Timeline

Ralph Hocking¹ founds Student Experiments in Television² at Binghamton University³ to provide access to portable video equipment to students and the wider University as well as the regional community, which had previously not been able to use television gear.

Angel St. Nunez tapes Bedford Stuyvesant Kids, young men arrested after a factory break-in. WNET⁴ and WGBH⁵ air sections of it in 1971, and the tapes help seed a Fresh Air Fund for inner-city youth.

• NYSCA funds the Community Center for Television Production, the precursor to ETC
• ETC begins operating in Binghamton with Ralph Hocking as Director and Ken Dominick as the Program Coordinator, joined within a few years by Bob Diamond and Sherry Miller Hocking. In the following years, ETC added Dave Jones, Peer Bode and Hank Rudolph to the staff. Walter Wright was Artist in Residence for several years in the 1970s, while Dr. Don McArthur served as Researcher during that time. Later, Paul Davis continued to serve in that role.

The Community Center for TV Production¹ focuses its mission on “community as studio.” Programs include equipment loans, workshops and exhibitions of artists’ works, and are open to community groups, educational and civic organizations and individuals.

Ralph Hocking² meets with Nam June Paik³ about how artists might use video, and begins a research program to design and build the imaging tools that did not yet exist.

• A Challenge for Change conference at NYU, with Ralph Hocking, Beryl Korot, Skip Blumberg and Bart Friedman of the Videofreex, and Michael Shamberg among the participants
• Charlotte Moorman's 8th Avant Garde Festival at the Armory, with ETC's The Living Room, premieres of the Paik/Abe and Siegel synthesizers, Shirley Clarke's Video Ferris Wheel, a Vasulka environment and tapes by Douglas Davis and the Videofreex
• NYSCA funds WNET and Nam June Paik's residency for the Carousel series, part of which Paik makes at ETC on the Paik/Abe synthesizer
• Nam June Paik and Shuya Abe's Electronic Art III with Charlotte Moorman at Galeria Bonino, using the Paik-Abe synthesizer with ETC's help
• Woody and Steina Vasulka's Transmitted Environment at ETC

NYSCA¹ funds the Paik/Abe Video Synthesizer². Shuya Abe and Nam June Paik³ build one at the Center in 1972, and it runs on site long enough to make part of Paik’s The Selling of New York before heading to WNET’s TV Lab. A second machine stays for residents, with showings at the Bonino Gallery in New York and the Everson Museum⁴ in Syracuse.

At the Everson⁵ from January 18 to 23, 1972, Paik and Charlotte Moorman⁶ exhibit TV Bed and TV Cello, both designed and built by Ralph Hocking⁷. The Center takes its name: Experimental Television Center.

• A Shigeko Kubota exhibition at the Everson Museum, with ETC assistance
• Charlotte Moorman's 9th Avant Garde Festival aboard a riverboat, with Juan Downey, Frank Gillette, Andy Mann, Shigeko Kubota, Nam June Paik's TV Bed and ETC
• Director Nicholas Ray works at ETC with Ralph Hocking, using the synthesizer to fracture footage for the film that becomes We Can't Go Home Again
• James Harithas's account of founding the Everson's video department, the first at a US public museum, seeded by talks with Nam June Paik and Frank Gillette and run by curator David Ross
• NYSCA funds ETC to build the Paik-Abe synthesizer, one system going to WNET's TV Lab and one staying for the residency
• Nam June Paik and Charlotte Moorman at the Everson, showing TV Cello, TV Glasses and the Paik-Abe synthesizer, with technical help from Ralph Hocking and ETC
• Nam June Paik and Charlotte Moorman perform live at The Kitchen, with technical help from Ralph Hocking and ETC
• The Everson's Work from Experimental Television Center catalog, introduced by director James Harithas

Walter Wright¹ takes electronic-imaging workshops across New York and Canada, including the Everson² and The Kitchen³.

Works from the Experimental Television Center⁴, a large show built for the Everson, gathers installations, tapes and performances. Community and artist tapes air weekly on the Center’s own Access series.

• A Videofreex workshop transcript for museum staff in Cooperstown, with ETC and Binghamton among the participants
• A three-day gay video workshop at ETC, organized by David Sasser of Queer Blue Light Gay Video Revolution, on minority use of public access cable

David Jones¹ becomes the Center’s technician, the hire that shapes the next forty years. Walter Wright² demonstrates the system at Global Village and York University³ in Toronto.

Jones starts the gray level keyer and modifies an SEG to sync with the Paik/Abe⁴. The reasoning is blunt: the tools artists want are either unavailable or priced out of reach, so the Center builds them.

• A Fredonia arts festival with films by Larry Gottheim, Paul Sharits, Hollis Frampton and Ken Jacobs, video by Ralph Hocking and the Vasulkas, and a Paik/Abe demo
• A SUNY-Wide Albany conference on the video arts, with Steina and Woody Vasulka, Ed Emshwiller and a Walter Wright demo of the Paik/Abe synthesizer for ETC
• A three-day Everson Museum video seminar, with William Wegman, Phil Niblock, Frank Gillette, Juan Downey, Peter Campus, Nam June Paik and a Walter Wright Paik/Abe demo for ETC
• Belgium's Exprmntl 5 film competition, with video environments by Walter Wright for ETC and by the Vasulkas, alongside David Cort, Tom DeWitt and Tony Conrad
• David Jones's Four Channel Colorizer, made available through ETC's residency

NYSCA funds the Jones Colorizer¹, a four-channel voltage-controlled colorizer with gray level keyers, and the oscillator bank is installed. Don McArthur² builds the SAID digitizer³ out of time-base-corrector research, and Jones, McArthur and Wright⁴ begin computer imaging on an LSI-11.

Image-processing workshops and performances run at The Kitchen⁵, Anthology Film Archives⁶ and the Contemporary Art Museum in Montreal⁷, with Wright touring for NYSCA through more than ten organizations.

