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David
video
of the Electronic
Technologies
In this
Yvonne
to discuss
I propose
article
as an electronic
of
technology
these
properties
stand
video
Medium
with
other
as a medium
in two ways.
video
signal
and
processing
electronic
media,
in its own
First,
examine
transmission
that
television.
notably
that?like
right
Iwill
other
any
video
shares
I under
Second,
medium?devel
Video:
to
From Technology
from
of both
signal-encoded
analogue
incorporates
video
and
language
an aesthetic
and
semi
in
vocabulary,
capacities of electronic
set of means
media-specific
a medium
becomes
of
that can
be
technology
of
such
is achieved,
expression
features
it also
media
specific
establish
Once
distinguished
some
of
successfully
processing.
signal
ment
processes
but
to
system
Medium
has
the articulation
through
otic
also
in common
recording
and
information
programmable
film
that video
and
transmission
in
functions
demonstrates
with
shares
with
television,
that closely
processors
image
medium,
tal media
and
and
forms
the conceptual
'
video,
among
linkage
processors,
analogue
computers.
digital
I propose
and to emphasize
from
the art-historical
on
understood
The
perspective.
the grounds
of video
emergence
audiovisual
of
to be
needs
The media
processes.
better
discussion
of
with
the development
computer
analogue
media
but
computers,
since
applications
an electronic
enriched
of
culture
on
the contrary
the early
1970s
oriented
increasingly
has
and
has
toward
incorpo
further
pro
signal
cessing and digital imaging. At the end of the article, Iwill give the example of
two
video
more
tance
one
of
intersection
the
both analogue
by David
To
nology
processes
of video
In this
Sandin
in the
early
emphasize
further
and
and
another
the common
t/1
t/1
impor
source
for
respect,
as
the computer
1970s
the overriding
and
are more
the computer
con
closely
start with,
we
interrelates
that
Stout?to
image processing
in the computer.
nected media
I. See also Yvonne Spielmann, Video: Das reflexive
Medium (Frankfurt: Suhrkamp Press, 2005). An
edition in English, Video: The Reflexive Medium, is
forthcoming from MIT Press, 2007.
by Dan
experiments?one
recent
shape
need
in many
to
that
acknowledge
ways
the emergence
with
of
the
surrounding
a new
medium.
introduction
media
and
As Andr?
of
a new
involves
Gaudreault
tech
dynamic
and
s
o
c
3
Marion
Philippe
preestablished
codes
video
other
entiates
from
and
(genres,
or
other
electromagnetic
are effected
of video
exchange
audio
can
image
arise
from
monitors
and
keyers,
The
on
to be fixed
shows
magnetic
the
Video
or
tape)
of
scanning
also
and may
and
flow
can
effects
processing
of
in the
characteris
from
setting:
devices
such
means
that
as
cameras,
synthesizers,
real-time
visual
integrated
in horizontal
signals
the
through
an external monitor
arise
the video
occur
transformative
in the electronic
the electronic
of
flexible
in various
computers.
analogue
tools
of
machines
and
electronic
signals.
screens,
of
grips
differ
different
and
to
etc.)."2 What
in the
expression
lies
culture
come
also
media,
manipulations
a series
by
and
other
media
intelligible
it must
the world,
technologies
into
institutions,
media
an
appears,
signal processing,
processing,
comes
a medium
exists. When
already
with
a medium
"When
explain:
a processor
of
lines.
This technical setting defines the open structure of video. The ability to
process the electronic signal and the interchangeability of the audio and video
the
manifest
signals
that emerge
of presentation
To
Video
transfer.
signal
the camera
within
directly
can
and
signals
are
inside
circulate
the
motion.
of
system
specific forms
its emergence
that
in constant
technical
processing.
signal
means
medium
the
that employs
electronic
from
are
These
of video.
qualities
is an electronic
that video
say
electronic
transformative
conditions
They
recording
are
and
requires
generated
transmis
sion (the closed circuit). It is possible tomodulate video signals through proces
sors and keyers and to display the signal aurally, visually, or both simultaneously
(you
can
"hear"
separate
the material
2. Andr? Gaudreault and Philippe Marion, "The
Cinema as a Model for the Genealogy of Media,"
Convergence 8, no. 4 (2002): 12.This is a special
issue on intermedia, edited by J?rgen Heinrich and
the present author.
