Expanded Cinema
From The Art and Popular Culture Encyclopedia
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"The videosphere is the noosphere transformed into a perceivable state." -- Expanded Cinema (1970) by Gene Youngblood, p. 77 "When we say expanded cinema we actually mean expanded consciousness. Expanded cinema does not mean computer films, video phosphors, atomic light, or spherical projections. Expanded cinema isn't a movie at all: like life it's a process of becoming, man's ongoing historical drive to manifest his consciousness outside of his mind, in front of his eyes."-- preface to Expanded Cinema (1970) by Gene Youngblood "At all times nowadays, there are approximately 66 million human beings around Earth who are living comfortably inside their mothers' wombs. The country called Nigeria embraces one-fourth of the human beings of the great continent of Africa. There are 66 million Nigerians. We can say that the number of people living in Wombland is about the same as one-fourth the population of Africa. This 66 million Womblanders tops the total population of either West Germany's 58 million, the United Kingdom's 55 million, Italy's 52 million, France's 50 million, or Mexico's 47 million. Only nine of the world's so-called countries (China, India, Soviet Union, United States, Indonesia, Pakistan, Japan, and Brazil) have individual populations greater than our luxuriously-living, under-nine-monthsold Womblanders."--introduction by Buckminster Fuller, Expanded Cinema (1970) by Gene Youngblood "The history of the living world can be summarized as the elaboration of ever more perfect eyes within a cosmos in which there is always something more to be seen.”--Pierre Teilhard de Chardin cited in Expanded Cinema (1970) by Gene Youngblood "Only the fantastic is likely to be true at the cosmic level."--Pierre Teilhard de Chardin cited in Expanded Cinema (1970) by Gene Youngblood |
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Expanded Cinema (1970) is a book by Gene Youngblood on the history of alternative cinema. It is the first book to consider video as an art form, was influential in establishing the field of media arts. In the book he argues that a new, expanded cinema is required for a new consciousness. He describes various types of filmmaking utilizing new technology, including film special effects, computer art, video art, multi-media environments and holography.
The book mentions the term cybernetic 94 times. and the term structure or its variants 163 times, which is revealing of its predilection for formalist aspects of filmmaking.
Visionary Film (1974) is a book in the same tradition.
"Part One: The Audience and the Myth of Entertainment"
In the first part of the book, Youngblood attempts to show how expanded cinema will unite art and life. "Television's elaborate movie-like subjective-camera simulation of the first moon landing" (p46) showed a generation that reality was not as real as simulation. He says that he is writing "at the end of the era of cinema as we've known it, the beginning of an era of image-exchange between man and man" (p. 49). The future shock of the Paleocybernetic Age will change fundamental concepts such as intelligence, morality, creativity and the family (pp. 50–53). The Intermedia network of the mass media is contemporary man's environment, replacing nature. He uses recent scientific research into cellular memory and inherited memory to support his claim that this network conditions human experience. The Noosphere (a term Youngblood borrows from Teilhard de Chardin) is the organizing intelligence of the planet—the minds of its inhabitants. "Distributed around the globe by the intermedia network, it becomes a new technology that may prove to be one of the most powerful tools in man's history" (p. 57). He defends the universality of art against the localism of entertainment:
The intermedia network has made all of us artists by proxy. A decade of television-watching is equal to a comprehensive course in dramatic acting, writing, and filming...the mystique is gone—we could almost do it ourselves. Unfortunately too many of us do just that: hence the glut of sub-mediocre talent in the entertainment industry.This is what forces cinema to expand and become more complex. Mass media entertainment dulls people's minds. It is a closed, entropic system, adding nothing new. (pp. 59–65) Entertainment dwells on the past. We live in future shock so art should be an invention of a future (pp. 66–69). New systems need to be designed for old information. The artist is a design scientist.
- — p. 58
"Part Two: Synaesthetic Cinema: The End of Drama"
Youngblood describes television as the software of the planet. It acts as a superego and shows us global reality. This renders cinema obsolete as a communicator of objective reality, and so frees it (pp. 78–80). He embraces a synaesthetic synthesis of opposites which are simultaneously perceived. He then goes on to draw a distinction between the syncretic montage of Pudovkin and the Eisenstein's montage of collision (pp. 84–86). He prefers metamorphosis to cuts (p86). Filmmakers that Youngblood think embody this synesthetic syncretism include: Stan Brakhage (p. 87), Will Hindle, Pat O'Neill, John Schofill, and Ronald Nameth. Filmmakers that present ideas of polymorphous eroticism, the blurring of sexual boundaries, include Andy Warhol and Carolee Schneemann (pp. 112–121). Michael Snow's Wavelength is also an example of synaesthetic cinema's extra-objective reality (pp. 122–127). At the end of the second part of the book Youngblood writes about the rebirth of the cottage industry in the post-mass-audience age. Video tapes can be exchanged freely, films are becoming more personal, specializations are ending (pp. 128–134).