• A Pipe Dream notice on a video and dance performance in Binghamton
• A recurring phone conference run from Lanesville TV on repairing and modifying half-inch video gear, with ETC's McArthur and Jones
• A technical conference at Lanesville TV, with ETC's Don McArthur and Dave Jones talking microprocessors and circuits
• David Jones's Grey Level Keyers, Oscillator Bank and Multi Input Sequencer, available through ETC's residency and documented by Rich Brewster

An NEA¹ grant opens the computer-video work; Jones², McArthur³, Wright⁴ and Brewster fold in parallel research by Woody and Steina Vasulka⁵ and Jeffrey Schier, and the LSI-11 becomes the standard.

Jones builds hard and soft keyers and a sequential switcher, and a 64-point switching matrix goes in. The Center starts writing the manual that will grow from a portapak guide into signal theory and step-by-step builds. Cloud Music⁶ by Robert Watts, David Behrman and Bob Diamond is presented at the Center.

• A large ETC show at the Everson Museum, with installations by Peer Bode, Ralph Hocking, David Jones, Don McArthur, Meryl Blackman, Walter Wright, Sherry Miller and Neil Zusman, plus tapes touching Bill T. Jones, Arnie Zane, Charlotte Moorman and Nam June Paik. Curated by Peer Bode and Sherry Miller
• A separate Cloud Music record drawn from the Ars Electronica Video Pioneers catalog, crediting Bob Diamond and ETC equipment notes by Sherry Miller Hocking and Rich Brewster
• An Ed Melnik catalog with a photo of the ETC studio where he works
• CAPS video fellowships for 1975-76, to Elaine Baley, Skip Blumberg, Peer Bode, Bart Friedman, Julia Heyward, Philip Mallory Jones, Beryl Korot, Shigeko Kubota, Michael Marton and Ira Schneider
• Couple 513, a live video and dance piece at the Everson with Lois Welk and Arnie Zane of the American Dance Asylum, video by Meryl Blackman and Peer Bode
• Movements for Video Dance and Music at Cornell's Johnson Museum, with Peer Bode, Meryl Blackman, Bill T. Jones and Arnie Zane
• Synergism, a traveling collaboration between Woodstock Community Video and ETC, with Tobe Carey, Gary Hill, Sara Cook, Ken Marsh and Walter Wright, performed at ETC on 3/23/76 using the Paik/Abe synthesizer and Jones devices
• The Dreme Style of Michael L.V. Butler and his circle at the Everson Museum, with ETC-produced video, costumes, photographs and drawings

The Center starts Video by Videomakers¹, the only video exhibition series in the region, bringing Beryl Korot², Barbara Buckner³ and others to present and talk.

The computer is installed in the system and opened to artists, and software research begins. For a second year, workshops run in regional school districts with Binghamton’s Roberson Center⁴.

• A Videography profile and history of The Kitchen
• An Arnie Zane photography show at ETC
• Beryl Korot presents Dachau 1974 at ETC
• ETC artists Ralph Hocking, Don McArthur, Peer Bode, Meryl Blackman and Walter Wright present at Media Study/Buffalo, curated by John Minkowsky
• Gary Hill leads a sound construction workshop at ETC

Jones¹ and Richard Brewster build the Analog Control Box, producing electronic sound and signals that move the picture by hand. The computer project advances with Paul Davis of SUNY-Binghamton².

The Center runs workshops for the City of Binghamton³, Headstart, Tri-Cities Opera⁴ and 4-H⁵, on the principle that the tools mean nothing if no one outside the studio can reach them.

• A Richard Landry concert at ETC
• A Steina Vasulka video show at ETC
• Ellipsis, a video and dance performance at ETC with Cara Brownell, Chana Gazit and Julie Harrison and Company

The Center moves to Owego, with Peer Bode¹ running the residency program. The processing computer becomes a Z-2 with a CAT digital frame buffer, one of the few low-cost digital video devices, interfaced with the analog box, and software is written for specific video uses.

The Electronic Workshop, a lecture-and-demonstration series on image processing, runs for 17 organizations across the state.

• An upstate media gathering at Synapse that evolves into Media Alliance, with Ralph Hocking, Sherry Miller and the Vasulkas among the attendees
• CAPS video fellowships for 1978-79, to Dena Crane, Louie Grenier, Gary Hill, Ralph Hocking, Steven Kolpan, Mitchell Kriegman, Mary Lucier, Michael Marton, William Wegman and Elizabeth Wiener. The show tours ETC and venues from PS 1 to the Everson
• ETC's Video by Videomakers series, curated by Peer Bode, with Ralph Hocking, Gary Hill, Shigeko Kubota and Ernie Gusella
• Ralph Hocking and Sherry Miller Hocking's traveling image-processing workshop across twenty New York campuses
• The meeting that formalizes Media Alliance at Media Study/Buffalo, with ETC among the founding organizations
• A Carl Geiger photography show at ETC

Jones¹ writes the Print Program, which captures videographic stills to disk and prints them with fine gray-level control. It is the electronic darkroom artists here had wanted since the early seventies. Graduate interns add software under Paul Davis and Ralph Hocking².

• Themes in Electronic Image Processing at The Kitchen, curated by Shalom Gorewitz, showing ETC and David Jones tools with Peer Bode, Barbara Buckner, Gary Hill, Doris Chase, Kit Fitzgerald, John Sanborn and Sara Hornbacher

Residency work shows widely: Siggraph¹, the Donnell Library, Global Village, the 7th Annual Ithaca Video Projects Festival and the San Francisco International Video Festival.

• A festival of ETC works curated by Maureen Turim at American Center in Paris, with Peer Bode, Barbara Buckner, Gary Hill, Henry Linhart, Shalom Gorewitz and Ralph Hocking
• A traveling CAPS video festival curated by Steven Kolpan, stopping at ETC, with Dan Reeves, Joan Logue, Ardele Lister and Jaime Davidovich
• Siggraph's Boston art show, with Gary Hill, the Vasulkas, Walter Wright, and ETC-made work by Connie Coleman and Alan Powell

NYSCA¹ funds the General Purpose Interface Board, which lets a computer “remember” and replay an artist’s exact knob settings. A piece can now be rebuilt the same way twice. Jones² and Peer Bode³ start a real-time frame buffer at 256x256 and 16 grays, and the Pattern Program is built as a SUNY intern project.