3. It is important to note that the use of terminol
ogy in this area is not coherent and mostly not
very precise. To characterize video as audiovisual
for the most part merges a technical and an aes
thetic definition. Strictly speaking, "audio" and
"video" refer to the status of the signal, whereas
"aural" and "visual"would characterize the aes
thetic processes (of using or working with audio
and video signals) and would be used to describe
the media properties of video in relationship to
other media that also have aural and visual forms
of presentation.
what
and
visual
film
you
audio
strip.
vice
and
"see"
elements,
In the electronic
next
positioned
physically
film
Conventional
versa).
medium,
however,
comprises
to each
signals
other
on
are output
interchangeably as audio or video and can be fed back as video input, and so
forth. This specific audiovisualcapacity of video is expressed when signals generat
ed by
an audio
signals
steer
synthesizer
the appearance
are
into
transformed
of video
forms,
and
visual
signals,
contrarily
when
so
that audio
information
in the video signal is displayed visually and aurally at the same time.
Because of this generic interchangeability of audio and video in both directions,
medium.3
it is appropriate to call video the first audiovisual
encoded
input,
the waveforms
in a video
signal
can
be
created
by oscillators
in
In fact,
the machines.
are
there
to
ways
multiple
input
aside
signal
from
the
recording process (for example, the signal output of one device can be used as
the input to another) more
;
important, video can be realized through signal
that are generated
processes
without
any
video
in order
fixed
order
Video's
to demonstrate
with
came
medium
mation
to hold
set
the
of
ways
of
immediate
for
stage
networked
globally
in real
the use
through
its
because
position
predominant
transfer
presence
infor
time.
of processors,
In conventional
television.
of
technology
audiovisual
and
synthesizers,
is to stabilize
the goal
television,
analogue
in the electronic
computers. Video-specific
transmission
imagery.
in 1977 at Documenta
communication
in aesthetic
also
characteristics
and
place
electronic
represent
of
no
transmission
and
characteristics
System
technical
the
basic
determinant
and
the machines?
through
these
is no
transmit,
run
and
emphasize
television
immediate
there
in the Media
Position
that
to generate,
required
shares
the devices
at all.
process
recording
inside
sig
nal processes and avoid the visibility of scanning lines that create a televisual
of flow.
impression
of
the
"world"?a
to achieve
is necessary
Stabilization
of
representation
that has
something
recognizable
been
image
recorded.
The
constant flow of signals in electronic imagery takes stable form to represent the
televisual image only when the video information that iswritten in lines (scan
lines) from left to right and top to bottom (like writing on a page inWestern
culture) is adjusted according to the standardized broadcast formats of PAL (the
common European standard) and NTSC (North America and Japan). So this stan
dard
form
of
stabilized
"frames"
to the
adheres
semiotic
convention
artists
practitioners
Hill,
4. These
to name
who
have
only
with
experiment
been
Paik,
a few
the conventional
and Woody
Steina
of Western
Vasulka,
these
Among
technology.
Dan
and Gary
Sandin,
ones.
prominent
to another
and
device,
finally
transmitted
to a monitor.
is a constantly
characteristics,
moving
it is more
flow
precise
of
to
signals.
emphasize
Due
the
to its unstable
transformative
In fact,
it
incoherent
capacities
a "tableau"
of
unity
as "transformation
an
produces
video
the
individual
image.
of
of
So video
the
frames
and
images
that are
interlaced)
and
forward
video
In film
and
embodies
the media
and
positions
between frames
between
imaging,
understood
process,
line-signal
of
the passages
half-images
is best
transformation.
a sequence
passages
video-still
allows
undergoing
or
frame
in video,
consist
images
"frame"
is, because
constantly
these
Moreover,
lated, which
is
image
characteristics;
specific
are central.
that
image,"
that
photography,
or
frame
(since
half-images
can
be
reverse
modu
constantly
and
movements,
figurations that are reversible and can be endlessly repeated in feedback. The
flexible, unstable, incoherent, and nonfixed forms of the video image Iwill refer
to as
imagery.
Video also differs from television and film due to the function of the appa
ratus specific to each medium. While television and film both maintain their
specifically fixed setting of temporal-spatial relationships between the projection
(film) or transmission (television) and the positioning of the viewer in the pub
lic space of the cinema or the private space of the living room, video differs in
no
it has
that
model
coherent
of viewing
perspective.
