ETC News

   Lynne Sachs, Window Work

Herbert F. Johnson Museum of Art, Ithaca September 9 - December 18, 2016

Signal to Code provides a special emphasis on the influential history of video art in the Central New York region. Sampling forty years of video art held in the Rose Goldsen Archive of New Media in the Cornell Library, the exhibition features works created in the pioneering facilities of the Experimental Television Center (ETC) in Binghamton and Owego, New York. Founded by Ralph Hocking, ETC offered artist residencies from 1971–2011 to more than 1,600 international artists for work with the Center’s innovative electronic tools. Most American video artists received some form of support from ETC, whether through residencies or grants, thus positioning the Central New York region as pivotal to the history of video art. Additionally, the exhibition includes artists screened in the country’s first video festival, the Ithaca Video Festival (1975–83), which was founded and curated by Cornell graduate and artist Philip Mallory Jones, MFA ’72. Beginning in the late 1960s, artists and technologists began to custom-create hardware and software for real-time manipulation of video signals through original designs or as hacks to devices common to television production. The artists and tool designers working together at ETC extended this work across analog and digital domains in an expanded media environment. ETC was renowned for the experimental video processing tools developed by prominent artists and designers such as Ralph Hocking, Nam June Paik, Shuya Abe, David Jones, and Daniel Sandin. Dazzling play with electronic color and form captured the imagination of the original group of video artists, while blends of synthetic sound and radical experimentation in narrative style increasingly enveloped the imagery of more recent artists. Video artists working in Central New York also capitalized on the creativity of video to expand the media discourses of race, gender, and sexuality. Signal to Code at the Johnson is an extension of the exhibition Signal to Code: 50 Years of Media Art in the Goldsen Archive, on display in the Hirshland Gallery of the Carl A. Kroch Library.

These eleven works will screen simultaneously:

Ralph Hocking, Transparent Body #3, 1974. Single-channel video projection (color, silent); 14:26 min.

David Blair, Wax or The Discovery of Television Among the Bees, 1991. Single-channel video on CRT monitor (color, sound); 1:25 min.

Andrew Deutsch, Magnetic North, 1996-2007. Single-channel video on CRT monitor (color, sound); 7:37 min.

Barbara Hammer and Paula Levine, Two Bad Daughters, 1988. Single-channel video on CRT monitor (color, sound); 12:30 min.

Gary Hill, Earth Pulse, 1975. Single-channel video on CRT monitor (color, sound); 5:47 min.

Sara Hornbacher, Writing Degree Z, 1985. Single-channel video on CRT monitor (color, sound); 5:21 min.

Philip Mallory Jones, First World Order, 1992–94. Single-channel video on CRT monitor (color, sound); 27 mins.

Rohesia Hamilton Metcalfe, La Blanchisseuse, 1993. Single-channel video on CRT monitor (B&W, sound); 10:50 min.

NNeng-M (Brian Moran, Nancy Meli Walker, Benton C Bainbridge, and Molly Kittle), Tears, 1999. Single-channel video on CRT monitor (color, sound); 4:58 min.

Lynne Sachs, Window Work, 2000. Single-channel video on CRT monitor (color, sound); 9:04 min.

Ann-Sargent Wooster, Dialectics of Romance, 1985. Single-channel video on CRT monitor (color, sound); 30:54 min.

  Ralph Hocking, Transparent Body

 

March 17 - October 14, 2016

Hirshland Exhibition Gallery

Carl A. Kroch Library

“Signal to Code: 50 Years of Media Art in The Rose Goldsen Archive” explores 50 years of electronic and digital artwork and ephemera held in the Rose Goldsen Archive of New Media Art. The exhibition, on display in the Hirshland Gallery of the Carl A. Kroch Library from March 17 to Oct. 14, 2016, offers a unique opportunity to experience more than 60 original electronic and digital artworks in video, sound, portable media and the Internet, on 15 separate media display stations. The exhibition also features posters, pamphlets and other items documenting the work of international media artists and the granting agencies and cultural centers that have supported this work across artistic boundaries and geopolitical zones. “Signal to Code” provides a special emphasis on the influential histories of media art in Ithaca and the Central New York region, along with the Goldsen Archive’s extensive partnerships in Asia.

The Goldsen Archive is the home of the ETC moving-image and ephemera collections. Many artists’ videotapes are included in this exhibition, as well as posters, letters and representative analog tools and systems. We invite you to “Signal to Code” at the Cornell Campus in Ithaca, NY.

