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Digitale Kunst: 7 Text passages

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1. Dieter Daniels «Television-Art or anti-art? Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»
The latter was broadcast at Christmas, and turned the domestic TV set into a flickering fire in a fireplace. Peter Weibel and Valie Export were able to place several acts of intervention with ORF from 1969 to 1972, all relating directly to the home viewer's [more]

2. Rudolf Frieling «Reality/Mediality Hybrid Processes Between Art and Life»
since the body is simultaneously re-coded, such liberation is not to be had value-free, let alone free from power structures. Valie Export's «Tapp- und Tastkino,» a street action staged in collaboration with Peter Weibel as market-crier («Leap over [more]

3. Rudolf Frieling «Reality/Mediality Hybrid Processes Between Art and Life»
[25] Cf. the works by Peter Weibel («The Endless Sandwich» and «TV-News») and Valie Export («Facing a Family»). [more]

4. Rudolf Frieling «Reality/Mediality Hybrid Processes Between Art and Life»
artists like Martha Rosler, Ulrike Rosenbach, Valie Export and Joan Jonas,[54] the new medium of video, as yet unfettered by the constraints of tradition, immediately became an [more]

5. Inke Arns «Social Technologies Deconstruction, subversion, and the utopia of democratic communication»
the Media». In the early 1970s, a number of feminist artists started to work with the medium of video (Ulrike Rosenbach, Valie Export and others). In this context video, as a new medium unburdened with rigid rules and traditions, is seen as an ideal medium for [more]

6. Inke Arns «Social Technologies Deconstruction, subversion, and the utopia of democratic communication»
and pictures that seem dramatic in places today—and were perceived by the public above all as women.»[37] Valie Export strapped the «Tapp und Tastkino» to her chest [more]

7. Inke Arns «Interaction, Participation, Networking: Art and Telecommunication»
not so much participatory projects as «situations reflecting upon the relationship between viewer and medium.»[13] Valie Export's noted «Tap and Touch Cinema» (1968), which made interactivity ‹graspable› as a direct, sensory and [more]