In contrast
in modular
presentations
is no
there
structure
the appearance
of
to this
between
model
of
of
electronic
to its open
Due
the electronic
systematic
from
video
be plugged
together,
the placement
appears
so
the apparatus
of
the viewer.
addressing
Renaissance
construction,
can
the machines
relationship
temporal-spatial
exchange
developed
of distance
of perspectival
system
wherever
systematic
the medium's
not
It has
comparable
its apparatus
borrows
structure.
apparatus
Video's
and
open
possibilities
waveforms.
apparatus?the
image?video,
and
processing
despite
transformative
as an
its status
characteristics
shares
medium,
analogue
significant features of the digital. Both the electronic and the digital media forms
of video have the potential to produce imagery in any direction and dimension
in an open
structure.
In video,
these
fields.
image
early
that enabled
keys
as
1973, video
the video
almost
developed
up
to six video
The multikeyer
5. See Jeffrey Schier, "Description of the George
Brown Multi-Level Keyer," April 21, 1992, unpub
lished document, Daniel Langlois Foundation,
Steina andWoody Vasulka Fonds, VAS B37-C2-3.
sources
is a real-time
ground
in such ways
elements
are
to control
to appear
in
and
processor
that apparent
simulated.
The
to
artist
unstable
connections
generic
the modular
waveforms
and
algorithmic
ority
As
in the flexible
result
operations
relations
tool
multiple
has
in one
layers
digital,
between
video
output.5
tool
programmable
and repositioning
combines
of
function and
of keyed image
foreground
analogue
mixers
and
and
back
keyers
(the
with
to
programmable
and
sequencing
transition
early
from
tools
plug-in
devices.
programmable
work
an
shows
such
as
tools
and
late, modulate,
synthesizers,
control
and
keyers,
the flow
of
electronic
to
processors
image
and
signals
manipu
in
their waveforms
that deliberately departed from the coherent image and the usual televisual
ways
of
appearance
the electronic
a coherent
tain
form.6
in which
form,
The
structural
the video
openness
is "forced"
signal
the electronic
of
to main
deter
image
itsmaneuverability
and technically connected video to digital processing.
This development at the same time departed from the cinematic form of the
mined
computers
would
codes,
by
that
and
numbers,
real
change
the visual
rather
symbols,
than
came
appearance
electrical
by
to be driven
energy
in
(as
video),
in the medium.
electronic
and
when
only
occurred
Although
its modular
It was
do.
"flow"
nevertheless
capacities
result
from
analogue
plug-in
operations and not from the programming of symbols and code, aswith digital
imagery. Modular elements like keyers were in fact building blocks toward the
as a
to process
ability
(with asmany
tions.
video
Analogue
and
cations,
video
tools
also
at which
differs
largely
dial
from
other
nature
ence
starts with
of
these
tools
of video
and
videotapes
langlois.org/flash/e/index.php?NumPage=461.
and
tique
Joan
video
and
with
of media
Jonas,
and
installations
art; for
and
art
appli
in the
digi
techniques
a new
of
and
film,
instruments
allows
them
The
videographic
practices
from
forms
the end
that contrast
the most
part,
institutions
Les Levine).
Another
the
these
of
(for
example,
direction
the
of
electric
the
1960s
are
Vito
is taken
and
of
of video
structurally
The
differ
format
Acconci,
in video
VI
energy.
to the present,
o'
S3
interested
artists
by
intention
language
but
work.
institution
artists
the
to computers.
connected
from
out
arts with
tools,
interme
hypermedia.
aesthetic
of plug-in
to be
video
in the
carried
largely
to
the ability
role
complex
the fine
medium.
with
major
the more
was
electronic
of
stage
characteristics,
that
converge
plays
and
computer
performance,
technical
a technical
media-specific
media
in video
the departure
In an overview
func
processing
connections
techniques
these
of
analogue
music,
in the
open
connections
plug-in
share
clearly
media
demonstrates
Because
to the formation
grounded
modular
transformation
the emerging
of
contributing
is
the
experimentation
came
who
from
processes
The
as
operated
computers
digital
of video
in the computer.
process
they
structure
the audiovisual
and
foreshadows
applications
but
would,
computer
of
television
in the visual
Dara
works
Birnbaum,
that
cri
structurally
the relationships
explore
to
passages
and
hypermedia
of
(for
applications
and music
text,
sound,
image,
interactive
and
develop
Robert
example,
Cahen,
and
expressions
image-sound
to
seeks
expand
of
imagery
technological
visuality
Does
Difference
From
a historical
elements
that
its aesthetics.
