Subject: Experimental Television Center - USA




1960 NYS Legislature creates the New York State Council on the Arts
1960 During the 1960s representatives of moving image archives, originally known as the Film and Television Archives Advisory Committee (F/TAAC), begin to meet
1960 First timebase corrector
1960-1969 Work on cooperative networks of time-sharing on computers, sponsored by ARPA
1961 NYS Legislature creates the New York State Council on the Arts. NYSCA  receives initial funding of $450,000
1961 The New York State Council on the Arts commissioned Robert Bell to make Watching Ballet, a 16mm film with Jacques D'Amboise and Allegra Kent demonstrating ballet technique.  The film, completed in 1963, was used in the Ballet Society's touring educational programs.
1962 Ampex 2" Helical video recording equipment. First popular helical system.
1962 Filmmaker's Co-op founded, New York Cit
1962 Editec allows frame-by-frame animation on a videotape recorder
1963 "Television Dé-Coll/age" exhibition by Wolf Vostell, Smolin Gallery, New York City. First U.S. environmental installation using a television set.
1964  1964
SONY 1" video recording format
The Swedish artist Ture Sjolander making his first elctronic experiments together with Kristian Romare at the National Swedish Television. Titled: 'The Role of Photography' simultanious exhibitions at Gallery Karlsson, Stockholm 1964 and 1965.
1964 Ford Foundation funds independent filmmakers
1964 "Jazz Images," producer, Fred Barzyk presented by WGBH-TV
1964 First public demonstration of satellite television feed using a stationary satellite.
1965 Congress creates the National Endowment for the Arts
1965 "Electronic Art" exhibition by Nam June Paik at Galeria Bonino, New York City. Paik's first gallery exhibition in the U.S.
1965 "New Cinema Festival I" (Expanded Cinema Festival), The Film-Makers Cinematheque. Organized by John Brockman. Festival explores uses of mixed-media projection, including viseo, sound, and light experiments
1965 Legislation creates the National Endowment for the Arts, which establishes The American Film Institute. One of the goals of the AFI is to preserve our heritage of film and television.
1965 Rockefeller Foundation began to fund artists for experimentation with video.
1965 In August 1965, NYSCA Executive Director John Hightower convened an advisory group to discuss ways the Council could help disseminate distribution information and tour films to communities throughout the state. (2) The group included Ralph Hetzel, the acting head of the Academy Of Motion Picture Arts and Sciences; Margareta Akermark, from the Museum of Modern Art's Film Library; Amos Vogel, founder of Cinema 16 and Program Director of the newly-founded New York Film Festival; and producers Arthur Meyer and Dore Shary, who soon after became the first Commissioner of New York City's Department of Cultural Affairs. This resulted in the Film Project, under the direction of Peter Bradley.
1965 Sony introduces 1/2" CV-2000, the "first" consumer video format,
1965 Precision Instruments introduces Variscan which allows continuously variable playback speed.
1965 Independent Electronic Music Center, Trumansberg, New York. Founded by Robert Moog and Reynold Weidenaar in 1965.  Weidenaar  was connected with the Center from the Summer of 1965 to February 1969, and edited Electronic Music Review.
1966 Film Program established at New York State Council on the Arts (NYSCA). First government funded touring film program, funds for media in schools, and for film rentals and guest speakers.
1966 Experiments in Art and Technology (EAT) founded. Supports collaborations between artists and engineers. Billy Kluver, founder. EAT sought to pair artists with engineers, and worked with Robert Rauschenberg, Jasper Johns, John Cage and Andy Warhol. Some collaborations were exhibited at the World Expo '70 in Osaka, Japan.
1966 "9 Evenings: Theater and Engineering" at the 69th Regiment, New York City.  Organized by Billy Klüver and EAT. Mixed media performance events with collaborations between ten artists and forty engineers.  Video projection used in works of Alex Hay, Robert Rauschenberg, David Tudor and Robert Whitman.
1966 "Selma Last Year" by Ken Dewey, New York Film Festival at Lincoln Center, Philharmonic Hall Lobby, New York City. Multichannel video installation with photographs by Bruce Davidson, music by Terry Riley
1966 Contemporary Voices in the Arts toured Stan VanDerBeek and Billy Kluver to colleges for workshops and public presentations. Supported by New York State Council on the Arts.
