06:26 1972
VDB_First_Ten_Years_Black_and_White_Tapes_Paul_McCarthy(1972).mp4 
The Black and White Tapes derive from a series of performances Paul McCarthy undertook in his Los Angeles studio from 1970 to 1975. Conceived for the camera and performed alone or with only a few people present, these short performances use video to articulate both monitor and studio space. In the first excerpt, McCarthy paints a white line on the floor with his face, dragging his body from one end of the studio to the other. In doing so, McCarthy performs a recognizable formal gesture - drawing a white line. Radically inserting his body into the painting process may have been intended as a parody of prevailing minimalist sensibilities. McCarthy confounds viewers' notions of physical space by seeming to hang from the upper frame of the picture as he spits into an unseen microphone. McCarthy's auto-erotic art was influenced by body art and the physicality of artists like filmmaker and performer Carolee Schneeman. He has stated that using the body as part of the ground of the painting was a compelling issue at the time. Related impulses can be seen in happenings of the early and mid-'1960's, which often fused audience and performers into the setting and action of the extended painting.
Paul McCarthy
Paul McCarthy was born in Salt Lake City, Utah, in 1945. He received his BFA from the San Francisco Art Institute and his MFA from the University of Southern California. McCarthy gained recognition for his intense performance and video-based work on taboo subjects such as the body, sexuality, and initiation rituals. McCarthy's work has also explored themes of family, childhood, violence and dysfunction while using bodily fluids, paint, and food to create elaborate and grotesque critiques of cultural icons. McCarthy has collaborated often with Mike Kelley and has been featured in the Whitney Biennale and solo shows at such venues as the Museum of Modern Art.
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Stamping in the Studio
1:01:35 1968
VDB_First_Ten_Years_Stamping_in_the_Studio_Bruce_Nauman(1968).mp4 
From an inverted position, high above the floor, the camera records Nauman’s trek back and forth and across the studio; his stamping creates a generative rhythm reminiscent of native drum beats or primitive dance rituals. However, Nauman is not participating in a social rite or communal ritual—he is icompletely individualized. Isolated in his studio, his actions have no apparent reason or cause beyond his aesthetic practice.
Bruce Nauman
Born in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: "With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it." Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of Merce Cunningham, Meredith Monk, La Monte Young, Steve Reich, and Phillip Glass.
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Double Vision
14:22 1971
VDB_First_Ten_Years_Double_Vision_Peter_Campus(1971).mp4 
Campus investigates the metaphoric overlap between properties of the video camera and processes of human perception, an area of great interest to many early videomakers. Double Vision inventories strategies for comparing simultaneous images of a loft space produced by two video cameras whose signals are fed through a mixer, thus producing an electronic version of what in film would be called a "double exposure." The cameras are set up to perform variations of binocular vision; for example in the section entitled "Copilia," the two cameras are set at different focal lengths and search independently around an empty room, attached to the same moving body. In "Convergence," the cameras are stationary and separated but focused on the same distant wall; their images gradually merge as the artist repeatedly returns to the cameras and moves them closer together. Double Vision is an elegant and systemmatic exploration of vision using basic video technology.
"[Double Vision is] an exploration of double or two-camera images and works its way up to an eye-brain model, always conscious of how this model differed from its subject matter. " —Peter Campus
Peter Campus
Born in 1937, Peter Campus studied experimental psychology at Ohio State College and film at the City College of New York. His early tapes explore the anatomy of the video signal in relation to human psychology and perception. "The video camera makes possible an exterior point of view simultaneous with one's own. This advance over the film camera is due to the vidicon tube, similar to the retina of the eye, continually transposing light (photon) energy into electrical energy... It is easy to utilize video to clarify perceptual situations because it separates the eye-surrogate from the eye-brain experience we are all too familiar with."
Campus was one of a group of artists in the mid-70s who produced work in the experimental TV labs at WGBH in Boston and WNET in New York. In addition to numerous single-channel works, he has investigated the characteristics of "live" video through closed-circuit video installations and elaborate sculptural works whose structural components included video cameras, projectors, and monitors.