and
Matter?
relevant
perspective,
discourses
history commonly
emergent
to the medium
specific
technological
the aesthetic
The
developments.
and
media
of
these
studies
on
analogue
art
and
to play roles in
continue
builds
argument
achievements
cultural
of both
the observation
of
techniques
technologies.
where
the electronic
to mix
problem
terms
nical
same
the
line of
is included
medium
the vocabulary
of
so
synonymously
almost
argument
and
"electronic"
that differentiation
seen
it is not
two
the
as a
to use
and
"digital"
between
Even
video.
neglects
in the discussion,
the
forms
tech
of
is effaced.
media
Historians
and
cating
see
generally
remediating
the new,
artforms,
previous
technical
computer-based
also means
which
as
tools
causing
redupli
already
existing media forms (for example, still and moving images) to cross and con
verge. This hybridization is possible through increasingly sophisticated simula
tion
devices
most
part,
that perform
we
are
extended
and
transformation
with
confronted
reworking,
For
transfiguration.
and
remodeling,
the
various
sampling
shaped
straints
for up-to-date
There
that video
are
factors
entered
in many
media
technical
set
will
the
tone
devices
and
of
and
cultural
fac
computer-generated
strongly
the con
determine
experimentation.
two ways
has
conceived
economic,
social,
vocabulary?among
by newly
these media
imagery,
sented
aesthetic
to understand
video
arena
of media
larger
applications,
such
in this media
production
as video-film,
picture.
and
video
One
is to say
as a result
is repre
installations,
and
video clips onWeb sites; once video was successfully established as a proper
3
medium,
it then
converged
into mixed-media
forms.
And
due
to the wide
range
ics within
stable
the media
but
where
system
Because
shifting.
its flexible,
of
with
interrelationships
and
nonfixed,
unstable
does
not
ers. The
on
somewhere
observation
but
as an
and
practices
holds
analogue
is a multipurpose
has
its own
created
interme
comput
digital
instrument
it has
that historically
not
an
of
and
cultural
would
a
into
spread
it
its own,
of
features
the position
between
apparently
indication
arts but
have many
rather
the continuum
that video
be understood
of media
it cannot
because
a real medium,
constitute
state,
diary
then
at all. And
specificity
video
structure,
it cannot employ
are not
media
other
variety
view
This
forum.
misunderstands
A closer
look
a second
reveals
to understand
way
Because
the medium.
video was aesthetically different from film and television and despite its poor
image quality and limited applications, video was welcomed by experimental
of performance,
practitioners
for new
means
of
to transgress
expression
institutions.
established
was
Video
the
back,
seen
and
as a new
were
were
who
events,
looking
territories
medium
of
not
and
as an
of the electronic
of presentation
immediacy
Fluxus
the vocabularies
clearly
and
Happenings,
means
expressive
of
an
emerging
video culture. AsWoody Vasulka put it, "Video feedback is a dynamic flow of
created
imagery
the camera
by
at its own
looking
It was
monitor.
often
still
(and
was
The
critique
to ride.'"7
wave
'a religion?a
a proper
is not
that video
was
medium
also
in the
forward
put
early days of video. Itwas precisely because of the characteristics of video relating
to the constant
the medium
found
that
the waveform
of
transformation
In addition,
unacceptable.
the
in the
filmmakers
video
1970s
black-and-white
small-scale,
image had very low resolution and lacked depth of field. The rejection of video at
firstmeant itwould be neither accepted at film festivals nor discussed in relation to
art. Later,
nomic
film
in the
reasons,
format
on
were
but most
and not
video
started
filmmakers
1980s,
interested
in
only
producing
for
video
with
working
in
equipment
in conventional
shooting
the medium.
Furthermore,
for eco
feature
video
for a long period was not acceptable to the artmarket: it did not enter collections
and museums,
and
itwas
too
considered
poor-quality,
art where
there was
strong
concern
with
fragile,
and
difficult
to pre
In addition
video played an important role for political groups that had no media expertise but
were dissatisfied with media coverage in institutionalized television. Many of these
independent
television
groups,
however,
later moved
into
the
television
system.