"Part Three: Toward Cosmic Consciousness"
Youngblood analyses 2001: A Space Odyssey to explore the "electronic age existentialism" (pp. 139–150). He examines Douglas Trumbull's use of mechanical processes to create the Stargate sequence (pp. 151–156) and describes the work of Jordan Belson as an example of cosmic cinema (pp. 157–177).
"Part Four: Cybernetic Cinema and Computer Films"
Youngblood defines the technosphere as a symbiosis between man and machine. The computer liberates man from specialization and amplifies intelligence (pp. 180–182). He draws comparisons between computer processing and human neural processing (pp. 183–184). Logic and intelligence is the brain's software. He predicts that computer software will become more important than hardware and that in the future super-computers will design ever more advanced computers (pp. 185–188). His vision of the future is the Aesthetic Machine: "Aesthetic application of technology is the only means of achieving new consciousness to match our environment" (p189). Creativity will be shared between man and machine. He points to the links between computer art and Conceptualism, and the growing theoretical basis of art. In his cybernetic art exploration of Cybernetic Cinema he gives an account of early experiments using computers to draw and make films. He bemoans the fact that at the time of writing no computer has the power to generate real-time images and that computer art has to be made off-line. He does, though, foresee a future in which location shooting will become obsolete as all locations will be able to be simulated with computers (pp. 194–206). Examples of filmmakers using computers, referred to by Youngblood, include: John Whitney, James Whitney, John Whitney, Jr., Michael Whitney, John Stehura, Stan VanDerBeek and Peter Kamnitzer (pp. 207–256).
"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 (pp. 260–264). He does acknowledge, however, that data retrieval is more complicated than data recording. The various processes involved in video synthesizing are described: de-beaming, keying, chroma-keying, feedback, mixing, switching and editing (pp. 265–280). The work of Loren Sears is neuroesthetic because it treats television as an extension of the central nervous system (pp. 291–295). 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 (pp. 292–293). Nam June Paik has worked creatively with television (pp. 302–308). Les Levine exploits the potential of closed-circuit television (pp. 337–344).
"Part Six: Intermedia"
Youngblood sees the artist as an ecologist, involved with the environment rather than with objects (pp. 346–351). By way of example he cites the video displays at world expositions (specifically Roman Kroitor's large-scale projections at Expo 67 and Expo '70 (pp. 352–358), and the Cerebrum, an art/nightclub environment. Artists such as Carolee Schneemann and Robert Whitman combine film projection with live performance (pp. 366–371). Wolf Vostell incorporates video experiments into environmental contexts (p. 383). Light shows are used in concerts and multiple projectors and video screens create complex environments.
"Part Seven: Holographic Cinema: A New World"
Finally, Youngblood explores the creative potential of holography.
