By Geert Lovink & Sabine Niederer (eds)
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Additional resources for Video Vortex reader : responses to YouTube
Example text
Although most of the videos in the show are non-digital, ‘California Video’ emphasises the cultural shift that occurred in 1967 with the introduction of a then-novel technology: Sony’s Portapak, the first portable video-recorder. What links the diverse range of texts this new mobile medium helped generate is the desire to create a personal alternative both to commercial media production and traditional ‘high’ art, one that could be created by lone artists in their own space, a desire still shared by those using YouTube.
Open in the sense of an ‘extended’ network. Which other is the ‘hors–champ’ of the online, if not ‘the offline’? 80 Reader Imagine all the uploaded fan videos of the Vertigo U2 tour together and you get a transformed multi-camera experience. But zoom out and you see there are a lot more cameras in the arena: television reporters, the set-up of ‘U23D’, and the live images on the video walls. We live in a time when the cameras are always on. We worry about surveillance cameras and state control. This very contemporary experience of ‘being filmed from different angles’ is often described in terms of the scary panopticon architecture: a circular prison with cells arranged around a central well, from which prisoners could at all times be observed.
Instead of providing historical contextualisation for the activist era of the 1970s (during which over half of these works were originally made and exhibited), the show emphasizes what that early video work helped spawn. It highlights ‘the Getty’s major commitment to the preservation and exhibition of a young but vital artistic medium’. ‘California Video’ seems designed to appeal to the YouTube generation. It invites comparison between its own large body of works and the grassroots videos currently being displayed on popular on-line sites.