the tion of authority with viewers through ongoing First Decade is produced with the assistance of efforts to guarantee broad access to production, CHRISTINE HILL, CURATOR OF SFMOMA curatorial assistant Suzanne Feld, and SURVEYING THE FIRSTDECADE: and the recognition of the audience as a subjec- Carol Nakaso, media arts program coordinator. VIDEO ARTAND ALTERNATIVEMEDIA tive participant in the work and as a social IN THE UNITED STATES. partner in sustaining cultural scenes . ROBERT R. RILEY, CURATOR OF MEDIA ARTS

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Program 7 Program 2 Program 3 Explorations of Presence, Investigations of the Approaching Narrative Performance, and Audience Phenomenal World "There Are Problems to Be Solved"

PerformerlAudiencelMirror (1975) Black and White Tapes (1970-75) The Red Tapes Part 11(1976) Two Dogs and Ball, Used Car Salesman, Stamping in the Studio (1968) Out of Body Travel (1976) Dog Biscuit in Glass Jar (1972) Double Vision (1971) The Continuing Story of Carel and Ferd Baldessari Sings LeWitt (1972) (1972-75) Boomerang (1974) Undertone (1972) Island Song (1976) The coup has been successful . We have Vertical Roll (1972) to give the masses visual evidence-proof Cycles of 3s and 7s, (1976) (1975) we are here to stay... they associate culture My Father Children's Tapes (1974) The with obsolete buildings. Exchange (1973) Soundings (1979) -VITO ACCONCI. THE RED TAPES 1975 Vito Acconci in his 10-Point Plan for Video Lightning (1976) maps out four possible strategies for video medi- I am personally happiest when I am forced to Sweet Light (1977) ated performance and the resulting audience solve a problem. The aggression on stage has to relationships : "build myself up : viewer as A delayed audio feedback system (two tape do with that . I want the performer and the believer" (referring to Undertone), "tear myself recorders, earphones) was set up in a television performance to give the audience the feeling away : viewer as witness" (Air Time), "take you in : studio.. . . This system established a distance that there are problems to be solved . And I've viewer as partner" (Theme Song), between the apprehension and the comprehen- made the solution available, somehow. "give myself over : viewer as surrogate" sion of language as words split, delayed, -RICHARD FOREMAN. INTERVIEWED BY ERIC BOGOSIAN IN BOMB (Command Performance). mirrored, and returned . Thoughts were partially (SPRING 1994) being formulated, comprehended, and vocalized. -IRA SCHNEIDER AND BERYL KOROT EDS, VIDEO ART, 1976 The reiteration presented a revolving, involuting The works in this program establish inventive Artists in this program investigate perceptual experience, because parts of the works coming formal structures for epic storytelling and processes and strategies of performance using back in on themselves stimulated a new direc- staging unpredictable performances . Audiences the video monitor as a real-time "feedback" tion for thoughts .. . . This unit of discourse will be unsettled-by the buzzers that repeatedly mirror, a time-based device for recording and examines and reveals the structural framework interrupt Foreman's meticulously staged theater reflection, and a theater of intimacy. Dynamics of of the system . The comprehension and func- in a box, by Acconcl's emphatic "cut it out! cut it presence and informational feedback formed tional significance of the act in context was out!" (stage directions, or part of the confronta- through video recording and editing are pursued being exposed in the mind of the investigator. tive dialogue he performs?), and by Carel and intimate disclosures to videographer as models or opportunities for studying -FROM A DESCRIPTION OF BOOMERANG BY RICHARD SERRA IN VIDEO ART Ferd's (inter)personal exchanges as well as formal IRA SCHNEIDER AND BERYL KOROT EDE 1976 Ginsberg . The viewer must draw his or her own paradigms. In most or this work focus is on the conclusions from these curious communications construction of a relationship with the audience, Throughout the late 1960s and 1970s, artists that rupture expectations of narrative closure who were intrigued with both the physical and under both live and remote viewing conditions . and illusions of a singular reality. experiential dimensions of a time-based medium In order to engage viewers' attention, a variety of used video to extend their structural and Each of these epics collects and presents phys- strategies are employed, some of them trans- process-oriented investigations of space, sound, ical evidence-pictures, toys, books, video gressive . Provocations of audiences' erotic and light. Some of these videotapes were made documentation-from a period in which radical impulses, gender-based perspectives, social by artists who had already developed a distin- social experiments challenged public storytelling histories bearing the order of television viewing, guished body of work in