• A Binghamton catalog on Barbara Buckner, listing Pictures of the Lost, Hearts, The Golden Pictures and Millenia
• A Binghamton catalog on Peer Bode, listing his early video work from Picture Changes to Comp Book
• A Binghamton catalog on Shalom Gorewitz, listing his Travels series and tapes from Measures of Volatility to U.S. Sweat
• A Binghamton group show of ETC tapes by Ralph Hocking, Sherry Miller, Henry Linhart, Shalom Gorewitz, Peer Bode, Barbara Buckner and Gary Hill, curated by Maureen Turim
• A Media Alliance membership meeting in Rochester, with panels featuring Jaime Davidovich, Ralph Hocking, Tony Conrad and Kit Fitzgerald
• The 6th Tokyo Video Festival, where Reynold Weidenaar takes the Grand Prize

Jones¹ and Matthew Schlanger² design the Four Board project, a four-channel colorizer, keyers, a programmable sequencer and oscillators. The point is a complete low-cost system an artist could leave able to build for themselves. The Center begins studying the new Amiga.

• SONY and the AFI's first Visions of US competition, with ETC-made work by Shalom Gorewitz and the team of Connie Coleman and Alan Powell

The Four Board project is finished and installed. Jones¹ and Schlanger² write the documentation with Connie Coleman and Alan Powell³, and the manual is revised to explain keying, colorization and switching, so the methods outlast the machines.

• Media Alliance's conference at The Kitchen, with a David Jones equipment demo, a Shalom Gorewitz screening, and a minority producers panel featuring Shu Lea Cheang and Victor Masayesva
• The Kitchen's Retrospective from ETC, covering 1971 to 1985

The Four Board project premieres at the Media Alliance Annual Conference¹ at The Kitchen², the downtown space central to video art since the early seventies. NYSCA³ funds a black-and-white frame buffer by Jones⁴ and Peer Bode⁵ for the Amiga.

• The AFI's National Video Festival, with an ETC and Media Study/Buffalo regional program curated by Sara Hornbacher, including Tony Conrad, Peer Bode, Doris Chase and Gary Hill

The Print Program is rebuilt for the Amiga, and custom software lets the computer drive the frame buffer; NYSCA¹ support adds gen-lock and memory. The work is going digital without giving up the analog instruments that gave it its look.

• Matthew Schlanger's first-person account of recording Blue Mercury at ETC, the last tape from his residency, later reworked into an installation with Charlie Citron

The Center works on getting artists fluent on the computer fast. A second Amiga is added, one dedicated to buffer control and one to videographics and audio.

• ETC prepares to launch its Electronic Arts Grants Program with NYSCA support, split into Presentation Funds for venues and Finishing Funds for individual artists
• Untamed Video at Binghamton's University Art Gallery, curated by Sherry Miller Hocking, with Peer Bode, Barbara Buckner, David Blair, Connie Coleman, Alan Powell, Alex Hahn, Shalom Gorewitz, Megan Roberts, Raymond Ghirardo, Sara Hornbacher, Matthew Schlanger and Reynold Weidenaar

The Center starts the Electronic Arts Grants Program¹ with NYSCA²: Presentation Funds for venues showing electronic art, Finishing Funds for artists completing work. It is now paying for other people’s work across the state, not only making its own. The audio side adds a Mirage and mixing, and MIDI and control-voltage boxes begin.

• The AIVF gives ETC its Indie Award for being an oasis for innovation in the electronic media arts
• arTVideo, a NYFA-programmed cable series carrying ETC works

Megan Roberts¹ and Ray Ghirardo² design a digital interface that drives several audio and video sources at once, arranged in three-dimensional space for installation.

Finishing Funds support Maria Beatty, Barbara Hammer³ and John Knecht⁴, chosen by Raymond Ghirardo and Arthur Tsuchiya. Presentation Funds reach Hallwalls⁵, Downtown Community TV Center⁶, the Brooklyn Museum⁷ and the Asian American Video Festival.

• Finishing Funds grants for 1990, to Merrill Aldighieri and Joe Tripician, Mara Alper, Cat Ashworth, Robert Attanasio, Maria Beatty, Peer Bode, Abigail Child, Kate Doyle, Bradley Eros and Jeanne Liotta, Carl Geiger, Barbara Hammer, Kathy High, Mona Jimenez, Joel Katz, Deans Kepple, John Knecht, Barbara Kristaponis, Elodie Lauten, Terry McCoy, Daniel Minahan, Pam Payne, Grai St. Clair Rice, Stephanie Rowden, Matthew Schlanger, John Sturgeon, Jo Wright Whitten and Neil Zusman

A third Amiga and the Toaster expand the system.

Tapes show at the Museum of Modern Art¹ (Exchange of Information), Visual Studies Workshop², the Bronx Museum³’s Emerging Expressions Biennial, and festivals in Rome, Bonn, Osnabruck, Stockholm and Turkey, and air on The Learning Channel and Deep Dish TV⁴. Artists take the Grand Prix at Locarno and first prize for short experimental work at Athens. The Center sponsors Alex Hahn⁵’s The Kirchner Itinerary and Shalom Gorewitz⁶’s Roots and Branches.

• Finishing Funds grants for 1991, to Benton Bainbridge, Joan Boccino, Bill and Mary Buchen, Christopher Burke, Norman Cowie and Trish Rosen, Jean de Boysson, Bradley Eros and Jeanne Liotta, Lluis Escartin, Shalom Gorewitz, John Gwin, Barbara Hammer, Ron Jackson and Gregory Thomas, Kakuna Kerina, Bill Klaila, Wago Kreider, Jill Kroesen, Cynthia Lopez, Cara Mertes, Sarah Montague, Mary Neininger, Pam Payne, Mary Perillo, Nick Pietrocarlo and Roger Bourdeau, Megan Roberts and Raymond Ghirardo, Ellen Spiro, and William Trainer with Timothy Masick

David Blair’s Wax takes the Grand Prize at the 6th Montbeliard Video Festival. Works by Irit Batsry¹, David Blair, Nancy Buchanan and Shalom Gorewitz² screen at the Museum of Modern Art³, with more at the Wexner Center⁴, CEPA⁵, the Brooklyn Museum, the Dallas and Black Maria festivals and the London Film Festival.

