Open source describes practices in production and development that promote access to the end product's source materials—typically, their source code. Some consider it as a philosophy, and others consider it as a pragmatic methodology. Before open source became widely adopted, developers and producers used a variety of phrases to describe the concept; the term open source gained popularity with the rise of the Internet and its enabling of diverse production models, communication paths, and interactive communities.[1] Subsequently, open source software became the most prominent face of open source practices.
The open source model can allow for the concurrent use of different agendas and approaches in production, in contrast with more centralized models of development such as those typically used in commercial software companies.[2] The principles and practices are commonly applied to the peer production development of the source that is made available for public collaboration. The result of this peer-based collaboration is usually released as open-source, open source methods are increasingly being applied in other fields of endeavor, such as biotechnology.
December 8, 2009
July 23, 2009
The History of Video Art
The History of Video Art:
Video art is often said to have begun when Nam June Paik used his new Sony Portapak to shoot footage of Pope Paul VI's procession through New York City in the autumn of 1965. That same day, across town in a Greenwich Village cafe, Paik played the tapes and video art was born. This fact is sometimes disputed, however, due to the fact that the first Sony Portapak, the Videorover did not become commercially available until 1967. In 1959 Wolf Vostell incorporated a television set into one of his works, "Deutscher Ausblick" 1959, which is part of the collection of the Museum Berlinische Galerie possibly the first work of art with television. In 1963 Vostell exhibited his art environment "6 TV de-coll/age" at the Smolin Gallery in New York. This work is part of the Museo Reina Sofia collection in Madrid.
Prior to the introduction of the Sony Portapak, "moving image" technology was only available to the consumer (or the artist for that matter) by way of eight or sixteen millimeter film, but did not provide the instant playback that video tape technologies offered. Consequently, many artists found video more appealing than film, even more so when the greater accessibility was coupled with technologies which could edit or modify the video image.
The two examples mentioned above both made use of "low tech tricks" to produce seminal video art works. Peter Campus' Double Vision combined the video signals from two Sony Portapaks through an electronic mixer, resulting in a distorted and radically dissonant image. Jonas' Organic Honey's Vertical Roll involved recording previously recorded material as it was played back on a television — with the vertical hold setting intentionally in error.
The first multi-channel video art (using several monitors or screens) was Wipe Cycle by Ira Schneider and Frank Gillette. An installation of nine television screens, Wipe Cycle for the first time combined live images of gallery visitors, found footage from commercial television, and shots from pre-recorded tapes. The material was alternated from one monitor to the next in an elaborate choreography.
At the San Jose State TV studios in 1970, Willoughby Sharp began the “Videoviews” series of videotaped dialogues with artists. The “Videoviews” series consists of Sharps’ dialogues with Bruce Nauman (1970), Joseph Beuys (1972), Vito Acconci (1973), Chris Burden (1973), Lowell Darling (1974), and Dennis Oppenheim (1974). Also in 1970, Sharp curated “Body Works,” an exhibition of video works by Vito Acconci, Terry Fox, Richard Serra, Keith Sonnier, Dennis Oppenheim and William Wegman which was presented at Tom Marioni's Museum of Conceptual Art, San Francisco, California.
Many of the early prominent video artists were those involved with concurrent movements in conceptual art, performance, and experimental film. These include Americans Vito Acconci, John Baldessari, Joan Jonas, Dan Graham, Bruce Nauman, Peter Campus, William Wegman, Martha Rosler and many others. There were also those such as Steina and Woody Vasulka [1] who were interested in the formal qualities of video and employed video synthesizers to create abstract works.
Notable pioneering video artists also emerged more or less simultaneously in Europe and elsewhere with work by Wolf Vostell (Germany), Dieter Froese (Germany), Wojciech Bruszewski (Poland), Wolf Kahlen (Germany), Peter Weibel (Austria), David Hall (UK), Lisa Steele (Canada), Colin Campbell (Canada) and others.
Although it continues to be produced, it is represented by two varieties: single-channel and installation. Single-channel works are much closer to the conventional idea of television: a video is screened, projected or shown as a single image; Installation works involve either an environment, several distinct pieces of video presented separately, or any combination of video with traditional media such as sculpture. Installation video is the most common form of video art today. Sometimes it is combined with other media and is often subsumed by the greater whole of an installation or performance. Contemporary contributions are being produced at the crossroads of other disciplines such as installation, architecture, design, sculpture, electronic art, and digital art or other documentative aspects of artistic practice.
The digital video "revolution" of the 1990s has given wide access to sophisticated editing and control technology, allowing many artists to work with video, and create interactive installations based on video. Some examples of recent trend in work include entirely digitally rendered environments created with no camera, and video that responds to the movements of the viewer or other elements of the environment. The internet has also been used to allow control of video in installations from the world wide web or from remote locations.