sculpture, painting, and cultural mythmaking . Characters include a and comfort with art as object of contemplation music, or film . Many of these projects feature the blindfolded revolutionary as banished prisoner, a are some of the issues raised in these works, all artist's body-its capacity to attend to and articu- young woman in a library surrounded by the of which require viewers to actively question the late perceptions, its stamina, its generation of relics of Western civilization who wants to "know assumptions they bring to the process. sound-which functions as an instrument in the my body in order to know myself correction I presence of the video and audio recording want to make my body be known;' and two instruments. Most of these works generate veterans of the West Coast counterculture who descriptive systems that are materially concrete, pursue the theatrics of interpersonal bonding self-referential, and attentive to references of with each other and a video camera. everyday life and events . Others introduce metaphors of transcendence that allude to light and communications while creating art and registering social and mythic references . IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII

Program 4 Program 5 Gendered Performance of Video Confrontations Imaging Tools

Art Herstory (1974) Calligrams (1970) Distribution Religion : The image processor may Female Sensibility (1973) Muminatin' Sweeney(1975) be copied by individuals and not-for-profit insti- Always Love Your Man (1975) Video Weavings (1976) tutions without charge . For-profit institutions will have to negotiate for permission to copy. I think The Mom Tapes (1974-78) 5 Minute Romp Through the IP (1973) culture has to learn to use high-tech machines Primal Scenes (1980) Triangle !n Front of Square in Front of Circle for personal, aesthetic, religious, intuitive, in Front of Triangle (1973) Nun and Deviant (1976) comprehensive, exploratory growth . The develop- Video-Taping (1974) Vital Statistics of a Citizen, Simply Obtained ment of machines like the Image Processor is (1977) Exquisite Corpse (1978) part of this evolution. I am paid by the state, at least in part, Hermine Freed describes her tape Art Herstory Einstine (1968) to do and disseminate [sic] this information; so I do.. .. as "the alteration of the past through reinterpre- GeneralMotors (1976) tation in the present. Superimposition of the Merce by Merce by Paik (1978) -DAN SANDIN IN LUCINDA FURLONG NOTES TOWARD A HISTORY present over the past. Role playing. The discrep- OF IMAGE PROCESSED VIDEO, AFTERIMAGE (SUMMER, 1983) Crossings and Meetings (1974) ancy between the image and the event. History These videotapes, sometimes referred to by their and actuality. The individual in time and place. Complex Wave Forms (1977) makers as "artifacts" or experiments, and The still frame vs. the moving frame. Time Pictures of the Lost (1978) produced by working with an array of electronic in history." Video Locomotion (1978) instruments, represent artists' formal inquiries -IRA SCHNEIDER AND BERYL KOROT EDS VIREO ART 1978 Music on Triggering Surfaces (1978) into the development and application of analog C-Trend (1974) and digital tools that translate energy and time Large tracts of the common ground currently into video imaging systems. An elementary occupied by feminism and art were delineated in Switch! Monitor! Drift! (1976) vocabulary of what a second generation of video two essays that circulated widely in the 1970s. I started with light, light and shadow, a typical artists has come to regard as video's "special In keeping with feminist investigations into the filmic agenda ; I started working with strobo- effects" was developed in the late 1960s and implications of gender for all cultural forms, the scopic lights. Then I encountered video, whose 1970s by artists, often working with independent titles of both articles were framed as questions: principles essentially negate film. I gave up light engineers, who anticipated certain technical "Why Are There No Great Women Artists?" (by instantly. Video was undefined, free territory, no inventions in their efforts to expand the medium . art historian Linda Nochlin, in Women in Sexist competition, a very free medium . The community Videotapes led the way in addressing aesthetic Society, 1971) and "Is There a Feminine was naive, young, strong, cooperative, a issues such as the relationship between elec- Aesthetic?" (by Sylvia Bovenschen, published in welcoming tribe. There was instantly a move- tronic sound and image synthesis and Heresies, 1977). ment mediated by two influences . One, the possibilities for radically reconceptualizing the -MARTHA LEVER 1990 Portapak made an international movement unit of the frame, a common element to both possible, and two, the generation of images video and film . Videotapes in this program stake out feminists' through alternative means-the camera no longer claims to the newly politicized