S
O
S3
Some
technicians,
technology
the aesthetic
forms
new
build
and
engineers,
abstract
of
not
pioneers
Artists
and
on
available
in the new
engaged
video.
that were
devices
computer
worked
engineers
the market,
to
together
for manipula
generally
effects were also applied to the existing televisual image. Paik especially was
interested in defamilarizing the television frame, while the Vasulkas sought to
create
video
between
from
imagery
the electronic
from
scratch,
and
other
and Hill
signals,
similarities
explored
systems.
language
Because of the diversity of these activities and their focus on the immediacy
of
live medium,
the
video
concern
growing
video
with
Iwould
to
like
than
determine
feedback
the basic
which
forms,
the
from
in archives
From
of
and
is a
collections,
that difference
As
by
there
this media-historical
early
in the abstractness
susceptibility
today, when
electronic
does
matter:
to discuss specificity
it be possible
of video.
lies
specificity
results
art
the argument
strengthen
characteristics
demonstrates,
Even
film.
to institutionalization,
prone
of video
secton
smaller
not
and museums.
the preservation
a much
represents
perspective,
was
recently
in cinemas
the work
with
comparison
until
experimentation
with
of
wave
transforming
to
signals
processing.
aesthetic
an electronic
of
forms.
Second,
vocabulary
a narrow
in interrelation
developed
on
perspective
the
exist
with
introduction
of video
on
debates
of video
When
can
the conversation
video,
to film
comparable
arrive
the debates
purely
of various
the convergence
theory
become
at the actual
academic.
technical
theory
to
media
provide
of
materiality
and
so on
is not
is not
taken
into
addressed.
account,
when
Furthermore,
video
can
This
easily
be
occurs
tools
the necessary
a work,
in
mainly
that have
body
orientation.
issue
the
no
of whether
aspect
as a
of
technologi
cal step between film and computer, which not only undermines the existence
of the medium, but3 downsizes video into a "little sister" of television. Video
becomes
nothing
more
than
a tool
that entered
the market
with
the
nonprofes
limited historical
television
and
the
and
performing
about
informed
dynamic
not
structure?has
Although
museums
aesthetic
riding
some
into
of video
poration
extent
in video.
Another
era
and
more
this move
of
has
in
aesthetics
in virtual
curators
about
specific
when
media.
incor
This
also
may
increas
of motion
technique
as video
eludes
to
explain
demonstrated
recently
larger media
tool
the over
Again,
practices
have
video
the
medium,
interesting
media-specificity.
as a visual
is welcomed
video,
"old"
an
into
contemporary
not with
toward
as an
turned
and museum
and
arises
challenge
and
sequences
the electronic
of
exhibition,
Video
in the video
techniques
of video
prerequisite
technology,
is or was
What
immediacy.
art,
art historians
why
interest
video
stations.
broadcast
attention
its own
in newer,
is with
and
of video
the categorization
productions
concern
to its open
video?due
more
implementations
One
collections.
because
cinemas
like
needs
arts produce
outlived
also
adaptations
the
and
to be
that has
something
ing
and
seems
however,
for
recent
the
installations
institutions
up
of media-specificity
nevertheless
debates,
multimedia
but
technologies,
built
the matter
arts.
installation
and
discussion.
seems
development
to
sameness
and
loss of differentiation
becomes
seemingly
they
introduced
to video,
seems
there
More
media.
seen
longer
to be no
and
the early
are
computer
So once
the
and
computer
shared
We
process
then
ogy
when
analyzing
we
to understand
wish
exclude
in emerg
ahis
is
"digital"
video
and
abandoned.
completely
a rather
the rubric
intersection
anachro
a new paradigm
including
to talk about
need
debates.
rather
separate development
as distinct.
important,
of video
evolves,
inevitably
of the historically
are no
computers;
ing properties
in critical
interest
of
topic
torical understanding
as distinct
to be
in video
media-specificity
nistic. Following
of
cease
them
among
consideration
a technol
how
a medium.
becomes
in parallel to the stated collapse of video into the digital is the seem
the
of
convergence of film and video under the new umbrella. "For
ing logic
Almost
instance,
it is common
or
a DVD
when
of
a film
or movie
whether
what
there
we
to say
actually
and why
that we
mean
recourse
(without
this matters
substituted, while
question,
for us
are
going
is that we
to
of
to watch
intend
celluloid)....
in the process
a film
to watch
Itmay
convergence,
on
video
recording
be worth
asking
video
been
has
is a need
to re-examine
the development
of video
as a medium
w
I o'
C-?