Prompted by Ars Electronica⁶’s Pioneers of Electronic Art⁷ exhibition at Linz, the Center starts cataloging its tapes, tools and papers in a relational database, an early sign it sees itself as a history worth keeping.

• Ars Electronica's Pioneers of Electronic Art (Linz), curated by Woody and Steina Vasulka. ETC lends many early devices, and Sherry Miller Hocking co-writes the equipment manual reprinted in the catalog
• Finishing Funds grants for 1992, to Karim Ainouz, Basha Alperin, Robert Attanasio, Ellen Braune and Nina Alverez, Abigail Child, Yau Ching, Maxy Domingo and July Melo, Ron Ehmke and Richard Wicka, Vincent Grenier, Denise Iris, Lisa Jones, Jody Lafond, Heather MacDonald, Lynn Masterson and Jim Supanick, Kevin O'Shaughnessy, Carlos Ortiz, Kevin Pearson, Trish Rosen and Kate Farrell, Angel Shaw, Brian Springer (Spin), Ray St. Denis, Mary Ellen Strom, Helen Thorington, Richard Wicka, Steve Zehentner and Ellen Zweig

The Museum of Modern Art¹ mounts three shows with Center work: Two Decades, Video Fest Berlin and Between Word and Image. More screens at the MIT Media Lab², the Franklin Institute³ and the DAAD Galerie⁴ in Berlin, and in the Bonn, Atlanta, Vancouver and Worldwide (Netherlands) festivals.

Finishing Funds back Maria Beatty, Kit Fitzgerald, Jeffrey Lerer⁵, Ned Sublette⁶ and Ann-Sargent Wooster⁷.

• Finishing Funds grants for 1993, to Mara Alper, Kelly Anderson, Maria Beatty, Skip Blumberg, Bill and Mary Buchen, Abigail Child, Yau Ching, Bob Doyle, Kit Fitzgerald, Larry Gottheim, Johan Grimonprez, Sara Hornbacher, Allan Jamieson, Jeffrey Lerer, Dean Moss, Frank Ortega, Matthew Ostrowski, Richard Povall, Michael Schell and 77 Hz, Irene Sosa, Ned Sublette, Nancy Sullivan, Jo Wright Whitten, Reggie Woolery and Ann Sargent Wooster

Center work shows at the Venice Biennale¹ and the Osnabruck Media Art Festival², in Iterations: The New Image at the International Center of Photography³, at Film/Video Arts and at Montage 93 in Rochester. The Center joins Media Alliance’s Preservation Working Group and the AFI⁴’s national database.

Finishing Funds back David Blair, Vivek Renjen Bald, Larry Brose⁵, Pamela Susan Hawkins, Michael Schell⁶ with 77 Hz, and Branda Miller⁷ with Stephen Vitiello⁸.

• Finishing Funds grants for 1994, to Pat Abt, Vivek Renjen Bald, Don Bernier, David Blair (Wax), Steve Bradley, Lawrence Brose, Yau Ching, Ron Ehmke and Richard Wicka, John Ewing, Chuck Furoyu, Marc Gordon, Vincent Grenier, Pamela Hawkins, Denise Iris, Carol Kalil, Grace Lee, Jeffrey Lerer, Branda Miller, Dean Moss, Betsy Newman, Producciones Homovision, Michael Schell and 77 Hz, Mary Ellen Strom and Stephen Vitiello
• Media Alliance, under Mona Jimenez, pitches a cataloging partnership to the NEH. Never funded, but it lays groundwork for shared cataloging across ETC, Anthology Film Archives and others
• Upstate archives including ETC adopt a NAMID-compatible cataloging template that can convert to USMARC

Work shows at Exit Art, the New Museum¹, Hallwalls², Colgate³, the Black Maria⁴ festival, the New York Video Festival, the Copenhagen Film Festival and the 5th International Symposium of Electronic Art⁵ in Helsinki.

Finishing Funds panelists Bob Harris⁶ and Steina Vasulka⁷ support Tom DeWitt, Carl Geiger and Amy Hufnagel, Jody Lafond, Rohesia Hamilton Metcalfe, Kristin Tripp and Cathy Weis.

Work shows at the Whitney¹, Threadwaxing Space, the Donnell Media Center, the Knitting Factory² and Momenta Art³, and travels to the 6th International Symposium on Electronic Art⁴ in Montreal and to Video Data Bank⁵’s Surveying the First Decade.

Finishing Funds, picked by Peer Bode⁶ and Ken Jacobs⁷, back Alan Berliner⁸, Diane Bertolo, Bill and Mary Buchen, Jane Greenberg, John Knecht, Richard Kostelanetz and Jeanne Liotta.

• ETC's 25-year survey at Art in General, curated by Ann-Sargent Wooster, with Shigeko Kubota, Doris Chase, Barbara Hammer, Irit Batsry, Dan Reeves, Peer Bode and Sara Hornbacher
• Finishing Funds grants for 1996, to Shawn Atkins, Lisa Barnstone, Zoe Beloff, Alan Berliner, Diane Bertolo, Bill and Mary Buchen, Veena Cabreros-Sud, Tirtza Even, Emmanuel Fuentebella, Neil Goldberg, Jane Greenberg, Bob Harris, Shelley Hirsch (for the late Jerry Hunt), John Knecht, Richard Kostelanetz, Jeffrey Lerer, Jeanne Liotta, Tatiana Loureiro, Hsian-Fu Lu, Frederick Rendina, Elizabeth Rodgers, Sasha Sumner and Robin Perl, and Neil Zusman

Kristin Lucas¹’s Host is selected for the Whitney Biennial² and shows at the Museum of Modern Art³ and the New York Film and Video Festival at Lincoln Center. Mary Ann Petit takes first prize at Thaw 96. Resident work shows at the AFI Video Festival, LACMA⁴, the Boston MFA and the MIX Festival⁵.

