[-empyre-] ETC to Rose Goldsen and on and on

Renate Terese Ferro rferro at cornell.edu
Tue Sep 22 03:00:58 AEST 2015

Thanks Alan and Lynne for you posts.  Alan your poetic description of the
loft at ETC was spot on but I want to add to it by mentioning the iconic
smell that was so distinctive of the space.  For me it reminded me of an
attic.  The metaphor of the attic is an important one because of the
reserves of artifacts and their histories.

I am reminded this morning as I sit hear in my office of the residency
that I did at ETC in the mid 2000¹s.  My project was to visit the studio
and immerse myself in the Jitter tutorials. I remember on my first morning
there Hank Rudolph graciously met me and set me up on a computer that was
situated on a table directly in front of the analog image processors.  It
did not take long for me to gravitate over to the immersive wall of analog
mixers where I played for a couple of days mixing sequences and adding
real filters. The situated microphones, cameras and other equipment around
me at the time seemed to be speaking to me as I imagined how those before
me had also experimented in the space. I also recall combing through the
titles and authors of videotapes that comprised the video library in the
room adjacent to where I worked every day.  Jitter took somewhat of a
backseat that week!

Ithaca is not far from Owego so every night I would make the trek back
home to check in on what was happenings there.   On the occasion of one
evening over a later dinner I mentioned to Tim (as in Tim Murray)  the
amazing collection of video tapes that ETC had and how I wondered what
would happen to their condition over time.  Like other artworks would they
degrade in unguarded conditions?  Or perhaps they were never meant to be

The next day Tim stopped by the residency space and I showed him the
amazing bookshelf  of videotapes and there was born the idea to
investigate the possibilities of a collaboration between the Experimental
Television Workshop and The Rose Goldsen Archive of New Media Art.  A way
to preserve the history of experimental video and sound.  To imagine that
almost ten years later Hunter College features Electronic Television
Workshop artists in a retrospective exhibition is an auspicious moment in
time.  Not only have the videotapes been preserved and archived but the
supporting papers and documentation.

The  short week I spent at ETC not only experimenting freely with the
tools around me but immersed in an aura of history has had a significant
impact on my practice and my teaching.  I just came from my teaching
studio at Cornell where I relayed the important beginnings of ETC by a
Binghamton professor Ralph Hocking and his partner Sherry Miller Hocking
who has persisted in not only Ralph¹s early visions but her own

I am looking forward to Hunter College¹s opening on Friday evening. Though
Sherry and Ralph will not be there their presence will be felt throughout
the entire exhibition as so many former residency artist¹s and so many
others decent upon the Hudson Street Gallery to celebrate.  If you are in
the New York area this Friday please join in.


Opening: September 24, 7­9pm
205 Hudson Street Gallery
Hunter College MFA Campus
New York
September 25­November 21, 2015

Hours: Wednesday­Sunday 1­6pm

goldsen.library.cornell.edu <http://goldsen.library.cornell.edu/>
www.experimentaltvcenter.org <http://www.experimentaltvcenter.org/>


Renate Ferro
Visiting Associate Professor of Art
Cornell University
Department of Art
Tjaden Hall, Office 306
Ithaca, NY  14853
Email: rferro at cornell.edu
URL:  http://www.renateferro.net
Lab:   http://www.tinkerfactory.net

Managing Moderator of -empyre- soft skinned space

On 9/20/15, 10:47 PM, "Alan Sondheim" <sondheim at panix.com> wrote:

>----------empyre- soft-skinned space----------------------
>On Sun, 20 Sep 2015, ETC wrote:
>> ----------empyre- soft-skinned space----------------------
>I think that what ETC tried to provide was a malleable space - one which
>each artist could create in his/her own image and desire.
>-- And this is perfect; the key was/is malleabolity, a porous space, and
>something should be said about the rough-hewn, the _wood_ of the space,
>its proximity to the bridge, to the gazebo - everything played a role. I
>also noticed and worked with the windows (for shooting down into the
>street for 3 a.m. performances), and the acoustic resonance of the room.
>Finally, as with most rooms, but so often hidden, there were the traces
>machinery, other visitors, everything! in the room itself, which appeared
>both as a domicile and an interior body. I remember a large bat flying
>around us one night as we slept and slowly woke - it was an amazing peak
>experience. The loft appeared less industrial and more like a kind of
>primordial, natural order of things. Of course this is but fantasy...
>- Alan
>empyre forum
>empyre at lists.artdesign.unsw.edu.au

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