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wpe3A1

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VT ≠ TV
•«On the Philosophy of VT and VTR» he listed these attributes as follows: 1. Synthetics – the
entire range of electronic image manipulation, 2. Transformation – the «psychedelic» shift from
concrete, interpretable images to abstract shapes, 3. Self-reference, 4. Instant time – the
components of a two-way communications system (closed-circuit, video feedback), and 5. Box – the
monitor deployed by TV and VTR and representing for Weibel the switch to a machine system as
opposed to the projection system used by cinema. This initial view of the monitor as a
media-specific essential of video art has not unconditionally survived up to the present day. While
Paik enthusiastically saw his dream of an electronic Sistine Chapel approaching realization when
the first video projectors were launched, both Wulf Herzogenrath and Peter Weibel emphatically
assigned the «box» (the TV set or monitor) to the grammar of video, or «videology».(5)
•By way of generalization, however, Weibel etymologically revealed the inherent notion of art in
video technology: «video art is always epistemic, the Greek «techne» means «artefact, art». from
‹eidos› (image) to ‹idos› (idea), even to ‹idein›. from eidology to idology and to ideology.
idotechne (the art of the image) is video technique is video art, that is the art of seeing and
knowing.»(6)
Cit.z: Rudolf Frieling: «VT ≠ TV – The Beginnings of Video Art»
•http://www.mediaartnet.org/source-text/63/