Key ideas
Bibliography
Selected Bibliography PRIMARY SOURCES A. Books ARNHEIM, RUDOLPH. Art and Visual Perception. Berkeley and Los Angeles, Calif.: University of California Press, 1954. BAZIN, ANDRÉ. What Is Cinema? Translated by HUGH GRAY. Berkeley and Los Angeles, Calif.: University of California Press, 1967. BLEIBTREU, JOHN N. The Parable of the Beast. New York: Collier Books, 1969. BRONOWSKI, J. Science and Human Values. New York: Harper & Brothers, 1965. CAGE, JOHN. A Year from Monday. Middletown, Conn.: Wesleyan University Press, 1968. CASTANEDA, CARLOS. The Teachings of Don Juan: A Yaqui Way of Knowledge. Berkeley and Los Angeles, Calif.: University of California Press, 1968. CHINN, HOWARD A. Television Broadcasting. New York: McGraw-Hill, Inc., 1953. COLLINGWOOD, R. B. Principles of Art. Oxford, England: Clarendon Press, 1938. CONZE, EDWARD. Buddhist Wisdom Books: The Diamond Sutra, The Heart Sutra. London: George Allen & Unwin, Ltd., 1958. DEWEY, JOHN. Art as Experience. New York: Capricorn Books, 1958. EHRENZWEIG, ANTON. The Hidden Order of Art. Berkeley and Los Angeles, Calif.: University of California Press, 1967. EVANS-WENTZ, W. Y. The Tibetan Book of the Dead. New York: Galaxy Books, Oxford University Press, 1960. FIEDLER, CONRAD. On Judging Works of Visual Art. Translated by HENRY SHAEFER-SIMMERN and FULMER MOOD. Berkeley and Los Angeles, Calif.: University of California Press, 1949. FULLER, R. BUCKMINSTER. Education Automation. Carbondale, Ill.: Southern Illinois University Press, 1962. ———— . Ideas and Integrities. New York: Collier Books, 1969. ———— . Operating Manual for Spaceship Earth. Carbondale, Ill.: Southern Illinois University Press, 1969. GOMBRICH, E. H. Art and Illusion. (The Bollingen Series XXXV.) New York: Pantheon Books, Inc., 1960. HESSE, HERMANN. Demian. New York: Bantam Books, Inc., 1968. ———— . The Glass Bead Game. New York: Holt, Rinehart, and Winston Inc., 1969. HUTCTHINS, ROBERT M. The Learning Society. New York: Frederick A. Praeger, Inc., 1968. KAHN, HERMAN, and WIENER, ANTHONY J. The Year 2000. New York: Macmillan, 1967. KELMAN, KEN. "Anticipations of the Light," from The New American Cinema, ed. GREGORY BATTCOCK. New York: Dutton Paperbacks, 1967. 421
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422 Expanded Cinema KLEE, PAUL. The Thinking Eye. London: Lund Humphries, Inc., 1961 KRISHNAMURTI, J. The First and Last Freedom. Wheaton, III.: Quest Books, Inc., 1968. LEE, DAVID. "A Systematic Revery from Abstraction to Now," from Minimal Art, ed. GREGORY BATTCOCK. New York: Dutton Paperbacks, 1968. LILLY, JOHN C. The Human Bio-Computer. Miami, Fla.: Commumications Research Institute, 1967. MC HALE, JOHN. The Future of the Future. New York: George Braziller, Inc., 1969. MC LUHAN, MARSHALL. Understanding Media: The Extensions of Man. New York: McGraw-Hill, Inc., 1965. ——— — and FIORE, QUENTIN War and Peace in the Global Village. New York: Bantam Books, Inc., 1968. MILLERSON, GERALD. The Techniques of Television Production. New York: Hastings House, 1961. MONDRIAN, PIET. Plastic Art and Pure Plastic Art. New York: Wittenborn Schultz, Inc., 1945. PAUWELS, LOUIS, and BERGIER, JACQUES. The Morning of the Magicians. New York: Avon Books, 1968. PIERCE, J. R. Symbols, Signals, and Noise. New York: Harper & Brothers, 1961. PLATO. The Republic. Translated by A. D. LINDSAY. New York: Dutton Paperbacks, 1957. READ, HERBERT. Icon and Idea. New York: Schocken Books, 1965. REISZ, KAREL. The Techniques of Film Editing. New York: Hastings House, 1968. RENAN, SHELDON. An Introduction to the American Underground Film. New York: Dutton Paperbacks, 1967. SCHON, DONALD. Technology and Change. New York: Delacorte Press, 1967. SEGAL, MARSHALL H., CAMPBELL, DONALD T. and HERSKOVITS, MELVILLE J. The Influence of Culture on Visual Perception. Indianapolis, Ind.: Bobbs-Merrill, Inc., 1966. SONTAG, SUSAN. Against Interpretation. New York: Delta Books, 1967. TEILHARD DE CHARDIN, PIERRE. The Phenomenon of Man. New York: Harper & Row, Inc., 1959. TRUFFAUT, FRANÇOIS. Hitchcock. New York: Simon & Schuster, Inc., 1968. VORKAPICH, SLAVKO. "Toward True Cinema," from Film: A Montage of Theories, ed. RICHARD DYER MAC CANN. New York: Dutton Paperbacks, 1966. WHORF, BENJAMIN. Language, Thought, and Reality. Cambridge, Mass.: M.I.T. Press, 1966. WIENER, NORBERT. The Human Use of Human Beings. New York: Avon Books, 1967. WITTGENSTEIN, LUDWIG. Philosophical Investigations. Oxford, England: Blackwell Press, 1968. ZIMMER, HEINRICH. Myths and Symbols in Indian Art and Civilization. New York: Harper & Brothers, 1946.