1966 Experiments in Art and Technology (EAT) organizes Nine Evenings: Theater and Engineering in New York City October 1966.
1966 Challenge for Change program was begun in 1966 to create films and later videotapes about the social concerns of various Canadian communities. INn1968 George Stoney becomes Director.
1966 "TIME" - b/w, Commissioned by the National Swedish Television. Electronic paintings created with a termporarily built video synthesizer, by Ture Sjolander and Bror Wilkstrom, televised in  September 1996. 30 minutes.  Ture Sjolander has written, "TIME is the very first  ‘videoart'-work televised as an ultimate exhibition/installation statement, televised at that point in ‘time' for the reason to produce an historical record as well as an evidence of ‘original' visual free art, made with the electronic medium - manipulation of the electronic signal - and ‘exhibited/installed through the televison,  televised."
1966-1977 Peter Bradley, Director of Film TV/Media and Literature Program 1966-1977
1967 New York State Council on the Arts (NYSCA) Film Project is reorganized as Film Program. Supports film tours, production training, equipment access and film appreciation.
1967 The Film Club, 16mm production workshop for Lower East Side teens, organized by Jaine Barrios. One of the first funded 16mm film production workshops.  Funded by the New York State Council on the Arts (NYSCA).
1967 Channel of Soul, 16mm  film workshop, Buffalo, directed by Pamela Dodes Felderman. One of the first funded 16mm film production workshops.  Funded by the New York State Council on the Arts (NYSCA).
1967 The Movie Bus, organized by Rodger Larson. Funded by the New York State Council on the Arts (NYSCA) to tour New York City boroughs, screening Film Club productions.
1967 Museum of Modern Art (MOMA) receives New York State Council on the Arts (NYSCA) support for its Film Department
1967 National Endowment for the Arts (NEA) establishes the Public Media Program
1967 The American Film Institute (AFI) is founded
1967 "Light/Motion/Space," Walker Art Center, Minneapolis in collaboration with Howard Wise Gallery, New York City.  Travels to Milwaukee Art Center. Includes video works by Nam June Paik, Aldo Tambellini and others
1967 "Festival of Lights" at Howard Wise Gallery, New York City. Exhibition of kinetic lights works that include video works by Serge Boutourline, Nam June Paik, Aldo Tambellini and others
Rockfeller Foundation awards first video fellowship
The Swedish artist is  making MONUMENT -electronic art, black&white calligraphy - 1968 - 1970  televised in most European nations,  national television.
1967 "Electronic Blues" by Nam June Paik in "Lights in Orbit," Howard Wise Gallery, New York City. Viewer participation video installation
1967 WGBH-TV inaugurates artist-in-residence program with grant from the Rockefeller Foundation
1967 "What's Happening Mr. Silver?" television production at WGBH-TV, Boston, hosted by David Silver . Experimental collage/information series in which several dozen inputs are mixed live and at random
1967 Experimental Television Workshop at KQED-TV, San Francisco.  Directed by Brice Howard and Paul Kaufman.  Established with a Rockefeller Foundation grant
1967 Organization and Location of the American Film Institute, or the Stanford Report published. This was a research study assembled before the creation of the American Film Institute, and addressing questions about this soon-to-be-created AFI. "The authors of the report had little interest in either the non-feature-length film (a prejudice they acknowledged) or the possibility of encouraging regional development of film activity. " (from Report 11979: NAMAC, published by AIVF). The model of a centrally located center for film study and education was adopted; the AFI was located in Los Angeles, with a second operation in Washington, DC. A structural model using satellite or regional affiliates was rejected. The AFI was to be the most visible and public entity in the film and media field.
1967 Experiments in Art and Technology, Billy Kluver, Director. Funded by  the New York State Council on the Arts (NYSCA).
