Video is being invented : Bruce Kurtz
Arts Magazine 47. No 3
December 1972-Januara 1973
이 글에서 저자는 비디오 아트의 시초는 not from film but from happening이라고 짚고 있다.
물론 이후에 앤디 워홀의 시네마 영향을 많이 받았으나, 시작은 플럭서스, 해프닝이었다.
그리고 이 모든 아트 장르를 혼합했던 해프닝은 내 논문에서 Expandability로 연결가능하다.
다시 돌아가는 것이다.
What all these artists had in common was an interest in extending the formerly fixed boundaries of art-making activity between visual art, music, dance, therater into areas which included sound (music, happenings, dance, performance), movement (dance, theater, happenings, music), visual images(painting, dance, performace, happenings), tactile sensations, time and issues of duration and sequence, and active participation and involvement between the spectator and the art object or event.
As video art combines visual, tactilce, and auditory sensations, as well as movemennt and time. The earliest sitmulation for video activity came not from film but from happenings, performances, dance, theater, music, and painting, though video was to be considerably influenced by Warhol’s later “reel time” films and by the cinema of Michael Snow. p.37.
The presence of television as the most advanced, pervasive, and persuasive communications medium of the “fifties was partly responsible of the emergence of art making activity directed toward the reintegration of the senses. Paik was at the center of this activity and awareness.
In 1964, the year McLuhan published Understanding Media and immediately became a sensation, Paik bought the first portable video tape recorder and camera in NY.
Video clearly involves an entirely different aesthetic than other arr forms, as it has entirely unique image-making capabilities.