S
its incorporation
and
film
into
in turn,
and,
Two
within
the argument
of
aspects
while
form,
digital
its simulation
that video
technological
never
technology,
we
when
examination
fully
at the
look
developed
technology
in contemporary
arts
media
development
become
is not
obsolete?because
works
since
form.
it as an old
regard
driven
necessarily
direction
1990s. A close
the
in video
involved
newly
itsmedia-specific
as an electronic
of video
domain."8
has
in video
the artists
that
suggests
with
comparisons
medium?converge
increase
sudden
some
making
the digital
by
Instead,
and
exploration
the artists
further
on
draw
video
installa
techniques in film (interactive cinema installations), inmultiple-screen
tions (mainly of narrative sequences), and in virtual-reality settings (which use
video
are
to convey
applications
The
less
Iwant
point
concerned
with
painting
is that
recent
work,
older
give
of
examples
medium
of video
interactive
installations
and
the
enrich
film
forms:
a means
video
For
medium.
example,
discuss
elements
video
recognize
per
A different
interactive
and
mances
expand
virtual-reality
techniques
we
installations,
of video.
in conjunction with
not
do
forms
Seaman
the visual.
of
since
the
late
These
Striking
1980s
works
1970s, when
artists
many
presented
exploit the
demonstrate
video's
examples
and
the works
the computer-noise
to the
early
of
and multimedia
capacities
performative
of Bill
and
to
type of media
computer-generated
the
media,
service
se.
interactive
of
in the
implemented
and
are brought
such
of new
technique
video
in
are
sequences
with
instance,
movement
in the context
and
installations"
for
cinematic
and
Evidently,
become
in which
"new"
media
the variety.
has
"video
contemporary
other
with
works,
of movement).
such
than with
video
in Bill Viola's
sense
the
to stress
video
of
perfor
live performances
in
parallel and created "live" effects with video processors. Works by both Sandin
and
capacities
art
The
8. Stephen Partridge, "Video: Incorporeal,
Incorporated," inExperimental Film and Video An
Anthology, ed. Jackie Hatfield (Eastleigh, UK: John
Libbey Publishing, 2006),
180-81.
discussed
Stout,
the electronic
of
that uses
digital
Electronic
that
demonstrate
below,
medium
continue
the processing
to thrive
and
transformative
in contemporary
media
computers.
Medium
3
The
emergence
processes
and
of
not
a medium
in breaks
usually
and
occurs
ruptures
through
that would
dynamic
draw
and
divisions
interrelated
in media
history of the "before" and "after" kind (in painting, film, video, digital media,
and so on).This
in the consideration
play
as an electronic
of video
medium:
to an
relationship
its semiotic
institution,
disseminated,
or design
its means
of thismeans,
relational
criteria
configurations,
possibilities
and
come into
"Various
are put
that
devices
of
the ways
it is
in
or
place
etc."9
induced,
To the extent that video departs from the frame-bound imagery that is
essential to photography and film and transgresses the standardized format of
the televisual image, an electronic language is put into place. The possibilities
of
electronic
mean
manipulation
the
that
scale,
form,
and
directions,
dimensions
apply
as well,
exist
in video
from
apart
the
standard
in fact
broadcast
for
mats
but
it was
ming
and
with
only
functions
the construction
connection
of video
were
and
video
with
and
1970s
introduced
around
In
1980.
always
evident.
ana
entailed
the video
ways,
significant
program
between plug-in
became
computer,
in the
computer
and
memory
logue computers,
cessing
between
devices,
programming
The
of processors
line pro
Dan
pioneer
Sandin took the first steps in video toward digital computers when he described
the programmable functions of his analogue computer. The Analog Image
Processor, which Sandin developed in 1972, could modulate the video signal in
various
and
ways
combine
multiple
operations:
ways
plex
video
optimized
naturalistic
or
displays
recorder,
tape
or
the real
similar
the
result.
device
can
of
processing
modifies
images,
stores
time
and
combines
television
images.
in com
them
film
camera,
to encode
be used
general purpose
video
chain,
moving
images
image
through
various
9. Gaudreault
inter-connection,
modules
processing
thereby
are designed
As
logue
this
as
biological
early
computer
and
maximizing
environmental
experimentation
functions.
