Re: [-empyre-] fwd .. gnu..forward from Blithe Riley

[jonCates <joncates@criticalartware.net>]

blithe riley <blither@andrew.cmu.edu> wrote:
>  >Hey All,

hey blithe!

>  >feedback '70's stylz>
> > Relating not only to a camera pointing at a monitor-- but sharing work
> > within ones community/ counterculture, and making visible the means of
> > production in order to create a cyclical relationship between
>  >producer/audience, subject/object, etc. ...

abs = YES

as we (criticalartware) speak w/participants of the early video art 
moment, we find feedback was also, as blithe says, a function of the 
community of shared resources. Radical Software provided an 
[application/platform] for exchanging those resources (concepts, 
comments, critiques, tapes, skills, equipment, etc) as did others 
throughout the [emerging/developing] community. the participants of 
the early video art moment created a network by which to strengthen + 
decentralize their activities. as blithe wrote:

"...from ArtForum rticle

"In Radical Software art and activism were shown to be formally 
equivalent on account of their shared practice of feedback. "

these activities were inter[woven/laced] throughout with the 
[intention/motivation] of building systems of [open/creative] 
resistance to hegemonic structures + [dynamic/vibrant] 
countercultural options. as we have been discussing this month on 
empyre, criticalartware is (in part) focused on recognizing the 
dynamic links + positions of these [efforts/activities] in subjective 
hystorical trajectories which connect them to current 
[artware/concerns/strategies/contexts/experiences] in order to 
develop those conversations + (in)formations.

as Kate Horsfield said in the [interview/conversation] that blithe + 
i had w/her + which criticalartware released in our version.1.0.1:

<---//

Kate Horsfield: "Everything was new, I mean in the world of video. 
You could count it, maybe 100 people tops in the 70's, maybe that's 
too many, and that's a national number. It was an unformed area; 
everything was new. There was no script to follow like there was in 
film production or in painting. So, it was very loose and very 
connected to the ideas of the counter culture. We were all interested 
in alternate mind spaces. Whether it was Gene Youngblood or 
Buckminster Fuller or whatever, we were interested in creating a new 
way to look at the world and that included a spiritual perspective."

<---CUT-N-PASTE--->

criticalartware: How was work distributed or seen? How did the early 
festivals begin?

Kate Horsfield: The only way you were able to see anybody's work 
wasn't through festivals. There weren't any festivals then, it was 
through what everybody called "bicycling." Somebody would send Phil 
Morton a tape and he would invite everybody over to his house to look 
at it."

//--->

data.src:
title: Kate Horsfield Interview
developer: criticalartware
platform: criticalartware version.1.0.1
uri: http://www.criticalartware.net

i am particularly interested in what empyreans might think of the 
concept of bicycling video art [works/tapes] + the development of 
communities around shared [resources/praxis]. how might this 
[hystory/praxis] [intersect/converse/connect] [with/to] current forms 
of distributing [+/or] sharing artware, nfo + resources?
--
//jonCates
 ---> criticalartware coreDeveloper
http://www.criticalartware.net