From Performance to Video/Electronic/Film-based Art "The artist is a visionary about life. Only he can create disorder and still get away with it. Only he can use technology to its fullest capacity. The artists have to use technology because technology

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From Performance to Video/Electronic/Film-based
Art"The artist is a visionary about life. Only
he can create disorder and still get away with
it. Only he can use technology to its fullest
capacity. The artists have to use technology
because technology is becoming inseparable from
lives." Billy Klüver
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http//www.zakros.com/projects/eat/index.html In
1966, Swedish engineer Billy Klüver founded
E.A.T. (Experiments in Art and Technology) with
Robert Rauschenberg, Fred Waldhauer, and Robert
Whitman.(below) Robert Rauschenberg and Billy
Klüver, Soundings, 1968, audience claps and makes
lights go on and off behind plexiglass panels.
Ludwig Museum, Cologne
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Joseph Beuys, Siberian Symphony, FESTUM FLUXORUM
FLUXUS, 1963, Galerie Parnass in Wuppertal,
Germany
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George Maciunas (Lithuanian-American, 19311978)
Fluxus Manifesto, 1963
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Yoko Ono (Japan, b. 1933) Cut Piece, performance,
1964 (Japan) and (right)1965 (NYC,Carnegie Hall)

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Shigeko Kubota (American b. Japan, 1937, married
to Nam June Paik) Vagina Painting,performance,
July 4th, 1965, New York City, Perpetual Fluxus
Festival, (red paint on white paper, paint brush
attached to crotch of underpants)
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Nam June Paik (American, b. Seoul, Korea, 1932 -
2006)Zen for Head, Fluxus performance, 1962
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Nam June Paik, 1961 Fluxus Festival of New Music,
Weisbaden, German
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Nam June Paik and John Cage in Marcel Duchamp and
John Cage still from performance video by
Shigeko Kubota, 1972
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Nam June Paik, (left) Zen for TV, 1963(right) TV
Buddha, 1974
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Marshall McLuhan Understanding Media, first
published in 1964
The period after World War-II in the US is
considered the final birth of television.  The
explosion of sets into the American marketplace
occurred in 1948-1949.
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Paik (left) began interfering with television
imagesin the early 1960s (right) TV Magnet,
1965Some day artists will work with
capacitors, resistors and semi-conductors as
they work today with brushes, violins and junk.
Paik
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Nam June Paik, (left) TV Bra for Living
Sculpture, 1969(right) Opera Sextronique with
Charlotte Moorman (US 1931-1991), 1969
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(left) Mooreman, Paik, Joseph Beuys, Fluxus
Action, 1966 (left) with Yoko Ono and John
Lennon (1971) (right, below) Moorman performing
Paik's Concerto for TV Cello and Videotapes
(1971) at Galeria Bonino, New York, November 23,
1971
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• http//www.medienkunstnetz.de/works/global-grove/v
  ideo/1/

