----------empyre- soft-skinned space---------------------- Greetings to everyone.
Thank you for the kind invitation to contribute to this conversation, Renate and Tim. I, too, have been a lurker most often on the stimulating conversations held in this ‘space’! And I am very excited that the upcoming exhibition at Hunter College will honor ETC, its collection and important history. So, this is great timing to flesh out some thoughts about where we have come from and where we might go in the area of video art, moving image, digital film ... what name do we have for it all today?? A bit of background: I have been involved with video art since the 1970s - making artwork, curating, working for other artists in some form of production or post-produciton, teaching production, writing, archiving. In the 1970s I was working with portapaks and 1/2” reel to reel decks. I remember the insanely glitchy editing process - where you had to manually back up the two decks 5 seconds back and then start them both (somehow) at the same time and ‘crunch’ in your ‘insert’ or 'assemble’ edit - that usually left a jumpy mess in the middle of your program. But it was still great! And now today as the ‘glitch’ and ‘erasures’ are embraced - this looks like the golden days of being able to play with the tape sync and skew things with just a turn of the knob. At SUNY Buffalo, where I was a graduate student, Stein Vasulka taught us all a great trick of how to play a tape and ‘delay’ it by looping it around the heads of two decks at once. She was also a wizard at feedback and was thrilled at all of us bringing our various feedback experiments to her! I say all this because I am constantly reminded of how much we were inside the machine in those days. Working with analog video pretty much guaranteed that you also learned something about the mechanics and electronics of the gear you were working with - to clean it, to tweak it, to make effects, to understand the signal and way things were recorded, etc. I was excited when we released our book, The Emergence of Video Processing Tools: Television Becoming Unglued, (which I was lucky enough to co-edit with Sherry Miller Hocking and Mona Jimenez) that many younger artists today actually understood this kind of involvement with making video - the ‘maker’, DIY trends today make this older analog version of production a good kissing cousin to today’s Arduino boards, controllers, MAX/Jitter etc. In fact, we found that while our book was two volumes in length - we still need to continue discussions with makers today, looking at similar practices, ways to exchange technical information, thinking about systems and more. ‘Real time’ practices from analog video necessitated performative interactions with the tools - similar to ways current digital artists play their tools in live settings. Sherry and I are trying to develop a website to further bring together video image toolmakers to continue to share their developments and their peaks behind the curtain, into the machine. Sherry spoke about the importance of the preservation of early video histories - (thank you Sherry - I am forever grateful to your commitment to that archiving and storage!) Interestingly, video artists have always been the ones who have been most keenly aware of the fragility of their material. In the 1980s and 90s when we would hear friends say how happy they were that they transferred all of their family 8mm films to VHS, we video artists would laugh and tell them that VHS had a 5-10 year shelf life! Even with the ease and cheapness of videotape at that point in time, we still thought of it as an ephemeral and temporary medium. A way to record time - to capture and document moments as they unfold… a brilliant way to think about the fragility of our lives, our time… I was working on a project last week (and I stumble to find the right name for it as I sometimes still call my projects ‘videotapes’), I had to locate a camera that could transfer some digital tape that I had shot to incorporate with my DSLR files. As I logged and captured the tape I was struck with the difference of process - over real time - interlace vs progressive, a kind of analog tape vs my digital off-loading of files. It occurred to me that I might not have that experience much more going forward (besides preservation work): the frustrations of watching your camera errors and off-mic moments, as it played back in front of you in real time. The re-living of the recording process that took place before me was somehow more ‘a-live’ (or maybe I am being nostalgic) - and reminded me of the long way we have come with this medium we sometimes call video. More thoughts to come… thanks! Kathy On 9/10/15, 11:56 PM, "Timothy Conway Murray" <empyre-boun...