Artists
out
tomaximize
to a monitor
or
the possibility
of possible
sensors."IO
video
treat
the visual
could
ana
incorporate
information
o?
t/1
S
modifica
demonstrates,
could
then
the number
and
of
the
image
EL
Dan
USA,
Sandln, Analog
Image Processor,
1972 (photograph
by Dan Sandln)
field differently from the standard frame-format of television, setting video aes
from
apart
thetically
don a photographic
audio
and
visual
television.
abstraction
Through
and
because
video
characteristics
sign
later
of
can
aban
could present
developments
in digital computer graphics. Sandin himself led the way from analogue to digi
talwhen he described how video signals encode information. At the end of each
individual scan line and especially at the end of the bottom line, the signal needs
to return
nization
to the
of the bottom
this
perform
information"
To
position.
starting
at the end
pulses
of
line
each
adjust
and
also
the
video
image,
needs
synchronization,
: "The
actual
video
Sandin
information
refers
to
horizonal
that it needs
technically
to
as "encoded
only
in the
They
are controlled
is encoded
synchro
at the end
pulses
vertical synchronization
scanning
"
lines from left to right."
While in principle video effects are not systematic but live-processed and
reason early pioneers developed devices to better control the
unpredictable?the
3
and modulation of the signal? digital effects, by contrast, result
manipulation
from
numeric
the program
operations
and
and
the programmer,
are
structurally
who
might
systematic.
admit
that uncontrollable,
by
chaotic
(artwork
occur.
sometimes
phenomena
on
depends
line
processing
is that video
difference
is therefore
In the
digital
medium.
time-based
The major
and
since
temporal,
domain,
no
has
development
modulation
is a linear,
video
spatial
or
tem
computer
concern
the
and
medium,
access
is with
and
storage.
comes
This
digitally.
as no
can be
others,
computer
is especially
programming
Stout.
by David
with
cal elements
He
machine
structures
and
synthesize
film,
interchangeability
raw material
in the computer.
chaotic
performance
the early
video-noise
interactive
perfor
and musi
audio,
visual,
with
performances
computers,
on
draws
interactive
dynamic
In his
performances.
audio-visual
video
in
that
signals to nonlinear
of electronic
in the
clear
to
seeks
seen
already
simulated.
have
we
since
surprise,
of noise
concepts
videographic
"My
a common
shares
in interactive
work
origin
installation
in the use
of video
the
and
of
and
noise
produce
of
images
and
sounds.
One
common
process
to all
the works
retical chaos and suggest the potential power of artificially intelligent sound
a
image
engines."
As
in audiovisual
computer
in video,
transformation
sound
generate
from
directly
visual
the feedback
and
synthesis,
in the
processes
the visual
output
is fed back as input. This work develops variations on graphic patterns through
feedback and digitally modulated waveforms, and through changes in scale,
velocity, and themultiplication of the information that result in infinite new
formations
fosters
12.David Stout, "Introductory Notes on the
Work of David Stout," unpublished notes provid
ed to the present author.
of
to
chaotic
analogue
The work
image.
the audiovisual 3
the essentially
contrast
the
structure
behavior
video,
reveals
of
of
processing
of
the processes
the electronic
the elements
medium,
characteristic
in the
digital
realm
abstraction
and
of
also
in video,
exemplifies
In
the medium.
represents
just
one
for performing
option
to create
visuals
from
image;
computer-generated
numbers
and
is a multitude
there
of ways
symbols.
Just as themedium of film generates the image* form of the frame, video
as amedium is by its nature inclined to processing, while the digitally encoded
image that results from programming can theoretically generate all possible
forms.
image
In a comparative
examination
of the electronic
to processing
streams
characterize
together
of media
forms,
technical
conditions
the predisposition
that ground
the
realization
of the aesthetic forms specific to video. Once these specific presentational forms
were established, video developed into amedium. This brief history of the audio
visual
medium
of video
also
technology
amedia
medium
to medium.
demonstrates
that
the articulation
of
an electronic
first
steps,
however,
toward
the articulation
of
Yvonne Spielmann (PhD habil.) is professor of visual media at the Braunschweig University of Art,
Germany. She is the author of Eine Pf?tze in bezug aufs Mehr: Avantgarde (P. Lang, 1991 ), Intermedialit?t:
Das System Peter Greenaway ( 1998), and Video: Das reflexive Medium (2005, forthcoming from MIT Press as
Video: The Reflexive Medium). She is currently writing on hybridity indigital media arts. http://www.
yvonne-spielmann.com
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