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Selected Bibilography 423 B. Articles and Periodicals BELL, DANIEL. Charles Fourier: Prophet of Eupsychia, The American Scholar (Winter, 1968-69), p. 50. ———— (ed.). "Toward the Year 2000: Work in Progress," Daedalus (Summer 1967). BLUE, JAMES. "Jean Rouch in Conversation with James Blue," Film Comment (Fall-Winter, 1967), pp. 84, 85. BRAKHAGE, STAN. “Metaphors on Vision,” ed. P. Adams Sitney. Film Culture (Fall, 1963) BROWN, NORMAN O. “Apocalypse: The Place of Mystery in the Life of the Mind," Harper's (May, 1961). BURNHAM, JACK. Systems Esthetics, Artforum (September, 1968), pp. 30 - 35. CALDER, RITCHIE. “The Speed of Change,” Bulletin of the Atomic Scientists (December, 1965). CLARKE, ARTHUR C. “The Mind of the Machine,” Playboy (December, 1968 ), p. 116. ———— . "Next— The Planets," Playboy (March, 1969), p. 100. COPLANS, JOHN. "Serial Imagery," Artforum (October, 1968), pp. 34-43. "Filming 2001: A Space Odyssey," The American Cinematographer (June, 1968). FULLER, R. BUCKMINSTER. "Planetary Planning," text of the Jawaharlal Nehru Memorial Lecture. New Delhi, India (November 13, 1969). ———— . “The Prospect for Humanity,” Good News, eds. EDWIN SCHLOSSBERG and LAWRENCE SUSSKIND. New York: Columbia University, 1968. ———— . "The Year 2000,” Architectural Design (February, 1967). GORDON, THEODORE J.”The Effects of Technology on Man’s Environment” Architectural Design (February, 1967). KANTROWITZ, A. Electronic Physiologic Aids. New York: Maimonides Hospital, 1963. KNOWLTON, KENNETH C. “Computer Animated Movies,” Cybernetic Serendipity, a special issue of Studio International (September, 1968). LAWTON, A. T., and ABROOK, G. E. "Large Scale Integration," Science Journal (August, 1968). LEBEL, JEAN-JACQUES, “On the Necessity of Violation,” The Drama Review (Fall, 1968) LEITH, EMMETT N., and UPATNIEKS, JURIS. “Photography by Laser,” Scientific American (June, 1965), pp. 24-35. MALLARY, ROBERT. "Computer Sculpture: Six Levels of Cybernetics," Artforum (May, 1969), pp. 29-35. MASLOW, A. H. "Eupsychia— The Good Society," Journal of Humanistic Psychology, No. 1 (1961). MC HALE, JOHN. "Education for Real," WAAS Newsletter, World Academy of Art
and Science (June, 1966).
———— . "Information Explosion— Knowledge Implosion," Good News, eds.
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424 Expanded Cinema EDWIN SCHLOSSBERG and LAWRENCE SUSSKIND. New York: Columbia University Press, 1968. ———— . "New Symbiosis," Architectural Design (February, 1967). ———— . "People Future," Architectural Design (February, 1967). ———— . "The Plastic Parthenon," Dotzero (Spring, 1967). NOLAND, RICHARD W. “The Apocalypse of Norman O. Brown,”The American Scholar (Winter, 1968~ 69). NOLL, A. MICHAEL. “The Digital Computer as a Creative Medium,” I.E.E.E. Spectrum (October, 1967). O'GRADY, GERALD. "The Preparation of Teachers of Media," Journal of Aesthetic Education (July, 1969). ROSE, BARBARA. “Problems of Criticism, VI,” Artforum (May, 1969), pp. 46 - 51. ROSENBLATT, ROBERT A. “Software: The Tail Now Wags the Dog,” Los Angeles Times Outlook, Sec. 1, p. 1 (June 29, 1969). SCHNEEMANN, CAROLEE. “Snows,” I-Kon, ed. SUSAN SHERMAN (March, 1968). SCHNEIDERMAN, RON. “Researchers Using IBM 360 to Produce Animated Films,” Electronic News (June 17, 1968). SONTAG, SUSAN. "Film and Theatre," Tulane Drama Review (Fall, 1966), pp. 24-37. SUTHERLAND, N. S. "Machines Like Men," Science Journal (October, 1968), pp. 44-48. TAYLOR, W. K. "Machines That Learn," Science Journal (October, 1968), pp. 102-107. THRING, M. W. "The Place of the Technologist in Modern Society," Journal of the Royal Science Academy (April, 1966). TOFFLER, ALVIN. “The Future as a Way of Life,” Horizon (Summer, 1965) . Videa 1000 Newsletter. New York: Videa International, Nos. 1-12 (1969). WINKLESS, NELS, and HONORE, PAUL. “What Good Is a Baby?” From the Proceedings of the A. F. I1. P. S. 1968 Fall Joint Computer Conference. YALKUT, JUD. "An Interview with Frank Gillette and Ira Schneider," East Village Other (August 6, 1969). SECONDARY SOURCES A. Books Bhagavad-Gita. Translated by SWAMI PRABHAVANANDA and CHRISTOPHER ISHERWOOD. Los Angeles, Calif.: Vedanta Press, 1944. BRAITHWAITE, R. B. Scientific Explanation. New York: Harper & Brothers, 1960. BROWN, NORMAN O. Life Against Death. New York: Vintage Books, 1959. ———— . Love's Body. New York: Vintage Books, 1968. BROWN, RONALD. Lasers. New York: Doubleday & Co., Inc., 1968. CAGE, JOHN. Silence. Cambridge, Mass.: M.I.T. Press, 1966.