@lists.artdesign.unsw.edu.au on behalf of t...@cornell.edu> wrote: >----------empyre- soft-skinned space---------------------- >What a coincidence, Sherry. As I spent the night doing archeology in my >study to make way for house renovations, I unearthed boxes and boxes of >catalogues and zeroxed articles on video art. Nothing of the magnitude in >your incredible ETC archive, but a sharp reminder of the depth of critical >thought that was birthed by the rapid rise of video art. The rapid rise in >production of video art brought with it a similarly striking explosion of >thinking about video and its representations. > >Your mention of the commonplace of "erasure" also brought my eyes to the >new collection edited by Brad Buckley and John Conomos (who will be one of >our guests later in the month), Erasure the Spectre of Cultural Memory. >It think it's fair to say that the recent return to "erasure" as well as >the emphatic emphasis on cultural memory carried forth by the trauma and >memory theorists of the 90s and early 2000s owes a good deal of its edge >to the practical and critical experimentations with the erasures of video >tape. A really interesting, and important contribution. > >Tim > >Timothy Murray >Professor of Comparative Literature and English >Taylor Family Director, Society for the Humanities >http://www.arts.cornell.edu/sochum/ >Curator, Rose Goldsen Archive of New Media Art >http://goldsen.library.cornell.edu >A D White House >Cornell University, >Ithaca, New York 14853 > > > > > >On 9/10/15 3:32 PM, "ETC" <e...@experimentaltvcenter.org> wrote: > >>----------empyre- soft-skinned space---------------------- >>Referring to a conversation with Lynn Hershman Renate wrote, “During >>that chat I asked her why she archived so much and she reminded me >>that as a woman artist she had to ensure that her work was archived >>properly because ‘who else would do it.’” >> >>And Renate’s follow-up question to herself: “how much do we preserve, >>how much space do we have, who will record our history if we do not.” >> >>Both of these made me consider where this impulse to preserve comes from. >> >>In thinking back to the earliest days of video, I really don’t recall >>a lot of conversations about history, legacy, archival records and the >>like. It seems that we were all busy making work, making >>organizations, making structures and processes and weren’t engaged in >>thinking about the future of it all. Accepted was the fact of >>impermanence of this new medium, in all its many guises. The tapes >>were electromagnetic. They could – and often were – erased, often to >>allow for a new recording. The tapes were frequently palimpsests, >>imperfect erasures with the flicker of the ghosts of previous >>recordings haunting the imagery. The tapes were fragile, easily >>deformed – stretched, broken. We didn’t expect them to last, really. >>The longevity has been a surprise. >> >>Of course, that all changed as the medium evolved and became more >>accepted by society, the academy and the arts infrastructures. >>Practitioners had territory to carve out and protect, boundaries to >>mark. Our field struggled with how to turn a reproducible medium into >>one that rewards the precious object. Could some of us find a way to >>cash in? Could others of us even make a small mark on history? >> >>Others of us simply went on making work and figuring out strategies to >>help others make it too. And thinking about ways of exhibiting, >>distributing, and eventually saving the works for scholars and artists >>following us. >> >>There wasn’t much interest, really, in the tiny backwater of video >>often referred to as image processing. Those of us engaged, >>recognizing that little value was placed on this art, by default began >>saving materials, tools, letters. I think, though, that this impulse >>to collect, to order, is probably more rooted within us as >>individuals. You either do this, and can’t imagine not doing it, or >>you don’t – you deaccession and move on. >> >>Renate’s point about saving our own histories is well taken, since >>with video in general there was very little interest in the art; if we >>didn’t value it, who would? None of the cultural institutions seemed >>engaged. So some of held on to our collections. Those of us Upstate >>often had the luxury of more space than our colleagues in the city. >>And some of us filled it. >> >>And now many are involved with trying to find homes for these >>collections – places which will put the materials in context, and >>place it in the hands of researchers, students, and scholars. >> >>Sherry >> >>On Thu, Sep 10, 2015 at 12:13 PM, Timothy Conway Murray >><t...