This exhibition has been funded through the generous support of the Stephen ’58 MBA ’59 and Evalyn Edwards ’60 Milman Exhibition Fund, and the Rose Goldsen Lecture Series.

 

 

 

 

Hunter College Art Galleries Presents:
The Experimental Television Center: A History, ETC . . .

 

Opening Reception: September 24, 2015, 7–9 pm
September 25–November 21, 2015
Gallery Hours: Wednesday–Saturday, 12–6 pm

205 Hudson Street Gallery
Hunter College MFA Campus
New York, New York
Gallery entrance is on the south side of Canal between Hudson and Greenwich Streets

 

Organized by: Sarah Watson, Chief Curator of the Hunter College Art Galleries, Timothy Murray, Curator of the Rose Golden Archive of New Media Art, and Sherry Miller Hocking, Assistant Director of the Experimental Television Center.

 

THE EXHIBITION:

For over forty years, the Experimental Television Center (ETC) in Owego, New York, was one of North America’s preeminent organizations for video art, fostering a community for creativity and innovation through its residency and tool-building programs. The Experimental Television Center: A History, Etc  . . . is the first academic survey of the Center’s prolific, yet under recognized role in the evolution of video art. Through works of art, ephemera, and video processing tools, this exhibition maps the ETC’s influence within the larger narrative of the history of video into the digital and internet age.

From 1971 to 2011, over 1,500 artists participated in the ETC residency program, which functioned as a site for exploration, education, and practice for media artists. This exhibition spans works from the 1960s through the 2000s and also includes a collection of original analog instruments designed by artists/technologists, as well as two interactive installations featuring contemporary tools designed by Dave Jones, a long-time collaborator with ETC, and by Jason and Debora Bernagozzi, founders of the new media organization Signal Culture in Owego, New York.

 

ARTISTS:

Benton C. Bainbridge, Perry Bard, Irit Batsry, Zoe Beloff, Kjell Bjørgeenen, Peer Bode, Nancy Buchanan, Barbara Buckner, Torsten Zenas Burns, Andrew Castrucci, Connie Coleman, Deana Crane, Renate Ferro, Raymond Ghirardo, Shalom Gorewitz, Alex Hahn, Barbara Hammer, Thomas Allen Harris, Liselot van der Heijden, Kathy High, Gary Hill, Ralph Hocking, Sherry Miller Hocking, Sara Hornbacher, Dave Jones, Philip Mallory Jones, John Knecht, Richard Kostelanetz, Shigeko Kubota, Hank Linhart, Jeanne Liotta, LoVid (Tali Hinkis and Kyle Lapidus), Kristin Lucas, Darrin Martin, Charlotte Moorman, NNeng-M (Benton C Bainbridge, Molly Kittle, Brian Moran, Nancy Meli Walker), Marisa Olson, Nam June Paik, Alan Powell, Daniel Reeves, Megan Roberts, Peter Rose, Eric Ross, Mary Ross, Lynne Sachs, Matt Schlanger, Caspar Stracke, Mark Street, Aldo Tambellini, Steina Vasulka, Woody Vasulka, Reynold Weidenaar, Walter Wright, Virgil Wong, Jud Yalkut, Arnie Zane.

 

ABOUT THE ETC:

In 1971 Ralph Hocking, a professor in the Cinema Department at Binghamton University founded the Experimental Television Center out of his media-access organization Student Experiments in Television (SET). As the interest in video as an artistic medium gained momentum, the ETC provided access to and training in the use of this new technology to artists, interested citizens, and social, cultural, and educational organizations. Invested in pushing the boundaries of the video medium, the ETC developed a research program to create a more flexible set of processing tools for artists. Under the direction of artist Nam June Paik and video engineer Shuya Abe, a Paik/Abe Video Synthesizer was constructed for Center’s permanent use, which launched the ETC artist’s residency program.

 

Although the Center closed its physical space in 2011, its philosophy and ethos endures through an ongoing commitment to education, research, and the preservation of video as a medium. According to this mission, the ETC’s comprehensive archive is now housed in the Rose Goldsen Archive of New Media Art at Cornell University, Ithaca, New York, and is currently being digitized, preserved, and made available for research. The Experimental Television Center would like to

thank some of our many funders over the past forty years: New York State Council on the Arts, National Endowment for the Arts, Daniel Langlois Foundation for Art, Science, and Technology, the Andy Warhol Foundation, mediaThe foundation, and the Institute for Electronic Arts at Alfred University.
 

