5 Minute Romp Through the IP, 1973

Dan Sandin

In 1973, Dan Sandin designed and built a comprehensive video instrument for artists, the Image Processor (IP), a modular, patch programmable, analog computer optimized for the manipulation of gray level information of multiple video inputs. Sandin decided that the best distribution strategy for his instrument "was to give away the plans for the IP and encourage artists to build their own copies. This gave rise to a community of artists with their own advanced video production capabilities and many shared goals and experiences." In this segment, Sandin demonstrates the routing of the camera signal through several basic modules of the IP, producing a "primitive" vocabulary of the effects specific to video. - Video Data Bank

Inventor and practioner of the Image Processor (IP), Dan Sandin is a seminal figure in the technological development of the video medium. In 1973 Sandin successfully designed and built the first Image Processor (IP) as a modular, patch programmable, analog computer optimized for the manipulation of gray level information of input video signals. The IP allows artists to freely play with the color and composition of a video image. Trained in nuclear physics, Sandin first became interested in video in 1967 while helping organize student demonstrations on the University of Illinois campus. He considers his career has having three main thrusts: "the design of electronic instruments for visual performance and personal growth; the development of educational facilities and programs related to the use of electronic screens (electronic visualization); and the production and exhibition of visual works for personal expressive reasons."

"About creativity—my personal view of it is kind of like I'm a pipe or conduit. And all this stuff just happens to be flowing through me because I've chosen to position myself in that flow. I have no problem with the word Ôcreation' as long as people don't lay too much molasses on it."

—Dan Sandin

about criticalartware

In the ever present techno-social fabric of operating systems, desktops and software, criticalartware seeks to examine the pre-internet era of early phase "Video Art" and the growth of software art in the channels of contemporary "New Media" theorypractices. We are interested in "software" as a construct and context during these two art historical moments and the ways in which software functions as art and art functions as software. These two moments function as brackets in frames of reference that will form the basis of our activities. We intend for our activities to facilitate further discussions and developments of criticalartware producing a feedback loop or multiple recursive code structures. As an application, criticalartware will carry out your instructions, becoming personalized to your requests, site structures modifying based on your queries and activity. In this manner, criticalartware will become a shared and open system of community resources. We will invite artists, developers and cultural agents of the two afore mentioned historical moments to join us, sharing their perspectives and contributing to discussions of the fields they are involved in formulating. Responding to their input, our contributions and your responses, criticalartware will reshape and map those outcomes, providing a resource for dynamically determining contemporary histories.

http://www.criticalartware.net

Radio Net, 1977

Max Neuhaus

"The Networks propose the self-evolution of new musics. Their premise is a form of music-making which remains now only in societies untouched by modern civilization.

Rather than something to be listened to, music in these cultures is an activity open to the public at large – a dialogue with sound rather than a performance. I believe this to be the original impulse for music in mankind." - Max Neuhaus

Max Neuhaus has worked in the fields of contemporary art and music for more than 40 years. He is credited with being the first to extend sound as a primary medium into the field of contemporary art. His work has been exhibited internationally in museums and galleries, including exhibitions at the Dia Art Foundation, New York; the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Musée d'art moderne de la ville de Paris; and the Kunsthalle, Bern.

This video is a document taken in 1977 of the Radio Net project "a two-hour nationwide radio event where ten thousand people played a cross-country instrument with their voices" facilitated by NPR.

Max Neuhaus: "It grew out of an interest of mine in the potential of music-making with the lay public over networks. The first realization in this direction was Public Supply in 1966. … Over the next decade, I gradually developed this concept with other realizations and finally in 1977 realized Radio Net … In 2000 I realized that I could do it on the web…."

An exhibition of these Networks, featuring the online tool Auracle, was on display during the month of December at the Art Gallery of Knoxville. The Networks (or broadcast works) are systems, " virtual architectures," which act as a forum open to anyone for the evolution of new musics. Auracle, the most recent Neuhaus network, is an online tool available at Auracle.org - visitors to the Auracle website may experience the artwork 24 hours a day, seven days a week. During the month of December Auracle was broadcast through the Art Gallery of Knoxville space.