Presentation Funds put independent video in front of nearly forty thousand people across twenty counties. Sponsored documentaries include Slawomir Grunberg⁶ and Ben Crane’s School Prayer: A Community Divided and Barbara Hammer⁷’s The Female Closet.

• A Leonardo article by Mary Ann Petit on her multimedia performance The Grim Tale, made partly at ETC
• Barbara Hammer's The Female Closet, sponsored by ETC with NYSCA support
• Finishing Funds grants for 1997, to Diane Brown, Luca Buvoli, Ethan Crenson, Genevieve Boutet de Monvel, Roz Dimon, Elvira Garcia-Moran and Dolores Zorreguieta, Amy Hufnagel, Amy Jenkins, Sue Johnson, Jinhan Ko, Jody Lafond, Rik Little, Abby Luby, Jonathan Mednick, Casandra Stark Mele, Uzi Parnes, Daniel Peddle, Esther Podemski, John Roach, Christine Russo, Lynn Sachs, Keith Sanborn, Huy Troung and Gail Vachon

Residents represent seven states, Finland and Canada. Peer Bode¹’s untitled pieces are selected for the Osnabruck Video Festival, and Leah Gilliam² and Janet Grau complete new tapes.

Tapes show at the AFI Video Festival, the MIX Festival, the Museum of Modern Art³ and the ICA Boston⁴, and the Center is invited to curate Landscape: Mediated Views⁵ for Visual Studies Workshop⁶. Susan Muska’s The Brandon Teena Story wins two Astraea awards.

• A notation-free group performance by Peer Bode, Tony Conrad, Andrew Deutsch, Kevin McCoy and Steina Vasulka at the Syracuse Video History Conference
• Finishing Funds grants for 1998, to Alan Berliner, Anita Cheng, Abigail Child (The Russian Chronicles, after Vertov), Cathy Cook, Ann Curran, Lisa DiLillo, the collective Doorika, Tirtza Even, Taryn FitzGerald, Neil Goldberg, Amy Jenkins, Les Leveque and Diane Nerwen, Michelle Lippitt, Jillian McDonald, Ioannis Mookas, Greg Pak and Brent Renaud
• The annual student residency, directed by Pamela Hawkins with Hank Rudolph, drawing students from Buffalo to Oslo

The Center runs Video History: Making Connections¹ at Syracuse in October 1998, drawing over 250 people and tying the seventies pioneers to a younger generation in new media. Forty-eight residents work in the studio; Alex Hahn²’s Theater of Memory tours Zurich, Oberhausen and Berlin.

Tapes show at the Museum of Modern Art, the Whitney³, the New Museum⁴ and the Black Maria and MIX festivals. Sponsored projects include Alan Berliner⁵’s The Language of Names, David Blair’s The Telepathic Motion Picture of the Lost Tribe, Barbara Hammer⁶’s Culture Doctor, and a Peer Bode⁷, Joseph Scheer and Jessie Shefrin installation.

• An essentialist film and video show at Munson Williams Proctor with ETC tapes by Peer Bode, Matthew Schlanger and Connie Coleman, plus installations by Ken Jacobs and Ralph Hocking
• Finishing Funds grants for 1999, to Irit Batsry, Ericka Beckman, Rosateresa Castro-Vargas, David Crawford, Terry Cuddy, Pat Doyen, Elif Savas Felsen, Rebecca Herman, Hey-Yeun Jang, Ken Kobland, Megan Michalak, Jamie Mirabella, Prema Murthy, Sarah Pierce, John Roach and James Rouvelle, Mark Shepard, and Michael Smith with Joshua White
• Slawomir Grunberg and Ben Crane's School Prayer, ETC-sponsored, which wins a 2000 Emmy and tours festivals worldwide

Irit Batsry¹’s These Are Not My Images premieres at the Rotterdam festival². John Knecht³ curates Motion⁴ at the Munson-Williams-Proctor Institute⁵, a tape survey honoring 25 years of residents. Work shows at the Whitney Biennial⁶, the Museum of Modern Art and the New Museum, and in the Black Maria and MIX festivals.

The Center launches the Video History Web and passes $600,000 in grants awarded since 1989. Sponsored work includes Slawomir Grunberg’s Emmy-winning School Prayer, Alan Berliner’s The Sweetest Sound, David Blair’s Lost Tribe and Barbara Hammer’s The Female Closet. Finishing Funds back Zoe Beloff, Brian Frye, Neil Goldberg, Barbara Hammer, Jody LaFond, Ken Montgomery and Diane Nerwen.

• Amy Jenkins premieres the two-channel installation Shelter for Daydreaming at the John Michael Kohler Art Center, with ETC as fiscal sponsor
• An early video art show at the College of New Jersey drawing on ETC's ephemera collection, with Douglas Davis, Amos Poe and Penny Arcade, plus a Walter Wright performance
• Barbara Hammer's History Lessons, a film reassembly of lesbian history back to the dawn of cinema, backed by a NYSCA award through ETC
• Benton C Bainbridge shows Triggers at The Kitchen, an interactive jukebox stocked with analog-synthesized video
• Finishing Funds grants for 2000, to Zoe Beloff, Richard Bloes, Lawrence Brose, Anita Cheng, David Crawford, Brian Frye, Neil Goldberg, Shalom Gorewitz, Barbara Hammer, Janene Higgins and Zeena Parkins, Amy Jenkins, Jodi Kaplan, Jody Lafond, Jeanne Liotta, Michelle Lippitt, Rik Little, Dena Mermelstein, Ken Montgomery, Diane Nerwen, Megan Roberts and Raymond Ghirardo, Jason Rosette, Caspar Stracke (with Mike Hoolboom), Maria Venuto and Jennifer Whitburn
• Irit Batsry's These Are Not My Images, an 80-minute work with a Stuart Jones soundtrack, made with ETC and international support
• Janene Higgins and Zeena Parkins perform Arch and How I See the World at Experimental Intermedia, built through ETC programs
• Jud Yalkut's Dream Reels at the Whitney, including Vision Cantos, made at ETC
• Mantic Ecstasy, an Alfred University catalog of works by Peer Bode, Pamela Susan Hawkins, Andrew Deutsch, Jessie Shefrin and Darrin Martin, made partly through ETC's residency

The Center supports Ken Jacobs¹’s NY Ghetto Fishmarket, 1903, Amy Jenkins²’s Shelter for Daydreaming at the John Michael Kohler Art Center³, and Branda Miller⁴’s Kids in Formation.