 

 

 

The Experimental Television Center: A History, Etc. . . is made possible by the generous support of the Hunter Exhibition Fund; Arts Across the Curriculum Initiative, Hunter College; Ruth Stanton; the Rose Goldsen Archive of New Media Art and the Digitization and Conservation Services, Cornell Library; Society for the Humanities, Cornell University; the Experimental Television Center; New York State Council for the Humanities; Electronic Arts Intermix, Dave Jones Design and Signal Culture.

 

ABOUT THE HUNTER COLLEGE ART GALLERIES:

The Hunter College Art Galleries, under the auspices of the Department of Art and Art History, have been a vital aspect of the New York cultural landscape since their inception over a quarter of a century ago. This exhibition builds on a long tradition of creative interchange between the disciplines of art history and studio art at Hunter.

 

Widely regarded as one of the leading art programs in the country, Hunter College’s Department of Art and Art History serves both undergraduate and graduate students, offering an undergraduate major in Art, a BFA and an MFA in Studio Art, and an MA in Art History. In its 2012 rankings of “America’s Best Graduate Schools,” U.S. News & World Report ranked Hunter’s Master of Fine Arts program thirteenth and the painting and drawing program seventh in the nation.

 

For more information please call 212-772-4991 or email awischme (at) hunter.cuny.edu

 

Independent Media Arts Preservation (IMAP) celebrates the launch of its new web resource Archiving the Arts and the recent publication of The Emergence of Video Processing Tools : Television Becoming Unglued (eds.,Kathy High, Sherry Miller Hocking and Mona Jimenez) with a symposium and public program on June 13, 2015 at Burchfield Penney Art Center (BPAC), SUNY Buffalo State. Target participants are professionals and students with some level of expertise in audiovisual preservation. Conveners and facilitators include Andrew Ingall, Executive Director of IMAP, Archivist and Time- Based Art Conservator Jeff Martin, and Carolyn Tennant, Director of Archives and Migrating Media at Hallwalls Contemporary Art Center.

Speakers include Desiree Alexander, Rose Goldsen Archive of New Media Art; Madeleine Casad, Rose Goldsen Archive of New Media Art; Tom Colley, Collection Manager, Video Data Bank; Dianne Dietrich, Rose Goldsen Archive of New Media Art; Athena Christa Holbrook, The Museum of Modern Art; Joan Logue, Artist; Bill Seery, Mercer Media; and Maria Elena Venuto, The Standby Program.

 

For further information visit IMAP

The Early Media Instruments DVD Set features demonstrations by Dave Jones, Hank Rudolph and Benton C Bainbridge of some of the most influential real-time analog video processing tools used by media artists internationally. Many were designed in the 1970s.

Each of the 8 DVDs covers the purpose, operation and function of a specific instrument.

Instruments include:

• Jones Colorizer
• Jones Frame Buffer
• Jones Keyer
• Jones Sequencer
• Paik / Abe Video Synthesizer
• Raster Manipulation Unit - Wobbulator
• Rutt / Etra Model RE-4 Video Synthesizer
• Sandin Image Processor

Documentation by Carolyn Tennant, Pamela Susan Hawkins, Hank Rudolph, Mona Jimenez and Kathy High with Meredith Baxter, Monica Duncan, Neil Fried, Annie Langan, Michael Montagne, Yesael Sumalave and Terese Longova. Design and post also by Matthew Underwood, Necole Zayatz and Dave Jones Design.

This DVD set was produced by The Experimental Television Center through the Video History Project and is distributed by Signal Culture.

Information about purchasing is available from Signal Culture.

The Emergence of Video Processing Tools - Book Launch Panel @ New Museum, NYC

Beginning in the late 1960s, artists and technologists began to custom-create hardware and software for real-time manipulation of video signals through original designs or as hacks to devices common to television production. Contemporary artists and tool designers continue this work in analog and digital domains in an expanded media environment. This program will bring focus to the social and artistic dimensions of custom tool development, and to the dual impulses to create new instruments and conserve and use older ones.
 
In conversation will be inventor Dave Jones, whose video instruments span forty years, artists-designers Kyle Lapidus and Tali Hinkis of LoVid, Rhizome conservator Dragan Espenschied, and Hank Rudolph of the artist space Signal Culture and the Experimental Television Center.  
 
The panel marks and celebrates the publication of The Emergence of Video Processing Tools: Television Becoming Unglued, edited by Kathy High, Sherry Miller Hocking, and Mona Jimenez (Intellect Books, 2014). The book discusses such early video instruments including the Raster Manipulation Unit (aka the Wobbulator), the Paik/Abe Video Synthesizer, the Sandin Image Processor, the Rutt-Etra Video Synthesizer, the Digital Image Articulator, Pantomation, and the software HARPO, among others. 
 
