By Gabrielle Jennings, Kate Mondloch
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Extra resources for Abstract Video: The Moving Image in Contemporary Art
An example is Variations on Johnny Carson vs. Charlotte Moorman (1966), in which we see Moorman on the Johnny Carson television show in an impromptu performance which Paik transforms into a chance event through a video image which constantly breaks down. These works predate Paik’s own image-processing and colorizing system, the Paik-Abe Video Synthesizer, and the various other image-modifying and synthesizing tools created in the early 1970s. As in the case of my discussion of abstraction in film, I have chosen to highlight a specific body of works which focus on the chance occurrences and unique properties of the electronic medium unmediated by image-processed or post-production technologies; thus, I have not included the Rutt-Etra Synthesizer, the Paik-Abe Video Synthesizer, or the works of Shalom Gorewitz, Stephen Beck, Eric Siegel, Ed Emshwiller, Barbara Buckner, Peer Bode, or Matthew Schlanger, among others.
Nor did he wish to introduce his own content into the daily digest of programs in the form of innovative “arts” content. In what follows, the terms and implications of Kosuth’s nonauteurist infiltration of the medium of television will hopefully become a little clearer.
Here the three projectors were each placed at a different distance from the wall, creating projected images of different scale in relation to each other. He synchronized the movement of the three films through the projectors in order to develop visual relationships between the projected images. Because the two larger images are successive refilmings of the first, layers of time are created, disrupting and expanding the temporal dimension of the original footage. In Third Degree Sharits confronts the material basis of the film 2 2 • T r a n s m i s s i o n medium by burning the individual frames.