Fifty residents from eleven states show at the Museum of Modern Art, the Whitney, Anthology Film Archives⁵, The Kitchen and Art in General, and in the NY Video Festival and the Dumbo festival. For Black Box at New Jersey City University, the Center curates 30 years of work made on its machines. Finishing Funds back Luca Buvoli, Jeanne Liotta, Mary Magsamen, Jennifer and Kevin McCoy, Eric Rosenzveig and others.

• Eric Rosenzweig's The Appearance Machine, a self-running system that perpetually builds cinematic space, backed by Finishing Funds
• Finishing Funds grants for 2001, to Robert Attanasio, Luca Buvoli, Nancy Goldenberg, Stephanie Gray, Thomas Allen Harris, Denise Iris, Jeffrey Lerer, Mary Magsamen, Darrin Martin, Jennifer and Kevin McCoy, Vince Mistretta, Ken Montgomery, Yasuaki Nakajima, Jenny Perlin, Eric Rosenzveig and Koji Tambata
• Joe McKay and Kristin Lucas show an evening of work in Owego alongside the student residency
• The annual student residency, run with Alfred University's Institute for Electronic Arts. Taught by Pamela Hawkins and Hank Rudolph, with guest lectures by Kristin Lucas and Joe McKay

Center work reaches the Centre Pompidou¹ in Paris and MoMA²’s Video Viewpoints. Irit Batsry³ wins the Bucksbaum Award and a place in the 2002 Whitney Biennial⁴ for Neither There Nor Here, one of the largest prizes in American art. After the towers fell, the studio turned outward, from the From The Ashes benefit of over 100 artists to a run of funded projects.

NYSCA⁵ awards go to Barbara Hammer⁶ for Resisting Paradise, Ken Jacobs for N.Y. Ghetto Fishmarket 1903, Kristin Lucas⁷ for Supervision, Jeffrey Lerer and Joseph Scheer. Finishing Funds back Zoe Beloff, Abigail Child and Benton Bainbridge, Julia Loktev, Kathleen Ruiz, Mary Ellen Strom and the Yes Men. In June the Center convenes Looking Back/Looking Forward⁸ at Downtown Community TV⁹, gathering 60 conservators and artists on moving-image preservation.

• A NAMAC preservation panel featuring Sherry Miller Hocking and Stephen Vitiello
• A media preservation symposium ETC organizes with IMAP and BAVC, run by Sherry Miller Hocking and Mona Jimenez
• Finishing Funds grants for 2002, to Leesa and Nicole Abahuni, Zoe Beloff, Torsten Burns, Abigail Child and Benton Bainbridge, Norman Cowie, Raul Vincent Enriquez, Stacey Lancaster, Julia Loktev (co-starring Vito Acconci), Craig Renaud, Kathleen Ruiz, Taketo Shimada, Scott Smallwood, Mark Street, Mary Ellen Strom, Ray Sweeten and the Yes Men
• Irit Batsry wins the Whitney's second Bucksbaum Award, $100,000, for work including These Are Not My Images, made with ETC support

The studio becomes a single instrument: old analog synthesizers wired to Max/MSP¹ and Jitter so an artist moves between them without leaving the patch bay. Fifty-eight residents work in it.

NYSCA awards go to Ariana Gerstein² for Milk, Jacqueline Goss³ for Kishlak Dwellers (premiered at Eyebeam⁴), Jeanne Liotta⁵ for Observando el Cielo, and Jenny Perlin⁶ for Perseverance and How to Develop It (Rotterdam, Ann Arbor jury award). Work shows at MoMA, the New Museum, Art in General, PS 1 and the Barcelona CCCB. The Center issues the CD Early Media Instruments and shows it in Origins at the Cyberfest in Boston.

• A BAVC preservation DVD that ETC contributes research and ephemera to. It centers on Ant Farm and T.R. Uthco's 1976 piece The Eternal Frame
• Finishing Funds grants for 2003, to Peter Bianco, Roddy Bogawa, Abigail Child, Carrie Dashow, Tirtza Even, Jennifer Fieber, David Gatten, Gretchen Hogue, G.H. Hovagimyan, Shelley Jackson, Amy Jenkins, Diane Ludin, Megan Michalak, Prema Murthy, Bernard Roddy, Kathy Rose, Marina Rosenfeld, Brooke Singer and Beatriz da Costa, Kelly Spivey and Roxanne Wolanczyk. Five are new media and intermedia performance awards

Center work shows at the Venice Biennale¹, the New York Film Festival² and Viper in Basel, about as far into the international art world as electronic video had reached. Since 1971 more than fourteen hundred artists have worked in the studio.

NYSCA awards go to Alan Berliner³ for Wide Awake, Leah Gilliam⁴ for Agenda, Barbara Hammer⁵ for Sisters/Resisters, Amy Jenkins⁶ for We, Precarious, Megan Roberts and Raymond Ghirardo for Rain/Fall, Nick Economos for Book Tick and Shawn Onsgard for Ghost in the Oat Bin. The Center applies to Cornell to place digitized 1969-1980 materials into the Rose Goldsen Archive⁷, and the National Television and Video Preservation Foundation backs remastering ten hours of its 1970s tapes.