Nam June Paik, Global Groove, 1974 Paik in
studio of WGBH, which broadcast Global
Groove 'This is a glimpse of a video landscape
of tomorrow when you will be able to switch on
any TV station on the earth and TV guides will
be as fat as the Manhattan telephone book.'
- Paik
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Paik, Video Fish, 1975, Three channel video
installation with aquariums, water, 45 live
Japanese fish, Pompidou Center (Paris)
collection, 7 of 15 monitors
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Nam June Paik, Video Flag, (1985-1996)70 video
monitors, 4 laser disc players, computer, timers,
electrical devices, wood and metal housing on
rubber wheels, 94 3/8 x 139 3/4 x 47 3/4 in.
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Nam June Paik in collaboration with Norman
Ballard, Paul Garrin, David Hartnett, and Stephen
Vitiello, Modulation in Sync, 2000. Three-channel
video and stereo sound installation with 100
monitors, seven projectors, two lasers, water,
mirrors, projection screens, and metal structure,
variable dimensions. Paik retrospective,
Guggenheim NYC
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Video performance Bruce Nauman, Stamping in the
Studio, 1968, 60 minutes (excerpt, 5
minutes)From Rewind Video Art and
Alternative Media in the United States
1968-1980Media N 6494.V53 S97 1995Program 2
Investigations of the Phenomenal World Space,
Sound, and Light
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Video performance 1977Martha Rosler, Vital
Statistics of a Citizen, Simply Obtained38
minutesI did my best to interrupt voyeurism by
having a long shot a stationary shot that
fatigues the viewer and diminishes aspects of the
characters presence on the screen. It becomes
boring to look at something without camera
mobility and without reaction shots. (Rosler,
1981)From Rewind Video Art and Alternative
Media in the United States 1968-1980Media N
6494.V53 S97 1995Program 4 Gendered
Confrontations
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Video performance 1978 Nam June Paik, Merce by
Merce by Paik28 minutesA tribute to
choreographer Merce Cunningham and artist Marcel
DuchampVideo was choreographed for 2-D monitor
screen by Cunningham. Audio includes voices of
John Cage and Jasper Johns. Part 2 is by Paik
and Shigeko Kubota and includes montage-interview
with Marcel Duchamp and meeting between
Cunningham and Leo Castelli. I think I
understand time better than the video artists who
came from painting-sculpture. Music is the
manipulation of time. All music forms have
different structures and buildup. As painters
understand abstract space, I understand abstract
time. Nam June Paik, 1974From Rewind Video
Art and Alternative Media in the United States
1968-1980Media N 6494.V53 S97 1995Program 5
Performance of Video-Imaging Tools
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Doug Aitken (California b.1968) Sleepwalkers,
Jan-Feb, 2007, 8 projections on MoMA NYC
exterior walls http//www.youtube.com/watch?vLJa
Tjc3TMyo
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Laurie Anderson (US b. 1947) Duets on Ice, street
performance in New York City and Genoa, Italy,
1973-4, playing Bach while wearing ice skates
embedded in ice. When ice melted the performance
ended.
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Laurie Anderson, Performance United States Part
II, 1980The Orpheum, New York (right) album
covers United States I-IV, 1984
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Laurie Anderson, United States Part I, 1980,
Orpheum TheaterMultiple disjunctive narratives.
Voice through the harmonizer shifts from voice
of authority (deep, masculine) to female (her
own). The woman repeatedly asks Hello, excuse
me, can you tell me where I am? The response is
You can read the signs.
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(below right) Poster from Andersons The End of
the Moon, 2005, performance(top) at NASA as the
agencys first artist-in-residence, 2004
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Mona Hatoum (b. 1952) Palestinian-Lebanese based
in London (right) video still from So Much I
Want to Say, 1983
Hatoum, Light at the End, 1989, London, iron
frame and six electric heating elements
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Mona Hatoum, still from Measures of Distance,
15-minute video, 1988
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(No Transcript)
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http//www.dailymotion.com/video/x31gw4_measures-o
f-distance-mona-hatoum_creation
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Pipilotti Rist (Swiss b. 1963) "Ever is all over"
video installation (two overlapping projections),
1997 Museum of Modern Art, New York, 2007
http//video.google.com/videoplay?docid455920125
3275818259
Pipilotti Rist, Im not the girl who misses much,
1986http//www.youtube.com/watch?vCsC8FKNE8fg
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Pipilotti Rist, Selfless In The Bath Of Lava,
1994, audio video installation (video still) PS1
Long Island City, New York. Tiny screen under
the floorboards near the entrance
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http//www.youtube.com/watch?v89vgdELbVyQPipilot
ti Rist Pour Your Body Out, video/audio
installation at MoMA NYC 2008
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Tania Bruguera (b. 1968 Havana, Cuba) Poetic
Justice, 2002-2003, video Installation, used tea
bags, 8 one-second selection from several
international historic newsreels, 8 LCD screens,
8 DVD discs, 8 DVD players 62.33' x 6.2' x 11.8'
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Tania Bruguera, Poetic Justice (details),
2002-2003, video Installation
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Shirin Neshat, Iranian based in New York 2
photographs from 1994 Women of Allah series
right Allegiance with Wakefulness, ink on
photograph of artists feet with feminist Farsi
poetry.
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Shirin Neshat, still from The Shadow under the
Web, film transferred to DVD and projected as
installation, 1997. Neshat synthesizes new image
technology Iranian, American, and European film
aesthetics the poetry, music and songs of her
homeland, and the global fusion sounds of Phillip
Glass. Two years after producing this work she
was declared an enemy of the Iranian state.
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Leaving has offered me incredible personal
development, a sense of independence that I don't
think I would have had. But there's also a great
sense of isolation. And I've permanently lost a
complete sense of center. I can never call any
place home. I will forever be in a state of
in-between. - Neshat, 2000