1967 IVC introduces 1" helical video recorders
1967 Sony introduces CV-2400, the first Porta-Pak
1967 ARPANET design discussions held, meetings among three independent teams working on packet networks (RAND, NLP- National Physics Lab in England -  and ARPA)
1968 SONY 1/2" video recording format
1968 The American Film Institute (AFI) begins funding independent film and video production
1968 New York State Council on the Arts (NYSCA) Film Program, international short film exhibition at the Syracuse State Fair
1968 New York State Council on the Arts (NYSCA) works with Rodger Larson and Lynne Hofer to expand Film Club's workshops, working with organizations around the state through the Young Filmakers' Foundation
1968 New York State Council on the Arts (NYSCA) funds experimental media artists as part of "Intermedia 68," a theater workshop at the Brooklyn Academy of Music. Projects include environmental video performances, film projections and videotapes by Aldo Tambellini, Nam June Paik, Les Levine, Carolee Schneemann, Terry Riley, Dick Higgins, Ken Dewey, USCO and others.
1968 "Black: Video" by Aldo Tambellini in "Some More Beginnings," Brooklyn Museum, New York, organized by Experiments in Art and Technology
1968 "Electronic Art II" by Nam June Paik, Galeria Bonino, New York City
1968 "The Machine as Seen at the End of the Mechanical Age" exhibition at the Museum of Modern Art (MOMA).  Director of exhibition Pontus Hultén. Exhibition includes video art, particularly Nam June Paik's "Nixon Tapes," "McLuhan Caged" and "Lindsay Tape" on unique tape-loop device
1968 "Cybernetic Serendipity: The Computer and the Arts" exhibition at The Corcoran Gallery, Washington, D.C.  Exhibition organized at Institute of Contemporary Art, London; American showing augmented by work selected by James Harithas.  Includes video work by Nam June Paik. Travels to Palace of Art and Science, San Francisco.  Director of exhibition, Jasia Reichardt.
1968 Black Gate Theater, for electronic events, and Gate Theater, for experimental independent cinema, New York City, founded by Aldo Tambellini
1968 Commediation video group, New York City. Original members: David Cort, Frank Gillette, Howard Gudstadt, Ken Marsh and Harvey Simon
1968 Young Filmmakers/Video Arts, New York City founded, director, Roger Larson. Educational organization with training services, workshops and production facilities
1968 Ant Farm, San Francisco, an artists' media/architecture group, founded by Chip Lord and Doug Michels; joined by Curtis Schreier in 1971. Other members include Kelly Gloger, Joe Hall, Hudson Marquez, Allen Rucker and Michael Wright
1968 Land Truth Circus, San Francisco, experimental video collective founded by Doug Hall, Diane Hall and Jody Proctor
1968 The Electronic Eye, Santa Clara, California, video collective founded by Tim Barger, Jim Mandis, Jim Murphy, Michelle Newman and Skip Sweeney
1968 "Sorcery" by Loren Sears and Robert Zagone, live-broadcast program using special-effects imagery, Experimental Television Workshop, KQED-TV, San Francisco, California
1968 Ralph Hocking began the Student Experiments in Television project on the campus of Binghamton University. Along with students, community members were introduced to portable video production tools and techniques.
1968 Stanford Research Institute demonstrates keyboard, keypad, mouse, for word processing
EIAJ-1 1/2" video recording standard for color
The third project of a series of Electronic Paintings take place in Sweden. "SPACE in the BRAIN" by Ture Sjolander/Bror Wikstrom, and a group of swedish artists.
1969 New York State Council on the Arts (NYSCA) Film Program becomes Film and Television Program
1969 New York State Council on the Arts (NYSCA) Film and Television Program begins accepting applications for electronic media projects
1969 New York State Council on the Arts (NYSCA) Film and Television Program expands support for production through schools and community workshops
1969 New York State Council on the Arts (NYSCA) funds youth projects, Aldo Tambellini works with students and teachers in Rochester, Syracuse, Buffalo, Schenectady and New York City to experiment with creative potential of television
1969 New York State Council on the Arts (NYSCA) funds youth projects, Loft Film and Theater Workshop established, Bronxville
1969 New York State Council on the Arts (NYSCA) funds youth projects, library workshop in Albany and programs in several other counties
1969 New York State Council on the Arts (NYSCA) funds youth projects, Young Filmakers initiates distribution service for works produced under its auspices. One film, "The End," by Alfonso Sanchez Jr., screened at the Cannes Film Festival
1969 Experimental Intermedia Foundation  (NYSCA) supports multi-media experimentation, Elaine Summers Experimental Intermedia Foundation funded for projects at C.W. Post College
1969 New York State Council on the Arts (NYSCA) supports multi-media experimentation, Thais Latham funded to develop a multi-media music center in Brooklyn
1969 KQED-TV, San Francisco, Experimental Television Workshop renamed National Center for Experiments in Television (NCET), funded by the Corporation for Public Broadcasting and the National Endowment for the Arts (NEA). Paul Kaufman, Director. NCET published a series of reports: Video Feedback, Direct Video (Stephen Beck); Reflections on Values in Public Television (Paul Kaufman); Communication, Organizations and John Sturat Mill (Richard Moore); About Television Reality and Performance (Brice Howard); Television and Reality (Paul Kaufman); Talking Faces, Eating Time and Electronic Catharsis (Marvin Duckler); Suggestions Toward a Small Video Facility (Richard Stephens and Don Hallock); Reflections on Two Media (Bill Gwin); An Ancient Gift (Brice Howard).
