The Emergence of Video Processing Tools  presents stories of the  development of early video tools and systems designed and built by  artists and technologists during the late 1960s and ’70s. Split over two volumes, the contributors examine the intersection of art and science and look at collaborations among inventors, designers, and artists trying to create new tools to  capture and manipulate images in revolutionary ways. The contributors  include “video pioneers,” who have been active  since the  emergence of the aesthetic, and technologists, who continue to design,  build, and hack media tools. The book also looks at contemporary toolmakers and the relationship between  these new tools and the past. Video and media production is a growing  area of interest in art and this collection will be an indispensable  guide to its origins and its  future. 'Provides a new angle on the history of art and technology' Kathy High is associate professor in the Department of Arts at Rensselaer Polytechnic Institute and an interdisciplinary artist working with science- and time-based arts. Sherry Miller Hocking is assistant director at the Experimental Television Center. Mona Jimenez is an associate professor and associate director in the Moving Image Archiving and Preservation Program at New York University. The Emergence of Video Processing Tools Volume 1 Television Becoming Unglued By Kathy High, Sherry Miller Hocking, Mona Jimenez Intellect Ltd Copyright © 2014 Intellect Ltd All rights reserved. ISBN: 978-1-84150-663-0 Contents ACKNOWLEDGMENTS, xi, PREFACE, xiii, SECTION 1: HISTORIES, Introduction Kathy High, 1, Beginnings (with Artist Manifestos) Kathy High, 7, Mapping Video Art as Category, or an Archaeology of the Conceptualizations of Video Jeremy Culler, 33, Impulses – Tools Christiane Paul and Jack Toolin, 53, The Art-Style Computer-Processing System, 1974 Tom Sherman, 83, Machine Aesthetics Are Always Modern Tom Sherman, 89, Electronic Video Instruments and Public Sector Funding Mona Jimenez, 103, TV Lab: Image-making Tools Howard Weinberg, 131, The New Television workshop at wGBH, Boston John Minkowsky, 145, The National Center for Experiments in Television at KQED-TV, San Francisco John Minkowsky, 151, The Experimental Television Center: Advancing Alternative Production Resources, Artist Collectives and Electronic Video-Imaging Systems Jeremy Culler, 159, Interstitial Images: Histories, 167, SECTION 2: PEOPLE AND NETWORKS, Introduction Sherry Miller Hocking, 177, From Component Level: Interview with LoVid Michael Connor, 181, Memory Series – Phosphography in CRT 5", Mexico, 2005 Carolina Esparragoza, 195, The Rhetoric of Soft Tools Marisa Olson, 199, Jeremy Bailey and His 'Total Symbiotic Art System' Carolyn Tennant, 213, De-commodification of Artworks: Networked Fantasy of the open Timothy Murray, 223, Virtuosity as Creative Freedom Michael Century, 249, Distribution Religion Dan Sandin and Phil Morton, 263, A Toy for a Toy Ralph Hocking, 269, Woody Vasulka: Dialogue with the (Demons in the) Tool Lenka Dolanova with Woody Vasulka, 273, A Demo Tape on How to Play Video on a Violin Jean Gagnon, 309, Application to the Guggenheim Foundation, 1980 Ralph Hocking, 323, Thoughts on Collaboration: Art and Technology Sherry Miller Hocking, 329, Interstitial Images: People and Networks, 337, INDEX, Index: 1, COLOR PLATES, Color Section: 1, CHAPTER 1 SECTION 1 HISTORIES Introduction Kathy High This first section of The Emergence of Video Processing Tools: Television Becoming Unglued offers a context for the historical moment when the building of custom tools began, and looks at concepts that were critical in the formative years of video art and remain resonant in twenty-first-century digital culture. The writings trace the social impacts, funding changes, and art-historical influences that contributed to the evolution of tool making, and the art produced by these machines. The section documents the history of a set of electronic art-making tools developed in the United States from the 1960s through the mid 1980s and looks at their effect on contemporary new media artists who today make machines and systems a crucial part of their art process – from analog-to-digital to signal-to-code. What aspects of a historical moment encourage this kind of inventiveness? What drives artists to seek custom-built instruments, and how are they used? What are the influences of cultural policy, technological innovation, and the sociopolitical environment on tool development and use? The section opens with 'Beginnings (With Artist Manifestos)', an essay by Kathy High that looks at the lineage of radical concepts linking early twentieth-century art movements and those of the 1960s and 1970s: 'From what disciplines or movements did the artists come to this form of practice in the first few decades of video and tool development? How did the discourse develop a