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Boomerang
10:27 1974
VDB_First_Ten_Years_Boomerang_Richard_Serra(1974).mp4 
[This] is a tape which analyzes its own discourse and processes as it is being formulated. The language of Boomerang, and the relation between the description and what is being described, is not arbitrary. Language and image are being formed and revealed as they are organized.
—Richard Serra
With Nancy Holt.
Richard Serra
Born in 1939, Richard Serra studied English literature at the University of California in Berkeley while working at a steel mill to earn a living. He went on to receive an MFA from Yale University where he studied with painter/theorist Joseph Albers. Living in New York, Paris, and Rome on the late 60s, Serra became acquainted with artists of the New York School: Philip Guston, Robert Rauschenberg, Ad Reinhart, and Frank Stella, as well as avant-garde composer Philip Glass. Associated with the emergence of post-minimalism and process art, Serra's lead splashing sculptures were included in The Warehouse Show at the Leo Castelli Gallery in 1968, and Anti-Illusion: Procedures Materials at the Whitney Museum in 1968—both pivotal exhibitions that established a new discourse in the field of sculpture. Serra produced several films before making videotapes in the early 70s. His early works, including Television Delivers People (1973), Prisoner's Dilemma (1974), and Boomerang (1974), are structural examinations of the medium as a vehicle for communication.
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Island Song
16:02 1976
VDB_First_Ten_Years_Island_Song_Charlemagne_Palestine(1976).mp4 
Strapping a video camera to himself as he drives a motorcycle around an island, Palestine harmonizes with the engine, maniacally repeating the phrase, "Gotta get outta here...gotta get outta here..." His chanting voice merges with hte vibrations of the motor, forming an incessant soundtrack that echoes the jarring motion of the camera. Palestine creates a kind of composite instrument in motion as well as an "articulated personal drama" (1976). His stated desire for escape is contained by the boundaries of the island. Palestine was a trained cantor, and he often used his moving body and sustained vocalizing to generate a physical and aural intensity in his musical/video performances of this period.
Charlemagne Palestine
Born in 1945, Charlemagne Palestine studied at New York University, Columbia University, Mannes College of Music, and the California Institute of the Arts. Palestine's work as a composer and performer in the late 60s and early 70s explored the filtering of sound through performer, instrument, space, and audience in an effort to bring inner dramas to the surface. His interest, as a musician, in externalizing intense psychological and emotional states underlies his subsequent work in video. In a series of tapes and installations produced throughout the 70s, Palestine's use of sound, motion, and ritual set up a primal confrontation with the audience. He was among a number of video artists to work at Art/Tapes/22, Florence, Italy, where he produced Body Music I and II. Palestine describes the process behind his tapes, which stresses the camera's function as a performer, rather than a neutral observer of events, as "reading form some kind of emotional space and picking up the emotive essence of the presence."
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Cycles of 3s and 7s (Excerpt)
02:51 1976
VDB_First_Ten_Years_Cycles_Of_3s_and_7s_Tony_Conrad(1976).mp4 
Cycles of 3's and 7's is a performance in which the harmonic intervals that would ordinarily be performed by a musical instrument are represented through the computation of their arithmetic relationships or frequency ratios. Conrad and the other members of hte Theater of Eternal Music-LaMonte Young, Marian Zazeela, John Cale, and Angus MacLise - composed and performed "dream music" in the early '60s. This seminal group was a major influence on what became known as minimalist music. Conrad's tape points to an important intersection of conceptual and performative experimentation in which the theoretical basis of sound and visual imagine tools were explored by musicians, filmmakers, videomakers, and electronic instrument designers.