cultural territory During this period the aesthetic and of carried the codes 90% of the developers of social the 1970s-with women vocabularies of many as performers, artists, video synthesizers had backgrounds in music. ... artists were influenced by and producers-and their aspirations question the idea of women [In retrospect] the synthetic video image never toward developing alternative as objects cultural of the (male) gaze . The observation developed into its own tradition as we envi- models . This desire for change was that "the personal is political"-central to the sioned . MTV is the closest thing we've got to an enhanced by the excitement of new technolo- widespread consciousness-raising groups of the audio/visual genre.. .. Our fate was to work in the gies, parallel explorations of (hallucinogenic) time-became an important impetus for using transitional area between technology psychological space, and a climate that validated video to examine the lives of one's parents, and aesthetics . sharing tools and discoveries. Working outside of grandparents, siblings, and friends, and to ques- the mainstream TV industry during most of the -WOODY VASULKA INTERVIEWED BY CHRIS HILL, JUNE 1992 tion one's own relationship with what had been 1970s, these artists and independent engineers understood as history. established opportunities for others to work directly with their custom-built tools through Speculations about the existence of an essential access programs in media-art centers, artist-run female aesthetic and studies of mass culture's residency projects, and experimental labs at representation of women both led to explo- some public television stations . rations of the gender-based presumptions evident in Americans' complicated parafamilial relationship with television and pararomantic relationship with film, in representations of lesbian experience, and in the fractured and fefshized depictions of women by advertising. Videotapes by women also provide a reference point from which to examine the powerful feminist critical discourse that challenged the reigning/waning modernist discourse of the 1970s and introduced new terms of investigation into the cultural theory of the 1980s and the 1990s.

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Program 6 Program 7 Program 8 Decentralized Critiques of Art and Media Independents Communications Projects as Commodity and Spectacle Address Television

Mayday Realtime (1197 1) Eternal Frame (1976) Healthcare: Your Money or Your Life (1978) Women's Liberation March NYC, Television Delivers People (1973) The Ruling Classroom (1979-80) Gay Pride March NYC, Young Lords Occupy The Business of Local News (1974) Four More Years (1972) Manhattan Church, Native American Action at Plymouth Rock (1971-72) Proto Media Primer (1970) 1960 : Networks ban independent news . NBC-TV explained its obligation to "objective, fair and responsible Participation (1969-71) About Media (1977) presentation of news developments and issues," First Transmission ofACTV (1972) Fifty Wonderful Years (1973) 1969 : First national show of video art, The Medium is Jonesboro Storytelling Festival: Wonder Woman (1978-79) the Medium . Produced by Fred Barzyck at WGBH TV's Kathryn Windham Telling Ghost Stories New Television Workshop. (The Jumbo Light) (1974) The spectacle is not a collection of images, 1970 : All About TV airs show about video . Featured The Politics of Intimacy (1974) but a social relation among people, mediated George Stoney of the Alternate Media Center at NYU by images. discussing video and showing a portapak. Attica Interviews (1971) -GUY DEBORD SOCIETY OF THE SPECTACLE 1910 1971 : NBC rejects Mayday tapes . NBC News and Queen Mother Moore Speech WRC-TV, Its Washington affiliate, supply 1 /2" video tape at Greenhaven Prison (1973) John Baldessari : Ingres and Other Parables, to Mayday Video Collective for first rejection rights of The Laughing Alligator (1979) tape shot at demonstrations that tied up traffic Konrad Fischer, Dusseldorf, October 8-22, throughout the city. An hour-long edit was shown to Video was inexpensive, easy to use, anybody 1971 . . . The Best Way to do Art. A young artist staff, who wanted to buy it. Idea was killed by Executive could do it, everybody should do it . That was the in art school used to worship the paintings of Producer who said, after one look ; "That stuff will never appear on NBC ." It didn't . mandate, like the power of the vote. Vote . Take Cezanne. He looked at and studied all the books responsibility. Make it and see it . he could find on Cezanne and copied all of the 1972 : TVTV broadcasts the Nixon show. First reproductions of Cezanne's work he found in the Electronically broadcast 1 /2" video, The World's Largest -KEN MARSH INTERVIEWED BY CHRIS HILL JULY 1992 TV Studio, and Four More Years, portapak coverage of books . He visited a museum and for the first the Republican national convention produced by