• A statewide media arts convening run with WAMC and NYSCA. No individual artists, just thirty organizations talking shop
• ETC fiscal sponsorship for projects by Mara Alper, Alan Berliner, Norman Cowie, Nic Economos, Megan Roberts and Ray Ghirardo, Leah Gilliam, Barbara Hammer, Amy Jenkins and Shawn Osnguard
• Finishing Funds grants for 2004, to Amy and Donna Bassin, Zoe Beloff, Dallas Brennan, Ghen Zando Dennis, Tirtza Even, Kathleen Foster, Roberto Guerra, Barbara Hammer, Lee Krist, Jeffrey Lerer, Cynthia Madansky, Darrin Martin, Mitch McCabe, Rohi Mirza, Richard Pell, John Roach, Sanjna Singh and Pia Sawhney, Samauel Topiary, Gabrielle Weiss and Jonathan Zalben
• In-kind support to preserve and remaster ten hours of ETC's 1970s tapes made on early analog and digital imaging tools
• Langlois Foundation and NYSCA money funds ETC's research into early artist-built video instruments, documenting the tools, their makers and the tapes made on them
• The ninth student residency workshop, taught by Pamela Susan Hawkins and Hank Rudolph

The studio now holds devices built by David Jones¹, Dan Sandin² and Nam June Paik³, vintage and new synthesizers, Max/MSP and Jitter, keyers, switchers and cameras, all on one patch bay. It is an archive of video-art tools an artist can play. The tenth International Summer Workshop runs.

Center work shows at the New York Film Festival, the Venice Biennale, the Dallas Video Festival and Viper. NYSCA awards go to Irit Batsry, Abigail Child for By Desire, Norman Cowie, Jeffrey Lerer, Jim Supanick and Caspar Stracke; Greta Olafsdottir and Susan Muska get McCarthy support for America is Hard to Find. The Center digitizes interviews with Woody Vasulka⁴, Steve Rutt, Dan Sandin, Ralph Hocking⁵, David Jones and Walter Wright⁶.

• Finishing Funds grants for 2005, to Angie Eng, Tali Hinkis and Kyle Lapidus of LoVid, Koosil-Ja Hwang, Kabir Carter, Abigail Child, Alex Hahn, Eunjung Hwang, Mary Mattingly, Jillian McDonald, Tammy McGovern, Federico Muelas, Laura Parnes, Jennifer Reeves, Jason Van Anden, Jeremy Xido and Adam Zaretsky

Center work shows at the Los Angeles County Museum of Art¹ and at festivals in Zurich and Basel, moving easily between American museums and the European circuit. The eleventh International Summer Workshop runs with the Institute for Electronic Arts².

NYSCA awards go to Benton Bainbridge³ and Stephan Moore⁴ for Video Quilt, LoVid (Tali Hinkis⁵ and Kyle Lapidus⁶) for Cross Current Resonance Transducer, and Igor Vamos for Chilling Effects, on the prosecution of Critical Art Ensemble⁷’s Steven Kurtz. Finishing Funds reach 28 projects, among them work by Jung Hee Choi, Marie Losier, Tara Mateik, Esther Robinson and Jason Varone.

Skip Blumberg¹’s Lessons From a Video Master gathers the advice Nam June Paik² passed to more than 65 artists. NYSCA awards also go to Peer Bode³ for History Electronic, Barbara Hammer⁴ for The Diving Women of Jeju-do, Aaron Miller for Terminus, Paul Rowley for Uisce Marbh, Luciana Sanz for Etcetera and Caspar Stracke for Architecture of Piracy.

Work shows at Eyebeam⁵, the Corcoran, the Museum of Modern Art, the Film Society of Lincoln Center and the Kunstmuseum Solothurn, and in the VideoEx⁶ (Zurich), Viper (Basel) and Jerusalem festivals. Finishing Funds back Zoe Beloff, Carrie Dashow, Mariam Ghani, Jason Livingston, Cat Mazza and Marina Zurkow, among others.

Ken Jacobs¹ gets NYSCA support for The Alps and the Jews, a 3-D portrait of Allied strategy; awards also go to Vincent Grenier², Amy Jenkins³, Kristine Marx, Brian Milbrand and Alan Sondheim. Work shows at Lincoln Center, the Museum of Modern Art⁴, the Chelsea Art Museum and CEPA, and in Beyond/In Western New York, Ars Electronica and the Stuttgart festival.

At the 2007 Association of Moving Image Archivists⁵ conference, Jim Lindner⁶ of Media Matters donates a SAMMA Solo, and the Center launches Migrating Media with Buffalo Media Resources and Hallwalls⁷ to migrate endangered upstate video collections.

Over fifty residents from eleven states, the UK and Canada work in the studio. NYSCA awards go to Alex Hahn¹ for Propitious Stars and the Master of the Staring Eyes, Skip Blumberg² for a Paik sequel, Courtney Grim for Eerie Tales, Shawn Lawson for Our Sardanapalus, LoVid for Orbital Drop, Monteith McCollum for Path, Laura Parnes³ for County Down and Gretchen Skogerson for Parking Signs.

Work shows at SF MoMA⁴, Light Industry⁵, the Villa Croce in Genoa, Hallwalls and Eyebeam⁶, and in the MIX, European Media Art (Osnabruck) and Migrating Forms festivals. The New York State Media Arts Map⁷ launches at Location One. The Finishing Funds panel includes Renate Ferro and Tara Mateik.

The Center releases Experimental Television Center: 1969-2009¹, a nineteen hour, five-DVD set with a 130-page catalog. LUX², the influential arts organization in London, UK, names it as one of 50 essential moving-image DVDs in publication.

Forty-seven residents from thirteen states and four countries work in the studio. NYSCA awards go to Benton Bainbridge³ for Brother Island, Alan Berliner⁴ for Arithmetic, Janet Biggs⁵ for Fade to White, Ken Jacobs⁶ for The Nervous System, Jason Livingston⁷ for Interstate, and Susan Muska and Greta Olafsdottir⁸ for Edie & Thea. Work shows at Light Industry, Hallwalls and Eyebeam, and in festivals from Toronto to Yogyakarta.

Forty-nine residents work in the studio before the Center ends the Residency, the Grants, and the Sponsorship programs in summer 2011 to focus on history and preservation. NYSCA awards go to Jacqueline Goss¹ for The Observers, Barbara Hammer² for Maya Deren’s Sink (a Teddy at the Berlinale), and Monteith McCollum³ for The Good Game. Anthology Film Archives⁴ hosts a Tribute to ETC.

In April the Goldsen⁵ and FLEFF⁶ host Video Art: Practice, History, and Archive, with Renate Ferro, Sherry Miller Hocking⁷, Philip Mallory Jones, Barbara Lattanzi and Timothy Murray.