Tony Conrad
With a background in mathematics and computer programming, Tony Conrad became active in performance and music composition during the 1960s, and was associated with the founding of both minimal music and underground film in New York City. Along with Marian Zeezela, La Monte Young, John Cale, and Angus MacLise, Conrad was a co-founder of the Theater of Eternal Music, which utilized non-Western musical forms and sustained sound to produce what they called "dream music." Conrad's work in film ranged from experiments in physically transforming the film's surface to theatrical productions featuring New York's underground scene. The Flicker (1966) is considered a key early work of the structural film movement. Conrad began working in video and performance in the 1970s while teaching at Antioch College in Ohio and the Center for Media Study, State University of New York at Buffalo. Conrad observed that his early tapes "deal with the construction of the viewer, in the authorizing context of the art environment or within a broader sociopolitical context." Conrad's commitment to developing and sustaining a decentralized cultural infrastructure is evident in his active involvement with Hallwalls Contemporary Arts Center, Squeaky Wheel Media Coalition, and Buffalo Cable Access Media.
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Children's Tapes
29:36 1974
VDB_First_Ten_Years_The_Children's_Tapes_Terry_Fox(1974).mp4 
Phenomenolgocial dramas involving household objects like candles, spoons, and matches, unfold with an extreme economy of gesture. Fox balances a spoon and a piece of ice on top of a bent fork. We watch as the ice melts and the spoon is thrown off balance and falls. Inventing new situations with the same objects, Fox posits these works as an alternative to commercial children's television—a critique of the pace of television, which never affords the time to see the processes develop. The play of objects in delicate flux with each other serves as a meditative exercise on the symmetry of physical forces. A wide angle camera lens delivers this intimate table top performance world to a larger audience. The sublime beauty of these elemental observations recalls the aesthetic of Fox's one-time mentor, Joseph Beuys.
Terry Fox
Born in 1943, Terry Fox studied at the Cornish School of Allied Arts in Seattle and at the Academia Di Belli Arti in Italy before moving to the bay area in the late 60s. A central participant in the West Coast performance, video, and conceptual art movements of the late 60s and early 70s, Fox became well-known for his political, site-specific performances. These performances explored ritual and symbolic content in the objects, places, and natural phenomena of everyday life. Fox made his first videotapes in 1969-70 to document performances taped by George Bolling, then curator at the de Saisset Art Gallery and Museum at Santa Clara University, California. Describing Children's Tapes (1974), one of his first efforts to set up situations specifically for a video camera, Fox says, "The medium of video was chosen largely because the subjects were too intimate for performance, and because of the special appearance and attention-holding power of TV for children. "
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Soundings
17:41 1979
VDB_First_Ten_Years_Soundings_Gary_Hill(1978).mp4 
Soundings is a meditation on the phenomenology of sound, the translation of image into sound and sound into image through a series of experiments on an audio speaker. The speaker delivers sound, both audibly and visibly, with the camera revealing the minute vibrations of the speaker's cone. Referring to the cloth covering of the speaker as a "skin," Hill intones, "This is the skin of space where I voice from." The materialized voice is clearly an extension of the artist's intention. Hill proceeds to bury, puncture, burn, and drown the audio speaker in an effort to physically alter or overwhelm the sound coming out of it, the sound of his own voice. Each carefully constructed experment explores the convluence of sound, image, and text, suggesting a kind of concretized poetry or "electronic linguistics." -Gary Hill (Furlong, 1983).
Gary Hill
Born in Santa Monica, California in 1951, Gary Hill was a surfer who became interested in sculpture in high school. He studied sculpture and painting in Woodstock, New York, and in 1973 he borrowed a video portapak from Woodstock Community Video (WCV). From 1974 to 1976 he was TV lab coordinator at WCV, producing tapes that "arose out of a dialogue with the properties of the medium." From 1975 to 1977 Hill was an artist-in-residence at the Experimental Television Center in Owego, New York, where he made use of various tools including the Rutt/Etra Scan Processor and David Jones's colorizer which Hill helped build. In 1976 Hill met poet George Quasha who, along with Charles Stein, inspired Hill's first experiments with language. Hill's early works investigated synthesized imagery, ecological subjects, and post-minimal political statements (Hole in the Wall, 1974). Hill's works exploring the intertextuality of image, sound, speech, and language emerged in the late 70s and early 80s, such as Soundings (1979) and Around and About (1980). Hill has gained an international reputation for his video art tapes and installations.