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Selected Bibliography 425 FULLER, R. BUCKMINSTER. Nine Chains to the Moon. Carbondale, Ill.: Southern Illinois University Press, 1966. ———— . No More Secondhand God. Carbondale, Ill.: Southern Illinois University Press, 1967. ———— . Utopia or Oblivion. New York: Bantam Books, Inc., 1969. ———— . and MC HALE, JOHN. World Design Science Decade (196~197S), Documents One through Six. Carbondale, III.: Southern Illinois University Press, 1963-67. KNUTH, DONALD The Art of Computer Programming. Los Angeles, Calif.: Addison & Wesley, Inc., 1968. MC LUHAN, MARSHALL. The Gutenberg Galaxy. Toronto, Canada: University of Toronto Press, 1965. ———— . The Mechanical Bride. Boston, Mass.: Beacon Press, 1951. ———— . and FIORE, QUENTIN. The Medium Is the Massage. New York: Bantam Books, Inc., 1967. NEBRICH, RICHARD B., JR., VORAN, GLENN I., and DESSEL, NORMAN F. Atomic Light: Lasers— What They Are and How They Work. New York: Sterling Publications, Inc., 1967. READ, HERBERT. To Hell with Culture. New York: Schocken Books, 1963. WIENER, NORBERT. Cvbernetics. Cambridge, Mass.: M.I.T. Press, 1967. B. Articles and Periodicals FULLER, R. BUCKMINSTER. “The Grand Strategy,” Los Angeles Free Press (October 18, 1968). MC HALE, JOHN. “2000 +,” Architectural Design (February, 1967). NOLL, A. MICHAEL. "Computers and the Visual Arts," Design and Planning, No. 2 (1967). ———— . "Computer-Generated Three-Dimensional Movies," Computers and Automation, Vol. 14, No. 11 (November, 1965). ———— . "Stereographic Projections by Digital Computer," Computers and Automation, Vol. 14, No. 5 (May, 1965).