Panel organized by Rhizome and the New Museum's Education Department with Experimental Television Center.
 
Video by Jason Bernagozzi and Debora Bernagozzi of Signal Culture.

New Museum Theater
Sunday, July 13, 2014 at 3PM

$6 Members, $8 General Public

Beginning in the late 1960s, artists and technologists began to custom-create hardware and software for real-time manipulation of video signals through original designs or as hacks to devices common to television production. Contemporary artists and tool designers continue this work in analog and digital domains in an expanded media environment. This program will bring focus to the social and artistic dimensions of custom tool development, and to the dual impulses to create new instruments and conserve and use older ones. In conversation will be inventor Dave Jones, whose video instruments span forty years, artists-designers Kyle Lapidus and Tali Hinkis of LoVid, Rhizome conservator Dragan Espenschied, and Hank Rudolph of the artist space Signal Culture and the Experimental Television Center.   

 
The panel marks and celebrates the publication of The Emergence of Video Processing Tools: Television Becoming Unglued, edited by Kathy High, Sherry Miller Hocking, and Mona Jimenez (Intellect Books, 2014). The book discusses such early video instruments including the Raster Manipulation Unit (aka the Wobbulator), the Paik/Abe Video Synthesizer, the Sandin Image Processor, the Rutt-Etra Video Synthesizer, the Digital Image Articulator, Pantomation, and the software HARPO, among others.

Organized by Rhizome and the New Museum's Education Department with Experimental Television Center.

FUNDING CREDITS: NEW MUSEUM
Generous endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund, and the William Randolph Hearst Endowed Fund for Education Programs at the New Museum.
Education and public programs are made possible by a generous grant from Goldman Sachs Gives at the recommendation of David B. Heller & Hermine Riegerl Heller.
The New Silent Series receives major support from The Andy Warhol Foundation for the Visual Arts. Additional support is provided by the New York City Department of Cultural Affairs and the New York State Council on the Arts.

Education and public programs are made possible by a generous grant from Goldman Sachs Gives at the recommendation of David and Hermine Heller.

The Emergence of Video Processing Tools presents stories of the development of early video tools and systems designed and built by artists and technologists during the late 1960s and 70s. Split over two volumes, the contributors examine the intersection of art and science and look at collaborations among inventors, designers, and artists trying to create new tools to capture and manipulate images in revolutionary ways. The contributors include “video pioneers,” who have been active since the emergence of the aesthetic, and technologists, who continue to design, build, and hack media tools. The book also looks at contemporary toolmakers and the relationship between these new tools and the past. Video and media production is a growing area of interest in art and this collection will be an indispensable guide to its origins and its future.

Contributors include Richard Brewster, Jon Cates, Michael Century, Michael Connor, Jeremy Culler, Lenka Dolanova, Carolina Esparragoza, Jean Gagnon, Ralph Hocking, Dave Jones, LoVid, Don McArthur, John Minkowsky, Timothy Murray, Marisa Olson, Christiane Paul, Hank Rudolph, Dan Sandin, Tom Sherman, Yvonne Spielmann, Steina, Carolyn Tennant, Jack Toolin, Woody Vasulka, Howard Weinberg, and Walter Wright.

Discussed are designers and technologists including Shuya Abe, Jeremy Bailey, Steve Beck, Peer Bode, George Brown, Tom DeWitt, Phil Edelstein, Bill Etra, Carl Geiger, Bill Hearn, Phil Morton, Ted Nelson, Steve Rutt, Nam June Paik,  Matthew Schlanger, Eric Siegel, and many others.

See Intellect Ltd for the tables of contents.

Volume 1: 408 pages

Volume 2: 328 pages

170 halftones
44 color images (16 color pages)

About the Editors

Kathy High is Professor in the Department of the Arts at Rensselaer Polytechnic Institute. Sherry Miller Hocking is Assistant Director at the Experimental Television Center. Mona Jimenez is Associate Professor and Associate Director in the Moving Image Archiving Program at New York University

 About Intellect

Intellect publishes a diverse range of academic books and journals in the fields of film studies, creative practice and cultural & media studies.

 

ETC: Experimental Television Center 1969-2009

The Experimental Television Center is pleased to announce that Video Data Bank is distributing ETC: Experimental Television Center 1969-2009, a five DVD set with 132 page catalog. The collection presents the electronic media work of over one hundred artists who have worked in the Center’s Residency Program during the last 40 years. The collection offers a look at the evolution of the unique artist-designed sound and image tools that are the hallmark of the Center’s studio and provides a view into the constantly changing artistic processes and practices that have shaped the work over the years.

