Bibliography

The Vision of Fred Barzyk: The WGBH New Television Workshop 1968 - 1978 Groups

Fred Barzyk, with co-producer Olivia Tappan, established the WGBH New Television Workshop as an experimental video art laboratory that gave artists access to broadcast television equipment and encouraged unconstrained creative exploration. The Workshop, aided by Ford and Rockefeller funding and collaboration with WNET, hosted Artists-In-Residence including Nam June Paik, Stan Vanderbeek, Peter Campus, Gus Solomons Jr. and Bill Wegman and produced national projects such as The Medium Is The Medium (1969) and Video: The New Wave. A half-inch studio opened in Watertown in 1974 with Rockefeller, the Massachusetts Council for Arts and Humanities and the NEA; the studio later closed, equipment helped found the Boston Film/Video Foundation, and the Workshop ended in Fall 1993.

The Visual Arts and the Law: Revised Edition: Arts Law Study 1 Bibliography

The Visual Arts and the Law: Revised Edition: Arts Law Study 1. This text book includes Acknowledgements to the Second Edition, Preface to the Second Edition by Paul H. Epstein, Acknowledgements to the First Edition, Preface to the First Edition by Franklin Feldman, an Introduction, and the followin…

The Visual Mind: Art and Mathematics Bibliography

Scientific visualization, computer animation, virtual environments

The VJ Book: Inspirations and Practical Advice for Live Visuals Performance Bibliography

DVD by Melissa Ulto. Foreward by Jon Schwark. Interview with Benton Bainbridge, with annotations by Walter Wright. Discussion of video synthesizers. Text includes a history of the form. Interviews: Olivier Sorrentino, Kathleen Forde, Stefan G, Craig Baldwin, Ivan Dryer, Normal Perryman, Melissa Ulto…

The Whitney Museum and the Shaping of Video Art: An Interview with John Hanhardt Interview

John Hanhardt is curator of film and video at the Whitney Museum of American Art in New York City; he integrated video into the Whitney’s exhibition program and curated the Nam June Paik retrospective in 1982. Trained at NYU with a MoMA internship, he became Whitney department head in 1974 after serving at the Walker Art Center; he organized Projected Video (1975) and Re-Vision (1979) and placed video in Biennials from 1973. He secured Rockefeller Foundation funding to equip the theater, is writing Expanded Form in Film and Video (due spring 1983), and pursued touring and distribution via the AFA.

The Whitney Museum Biennial Bibliography

The Whole World Is Watching: Mass Media in the Making and the Unmaking of the New Left Bibliography

The Withering Away of the State of the Art in The New Television: A Public/Private Art Bibliography

Based on "Open Circuits: An International Conference on the Future of Television" organized by Fred Barzyk, Douglas Davis, Gerald O'Grady and Willard Van Dyke for the Museum of Modern Art. Categories include the aesthetics of television; support structure; the international setting; politics, philos…

The World Viewed Bibliography

Themes in Electronic Image Processing Bibliography

Peer Bode; Ralph Hocking; Connie Coleman and Alan Powell; Tom DeWitt, Vibeke Sorenson and Dean Winkler; Reynold Weidenaar; Barbara SYkes; Barbara Buckner; Jo Ann Gillerman; Gillerman and Jim Whiteaker; Henry Baker and Jane Steuerwald; Pier Marton; Shalom Gorewitz; Doris Chase; Kit Fitzgerald and Joh…

Theory as Art. A Pragmatic Point of View Bibliography

Theory of Film Practice Bibliography

Theory of Film: The Redemption of Physical Reality Bibliography

Theory of Film: The Redemption of Physical Reality. Contents follow: Preface, Acknowledgments, Introduction, 1. Photography, I. General Characteristics, 2. Basic Concepts, 3. The Establishment of Physical Existence, 4. Inherent Affinities, II. Areas and Elements, 5. History and Fantasy, 6. Remarks o…

Theory of the Avant-Garde. Theory and History of Literature, vol. 4 Bibliography

Theory of the Avant/Garde Bibliography

Theses on the Inversion of the Cinema Bibliography

A set of theoretical theses contrasting cinema and the life-world; cinema is described as a totalizing, non-linear apparatus anchored to the film reel, credits, cuts and industrial projection, while the life-world is decompressed, linear, characterized by spill, clutter and continuous movement. The text treats inscription of character, scopophilic fetishization, the flow of capital and desire, the camera as pineal gland and frame rates (16, 18, 24, 25 fps), and cites Edison and Metz. It concludes by proposing an indefinite film traversing continuous space and asserting mutual dependence of cinema and subject.