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Index
Allures (Belson), 159-162, 389, 391 Catalogue (Whitney, John, Sr.), 210, Andy Warhol's Exploding Plastic In- 213
evitable (Nameth), 83, 102-105, Castaneda, Carlos, 158, 171 378 Cathode-ray tubes, 194, 265-267, 302,
Art and entertainment, 42, 57, 59-65, 303
67-69 Cerebrum, 359, 364
Art and science, 67, 136 Chinese Firedrill (Hindle), 83, 84-91, Art and technology, 42, 43, 116, 128- 93-96
133, 189-193, 416, 417 Chronicle of a Summer (Rouch), 80,
Artist as design scientist, 70-73 132-133 Auteur theory, 71, 72, 131 Cinema, historical applications of, 75,
106-108
Cinéma-vérité, 79-80, 106, 107 Bartlett, Scott, 264, 275, 317-324 Citron, Jack, 215-217 Barzyk, Fred, 282, 298-299 City-Scape (Kamnitzer), 198, 250, Bazin, André, 85, 86, 106, 126 256, 416 Becker, Lutz, 258, 334-336 Clarke, Arthur C., 138, 147-150, 188 Belson, Jordan, 43, 135, 156 Cohen, Milton, 371-374
157-177, 222, 229 Commercial entertainment, 42, 50, 57-
Binary Bit Patterns (Whitney, 58, 59-65, 66-67, 72, 88, 113, 128,
Michael), 234-236 130, 323
Binary mathematical system, 183, Computer art, 189-193
184, 192 Computer-generated holograms, 191,
Bleibtreu, John, 53, 63, 418, 419 414 Brakhage, Stan, 67, 82, 83, 85, 87-91, Computer films, 43, 179-256
93, 130, 236, 252 Computer Image Corporation, 200
Bronowski, J., 42, 70, 133, 134 Computer language, 185, 239-246 Brown, Norman O., 41, 42, 112, 115 Computer programming, 51, 185 Byjina Flores (Whitney, John, Jr.), Computers, 51, 52, 179-256, 261, 317, 229-230 414 Computers, analogue, 183, 208, 213 Cable television, 260-261, 352 Computers, digital, 179-256 Cage, John, 48, 66, 73, 136, 229, 298, Computer/video interface, 261, 317
302, 374, 381, 415 Coney, John, 282, 293-297
Capriccio for TV (Seawright), 301 Consciousness, cosmic, 43, 135-177, Cassen, Jackie, 396-398 222-228, 228-239, 324 427
ARTSCILAB 2001
428 Index Consciousness, expanded, 41, 47, 130, Electromedia Theatre (Tambellini),
157-177, 189, 222-239, 323, 349, 381-383 364, 371-374, 388-391, 392-398 Empire of Things, The (Makanna),
Consciousness, oceanic, 92, 93, 110 281, 295-297
121, 136 Entropy, 62-65, 68, 111
Contact: A Cybernetic Sculpture (Le- Existentialism and science, 142-147, vine), 339-341 238 Coplans, John, 218-219 Expanded cinema, 41, 49, 54-56, 75, Csuri, Charles, 194, 203 116, 222, 417, 419 Cybernetic Age, 41, 81, 134 Experiments in Art and Technology, Cybernetic cinema, 194-206 416 417 Cybernetics, 65, 108, 129, 131, 183-
184, 226 Fetter William, 194
Cybernetik 5.3 ( Stehura ), 239-246, Fiction, the end of, 106-108, 135, 252 250 Fischinger, Oskar, 157, 160-162 Flesh (Morrissey), 79-83, 117 Fourier, Charles, 112 David Holzman's Diary (McBride), Fuller, R. Buckminster, 15-39, 44, 45,
79, 80, 126 48, 53, 57, 63, 64, 77, 84, 109, 114,
Decentralization, technological, 42, 133, 136, 137, 144, 146, 180-181,
128-134 186, 229, 347, 394
Dewey, John, 66, 116 Fuses (Schneemann), 83, 116, 119- DeWitt, Tom, 318, 324-328, 364 121, 366 Dilexi Foundation, 281, 292-297 Future shock, 50-53 DNA/RNA, 52, 55, 110, 135 Dog Star Man (Brakhage), 67, 82, 83,
85, 87-91, 93, 130 Generation gap, 46-51, 144-146
Drama, 42, 60, 64, 70, 85, 87, 135 Gillette, Frank, 341-343 Drama, the end of, 75-134 Godard, Jean-Luc, 49, 79, 80, 108, Dream Reel (Yalkut), 391-392 112 Dylan, Bob, 48, 68, 115, 116 Gombrich, E. H., 90, 109, 158 Eastern philosophy, 136, 140, 159, Hallucinogens, 47, 81, 144, 174, 238
162-167, 222-228, 238 Hello (Kaprow), 343-344
