DOCSLIB.ORG

Como Caso De Estudio 150511

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Como Caso De Estudio 150511 4:13 / 2:07 El colectivo 15Mbcn.tv (2011-2014) como caso de estudio 150511 3112 14 Tesis Doctoral Doctorando: Hernán Enrique Bula Directora: Elena Edith Monleón Pradas Septiembre de 2015 · Tesis Doctoral · Creación audiovisual 2.0 como herramienta crítica de activismo social e intervención política en el siglo XXI · El colectivo 15Mbcn.tv (2011-2014) como caso de estudio Doctorando Hernán Enrique Bula Directora Elena Edith Monleón Pradas Doctorado en Artes: Producción e Investigación Facultat de Belles Arts de Sant Carles Universitat Politècnica de València Septiembre 2015 Licencia Reconocimiento-NoComercial-SinObraDerivada 2.5 España http://creativecommons.org/licenses/by-nc/2.5/ Usted es libre de: copiar, distribuir y comunicar públicamente la obra. Bajo las condiciones siguientes: Reconocimiento. Debe reconocer los créditos de la obra de la manera especificada por el autor o el licenciador. No comercial. No puede utilizar esta obra para fines comerciales. Sin obras derivadas. No se puede alterar, transformar o generar una obra derivada a partir de esta obra. Al reutilizar o distribuir la obra, tiene que dejar bien claro los términos de la licencia de esta obra. Alguna de estas condiciones puede no aplicarse si se obtiene el permiso del titular de los derechos de autor. Los derechos derivados de usos legítimos u otras limitaciones reconocidas por ley no se ven afectados por lo anterior. Resumen/Abstract/Resum La presente investigación estudia el campo del audiovisual activista de intervención social y política, profundizando en el surgimiento del videoactivismo 2.0 en el siglo XXI. Nos referimos a una serie de prácticas audiovisuales alternativas, políticas, de denuncia y resistencia, que aprovechan la accesibilidad, facilidad, inmediatez y versatilidad que ofrecen las tecnologías actuales (audiovisuales, informáticas, telemáticas y comunicacionales) y los nuevos escenarios digitales globales de la web 2.0. Prácticas en donde lo viejo y lo nuevo, el pasado y el presente, claramente convergen. A los fines de dar cuenta de nuestros objetivos de investigación, se procedió a la realización de un estudio de tipo descriptivo, organizado en dos etapas. Una de sistematización de investigaciones en torno a diversas producciones audiovisuales de intervención política desde el cine militante, el videoactivismo de los años ochenta y noventa, hasta el activismo audiovisual del siglo XXI y su interacción con la red. En ella identificamos objetivos, tácticas y estrategias a fin de caracterizarlas y diferenciarlas de acuerdo a sus aspectos experimentales, estéticos, críticos y políticos. En una segunda etapa efectuamos un estudio de caso tomando como referencia al colectivo catalán 15Mbcn.tv. Dicha etapa combinó indagaciones cualitativas y cuantitativas (abordaje metodológico de tipo mixto) para la comprensión de las características que adquiere la experiencia analizada. Los resultados del estudio permitieron dilucidar qué hay de viejo en lo nuevo y qué hay de nuevo en lo nuevo, es decir, precisar las características y especificidades de los actuales trabajos audiovisuales y sus similitudes y diferencias respecto de sus antecedentes. En esa línea, el análisis puntual del colectivo 15Mbcn.tv constituyó un aporte de relevancia en aras de efectuar estas reflexiones a partir de la indagación de un caso concreto, paradigmático y contemporáneo. Por otro lado, se buscó entender el papel del cambio tecnológico en las estrategias discursivas, narrativas, estéticas y de difusión de estas prácticas de resistencia, insistencia e intervención del videoactivismo 2.0. Finalmente, y considerando los resultados del estudio, se comparten algunas reflexiones en torno a las limitaciones y potencialidades de estas prácticas audiovisuales como herramientas de intervención estética-crítica-política y de transformación de la consciencia social y política del contexto particular en el cual se desarrollan. Palabras claves videoactivismo, audiovisual, cine militante, política, movimientos sociales, redes, vídeo, web 2.0 5 Abstract PhD Thesis Title: Audiovisual production 2.0 as a critical tool of social activism and political intervention in the XXI century. The 15Mbcn.tv collective (2011-2014) as a case study. Abstract: This research studies the activist audiovisual of social and