Radio Net

Video produced by Margaret Gregg

(with supplementary video by Ron McCoy and Steina Vasulka)

A Production of Broadside Television, 1977

http://www.max-neuhaus.info

Max Neuhaus, Networks

Exhibition Views, December 2007

The Art Gallery of Knoxville

"The Knoxvilles that Never Were"

Jack Neely

The Art Gallery of Knoxville: "Building Communities," an exhibit done in coordination with the Center for Urban Pedagogy (CUP), Brooklyn, NY. The show, which was on exhibit from November 1 to November 25, considered a number of development plans, some enacted, others proposed, that have impacted how Knoxvillians experience their city and search for new ways to create communities, from urban renewal to Universe Knoxville. This video was taken from a public talk given at The Art Gallery of Knoxville November 10, 2006.

Jack Neely is a Knoxville-based writer and historian. He is a columnist for the Metro Pulse weekly, and the author of several books on Knoxville history, including "Knoxville's Secret History."

Talk organized by Angela Starita

Video by Richard Bennett

Building Communities

The Center for Urban Pedagogy / AGoK

Exhibition Views, November 2006

The Art Gallery of Knoxville

XV BIENNALE DE PARIS

Faced with international exhibitions such as the Biennales at Sao Paulo and at Venice, which paid tribute to established artists, in 1958 Raymond Cogniat,(at the time commissioner of the French pavilion in Venice), suggested to André Malraux that an exhibition should be organised in Paris. The aim was to present a panorama of young international creation. The Biennale de Paris was thus created in 1959. Almost fifty years after it was first celebrated, the XVth Biennale de Paris will be held in Paris, France and abroad, mostly between 1 and 31 October 2006. Nearly 100 projects from more than 20 countries will take part : 58 projects in Paris and its surrounding areas, 11 in the provinces and 29 in foreign countries. The approaches presented speak for themselves. The Biennale de Paris no longer imposes objects, works, professionals artists or ideas.

That’s Painting Productions

House painting company created by Bernard Brunon: “Maybe one of the roles of the artist is to provide a link with reality, proposing the experience of a direct link, unmediated to the real. The practice of house painting as an artistic activity, as a kind of painting freed from representation, can seem to be rather limited. But conceptually that's a very enriching activity I have been working on for more than ten years Getting out of the canvas and giving up paintings has enabled me to exceed the formal level and to open my practice to other fields such as the economic and the social ones, with an activity that is part of everyday life. House painting may not fulfill the same aesthetic demands as abstract painting, nevertheless quality is essential for its production. Stressing the process instead of the result and the presence instead of the representation, and emphasizing the here and now, I have exceeded the issues of form/substance. I can address other kinds of questions, related to everyday life."

http://www.biennaledeparis.org/

XV Biennale de Paris

Exhibition Views, November 2006

The Art Gallery of Knoxville

Motor Karaoke by MEC

http://www.myspace.com/mecmecmec

Installation in the art gallery "GLASSBOX" / Paris

2 helmets are on 2 mic stands, there is a mic inside each helmet.

Mics gets inside a computer, a Max/msp/jitter patch has been built and is running on this computer.

This patch commands a video sequence reproduced 2 times.

The louder you scream, the faster the video runs.

You have to make 5 laps to win, the louder, the faster!

The Art Gallery of Knoxville is proud to present « Karaoke » an exhibition of artwork by John Baldessari, Bryan Baker, jonCates, Rineke Dijkstra, Marisa Olson, Abe Linkoln, MEC, Red 76, Pipilotti Rist, Karaoke Smashup, and Casey Wooden

This exhibit frames artworks that address the use or influence of Karaoke. As a tool, Karaoke enables an individual to form systems of ownership - it is an assertion of property and rights. Eleven pieces of Video Art will be on display September 1 - 23.

"The power to control a portion of the material objects is the very foundation of power and authority. Ownership of property is therefore a source of power and the realization of the human will, human ego and human desires. Human life involves the use of material resources and as such some form of property relations is a necessity for life."

http://www.geography.ccsu.edu/kyem/GEOG473/4thWeek/What_is_Private_Property.htm

Exhibition Views, November 2006

The Art Gallery of Knoxville

THE FAULTLESS

lives by the motto: pink is not red!

THE FAULTLESS performs lo-rez, lo-fi, lo-bit, ascii punk + digital system crashes. the faultless performances combine electro punk errorism, the spirit of digital hardcore + remixes of sampled memories from various punk hystories.

T.I.R.E. aka The International Revolutionary Elite

Presented as part of the exhibition "Karaoke" at

The Art Gallery of Knoxville, September 2006

THE FAULTLESS presents "The International Revolutionary Elite", a [performance/project] that digitally samples + remixes [audio/video] from punk bands that the faultless was formerly in as a teenager (1988) + texts from World Revolutionary Elites: Studies in Coercive Ideological Movements (1966).

http://www.thefaultless.info