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digital video: 21 Text passages

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1. Dieter Daniels «Media → Art / Art → Media Forerunners of media art in the first half of the twentieth century»
in artists' analyses and deconstruction[8] of mass media. Examples extend from William Burroughs' literary cut-up via Nam June Paik's remix of TV images to Dara Birnbaum's systematic analysis of TV semiotics and to the representation of how the [more]

2. Dieter Daniels «Television-Art or anti-art? Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»
relating to television, radio and film, ranging from total enthusiasm to radical rejection.[9] Then around 1963–1964, Nam June Paik, Wolf Vostell and other artists tested television's practical suitability in the art field for the first time using [more]

3. Dieter Daniels «Television-Art or anti-art? Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»
own resources to come to terms with the dominant mass medium of the day. From Cage to Paik and from music to interactive art Nam June Paik is generally seen as the father of video art today. His path leads from studying classical music in Korea and Japan via his [more]

4. Dieter Daniels «Television-Art or anti-art? Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»
step from participatory reception to creative intervention by the public.[16] Paik's «Participation TV» Paik's first major exhibition «Exposition of Music—Electronic Television» took place from March 11–20, 1963 [more]

5. Dieter Daniels «Television-Art or anti-art? Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»
of work with artists was in 1969, «The Medium Is the Medium,» a program with contributions by Allan Kaprow, Nam June Paik, Otto Piene, James Seawright, Thomas Tadlock and Aldo Tambellini. A really heterogeneous mixture of different styles is the [more]

6. Dieter Daniels «Television-Art or anti-art? Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»
with the industrial production of television as a technique, program and institution. Radical cooperations—Paik Nam June Paik must be the only artist of the pioneer generation who has never given up hope that artistic work is possible and necessary in [more]

7. Golo Föllmer «Audio Art»
to discover unconventional structures during the transformation of an idea into sounding reality. In 1963 the Fluxus artist Nam June Paik extended Cage's principle of indeterminacy[24] by placing Schaeffer's technologies into an installation situation at [more]

8. Rudolf Frieling «Reality/Mediality Hybrid Processes Between Art and Life»
interactive dance project «Variations V» put on stage by Cunningham together with Cage, Billy Klüver, Nam June Paik and Stan VanDerBeek in 1965 was a representative example of many structurally open performances that included the usage of [more]

9. Heike Helfert «Technological Constructions of Space-Time Aspects of Perception»
Nam June Paik, one of the pioneers of video art, had already in 1963 in the Wuppertal exhibit Exposition of Music—Electronic [more]

10. Heike Helfert «Technological Constructions of Space-Time Aspects of Perception»
the area of image production and manipulation, artists like Nam June Paik (in collaboration with the technician Shuya Abe) or Ed Emshwiller also explored the technical possibilities of image editing, [more]

11. Inke Arns «Social Technologies Deconstruction, subversion, and the utopia of democratic communication»
can be turned into their opposite. Here utopias involving a social function for media—with the possible exception of Nam June Paik's «Global Groove»—are no longer directed mainly at television, but at alternative channels independent of the [more]

12. Inke Arns «Social Technologies Deconstruction, subversion, and the utopia of democratic communication»
Important initiatives within the Fluxus movement were Wolf Vostell's «Television Décollage»[19] and Nam June Paik's 1960s and 1970s works, in which he approaches television analytically and critically and adapts himself to its structures so [more]

13. Inke Arns «Interaction, Participation, Networking: Art and Telecommunication»
the «Exposition of Music–Electronic Television» festival staged in the German city of Wuppertal in 1963, Nam June Paik drafted a first blueprint for viewer interaction with the electronic television picture. Using devices such as a microphone or [more]

14. Inke Arns «Interaction, Participation, Networking: Art and Telecommunication»
in Davis «Austrian Tapes» (1974). With «Good Morning, Mr. Orwell,» on January 1 of the Orwellian 1984 Nam June Paik produced his first satellite performance with a feedback channel in the form of a television broadcast that could be received [more]

15. Rudolf Frieling «Form Follows Format Tensions, Museums, Media Technology, and Media Art»
half-inch video recorders, the first portable electronic format, that–as the legend goes–was first presented by Nam June Paik to the art public in the Café Au GoGo in 1965.[15] The thirty or sixty-minute tapes, which initially did not allow for [more]

16. Rudolf Frieling «Form Follows Format Tensions, Museums, Media Technology, and Media Art»
At the same time it became increasingly clear that a work could be presented contextually in all kinds of new configurations: Nam June Paik's «Global Groove» transformed itself in the 1970s from a television work into a linear videotape and finally into [more]

17. Rudolf Frieling «Form Follows Format Tensions, Museums, Media Technology, and Media Art»
artist Tony Oursler practically made into the trademark for his sculptural ensembles like «Hello?» (1996), Paik's laser installations, down to the large-scale installations by an artist like Bill Viola, or the large electronic cinema [more]

18. Rudolf Frieling «Form Follows Format Tensions, Museums, Media Technology, and Media Art»
(media) view of the public sphere and a subjective view of the world. But both the utopian designs of early media artists like Nam June Paik or Stan VanDerBeek, and also ‹tactical media› activists who have said goodbye to the ‹open [more]

19. Rudolf Frieling «Form Follows Format Tensions, Museums, Media Technology, and Media Art»
used for her first video works, this is not an anti-electronic attitude, but a genuine media-artistic approach. In fact Nam June Paik had similarly tried a whole variety of apparatus constellations beyond mere disturbance of a given device, in this case the [more]

20. Rudolf Frieling Dieter Daniels «Milestones of Media-Art»
Nam June Paik, »Exposition of Music – Electronic Television« Author: Dieter Daniels Performance/Theater Experiments in Art [more]

21. Rudolf Frieling Dieter Daniels «Milestones of Media-Art»
Nam June Paik, »Global Groove«, Author: Anja Oßwald Installation Peter Weibel, »Beobachtung der Beobachtung: [more]