political intervention field, deepening the emergence of video activism 2.0 in the XXI century. We refer to a number of alternative and political audiovisual works, of denunciation and resistance, leveraging the accessibility, ease, immediacy and versatility offered by current technologies (audiovisual, computers, telematics and communication) and new global digital scenarios of the web 2.0. Performances where the old and the new, the past and the present, clearly converge. For the purposes of accounting for our research objectives, we proceeded to conduct a descriptive study, organized in two stages. We did a systematization of research on various audiovisual productions of political intervention from the militant cinema, video activism of the eighties and nineties, to the audiovisual activism century and its interaction with the network. Here we identify goals, tactics and strategies to characterize and differentiate them according to their experimental, aesthetic, critical and political aspects. In a second step we conducted a case study with reference to the Catalan audiovisual collective: 15Mbcn.tv. This stage combined qualitative and quantitative (a methodological approach of mixed type) to understand the characteristics that the analyzed experience acquires. The study results allowed us to elucidate what is old in the new and what is new in the new, that is, specify the characteristics and specificities of current audiovisual works and their similarities and differences about their background. In that vein, the detailed analysis of the collective 15Mbcn.tv was a relevant contribution in order to make these reflections from the investigation of a particular contemporary paradigmatic case. On the other hand, we seek to understand the role of technological change in discursive, narrative, aesthetic and dissemination strategies of these practices of resistance, insistence and intervention in the video activism 2.0. Finally, and considering the results of the study, we share some thoughts around the limitations and potentials of these audiovisual practices as tools of aesthetic-critical-political intervention and as a tool of social and political transformation of consciousness in the particular context in which they develop. Keywords Videoactivism, audiovisual, radical cinema, political, social movements, video, web 2.0 6 Resum Títol de la tesi doctoral Creació audiovisual 2.0 com a eina crítica d'activisme social i intervenció política en el segle XXI. El col·lectiu 15Mbcn.tv (2011-2014) com a cas d'estudi Resum La present recerca estudia el camp de l'audiovisual activista d'intervenció social i política, aprofundint en el sorgiment del videoactivisme 2.0 en el segle XXI. Ens referim a una sèrie de pràctiques audiovisuals alternatives, polítiques, de denúncia i resistència, que aprofiten l'accessibilitat, facilitat, immediatesa i versatilitat que ofereixen les tecnologies actuals (audiovisuals, informàtiques, telemàtiques i comunicacionals) i els nous escenaris digitals globals de la web 2.0. Pràctiques on allò vell i allò nou, el passat i el present, clarament convergeixen. A fi de donar compte dels nostres objectius de recerca, es va procedir a la realització d'un estudi de tipus descriptiu, organitzat en dues etapes. Una de sistematització de recerques entorn de diverses produccions audiovisuals d'intervenció política des del cinema militant, el videoactivisme dels anys vuitanta i noranta, fins a l'activisme audiovisual del segle XXI i la seua interacció amb la xarxa. En aquesta identifiquem objectius, tàctiques i estratègies a fi de caracteritzar-les i diferenciar-les d'acord amb els aspectes experimentals, estètics, crítics i polítics. En una segona etapa efectuem un estudi de cas prenent com a referència el col·lectiu català 15Mbcn.tv. Aquesta etapa va combinar indagacions qualitatives i quantitatives (abordatge metodològic de tipus mixt) per a la comprensió de les característiques que adquireix l'experiència analitzada. Els resultats de l'estudi van permetre dilucidar què hi ha de vell en allò nou i què hi ha de nou en allò nou, és a dir, precisar les característiques i especificitats dels actuals treballs audiovisuals, i les similituds i diferències respecte dels seus antecedents. En aquesta línia, l'anàlisi puntual del col·lectiu 15Mbcn.tv va constituir una aportació de rellevància per a efectuar aquestes reflexions a partir de la indagació d'un cas