By Jeremy Neal Culler
This dissertation proposes a extra enough framework for considering via more than a few
non-commensurable websites during which we discover now not a unified phenomenon, “Video Art,”
but a collection of conceptualizations of video and digital media which are heterogeneous,
dispersed and institutionally variable. Taking as a version Michel Foucault’s thought of an
archaeology of data, i've got sought to research the stratified box of experimental
television and video alongside axes: alongside a diachronic axis, I hint debates in 5
institutional spaces––public broadcast tv, experimental tv centers,
galleries and museums, the broadcast checklist, and educational institutions––focusing on key
disputes or “flash points” that mark major shifts within the discourse on “video art;”
while around the synchronic axis, I search to map the discussions and theorizations of
experimental tv and video inside of those institutional websites that represent the
differential box of discourse on digital, time-based media. through this implies, I try out
to express that the ever increasing, institutionally dispersed box of digital media
practice can't be grasped within the phrases provided via the linear narratives that experience till
now formed what has been categorised because the historical past of “Video Art.” I keep that the
“archaeology” of video perform I define is a prerequisite for any serious engagement
with a box of practices that variety from experimental performances using stay
broadcast tv to works utilizing video and videotape. whereas an influential severe and
curatorial discourse has sought to subsume those assorted practices less than a unmarried classification
of “Video Art,” such homogenization elides the variety of institutional websites and the
incommensurable discursive frameworks that, actually, have marked the improvement of
experimental tv and video media. A extra enough standpoint calls for
engagement with the differential, discursive box and a number of the sedimentary strata
across which a number of and irreducible conceptions of the video medium were
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Extra resources for From Television Signal to Magnetic Strip: An Archeology of Experimental Television and Video Knowledge
Although this material is global in scale, for the purpose of this study I selected texts that address the field in a uniquely American context. By examining the way this literature addresses the emergence of a concept of “Video Art,” I will be able to substantiate one of the principal arguments of this dissertation—that a totalizing and monolithic history of video art is problematic. V. Academic Institutions and Conferences If the aforementioned sites have defined the topography of the landscape across which video practice has emerged, then the reception of that practice has been powerfully shaped by discussions within the academic arena.
However, this is not my intention. 23 Douglas Davis, “Video Obscura,” Artforum, vol. 10, no. 8 (April 1972): 67. 24 Ibid. 20 for the development of video practice. Works by artists experimenting with broadcast television were, in fact, as innovative as video practices and, one could argue, early modifications to television sets were one of the principle means of subversion that broke down barriers and opened up new spaces for aesthetic experimentation and exploration. Videotape opened up new possibilities and made it feasible for artists to capture performances and exhibit fully realized video works as electronic documents.
Historical perspectives inevitably involve a selection process that necessarily includes and excludes material. Those writing about video art, however, often include more than they exclude. ,” Cablelibraries, vol. 5, no. 6 (June 1977): 1. 12 Ibid. 13 Not all works packaged as “Video Art” were made using videotape cameras. 2) by synthesizing live broadcast television. Moreover, not all works distributed today on videotape or DVD, including Einstine, used analog videotape or digital formats in their 15 classification encompasses.