Thinking Photography Bibliography

Thoughts of a Computer Artist Bibliography

Vibeke Sorensen prepared this text for the Symposium on Innovation and the Information Environment at the University of Oregon School of Law in Eugene, Oregon, held November 3–4, 1995. She recounts beginning as an architecture student and musician in Copenhagen in 1971 and describes work in real-time computer animation, video, electronic/computer music and computer graphics. Sorensen addresses the convergence of telecommunications and information technologies and the World Wide Web and discusses innovation, market and access issues on the Internet, intellectual-property questions for digital art, and possible public funding and infrastructure models such as the World Bank or United Nations.

Thoughts on 3-D Tools

Tom DeWitt recounts a career in 3-D imagery beginning in 1976 with Vibeke Sorensen on the stereo-pair video Hot Wax (transferred to film and shown at Anthology, 1978) and the creation of auto-stereoscopic parallax-barrier stereograms exhibited at SUNY Albany; he received a Guggenheim grant, discovered in 1984 a diffraction phenomenon enabling 3-D recording without two cameras, obtained a patent and later an NSF grant to study it. He worked at RPI under the student radio station and in the School of Humanities and Engineering, programmed particle systems in the Image Processing Lab through 1987, produced laser light shows, taught at Dutchess Community College using Amigas, and contributed Pulfrich 3-D computer graphics for Gerry Marks on a 1990 Rolling Stones project that used an Aspex PIPE for image processing.

Thread Waxing Space. CD: The Failure to Assimilate: The Video Works of Cecilia Dougherty Bibliography

Thread Waxing Space. CD: The Failure to Assimilate: The Video Works of Cecilia Dougherty. Catalog includes B&W photographs of video work and Filmography for Cecilia Dougherty. Paragraphs by Laurie Weeks follow: Laboratory, Love and Surveillance, Multiple Personality Disorder, and Homelessness/ Nomad…

Thread Waxing Space. LP: Luther Price: Imitation of Life Bibliography

Thread Waxing Space. LP: Luther Price: Imitation of Life. Catalog includes B&W photographs of video work, "Groupie" by Lia Gangitano, and Filmographies for Luther Price and Tom Rhoads. All films are in Super 8 format. Institution/Organizer: Thread Waxing Space Site: Thread Waxing Space Curator(s): G…

Throat Bibliography

Leslie Thornton's The Great Invisible is a film project (35 min. 16mm preliminary version, 1993; 90 min. 16mm version in process) that stages the life of Isabelle Eberhardt (1877–1904) through archival footage, four actresses, untranslated Arabic soundtrack sections, title cards, and references to technologies such as Edison-era phonography, railroads, and the Sony Pyxis GPS. The text recounts Eberhardt's biography: illegitimate child educated by a Russian Orthodox figure, flight to the Mahgreb at 20, cross-dressing, travels through Algerian oases, marriage to an Arab clerk, and death in a 1904 flash flood. The essay analyses cinematic strategies and themes including silencing, signifier/signified relations, neurasthenia, maternal chora, spectacle and placelessness, and notes performances by Thornton and Ron Vawter.

Time as Medium: Five Artists' Video Installations Bibliography

Essay examines how five artists—Bruce Nauman, Nam June Paik, Dan Graham, Bill Viola, and Gary Hill—use video time in site-specific installations; discussed works include Nauman's Corridor Installation (1970), Paik's TV Buddha (1974), Graham's Present Continuous Past(s) (1974), Viola's Decay Time (1974), and Hill's Suspension of Disbelief (for Marinne) (1992). It traces the emergence of video art to the mid-1960s Portapak and situates artists' temporal experiments alongside ideas from Clement Greenberg, Einstein, Husserl, and William James; technologies cited include Portapak cameras, monitors/rasters, strobes, hidden cameras, and computer-controlled switching.

Tinkering with the Archive: Pathways to Conceptual Thought and Digital Practice Bibliography

https://escholarship.org/uc/item/2565799jOur aim in nurturing cross-pollination between the Rose Goldsen Archive of New Media Art andthe Tinker Factory is to move between the creative and research worlds in new media arts,and to continue to forge innovative, groundbreaking initiatives that will expa…

<title>FreeCooperation</title> Bibliography

FreeCooperation. Table of Contents: free your collaboration by Trebor Scholz, excerpts from critical deviant practice by Nathan Martin, against artists by Charles Green, excerpts from decentering cooperation: collaboration without hegemony? by John Duda, grab the rules, play it hard, Basic rules for…