The curator who founded MoMA's video program recounts the artists and events that defined the medium's first 50 years Since the introduction of portable consumer electronics nearly a half century ago, artists throughout the world have adapted their latest technologies to art-making. In this book, curator Barbara London traces the history of video art as it transformed into the broader field of media art - from analog to digital, small TV monitors to wall-scale projections, and clunky hardware to user-friendly software. In doing so, she reveals how video evolved from fringe status to be seen as one of the foremost art forms of today.
(source: Nielsen Book Data)

• Nam June Paik's Participation TV
• Paul Ryan's Everyman's Mobius Strip
• Thomas Tadlock's Archetron
• Eric Siegel's Psychedelevision in Color
• Charlotte Moorman's first performance of Paik's TV Bra For Living Sculpture
• Ira Schneider's collaboration with Frank Gillette on the installation Wipe Cycle.

In May of 1969, the Howard Wise Gallery in New York presented TV as a Creative Medium, the first exhibition in the United States devoted entirely to video as a form of art. Schneider recorded this historical document of the landmark exhibition. Soon after the exhibition Howard Wise closed his gallery and in 1971 founded Electronic Arts Intermix, a nonprofit organization dedicated to the support of video as a means of creative expression.

• Featured works: Wall piece
• Crossbow
• Liminal objects
• Reflex chamber
• Conundrum
• Remarks on color
• Suspension of disbelief
• I believe it is an image in light of the other
• Why do things get in a muddle? (Come on Petunia)
• CRUX
• Primarily speaking
• Mediations.

In this program video artist Gary Hill uses a number of his pieces to investigate otherness and ambiguity, dislocation of the senses, the boundary between words and comprehension, the physicality of text, and figurative interactivity.

Throughout the history of cinema, a radical avant-garde has existed on the fringes of the film industry. A great deal of research has focused on the pre- and early history of cinema, but there has been little speculation about a future cinema incorporating new electronic media. Electronic media have not only fundamentally transformed cinema but have altered its role as a witness to reality by rendering "realities" not necessarily linked to documentation, by engineering environments that incorporate audiences as participants, and by creating event-worlds that mix realities and narratives in forms not possible in traditional cinema. This hybrid cinema melds montage, traditional cinema, experimental literature, television, video, and the net. The new cinematic forms suggest that traditional cinema no longer has the capacity to represent events that are themselves complex configurations of experience, interpretation, and interaction. This book, which accompanies an exhibition organized by the ZKM Institute for Visual Media, explores the history and significance of pre-cinema and of early experimental cinema, as well as the development of the unique theaters in which "immersion" evolved. Drawing on a broad range of scholarship, it examines the shift from monolithic Hollywood spectacles to works probing the possibilities of interactive, performative, and net-based cinemas. The post-cinematic condition, the book shows, has long roots in artistic practice and influences every channel of communication.
(source: Nielsen Book Data)

• Interactive installations: Very nervous system
• Self search
• Plasm: a nano sample
• Videoplace '88
• Interactive video kaleidoscope
• Lego/logo
• Word processor, birdcage
• Interactive image. Video: Countdown
• Jabjabland
• Polly gone
• Eclipse
• Looking in
• Deltoid, a drinking man
• Bau
• Fractal fantasy
• Open school/computer animation
• Oh, Atsimenu Nameli
• Urban memories
• Thundering scream of the seraphim's delight.

A juried collection of 2D, 3D, interactive and video work.

• Migration (1976, 7 min.)
• The reflecting pool (1977-79, 7 min.)
• Ancient of days (1979-81, 13 min.)
• Chott el-Djerid, a portrait in light and heat (1979, 28 min.).

Four video art works, "each structured around a solitary movement, moment or phenomenon..."--External container.

The technique of vertical roll is used structurally and rhythmically to create perceptual illusions.