Part Five: Television As A Creative Medium
Youngblood describes the videosphere, in which computers and televisions are extensions to man's central nervous system. He is optimistic about technological advances and predicts TV-on-demand by 1978 (pp260–264). He does acknowledge, however, that data retrieval is more complicated than data recording. The various processes involved in video synthesicing are described: de-beaming, keying, chroma-keying, feedback, mixing, switching and editing (p265-280). The work of Loren Sears is neuroeasthetic because it treats television as an extension of the central nervous system (pp291–295). The curator James Newman moved from a traditional gallery to a conceptual gallery with his joint project with KQED-TV, commissioning television work from Terry Riley, Yvonne Rainer, Frank Zappa, Andy Warhol, The Living Theater, Robert Frank and Walter De Maria (pp292–293). Nam June Paik has worked creatively with television (pp302–308). Les Levine exploits the potential of closed-circuit television (pp337–344).
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Famous quotes containing the words television and/or creative:
“The television screen, so unlike the movie screen, sharply reduced human beings, revealed them as small, trivial, flat, in two banal dimensions, drained of color. Wasn’t there something reassuring about it!—that human beings were in fact merely images of a kind registered in one another’s eyes and brains, phenomena composed of microscopic flickering dots like atoms. They were atoms—nothing more. A quick switch of the dial and they disappeared and who could lament the loss?”
—Joyce Carol Oates (b. 1938)
“All in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act. This becomes even more obvious when posterity gives its final verdict and sometimes rehabilitates forgotten artists.”
—Marcel Duchamp (1887–1968)