concret, paradigmàtic i contemporani. D'altra banda, es va cercar entendre el paper del canvi tecnològic en les estratègies discursives, narratives, estètiques i de difusió d'aquestes pràctiques de resistència, insistència i intervenció del videoactivisme 2.0. Finalment, i atesos els resultats de l'estudi, es comparteixen algunes reflexions entorn de les limitacions i potencialitats d'aquestes pràctiques audiovisuals com a eines d'intervenció estètica-crítica-política i de transformació de la consciència social i política del context particular en el qual es desenvolupen. Paraules clau videoactivisme, audiovisual, cinema militant, política, moviments socials, xarxes, vídeo, web 2.0 7 Agradecimientos Gracias al Ministerio de Educación del Gobierno de España, sin cuya Beca de Formación de Profesorado Universitario (FPU), hubiese
Load more

Recommended publications
  • The Museum of Modern Art: the Mainstream Assimilating New Art
    AWAY FROM THE MAINSTREAM: THREE ALTERNATIVE SPACES IN NEW YORK AND THE EXPANSION OF ART IN THE 1970s By IM SUE LEE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2013 1 © 2013 Im Sue Lee 2 To mom 3 ACKNOWLEDGMENTS I am deeply grateful to my committee, Joyce Tsai, Melissa Hyde, Guolong Lai, and Phillip Wegner, for their constant, generous, and inspiring support. Joyce Tsai encouraged me to keep working on my dissertation project and guided me in the right direction. Mellissa Hyde and Guolong Lai gave me administrative support as well as intellectual guidance throughout the coursework and the research phase. Phillip Wegner inspired me with his deep understanding of critical theories. I also want to thank Alexander Alberro and Shepherd Steiner, who gave their precious advice when this project began. My thanks also go to Maureen Turim for her inspiring advice and intellectual stimuli. Thanks are also due to the librarians and archivists of art resources I consulted for this project: Jennifer Tobias at the Museum Library of MoMA, Michelle Harvey at the Museum Archive of MoMA, Marisa Bourgoin at Smithsonian Institution’s Archives of American Art, Elizabeth Hirsch at Artists Space, John Migliore at The Kitchen, Holly Stanton at Electronic Arts Intermix, and Amie Scally and Sean Keenan at White Columns. They helped me to access the resources and to publish the archival materials in my dissertation. I also wish to thank Lucy Lippard for her response to my questions.
    [Show full text]
  • Battles Around New Music in New York in the Seventies
    Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.
    [Show full text]
  • Third Annual Video Documentary Festival
    THIRD ANNUAL. 1 DOCUMENTARY1DEO FESTIVALAll showings at Global Village, 454 Broome St . (cor . Mercer St), 2d Fl New York, NY 10012, 212/966-7526 SCHEDULE SATURDAY, MAY 14 8 :00 PM BODYBUILDERS, Greg Pratt, Jeff Strate, University Community Video GIVING BIRTH : FOUR PORTRAITS, Julie Gustafson, John Reilly, Qobal Village THE TROUBLE I'VE SEEN, Phil & Gunilla Jones, Ithaca Video Project GUADALCANAL REQUIEM, Nam June Paik with Charlotte Moorman SUNDAY , MAY 15 2 :00 PM IN THE GRAND MANNER (THE GINA BACHAUER MASTER CLASS), Northstate Public Video, Paul Edwards, Richard Ward, Edgar Woodward WOMEN/MINISTERS, Nancy Rosin, Christine Long-Walker, Portable Channel DENISE HAWKINS INCIDENT, Carvin Eison, Visual Studies Workshop CAMPAIGN FOR AMERICA (AN ELECTORAL, COLLAGE), Evan Kaeser, Marc Levin, Susan Cooper SUNDAY, MAY 15 8 :00 PM SAN QUENTIN, Richard Harkness, David Lent, Jack Burris, Clint Weyrauch, with Marin Community Video LOOPS, Media Ranch, Inc . TWO HUNDRED YEARS, U S Video, Vito Brunetti, Jeff Kleinman, Jerry Feldman THIRD ANNUAL DOCUMENTARY VIDEO FESTIVAL - Schedule Page 2 SATURDAY, MAY 21 8 :00 PM THE POLICE TAPES, Alan Raymond and Susan Raymond MY FATHER, Shigeko Kubota JGLNG, Skip Blumberg SEDGEFIELD HUNT, Bob Wiegand SO FAR SO GOOD : AT THE PEOPLE'S INAUGURAL, Videopolis SUNDAY, MAY 22 2 :00 PM THE MAGRA, Pierre Falardeau, Julien Poulin REEL WEST, Suzanne Tedesko DEAD ACTION, Optic Nerve FIVE DAY BICYCLE RACE, Image Union SUNDAY , May 22 8 :00 PM CHINATOWN, Downtown Community Television REMOTE IN THE THIRD WORLD, Tom Morey A DAY WITHOUT SUNSHINE, Robert Thurber, Nancy Thurber, Robert Stulberg A MATTER OF SIZE, Joan Lapp, Michael M rton SATURDAY, MAY 28 8 :00 PM PAPER ROSES, Maxi Cohen, Joel Gold, Videopolis CASTOR AYALA ; MASK MAKER, Edin and Ethel Velez TARRY GOLDMAN WORKS, N .A .