TVTV. . . time saw a real Cezanne painting . He hated it. It The technical distinction between transmitters 1973 : Fifty Wonderful Years on KOED, and a half-hour and receivers reflects the social division of labor was nothing like the Cezannes he had studied in documentary shot on 112" by Optic Nerve in San between producers and consumers . the books . From that time on, he made all of his Francisco was 'image buffed" (shot off monitor) by the paintings the sizes of paintings reproduced in public TV station . caused problems with the union (then -HAYS MAGNUS ENZENBERGER CONSTITUENTS OF A THEORY beginning contract negotiations) OF THE MEDIA 1974 books and he painted them in black and white. He also printed captions and explanations on the 1974 : First national 1 /2" color over PBS . .. . Cuba the People. produced by Alpert, Tsuno, Marunyuman of In the 1970s, artists, public-access cable paintings as in books . Often he just used words . Downtown Community TV, the first TV crew given such producers, and media collectives made major And one day he realized that very few people extensive reporting privileges inside revolutionary Cuba . efforts to redefine the asymmetrical relationships went to art galleries and museums but many -VT ON TV SMALL FORMAT VIDEO BROADCAST IN TELEVISIONS (JUNE 1975 ; between production/transmission and recep- people looked at books and magazines as he did tion/consumption in American and they got them through mail as he did . Moral : Throughout the 1970s many documentary telecommunications systems . Efforts to decen- It's difficult to put a painting in a mailbox . producers worked to establish relationships with tralize video communications developed a broadcast TV that would enable their indepen- -LUCY LIPPARD . SIX YEARS: THE DEMATERIALIZATION dently conceived and produced programs to be system of publicly funded media-art centers, OF THE ART OBJECT, 1973 public-access cable channels supported through seen by large audiences . In the early 1970s the franchise agreements between cities and cable Artists working in the 1970s used video both to portable 1 /2" open-reel equipment guaranteed companies, and a range of independent projects document performances and to deliver mani- greater mobility than the film cameras used by that included pirate TV, media labs, a "people's festos critiquing and/or undermining the idea of professional news crews, but the electronic video theater;' and library media collections . artmaking as the production of commodities . In signal produced by the portapak was usually journals such as Radical Software, published by rejected by broadcast engineers (even though it Producers used public-access cable and a the Raindance collective, videomakers described was used in public-access cable) . Some of the growing network of independent venues to air the necessity of creating a new culture in oppo- first videotapes broadcast on public TV were voices that were underrepresented in market- sition to corporate-owned television, (called rescanned by studio cameras from a monitor. In driven mass media . In the mountains of "video's frightful parent" by David Antin in his 1973, the time-based correctors that could Appalachia, for example, video was used to widely read essay Video : The Distinctive compensate for portpaks' idiosyncratic signal document and disseminate (on cable) a local Features of the Medium, 1975). By creating were introduced . By 1974 portable, color video culture that previously had been transmitted only projects that were in opposition to both the cameras (in the $49,000 price range) were through a rich oral tradition . In urban areas, economic and attentional structures of television, introduced for the production of TV news. capturing (with videomakers' commitment to artists targeted the nature of its spectacle, portable video) the speech and actions of citi- By mid-decade, independent documentaries had its selection of "newsworthy" events been shown on public TV stations across the zens in public spaces led to alternative and public storytelling, and consumers' country. While public-access cable, media-art documents of significant cultural Investments in its cast of authorized heroes centers, and some museums remained important and political events . and occasional heroines . venues for work that challenged the assump- These artists presented their self-authorized tions of the status quo, and for projects by actions and videotapes in public spaces, on minority and women producers underrepre- public television, and in alternative cultural sented in the industry and the arts, many settings such as artist-run spaces independent producers continued to lobby for and some museums . new funding sources and access to larger, mainstream television audiences . Independent investigations by the TVTV collective, Downtown Community TV, and others are considered to have challenged the structure of broadcast TV documentaries and news reporting .