Ecology, 43, 50, 346-347, 416 Hesse, Hermann, 47, 93, 129, 144, Educational Television, 281, 298 146, 396 Ehrenzweig, Anton, 84 Hindle, Will, 83, 93-96 Eisenstein, Sergei, 85, 87 Höglund, Sven, 331-334
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Index 429 Holographic cinema, 43, 399-414 Labyrinthe, 352-354 Holograms, computer-generated, 191, Lapis (Whitney, James), 177, 210,
414 213, 222-228, 250
Holography, 41, 400-403, 416-417 Laser, 399-414, 417 Homosexuality, 113-121 Leap, The (Dewitt), 324-328 Howard, Brice, 282-285 Levine, Les, 78, 337, 339-341 HPSCIHD (Cage), 374-381 Logic, bistable, 81 Hummingbird (Csuri), 199, 203 Logic, the end of, 140-141 Logic, triadic, 81 IBM, 51, 196, 215, 216, 217, 242, 246 Image-exchange, 49, 114, 128-134 Makanna, Philip, 281, 295-297 Information, experiential, 62-65, 71 Mallary, Robert, 191, 193 Information theory, 62-65 Marker, Chris, 80, 105 Interferometry, laser, 41, 191, 400-403 Maslow, A. H., 113 Intermedia, 43, 345-398 McHale, John, 44, 51, 54, 57, 68, 110, Intermedia network, 41, 53, 54-58, 143, 146, 180, 181
66, 112, 128-134 McLuhan, Marshall, 44, 55, 77, 137,
Intermedia Theatre, 365-386 139, 144, 179 Iris (Levine), 339-341 Mechanical plotter, 194-203 Metanomen (Bartlett), 318 Microfilm plotter, 194-203 Jacobs, Henry, 388-391 Minimal cinema, 119, 122-127 Jacobson, Alex, 404-414 Momentum (Belson), 174-177 Jung, C. G., 147, 163, 167, 226, 233 Mondrian, Piet, 82, 127, 157 Montage, 76, 85, 86, 87 Monument (Höglund-Weck-SjölanKamnitzer, Peter, 198, 250-256 der), 331-334 Kaprow, Allan, 281, 299, 343-344 Moon (Bartlett), 275, 321-324 Kinaesthetic cinema, 83, 97, 110, 157 Morrissey, Paul, 79, 83, 117
158 Multiple projection, 371-374, 387,
Kinescope, 275, 317-324, 328 398 Kinetic empathy, 83-97 Music With Balls (Riley), 281, 293- Kinetic Theatre (Schneemann), 366- 295
371 Mythopoeia, 106-108, 111, 252
Klee, Paul, 85 Knowlton, Kenneth, 199, 246-249 Krishnamurti, J., 52, 61, 62 Nameth, Ronald, 83, 102-105, 374- Kroitor, Roman, 352-354 381 KQED-TV, 281, 297, 298 National Center for Experiments in Kubrick, Stanley, 43, 139-156, 229 Television 81-292
ARTSCILAB 2001
430 Index Negentropy, 62-65 Reality, extra-objective, 79, 83, 122- New Nostalgia, 43, 142-147 127 New Romantic Age, 146-147 Reality, nonordinary, 158, 159, 348- Noll, A. Michael, 189, 192, 193, 239 349, 352 Noosphere, 57-58, 78-79, 260 Reality, post-stylized, 106-108 Reality, prestylized, 106-108 Re-Entry (Belson), 162-167 OFFON (Bartlett), 275, 318-321, Riley, Terry, 281, 293-295
324, 326, 328 Rouch, Jean, 80, 132-133
Once Group, 371-374 O'Neill, Patrick, 83, 97-100, 122, 242 Samadhi (Belson), 169-174, 175 Schlossberg, Edwin, 44, 257, 293 Paik, Nam June, 137, 193, 281, 282, Schneemann, Carolee, 83, 92, 116,
302-308, 328-330, 391-392 119-121, 366-371
Paikpieces (Yalkut-Paik), 328-330, Schneider, Ira, 341-343
391-392 Schofill, John, 83, 100-102
Paleocybernetic Age, 41, 50, 55,57, Schum, Gerry, 292
66, 77, 78, 81, 137, 246, 348 Sears, Loren, 279-280, 281, 282, 291-
Panofsky, Erwin, 106 292 Pauwels, Louis, 52, 135, 136, 159 Seawright, James, 301 Permutations (Whitney, John, Sr.), 7362 (O'Neill), 83, 97-100
215-222, 250 Siegel, Eric, 314-316
Phenomena (Belson), 167-169 Single Wing Turquoise Bird, 392-396 Piene, Otto, 281-282, 299-301, 383 Sjölander, Ture, 331-334 Plasma crystal screens, 203-205 Slit-scan technique, 151-156, 167, Plot, 64, 70, 81-122, 352-358 229, 230 Poem Fields (VanDerBeek-Knowlton, Snow, Michael 83, 99, 122-127
246-249 Software, 78, 79, 132, 185-188