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Lightning
01:14 1976
VDB_First_Ten_Years_Lightning_Paul_and_Marlene_Kos(1976).mp4 
"When I look for the lightning, it never strikes. When I look away, it does." Filmed inside a car, this tape focuses on observation of natural phenomena, presenting the obverse of the "If a tree falls in the woods..." conundrum. Does observation change the course of events? Can you believe in things you don't see? In this experiment, the camera occupies a privileged position— showing the woman and what she sees, as well as what she cannot see.
Paul and Marlene Kos
While teaching at the University of Santa Clara, Paul Kos was introduced to video by George Bolling, curator of the de Saisset Art Gallery and Museum—which owned the only portapak in town. In collaboration with wife Marlene, Kos produced numerous videotapes throughout the 70s that explored the hypnotic and illusory aspects of the televised image. Their installation works treated the video monitor as an essentially sculptural element with its own inherent structural language. In several cases, the monitor was made to function as a window offering a view of events occurring simultaneously in another location. They likewise reassessed the role of the audience, actively structuring viewers into the performance of the work (St. Elmo's Fire, 1977).
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Sweet Light
09:07 1977
VDB_First_Ten_Years_Sweet_Light_Bill_Viola(1977).mp4 
Viola has referred to Sweet Light and other tapes from this period as "songs"-personal lyrical statements. Articulated through precise editing, Sweet Light incorporates symbolic imagery, changes of scale, and a radically mobile camera suggesting shifting points of view. The tape is grounded in common references to illumination-incandescent lamp light, daylight, flashlight, firelight-that serve as metaphors for artistic inspiration. Viola's access to sound facilities at the ZBS studio in Fort Edward, New York, and to video post-production at the TV Lab at WNET, New York allowed him to exercise precise and rhythmic flexibility in editin this tape.
Bill Viola
Born in 1951, Bill Viola received a BFA from the College of Visual and Performing Arts at Syracuse University. He was interested in performance and in electronic music and was a drummer in a rock band from 1968 to 1972. Describing his concentration in video in the early 70s, Viola says, "The crucial thing for me was the process of going through an electronic system, working with these standard kinds of circuits became a perfect introduction to a general electronic theory. It gave me a sense that the electronic signal was a material that could be worked with. This was another really important realization. Physical manipulation is fundamental to our thought processes—just watch the way a baby learns. It's why most people have so much trouble approaching electronic media. When electronic energies finally became concrete for me, like sounds are to a composer, I really began to learn. Soon I made what was for me an easy switch over to video. I never thought about [video] in terms of images so much as electronic processes, a signal." Viola describes his early single-channel tapes both as "songs" and as “visual poems—allegories in the language of subjective perception." His early investigations into the medium, including The Space Between the Teeth (1974) and Truth through Mass Individuation (1976), employ formal strategies associated with structural film that also operate as metaphors for transcendent vision, creativity, and symbolic transformation/illumination—themes that preoccupy Viola's later work, including Sweet Light (1977) and Chott el Djerid (A Portrait in Light and Heat) (1979). Viola was one of a group of artists who founded Synapse Video/Cable TV Center in Syracuse, New York, one of the first alternative media centers in New York State. In 1973 ,Viola and several musicians formed the Composers Inside Electronics Group which performed David Tudor's Rainforest and other works internationally. In 1975, he worked as the director of Art/Tapes/22, an artist production facility in Florence, Italy. Viola was an artist-in-residence at the WNET's Television Lab from 1976-80 and at Sony Corporation, Atsugi, Japan in 1980. [/i]
Thanks to Notaphid@DeliriumVault for this amazing collection! 
una pregunta TREP: de donde sale tu avatar, es algun personaje de dibujos, como se llaman? es que hoy he visto unos muñecos iguales en una tienda y tenia curiosidad.
