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:
“Television ... helps blur the distinction between framed and unframed reality. Whereas going to the movies necessarily entails leaving one’s ordinary surroundings, soap operas are in fact spatially inseparable from the rest of one’s life. In homes where television is on most of the time, they are also temporally integrated into one’s “real” life and, unlike the experience of going out in the evening to see a show, may not even interrupt its regular flow.”
—Eviatar Zerubavel, U.S. sociologist, educator. The Fine Line: Making Distinctions in Everyday Life, ch. 5, University of Chicago Press (1991)
“The passion for destruction is also a creative passion.”
—Mikhail Bakunin (1814–1876)