This project has received support from the Digitization Project Grants Program at the New York State Council on the Arts, mediaThe foundation, and the Daniel Langlois Foundation for Art, Science and Technology.

ETC is sad to report the passing of Dr. Don McArthur on October 7, 2012. Don worked with others at ETC on several projects including his Spatial and Intensity Digitizer, a ground-breaking instrument at the time, and the interface of a digital computer to analog video instruments. He also collaborated with Woody and Steina Vasulka on their computer system. Our sympathy is extended to his family. The obituary follows.

 

Donald retired from Lockheed-Martin in Irving, TX where he worked designing computer software and hardware for imaging systems and simulators. Survived by his son Michael, Michael’s wife Sophie Alexander and their daughter Gemma Mae Rose of Newfield, NY; His first wife Jane McArthur nee Spicknall originally of Lincoln, NE; three step-children from his second marriage: Suzanne, Lisa, and John and their families; several cousins. Predeceased by his parents, aunts, uncles, several cousins, and his second wife Marilyn of Homer, NY. Donald was born January 19, 1938 in Holdrege, NE the only child of David Kenneth McArthur and Olive Bernice McArthur nee Troutman. He attended Ragan schools through 8th grade, living on the family farm south of Holdrege. Donald graduated Holdrege High School in 1955, University of Nebraska at Lincoln 1959 with a B.A. and a PhD in Theoretical Physics in 1967. At the University of Saskatchewan-Saskatoon Don filled a post-doctoral fellowship post for six years at the Linear Accelerator Laboratory where he contributed mathematical physics and advanced electronics before moving to New York State to teach at the State University in Cortland. In the early ‘70s Donald was invited to work with The Experimental Television Center, (then in Binghamton, NY),  where artists, designers, and scientists gather to create new visual art forms and technological tools for the artists. Donald designed some of the early digital technology that lead to the development of computer-generated imagery, including 3-D images. This work led to a job with Singer-Link where he designed systems for the first flight simulator to train space shuttle pilots. His work took him to Irving TX in 1980 where he lived until 2004, working for several companies on imaging projects including LTV, Texas Instruments and Lockheed-Martin. He also taught as an associate professor at University of Texas at Arlington. His work earned several patents and had applications for the mars rovers and military training simulations. Donald co-authored at least one paper on simulation. This website talks about one of his innovationshttp://www.audiovisualizers.com/toolshak/vidsynth/mcarthur/mcarthur.htm. Donald had many interests throughout his life, besides being dedicated to puzzling out some new problem in his work, he enjoyed reading, writing, square dancing, Buddhist meditation, painting, travel and in his youth boy scouts and amateur radio. Don loved a good joke, even more if it was dirty.

ETC: 1969-2009 (5 dvd set with catalog) has been named among the 50 essential artists moving image DVDs by LUX, the influential UK-based arts organization. "The list mainly favours collections and publications that include a substantial amount of contextual material around the films and on the whole it lists historical rather than contemporary work."

The Experimental Television Center closed several programs in Summer 2011, including the Residency and Grants programs. We are now concentrating our work on video history and preservation of our archives. Our moving-image collection of over 2000 works has been transferred to the Rose Goldsen Archive of New Media at Cornell University, under the direction of Dr. Tim Murray.

The Experimental Television Center is pleased to announce the release of ETC: 1969-2009, a five DVD anthology set of works created by over 100 artists who have worked in Residence here during the last 40 years. The set is distributed by Electronic Arts Intermix. With catalog.

See the press release here

The Experimental Television Center administered three grants programs, all of which are now ended.

Finishing Funds - Grants to individual media artists in New York state

View 2010 Finishing Funds recipients

Presentation Funds - Grants to non-profit New York state media arts organizations for artists presentations

Media Arts Technical Assistance - Grants for organizational and professional development of non-profit media arts programs

ETC Residency Deadlines:
The December 15, 2010 deadline was the final residency program deadline. Please see our announcement.

Ralph Hocking, director of the Experimental Television Center has released a DVD of his video works from 1969 through 1986.

Visit the New York Media Arts Map, a site for information about media arts activities throughout the State.

Bonding Energy:

Bonding Energy, an electrogeography and data visualization project created by Douglas Repetto and LoVid (Tali Hinkis and Kyle Lapidus). Bonding Energyconsists of a set of "Sunsmile" devices that measure solar energy from seven sites around New York State, one of which is in the studio at ETC. A constantly changing image is created on a web page from the data sent by the SunSmile devices.