Then the move that ends the studio era: the videotape collection and the document archive are slated to go to the Rose Goldsen Archive of New Media Art at Cornell.

• A memorial screening pulled from ETC's anthology DVD set

Cornell¹ stages Video Art: Practice, History, and Archive at Kroch Library and the A.D. White House. Sherry Miller Hocking² and Patricia Zimmermann³ (FLEFF⁴) deliver "History of ETC."

Anthology Film Archives⁵ and The Standby Program⁶ co-present Tribute to the Experimental Television Center⁷ on July 15, featuring thirteen works by ETC alumni.

The Center releases Early Media Instruments¹, an eight-DVD set in which Dave Jones², Hank Rudolph³ and Benton C Bainbridge⁴ demonstrate the real-time analog tools that defined the studio, most designed in the 1970s. One disc each for the Jones Colorizer⁵, Frame Buffer, Keyer and Sequencer, the Paik/Abe Video Synthesizer⁶, the Raster Manipulation Unit (the Wobbulator), the Rutt/Etra RE-4 and the Sandin Image Processor.

Documentation is by Carolyn Tennant, Pamela Susan Hawkins, Hank Rudolph, Mona Jimenez and Kathy High, with design and post by Matthew Underwood, Necole Zayatz and Dave Jones Design. The set is produced through the Video History Project⁷.

• The Emergence of Video Processing Tools, a 2-volume, 736-page Intellect book edited by Kathy High, Sherry Miller Hocking and Mona Jimenez

The book lands and the museums follow. The Emergence of Video Processing Tools: Television Becoming Unglued¹, edited by Kathy High², Sherry Miller Hocking³ and Mona Jimenez⁴, is out from Intellect; its New Museum launch⁵ (July 13, 2014) puts Dave Jones, LoVid’s Kyle Lapidus and Tali Hinkis, Rhizome’s Dragan Espenschied and Hank Rudolph in conversation, organized with Rhizome and the New Museum. IMAP marks the book and its Archiving the Arts⁶ resource with a June symposium at the Burchfield Penney in Buffalo.

Then the first academic survey of the Center: The Experimental Television Center: A History, Etc.⁷ at the Hunter College Art Galleries (September to November 2015), curated by Sarah Watson with Timothy Murray and Sherry Miller Hocking. It spans the 1960s through the 2000s with original analog instruments and new tools by Dave Jones and by Jason and Debora Bernagozzi of Signal Culture⁸, and names the artists ETC built: Batsry, Bode, Buckner, Hammer, Hill, Kubota, Paik, the Vasulkas, Lynne Sachs, Charlotte Moorman, Arnie Zane and many more.

The Center’s work fills two Cornell shows drawn from the Rose Goldsen Archive¹, now home to its tapes and ephemera. Signal to Code: 50 Years of Media Art² runs at the Kroch Library (March to October 2016), more than sixty electronic and digital works across fifteen display stations, with the Paik/Abe Raster Manipulation Unit on view.

A companion screening at the Herbert F. Johnson Museum³ (September to December 2016) runs eleven works at once: Ralph Hocking⁴’s Transparent Body #3, David Blair’s Wax, Gary Hill⁵’s Earth Pulse, Barbara Hammer⁶ and Paula Levine’s Two Bad Daughters, Sara Hornbacher’s Writing Degree Z, Philip Mallory Jones’s First World Order, Rohesia Hamilton Metcalfe’s La Blanchisseuse, NNeng-M’s Tears, Lynne Sachs⁷’s Window Work, Andrew Deutsch’s Magnetic North and Ann-Sargent Wooster’s Dialectics of Romance. The wall text credits the tools to Hocking, Paik, Abe, David Jones and Dan Sandin.

MoMA¹ gives Shigeko Kubota² her first US solo show in 25 years, Liquid Reality³, with ETC contributing; one wall photo is Peer Bode⁴’s shot of Kubota at the Center in 1983.

Then the turn. On the 50th anniversary, Sherry Hocking⁵ announces that she and Ralph⁶ have stepped back and ETC is moving to Atlanta under Erik Gavriluk⁷, who had been working with Ralph since 2019 on the history, the tapes, and the analog instruments. The studio and hundreds of tools are now in a large Atlanta space, restoration underway, plus new programs in attribution, rights recovery and distribution.

Two returns to the founders. Amanda Kim’s documentary Nam June Paik: Moon is the Oldest TV¹ draws research and archival material from ETC, takes a Variety Critic’s Pick², and reaches Amazon Prime, Apple TV and PBS American Masters.

And Binghamton University³ honors Ralph Hocking⁴ with Selected Works⁵ (February 2023), a screening and a conversation with Peer Bode⁶ and Kathy High⁷, marking the man who started the whole thing as a campus media-access program in 1969.

Spectacle Theater¹ in Brooklyn screens Both at Once: Video by Peer Bode² on February 22, co-presented with Visual Studies Workshop³ and moderated by VSW curator Tara Nelson. Six Process Tapes made at ETC between 1977 and 1983: Front Hand Back Hand, Cup Mix (2 Channels), Camel with Window Memory, Vibratory Sweep, Video Locomotion, and Music on Triggering Surfaces. Distribution works paired with recently digitized tapes from Bode⁴'s archive never before shown.

Peer Bode: Signal into Memory opens at Visual Studies Workshop¹ in Rochester, February 6 to June 6, 2026. Curated by Tara Nelson and Nilson Carroll, it draws extensively from Bode²'s Process Tapes recorded at ETC between 1975 and 1983, alongside recently digitized work from his personal archive and prints from his video-as-material practice. Opening reception February 6; curator talk and Open Fields book launch May 30; closing party June 5.

VSW Press³ releases Peer Bode: Open Fields on May 30: 178 pages of full-color illustrations from Bode's early-1970s ETC experiments in Binghamton and Owego, with an essay by Sherry Miller Hocking and transcripts of a conversation between Bode and Signal Culture co-founder Hank Rudolph.

Back where it started: Binghamton University⁴'s Harpur Cinema⁵ holds a Ralph Hocking Retrospective⁶ on April 17 and 19. Angel St. Nunez's Bedford Stuyvesant Kids screens in Binghamton for the first time since 1970.