    [Show full text]
  • The House of the Horizontal Synch
    The House of the Horizontal Synch By Dimitri Devyatkin August 16, 2004 This is being written to commemorate the 30th Anniversary of the Kitchen and Electronic Arts Intermix, part of the legacy of Howard Wise, who supported and funded both projects starting in 1971 until his death. In early 1971, I began working with video, producing conceptual video “art” using black-and-white, _” reel-to-reel video, while living in Santa Barbara, California. After an eye-opening presentation by Nam June Paik at UC Santa Barbara, I came up to meet Nam June and he told me about an experimental video theatre, The Kitchen, just organized by Woody and Steina Vasulka. Upon returning to my family’s home in New York in June 1971, I went to visit The Kitchen. I came for a Wednesday night open house screening, the second such evening at the newly opened theatre. The Wednesday open house had attracted a dedicated group of video pioneers. The Vasulkas had just signed a lease on the space and had begun inviting video artists to show their work. The original Kitchen space was actually once the kitchen of the old Broadway Central Hotel, a New York landmark since the late 1800’s. Manhattan’s first luxury hotel, located on Mercer Street, half a block north of Houston, it housed welfare recipients. In the heyday of the early 1900’s, the kitchen was run by the Trotsky Caterers. A famous Russian revolutionary, whose name was Leon Brodenshtein, stayed at the Broadway Central. He needed a new name to go home to Russia with, to avoid persecution from the Tsar’s secret police, so he took the name of Trotsky from the caterers.
    [Show full text]
  • TONY CONRAD: VIDEO VIDEO –UNDDARÜBER HINAUS CONRAD TONY TABEA LURK PETER LANG Blick Auf Die Künstlervita Die Auf Blick E Musik Der Kunst Basel
    TONY CONRAD VIDEO – UND DARÜBER HINAUS Der US-amerikanische Künstler Anthony (Tony) Conrad (*1940) ist seit über 50 Jahren eine feste Größe im Kunstbetrieb. Gefeiert als TABEA LURK Musiker, Filmemacher, Video- und Performance-Künstler gelingt sein Durchbruch 1966 mit dem Experimentalfi lm “The Flicker”. Neben den Filmarbeiten (inkl. “Yellow Movies”) fi nden die soge- nannten “String Performances” (Solovionline) große Anerkennung. Sie erinnern an das Theatre of Eternal Music (1962–1967) und wurden von namhaften Autoren aufgearbeitet. Die vorliegende Monografi e konzentriert sich daher auf die ca. 70 Videoarbeiten des Künstlers, die ab 1977 entstanden und noch nicht wissenschaftlich untersucht wurden. Auf die Erinnerung an Eckpunkte des künstlerischen Werdegangs (Videografi scher Blick auf die Künstlervita) folgt der Übergang vom materialis- tischen Experimentalfi lm zum videografi schen Bilddenken im Um- feld der Appropriation Art (Video als letzte Aufforderung). Die Refl exion der telematischen Kultur der 1980er Jahre hinterfragt das Wechselspiel zwischen (Video-)Kunst und Gesellschaft (Video TONY CONRAD: VIDEO als Fernsehkritik). Das letzte Kapitel (Video im Spannungsfeld der Musik) kehrt zum Beginn der künstlerischen Karriere Tony Conrads zurück. Die Kunstwissenschaftlerin Tabea Lurk hat nach ihrem Volontariat am ZKM | Zentrum für Kunst und Medientechnologie Karlsruhe von 2006– LURK TABEA 2015 primär an der Hochschule der Künste Bern geforscht und gelehrt. Seit 2015 leitet sie die Mediathek der Hochschule für Gestaltung und Kunst Basel. ISBN 978-3-0343-2037-5 WWW.PETERLANG.COM PETER LANG TONY CONRAD VIDEO – UND DARÜBER HINAUS Der US-amerikanische Künstler Anthony (Tony) Conrad (*1940) ist seit über 50 Jahren eine feste Größe im Kunstbetrieb. Gefeiert als TABEA LURK Musiker, Filmemacher, Video- und Performance-Künstler gelingt sein Durchbruch 1966 mit dem Experimentalfi lm “The Flicker”.