Emerging in the 1970s, Bill Viola (USA) continues as one of the world's most celebrated video artists. Matthew Barney is another well-known American video artist, creator of the Cremaster Cycle. Other contemporary video artists of note include Americans Gary Hill and Sadie Benning, Pipilotti Rist (Switzerland), Shaun Wilson (Australia), Stan Douglas (Canada), Douglas Gordon (Scotland), Martin Arnold (Austria) and Gillian Wearing (UK).
Video art is often said to have begun when Nam June Paik used his new Sony Portapak to shoot footage of Pope Paul VI's procession through New York City in the autumn of 1965. That same day, across town in a Greenwich Village cafe, Paik played the tapes and video art was born. This fact is sometimes disputed, however, due to the fact that the first Sony Portapak, the Videorover did not become commercially available until 1967. In 1959 Wolf Vostell incorporated a television set into one of his works, "Deutscher Ausblick" 1959, which is part of the collection of the Museum Berlinische Galerie possibly the first work of art with television. In 1963 Vostell exhibited his art environment "6 TV de-coll/age" at the Smolin Gallery in New York. This work is part of the Museo Reina Sofia collection in Madrid.
Prior to the introduction of the Sony Portapak, "moving image" technology was only available to the consumer (or the artist for that matter) by way of eight or sixteen millimeter film, but did not provide the instant playback that video tape technologies offered. Consequently, many artists found video more appealing than film, even more so when the greater accessibility was coupled with technologies which could edit or modify the video image.
The two examples mentioned above both made use of "low tech tricks" to produce seminal video art works. Peter Campus' Double Vision combined the video signals from two Sony Portapaks through an electronic mixer, resulting in a distorted and radically dissonant image. Jonas' Organic Honey's Vertical Roll involved recording previously recorded material as it was played back on a television — with the vertical hold setting intentionally in error.
The first multi-channel video art (using several monitors or screens) was Wipe Cycle by Ira Schneider and Frank Gillette. An installation of nine television screens, Wipe Cycle for the first time combined live images of gallery visitors, found footage from commercial television, and shots from pre-recorded tapes. The material was alternated from one monitor to the next in an elaborate choreography.
At the San Jose State TV studios in 1970, Willoughby Sharp began the “Videoviews” series of videotaped dialogues with artists. The “Videoviews” series consists of Sharps’ dialogues with Bruce Nauman (1970), Joseph Beuys (1972), Vito Acconci (1973), Chris Burden (1973), Lowell Darling (1974), and Dennis Oppenheim (1974). Also in 1970, Sharp curated “Body Works,” an exhibition of video works by Vito Acconci, Terry Fox, Richard Serra, Keith Sonnier, Dennis Oppenheim and William Wegman which was presented at Tom Marioni's Museum of Conceptual Art, San Francisco, California.
Many of the early prominent video artists were those involved with concurrent movements in conceptual art, performance, and experimental film. These include Americans Vito Acconci, John Baldessari, Joan Jonas, Dan Graham, Bruce Nauman, Peter Campus, William Wegman, Martha Rosler and many others. There were also those such as Steina and Woody Vasulka [1] who were interested in the formal qualities of video and employed video synthesizers to create abstract works.
Notable pioneering video artists also emerged more or less simultaneously in Europe and elsewhere with work by Wolf Vostell (Germany), Dieter Froese (Germany), Wojciech Bruszewski (Poland), Wolf Kahlen (Germany), Peter Weibel (Austria), David Hall (UK), Lisa Steele (Canada), Colin Campbell (Canada) and others.
Although it continues to be produced, it is represented by two varieties: single-channel and installation. Single-channel works are much closer to the conventional idea of television: a video is screened, projected or shown as a single image; Installation works involve either an environment, several distinct pieces of video presented separately, or any combination of video with traditional media such as sculpture. Installation video is the most common form of video art today. Sometimes it is combined with other media and is often subsumed by the greater whole of an installation or performance. Contemporary contributions are being produced at the crossroads of other disciplines such as installation, architecture, design, sculpture, electronic art, and digital art or other documentative aspects of artistic practice.
The digital video "revolution" of the 1990s has given wide access to sophisticated editing and control technology, allowing many artists to work with video, and create interactive installations based on video. Some examples of recent trend in work include entirely digitally rendered environments created with no camera, and video that responds to the movements of the viewer or other elements of the environment. The internet has also been used to allow control of video in installations from the world wide web or from remote locations.
Emerging in the 1970s, Bill Viola (USA) continues as one of the world's most celebrated video artists. Matthew Barney is another well-known American video artist, creator of the Cremaster Cycle. Other contemporary video artists of note include Americans Gary Hill and Sadie Benning, Pipilotti Rist (Switzerland), Shaun Wilson (Australia), Stan Douglas (Canada), Douglas Gordon (Scotland), Martin Arnold (Austria) and Gillian Wearing (UK).
June 23, 2009
March 22, 2009
March 18, 2009
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