@cornell.edu> wrote: >>> ----------empyre- soft-skinned space---------------------- >>> Hi, Sherry, >>> >>> Sarah Watson and I have just completed preparing the videos for >>>exhibition >>> in the ETC show that will open on September 24 at Hunter College. As I >>> was reviewing the screening list, I remembered my early days of viewing >>> experimental tapes during screenings at ETC. What was particularly >>> compelling to me as a young theorist was the conceptual verve of even >>>the >>> most formal experiments with the video tools that were developed in the >>> ETC lab by Nam June Paik, Shuya Abe, David Jones, and others. The >>> flexible analogue tools available to artists at ETC catalyzed the >>> theorization of video as an art form, as well as contributed to >>> philosophies of time, movement, light, and the electronic extensions of >>> montage/collage. >>> >>> As we move through the month discussing video art writ-large, I hope we >>> can celebrate the cerebral demands on the artists who suspended their >>> artistic conventions in order to give themselves over to the emergent >>> concepts of time and space happening via their building and interaction >>> with this emergent gear. >>> >>> Welcome to the month of Video, behind and beyond! >>> >>> Tim >>> >>> >>> >>> 9/10/15 10:15 AM, "Renate Terese Ferro" <rfe...@cornell.edu> wrote: >>> >>> >>>>----------empyre- soft-skinned space---------------------- >>>>Dear Sherry, >>>>Many thanks for making this initial post about ETC. For our >>>>international >>>>subscribers who have never made the trek to Upstate New York I thought >>>>it >>>>might be a good idea to talk about where the Experimental Television >>>>Center was located and how it all began in 1972. I was very lucky to >>>>have >>>>a residency at the center in 2006. The aura of years past and >>>>especially >>>>from the international artists who where there before me seemed to be >>>>seeped in the archive of equipment as I worked. To have your >>>>insightful >>>>perspective Sherry and our other guests on that early history I think >>>>might fascinate our subscribers. >>>> >>>>Also subscribers for those of you who have a history in video both >>>>analog >>>>and digital we hope you will join our conversation. >>>>Really looking forward to the month. >>>> >>>>Renate Ferro >>>>Visiting Associate Professor of Art >>>>Cornell University >>>>Department of Art >>>>Tjaden Hall, Office 306 >>>>Ithaca, NY 14853 >>>>Email: rfe...@cornell.edu >>>>URL: http://www.renateferro.net >>>> http://www.privatesecretspubliclies.net >>>>Lab: http://www.tinkerfactory.net >>>> >>>>Managing Moderator of -empyre- soft skinned space >>>>http://empyre.library.cornell.edu/ >>>> >>>> >>>>On 9/8/15, 8:48 PM, "ETC" <e...@experimentaltvcenter.org> wrote: >>>>First, thanks to empyre and especially to Tim and Renate for the >>>>invitation to participate this month. I have been a long time, mostly >>>>silent observer, and have learned so much over the years from all of >>>>you. >>>> >>>>I have spent over 40 years working with the ETC, a (very) small and >>>>intentionally so media arts ³organization² in Upstate New York. When >>>>we >>>>decided to end the Residency, Research, Grants and Sponsorship programs >>>>at >>>>ETC in 2011, I was often asked, ³So, are you closing? Will you retire?