    [Show full text]
  • Reperes Historiques
    REPERES HISTORIQUES Proposée par l’Encyclopédie nouveaux médias du Centre Georges Pompidou 1952 1962 • Etats-Unis • Allemagne John Cage organise au Black Mountain College Untitled Nam June Paik, invité par le studio de musique Event en mettant en scène des actions pluridisciplinaires expérimentale du Westdeutscher Rundfunk de Cologne, et non concertées (avec Merce Cunningham, Charles entreprend de faire des expériences avec des tubes Olson, Robert Rauschenberg, David Tudor). cathodiques de téléviseur et avec les possibilités de • Italie modulation de l'image électronique (été). A Milan, le "groupe spatial" rédige le manifeste pour la Le mouvement naissant Fluxus donne quatorze concerts / télévision. happenings à Wiesbaden. Des musiciens professionnels, refusant de jouer la musique qu'on leur propose, sont remplacés par des artistes qui aussitôt composent trois 1958 heures de musique "antiviolon" (scène célèbre dans • Allemagne laquelle Dick Higgins, George Maciunas, Ben Patterson, Wolf Nam June Paik rencontre John Cage à Darmstadt. De 1958 à 1961, Nam June Paik travaille avec Stockhausen Vostell, Emmett Williams détruisent un piano à queue) au Studio für Elektronische Musik de la WDR à Cologne. (septembre). • France • France Importation du magnétoscope à usage professionnel, Premier Festival Fluxus à l'American Student's & Artist's produit par la société américaine Ampex. A l'époque, ce Center, à Paris : Poésie, musique et antimusique matériel, très lourd, est principalement utilisé par les événementielle et concrète. Sont programmées des techniciens de la RTF (Radio Télévision Française). oeuvres musicales de George Maciunas (In Memoriam to Adriano, Solo for ukulele et Solo for mouth and microphone), de Nam June Paik (One for violin solo, 1959 Serenade for Alison), de Wolf Vostell (Décollage Musique • Allemagne "Kleenex"), de Robert Filliou (Poi Poi Symphony numéro 2 et Père Lachaise numéro 10), ainsi qu'une sélection de Dans le cahier de notes de George Brecht, à la date du 25 films de Nam June Paik.
    [Show full text]
  • Improvisatory Live Visuals : Playing Images Like a Musical Instrument
    ------ - --- UNIVERSITÉ DU QUÉBEC À MONTRÉAL IMPROVISATORY LIVE VISUALS: PLAYING IMAGES LIKE A MUSICAL INSTRUMENT THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ART STUDIES AND PRACTICES BY KATHERINE LIBEROVSKAYA SEPTEMBER 2014 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de cette thèse se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses) droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire , [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire. » -------~~------ ~ - UNIVERSITÉ DU QUÉBEC À MONTRÉAL LES VISUELS LIVE IMPROVISÉS: JOUER DES IMAGES COMME D'UN INSTRUMENT DE MUSIQUE THÈSE PRÉSENTÉE COMME EXIGENCE PARTIELLE DU DOCTORAT EN ÉTUDES ET PRATIQUES DES ARTS PAR KATHERINE LIBEROVSKAYA SEPTEMBRE 2014 ACKNOWLEDGEMENTS This doctoral thesis wou Id ne ver have been possible without the priceless direct and indirect help of a number of people.