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surveying the first decade 1/ideo Art and Alternative Media in the United States Program Schedule FRIDAY OCTOBER 31 AND SUNDAY, NOVEMBER 2 SAN FRANCISCO MUSEUM OF MODERN ART " PHYLLIS WATTIS THEATER 7 p .m. OCTOBER 23-NOVEMBER 23 . 1997 SCREENINGS AT 1 P.M AND 3 P.M ON FRIDAYS AND SUNDAYS PROGRAM 3- APPROACHING NARRATIVE-'THERE ARE PROBLEMS TO BE FILM TICKETS INCLUDE MUSEUM ADMISSION AND ARE SB ADULTS : S5 SENIORS AND $4 STUDENTS TICKETS MAY BE PURCHASED IN ADVANCE AT THE MUSEUM AND THROUGH BASS TICKETS SOLVED MEMBERS MAY PICK UP COMPLIMENTARY TICKETS AT THE MEMBERS' DESK . (TOTAL RUNNING TIME 114 MIN) Vito Acconci SURVEYING THE FIRST DECADE IS GENEROUSLY FUNDED BY THE SUSAN WILDBERG MORGENSTEIN FUND The Red Tapes Part If AND BY CONTEMPORARY EXTENSION . A N AUXILIARY OF SFMOMA 1976 58 min . THURSDAY, OCTOBER 23 3 p.m . Richard Foreman 7 p.m . PROGRAM 2- INVESTIGATIONS OF THE PHENOMENAL WORLD Out of Body Travel AND PREMIERE LECTURE SERIES (TOTAL RUNNING TIME : 116 MIN) 1976 BY KATE HORSEIELD . DIRECTOR OF VIDEO DATA BANK/ 42 min ., excerpt 23 min . SAIC IN CHICAGO AN INTRODUCTION OF THE SERIES. Paul McCarthy Arthur Ginsberg and Video Free America FOLLOWED BY A SCREENING OF VIDEOTAPES BY ARTISTS Black and White Tapes 1970-75 (and WNET) 7 min . The Continuing Story of Carel and Ferd [edited interviews for VTR] Bruce Nauman 1972-75 Stamping in the Studio 60 min ., excerpt 33 min . FRIDAY, OCTOBER 24 AND SUNDAY, OCTOBER 26 1968 3 p.m . 1 p.m . 60 min ., excerpt 5 min . PROGRAM 4- PROGRAM ]- Peter Campus GENDERED CONFRONTATIONS EXPLORATIONS OF PRESENCE PERFORMANCE . AND AUDIENCE Double Vision (TOTAL RUNNING TIML 114 MIN) (TOTAL RUNNING TIME 116 MIN) 1971 15 min . Hermine Freed Dan Graham Art Herstory Performer/Audience/Mirror Richard Serra and Nancy Holt 1974 1975 Boomerang 22 min ., excerpt 15 min . 23 min 1974 11 min . Lynda Benglis William Wegman Female Sensibility selected works (Two Dogs and Ball, Used Car Charlemagne Palestine 1973 Salesman, Dog Biscuit in Glass Jar) Island Song 14 min . 1972 1976 90 min ., excerpt 8 min . 16 :29 min . Cara De Vito Always Love Your Man John Baldessari Tony Conrad 1975 Baldessari Sings LeWitt Cycles of 3s and 7s 19 min . 1972 1976 12 :35 min ., excerpt 4 min . 30 min ., excerpt 3 min . Ilene Segalove The Mom Tapes Vito Acconci Terry Fox 1974-78 Undertone The Children's Tapes 28 min ., excerpt 4 min . 1972 1974 30 min ., excerpt 10 min . 30 min . Linda Montano Primal Scenes Joan Jonas Gary Hill 1980 Vertical Roll Soundings 11 min . 1972 1979 19:38 min . 18 min . Nancy Angelo and Candace Compton Nun and Deviant Shigeko Kubota Paul and Marlene Kos 1976 My Father Lightning 20 min ., excerpt 13 min . 1975 1976 15 min . 1 :17 min . Martha Rosler Vital Statistics of a Citizen, Simply Obtained Robert Morris and Lynda Benglis Bill Viola 1977 Exchange Sweet Light 38 min . 1973 1977 36 min . 9 min . IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII

FRIDAY NOVEMBER 7 AND SUNDAY NOVEMBER 9 Peer Bode FRIDAY NOVEMBER 14 AND SUNDAY NOVEMBER 16 Music on Triggering Surfaces 1 p.m . 1 p.m . 1978 PROGRAM 5- 3 min. PROGRAM 7- PERFORMANCE OF VIDEO IMAGING TOOLS CRITIQUES OF ART AND MEDIA AS COMMODITY AND SPECTACLE Woody Vasulka (TOTAL RUNNING TIME 91 MIN) (TOTAL RUNNING TIME . 110 MIN) C-Trend Steina and Woody Vasulka 1974 Ant Farm and T. R. Uthco Calligrams 9 min., excerpt 7 min. Eternal Frame 1976 1970 Steina 12 min., excerpt 4 min. 23 min. Switch! Monitor! Drift! Skip Sweeney 1976 Richard Serra and Carlotta Fay Schoolman llluminatin' Sweeney 4 min. Television Delivers People 1975 1973 3 p.m. 28 :38 min., excerpt 5 min. 6 min. PROGRAM 6- Stephen Beck University Community Video DECENTRALIZED COMMUNICATIONS PROJECTS Video Weavings The Business of Local News (TOTAL RUNNING TIME 116 MIN) 1976 1974 28 min., excerpt 4 min. David Cort and Curtis Ratcliff 25 min., excerpt 15 min. Mayday Realtime Dan Sandin 1971 Paul Ryan and Raindance 5 Minute Romp Through the IP Proto Media Primer 60 min., excerpt 10 min. 1973 1970 5 min. People's Video Theater 14 min. (Ken Marsh and Elliot Glass) Dan Sandin Tony Ramos selected tapes: (Women's Liberation March Triangle in Front of Square in Front of Circle About Media NYC, Gay Pride March NYC, Young Lords in Front of Triangle 1977 Occupy Manhattan Church, Native American 1973 26 min., excerpt 17 min. Action at Plymouth Rock) 3 min. 1971-72 Optic Nerve Ernie Gusella 28 min. Fifty Wonderful Years 1973 Video-Taping Steina and Woody Vasulka 28 min. 1974 Participation 5 min., silent 1969-71 Dara Birnbaum Ernie Gusella 30 min., excerpt 6 min. Wonder Woman Exquisite Corpse 1978-79 ACTV and George Stoney 7 min. 1978 First Transmission of ACTV 5 min., silent 1972 3 p.m. Eric Siegal 8 min., excerpt 4 min. PROGRAM 8 (PART p- Einstine Broadside TV INDEPENDENTS ADDRESS TELEVISION 1968 Jonesboro Storytelling Festival: (TOTAL RUNNING TIME . 118 MIN.) 6 min. Kathryn Windham Telling Ghost Stories Downtown Community Television Phil Morton (The Jumbo Light) Healthcare : Your Money or Your Life General Motors 1974 1978 1976 6 min. 60 min. min., excerpt min. 60 10 Julie Gustafson Peter Bull and Alex Gibney Nam June Paik The Politics of Intimacy The Ruling Classroom Merce by Merce by Paik 1974 1979-80 1978 52 :20 min., excerpt 10 min. 58 min. 28 min., excerpt 10 min . Portable Channel Ed Emshwiller, Produced at the TV Lab Attica Interviews FRIDAY NOVEMBER 21 AND SUNDAY NOVEMBER 23 at WNET/Thirteen 1971 1 p.m. and 3 p.m. Crossings and Meetings 30 min., excerpt 8 min. 1974 PROGRAM 8 (PART II)- Peoples' Communication Network 27 :33 min., excerpt 3 min. INDEPENDENTS ADDRESS TELEVISION Queen Mother Moore Speech (TOTAL RUNNING TIME 60 MIN) Ralph Hocking at Greenhaven Prison Complex Wave Forms 1973 Top Value Television (TVTV) 1977 65 min., excerpt 17 min. Four More Years min., excerpt 4 min. 1972 5 Juan Downey 60 min. Barbara Buckner The Laughing Alligator Pictures of the Lost 1979 1978 27 min. 23 min., excerpt 8 min., silent Peer Bode Video Locomotion 1978 5 min., silent