|
Year |
Event |
| 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
MIT, RAND, and 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 |
|
| 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 |
| 1967 |
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 |
|
1969
|
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. |
| 1969 |
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. |