    [Show full text]
  • REWIND a Guide to Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968-1980
    REWIND A Guide to Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968-1980 REWIND A Guide to Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968-1980 REWIND 1995 edition Editor: Chris Hill Contributing Editors: Kate Horsfield, Maria Troy Consulting Editor: Deirdre Boyle REWIND 2008 edition Editors: Abina Manning, Brigid Reagan Design: Hans Sundquist Surveying the First Decade: Video Art and Alternative Media in the U.S., 1968–1980 1995 VHS edition Producer: Kate Horsfield Curator: Chris Hill Project Coordinator: Maria Troy Produced by the Video Data Bank in collaboration with Electronic Arts Intermix and Bay Area Video Coalition. Consultants to the project: Deirdre Boyle, Doug Hall, Ulysses Jenkins, Barbara London, Ken Marsh, Leann Mella, Martha Rosler, Steina Vasulka, Lori Zippay. On-Line Editor/BAVC: Heather Weaver Editing Facility: Bay Area Video Coalition Opening & Closing Sequences and On-Screen Titles: Cary Stauffacher, Media Process Group Preservation of Tapes: Bay Area Video Coalition Preservation Supervisor: Grace Lan, Daniel Huertas Special thanks: David Azarch, Sally Berger, Peer Bode, Pia Cseri-Briones, Tony Conrad, Margaret Cooper, Bob Devine, Julia Dzwonkoski, Ned Erwin, Sally Jo Fifer, Elliot Glass, DeeDee Halleck, Luke Hones, Kathy Rae Huffman, David Jensen, Phil Jones, Lillian Katz, Carole Ann Klonarides, Chip Lord, Nell Lundy, Margaret Mahoney, Marie Nesthus, Gerry O’Grady, Steve Seid, David Shulman, Debbie Silverfine, Mary Smith, Elisabeth Subrin, Parry Teasdale, Keiko
    [Show full text]
  • Video: a Selected Chronology, 1963-1983
    Video: A Selected Chronology, 1963-1983 By Barbara London The chronology that follows highlights some of the major events that have helped to shape independent video in the United States. Although institutions 'rave provided the context for video, it is he artists' contributions that are of the ~reatest importance. 1963 Exhibitions/Events New York. Television De-Coli/age by WolfVostell, Smolin Gallery. First U.S. environmental installation using a tele­ vision set. 1964 Television/Productions Boston. Jazz Images, WGBH-TV. Producer, Fred Barzyk. Five short -isualizations of music for broadcast; me of the first attempts at experimental television. 1965 Exhibitions/Events New York. Electronic Art by Nam June Downloaded by [George Washington University] at 20:00 03 February 2015 Paik, Galeria Bonino. Artist's first gal­ lery exhibition in U.S. New Cinema Festival I (Expanded Cinema Festival), The Film-Makers Cinematheque. Organized by John Brockman. Festival explores uses of mixed-media projection, including vid­ eo,sound, and light experiments. 966 xhibitions/Events ew York. 9 Evenings: Theater and ngineering, 69th Regiment Armory. rganized by Billy Kliiver. Mixed­ edia performance events with collabo­ ation between ten artists and forty ngineers. Video projection used in ,. orks of Alex Hay, Robert Rauschen­ rg, David Tudor, Robert Whitman. elma Last Year by Ken Dewey, New Bruce Nauman, Live Taped Video Corridor, 1969-70. Installation at the Whitney ork Film Festival at Lincoln Center, Museum, New York. Fall 1985 249 Philharmonic Hall Lobby. Multichan­ of Art. 1969 nel video installation with photographs The Machine as Seen at the End ofthe Exhibitions/Events by Bruce Davidson, music by Terry Mechanical Age, The Museum of Mod­ Riley.