² >>>> >>>>I was unprepared for the query and had no answers. I didn¹t feel >>>>retired. >>>>I >>>>looked at the 1Ž2² open reel videotapes which still fill our beer >>>>cooler >>>>qua >>>>climate-controlled storage facility, and wondered about our respective >>>>fates. >>>> >>>>At the time we closed many of the ETC programs, I was very involved >>>>with >>>>Kathy High and Mona Jimenez, along with many brilliant scholars and >>>>artists, on completing the two volume book ³The Emergence of Video >>>>Processing Tools: Television Becoming Unglued². Once the book was >>>>finally >>>>published in 2014, I took a step back and reconsidered some of the >>>>topics >>>>we had tried to address: from ideas as general as how do art, science >>>>and >>>>technology intersect, and are the collaborations that evolve specific >>>>to >>>>cultural and social environments; to topics as specific as those >>>>involving >>>>talk of codecs, wrappers and containers. >>>> >>>>We became involved in the topics of media history and preservation in >>>>the >>>>1990s. >>>> - were among the founding organizations of the groups that became >>>>Media >>>>Alliance and Independent Media Arts Preservation >>>> - organized the conference Video History: Making Connections >>>>(Syracuse, >>>>1998) >>>> - participated in the National Moving Image Database (NAMID) >>>>project >>>>of >>>>the American Film Institute as they created a template for cataloging >>>>moving image media works, that addressed specific properties of >>>>electronic >>>>media as opposed to film >>>> - organized several symposia on preservation at Buffalo State >>>>College >>>>and in NYC in 2002 >>>> - began (1996) and continue the History website. >>>> >>>>Some of you were also at some of those meetings, I'm sure. >>>> >>>>One result of the book was a mass of research materials, historical >>>>texts, >>>>artists¹ statements, technical descriptions which have not been put on >>>>the >>>>History site and even more questions: >>>> - how do we preserve instruments; what about functionality >>>> - where will the ephemera live: how do we preserve cultural context >>>> - can you preserve the ethos, the spirit, the hungers of a >>>>particular >>>>time >>>> - what is lost if ephemera is disassociated from instrument >>>> - how does history matter; looking back and looking forward with >>>>contemporary makers >>>> - how can we create environments that nurture collaborations of >>>>art, >>>>technology and science; can we devise models for the sustenance of >>>>these >>>>collaborations. >>>> - what are reasonable criteria for determining which works are >>>>preserved; by whom and how are these determined >>>> >>>>ET is very grateful that the Rose Goldsen Archive of New Media Art at >>>>Cornell has accepted the ETC¹s collection of ephemera, to accompany our >>>>videotape collection; it is a very compatible home for us. Over the >>>>summer >>>>I had the privilege of working with two creative and intelligent Cornel >>>>grad stuents, Alana Staiti and Lauren van Haaften-Schick, on >>>>constructing >>>>an inventory for these materials. It proved to be an overwhelming, >>>>exciting, hilarious, tedious, exhilarating and at time cringe-worthy >>>>experience. It can be difficult to understand the history of something >>>>you >>>>have been so much involved with. >>>> >>>>The ephemera will form one of the major sections for the upcoming >>>>exhibition organized by Hunter College Art Galleries and the Rose >>>>Goldsen >>>>Archive of New Media Art at Cornell, "The Experimental Television >>>>Center: >>>>A >>>>History, Etc . . . " opening at the Galleries on September 24th, and >>>>running through November 21st. The exibition was organized by Tim >>>>Murray >>>>of >>>>Cornell and Sarah Watson, Curator at Hunter. Also on view are >>>>videotapes >>>>by >>>>over 40 artists, hand-crafted now obsolete analog processing equipment, >>>>performances by contemporary artists working with custom-designed >>>>instruments, and tools built by artist/technologists for day¹s >>>>practitioners. >>>> >>>>We are always looking for conversations about video and its histories, >>>>and >>>>I¹m sure I¹ve come to the right place. >>>> >>>>Sherry >>>> >>>>_______________________________________________ >>>>empyre forum >>>>empyre@lists.artdesign.unsw.edu.au >>>>http://empyre.library.cornell.edu >>> >>> _______________________________________________ >>> empyre forum >>> empyre@lists.artdesign.unsw.edu.au >>> http://empyre.library.cornell.edu >> >> >> >>-- >>Sherry Hocking >>Assistant Director >>Experimental Television Center Ltd. >>109 Lower Fairfield Rd. >>Newark Valley NY 13811 >>607.687.4341 >>_______________________________________________ >>empyre forum >>empyre@lists.artdesign.unsw.edu.au >>http://empyre.library.cornell.edu > >_______________________________________________ >empyre forum >empyre@lists.artdesign.unsw.edu.au >http://empyre.library.cornell.edu _______________________________________________ empyre forum empyre@lists.artdesign.unsw.edu.au http://empyre.library.cornell.edu