Polymorphous eroticism, 83, 112-121 Sontag, Susan, 70, 365 Post-Mass-Audience Age, 42, 128- Space Theatre (Cohen), 371-374
134, 260-264 Stehura, John, 234, 239-246
Pudovkin, Alexander, 85 Stern, Gerd, 347-348 Stern, Rudi, 396-398 Stevens, Wallace, 75, 90, 133, 189 Radical evolution, 42, 48, 50-53,58, Superimposition, 84 - 87, 100, 110
65 Synaesthetic cinema, 42, 75-134
Read, Herbert, 70, 76, 111, 418 Synaesthetic cinema, and McLuhan, 77 Realism, cinematic, 79, 80, 107, 135 Synaesthetic cinema, and sex, 112-121 Reality, 43, 45, 46, 53, 79, 82, 106- Synaesthetic cinema, and science, 76
108, 399, 415 ARTSCILAB 2001
Index 431 Synaesthetic cinema and synergy, Thompson, Francis, 354-358
109-111 Tibetan Book of the Dead, 162-167,
Synaesthetic cinema, and technology 172
128-134 Tower, Alvin, 50, 51, 69
Synaesthetic cinema, and television, Trumbull, Doug, 151-156, 230
77-80 TV Gallery (Schum), 292
Synaesthetic videotapes, 281-316 2001: A Space Odyssey (Kubrick), Syncretism, 83, 84 - 91, 110, 226 43, 139 - 156, 162, 167, 174, 228, Synergy, 109-111, 341 230, 241, 314, 316, 321, 394, 414 USCO, 347-348, 387, 391, 394 Tambellini, Aldo, 299, 308-314, 381- Utopia, 47, 113, 419
383
Technoanarchy, 79, 415 Technological decentralization, 42,
78-79, 128-134 VanDerBeek, Stan, 193, 246-249, 276,
Technology and art, 42-43, 116, 128- 282, 349-351, 387
133, 189-193, 416-417 Video, de-beaming, 267-268, 275,
Technology and freedom, 78-79, 415- 287, 289, 291, 296, 301, 321, 326
419 Video, feedback, 274, 285-287, 320,
Technology and sex, 112-116 326, 334-336, 342 Teilhard de Chardin, Pierre, 45, 47, Video, film chain, 274-276, 294, 296,
57, 157, 159, 160 317-334
Teledynamic environments, 337-341 Videographic cinema, 275, 317-336 Television, cable, 260-261, 352 Video, keying, 268, 273, 275, 287, Television camera, 265-266 289, 291, 326 Television, and cinema, 77-80 Videosphere 78-79, 128-129, 132, Television, closed-circuit, 78-80, 257, 143, 260-264
337-341 Video synthesizing 265, 314, 315,
Television as creative medium, 43, Videotape cassettes, 128-134, 260, 257-344 264, 283, 352 Television, global, 57-58, 78-80, 257- Videotape recording, 114, 128-134,
259, 343-344, 387 260-264, 275, 281-334
Television, and politics, 79 Videotapes, synaesthetic, 281-316 Television, and psychology, 78, 132- Videotronic mixing and editing, 276-
134, 285, 291-292 280, 326
Television receiver, 266-267 Vorkapich, Slavko, 75 Television, satellite, 78, 261-263 Vortex Concerts (Belson-Jacobs), 162, Theatre of Light (Cassen-Stern) 387, 388-391
396-398 Vostell, Wolf, 330, 383-386
Thermodynamics, laws of, 62-63
ARTSCILAB 2001
432 Index Warhol, Andy, 66, 79, 80, 83, 102- Whitney triple screen film, 231-234,
105, 1l7, 119, 122, 257, 399 246, 250
Wavelength (Snow), 83, 122-127 Wipe Cycle(Gillette-Schneider), Weck, Lars, 331-334 341-343 WGBH-TV, 281, 298-301, 306, Wise, Howard, 306, 313, 341
311, 343-344 Wuerker, Ralph, 407-414
Wiener Norbert, 44, 52, 63, 64 67
71, 183
Wilfred Thomas, 345, 396 Xfilm (Schofill), 83, 100-102 Whitehead, Alfred North, 47, 71 Whitman, Robert, 347, 383 Whitney family, 151, 155, 196, 206, Yalkut, Jud, 328-330, 391-392
207-222, 228-239, 306, 378, 389 Yantra (Whitney, James), 223-226,
Whitney, James, 214, 222-228, 389 389 Whitney, John, Sr., 151, 196, 207-222, Yeats, W. B., 133, 417-418
302 Yoga, 162-174, 222-228
Whitney, John, Jr., 155, 157, 206,
210, 228-239
Whitney, Mark, 228, 239 Zagone, Robert, 285-289 Whitney, Michael, 206, 210, 228-239 Zatlyn, Ted, 44, 147, 148
See also