1969 Commediation video group, New York City, disbands
1969 "Corridor" exhibition by Bruce Nauman, Nicholas Wilder Gallery, Los Angeles. Installation with video
1969 Center for Advanced Visual Studies, Massachusetts Institute of Technology (MIT), Cambridge, established for artists to explore art and technology.  Founded by Gyorgy Kepes, directed by Otto Piene
1969 Global Village, New York City, begins as video collective with information and screening center.  Founded by John Reilly, Ira Schneider and Rudi Stern.  Directors John Reilly and Julie Gustafson. Becomes media center devoted to independent video production with emphasis on video documentary
1969 Raindance Corporation, New York City, collective formed for experimental production.. Members:  Frank Gillette, Michael Shamberg, Steve Salonis, Marco Vassi and Louis Jaffee; soon after Ira Schneider and Paul Ryan, and then Beryl Korot
1969 Videofreex, New York, founded.  Experimental video group, members included:  Skip Blumberg, Nancy Cain, David Cort, Bart Friedman, Davidson Gigliotti, Chuck Kennedy, Curtis Ratcliff, Parry Teasdale, Carol Vontobel, Tunie Wall and Ann Woodward
1969 "The Medium is the Medium," WGBH-TV, Boston.  Produced by Fred Barzyk, Anne Gresser and Pat Marx.  First presentation of works by independent video artists aired on television. Thirty-minute program with works by Allan Kaprow, Nam June Paik, Otto Piene, James Seawright, Thomas Tadlock and Aldo Tambellini. Broadcast of "The Medium is the Medium" by  WGBH TV in Boston on March 23, 1969.
1969 "Subject to Change," SQN Productions for CBS, New York.  Produced by Don West.  Program of videotapes initiated by Don West with CBS and produced by Videofreex and other members of the video community. Videotapes produced on all aspects of the counterculture (alternative shools, communes, radicals, Black Panthers, riots, demonstrations, etc.)  Never broadcast.
1969 TV as a Creative Medium exhibition at Howard Wise Gallery May 17 - June 14, 1969 . Serge Boutourline (Telediscretion); Frank Gillette and Ira Schneider Wipe Cycle); Nam June Paik (Participation TV); Nam June Paik and Charlotte Moorman (TV Bra for Living Sculpture); Earl Reiback (Three Experiments within the TV Tube); Paul Ryan (Everyman's Moebius Strip); John Seery (TV Time Capsule); Eric Siegel (Psychedelevision in Color); Thomas Tadlock (The Archetron); Aldo Tambellini (Black Spiral); Joe Weintraub (AC/TV - Audio Controlled Television). Howard Wise is the introduction to program notes cites the obsolensence of the machine and the overwhelming effects of TV on culture and society.
Live television broadcast from the moon.
SPACE in the BRAIN by Ture Sjolander, Bror Wikstrom  - electronic spaceopera televised in Sweden. Color electronic paintings. 30 min.
1969 Accuracy in Media founded.
1969 RCA announces Selectavision Holotape, a holographic videotape recorder
1969 EIAJ standards for 1/2" recording help stabilize the consumer and educational markets, allowing for compatibility among devices
1969 Intel introduces 4 bit chip set. CPU is the 4004
1969 ARPANET commissioned by Department of Defense for research into networking. Nodes included UCLA, Stanford, U of California at Santa Barbara, U of Utah.