    [Show full text]
  • ELECTRONIC ARTS INTERMIX VIDEOTAPES VIDEO PROGRAMS LISTED ALPHABETICALLY by ARTIST/PRODUCER *Indicates Newly Presented in This Catalogue
    t Dear Friend : As we reviewed the tapes we have distributed over the last ten years while preparing this new catalogue, I began to appreciate what a treasure-house of programming we have accumulated in the room where the Master Tapes are stored . Ten years may bejust a drop in the bucket of Universal Time, but it covers the life span of video. The first video exhibition anywhere was Nam June Paik's show in Germany in 1963, "Exposition of Music-Electronic Television ." However, it was not until Sony introduced its lightweight, low-cost "portable television" in 1967-68 that individual artist/ producers perceived that they could gain access to the television medium . This marked the birth of Video as we think of it today. EAI's involvement in Video goes backto the days of the Howard Wise Gallery in New York, which since 1964 specialized in kinetic and electronic art. I included video works by Nam June Palk in the exhibitions "Lights in Orbit" (Feb . 1967) and "Festival of Lights" (Dec. 1967). Then, after researching "the state of the art," I mounted the first survey exhibition of video, "TV as a Creative Medium" (May- June 1969). I was so fascinated by the potentials of video as an art medium that I decided to concentrate my energies on the exploration of these possibilities, and early in 1971 I closed my Gallery and formed Electronic Arts Intermix, Inc. as a not-for-profit corporation "to explore video as a means of personal expression and communication ." In this catalogue you will find over 225 carefully selected programs.
    [Show full text]
  • Video Art's Guru
    Twenty years after Nam June Paik inaugurated an art form by tinkering with the innards of television sets to create unprecedented images, he is being honored with aretrospective at the Whitney Museum. While his work is still controversial, few deny that this P. T. Barnum of the avant-garde has brought a new perspective to television. VIDE ARTS GURU slightly built, shy man, he appears to and possibly controversial, event. tapes byup-to 10 artists a month in its By D. C. Delnison find everything, even his own work, The Whitney show is also significant viewing room. Elsewhere, media cen- somewhat amusing. As he turns on in that it represents the first time a ters like the Boston Film/Video eventeen television sets the 17 sets that hang suspended from major museum has honored a video Foundation and San Francisco's hang from the ceiling in the ceiling, his comment, in his apho- artistwith a retrospective. Video Free America have also be- Nam June Pack's loft in ristic, Korean-inflected English, is At the reception in Pack's loft, come established and productive. lower Manhattan; an- characteristically oblique: "Ceiling, many of those present expressed the Unlike the first generation of video other 24, standing on I think, is the last undeveloped in- hope that the show would bring video artists, who were primarily sculptors their sides, line the terior space in Manhattan ." He points art into the art-world mainstream. and painters and simply dabbled in wall. And there are per up to an energetic videotape collage Characteristically, Paik himself is the new medium, many of the artists haps 40 more sets scattered around of a dancing Merce Cunningham, a not so sure that is where it belongs.
    [Show full text]
  • Video Free America Presents
    VIDEO FREE AMERICA PRESENTS The NCET gave Beck the freedom to develop and Comments on Video A Blade of Grass : build 10s direct video synthesizer . Recently, he has expanded to design and build prototype electronic toys GRASS GROWING UP "VIDEO ART IS THE BLADE OF for manufacturers . Roarty presented his collaborations THE CEMENT OF THE BETWEEN THE CRACKS IN with graphic artist Bernard Blake. Roarty has become INDUSTRY ." Jerry Mander, BROADCAST TELEVISION interested in freezing a single abstract video image and Elimination of Tele- author of "Four Arguments for the transferring it to the print medium . vision" . The beginnings of San Francisco video art was in the hands of NCET artists as well as Video Free America our weekly video showing In 1978 . we presented in feedback artist, Skip Sweeney . These artists were included i n this book . From the series the videornakers drawn to understanding and exploring the possibilities should reflect a broad range start, I felt that the series of the technology and had a strong technical grasp of abstract video imagery, art- of video styles, including alternative uses of the video circuitry. If they wanted to video and documen- ists' videvapes, performance flip or color an image; they had to design and build a San Francisco videomakers as taries . We presented tool to make that happen . This was also true of the east who live in other well as hosting several videomakers coast video art in the late 60's and early 70's . Nam June and breadth of the pats of the county . The depth Paik built his synthesizer, as did Bill and Louise Etra.
    [Show full text]