EZTV had, since its inception as a video gallery in 1983, been an advocate of the exhibition of computer-based art, as serious artistic expression. The roots of this may be found in a tradition  between artists and scientists dating back to the 1960′s, when LA based performance artist Barbara T. Smith began to collaborate with scientists and computer programmers at CalTech and elsewhere.

 

 

Internationally, in addition to the work of artists focused around conferences such as SIGGRAPH, a number of independent artists/inventors/technologists, experimented throughout the 1980′s with the integration of  art, dance and technology. Among the most prolific collaborations was between Ed Tannenbaum and Marci Javril:

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Nightclubs, prior to the term ‘raves’; being coined, turned to a new category of artist- those using large scale video projectors, to show their work. This mix of visual art and loud heart=pounding club music, proved a winning combination. Artists such as Ron Hays and EZTV’s Michael J. Masucci made careers creating long-form abstract animated video and digital paintings for club culture.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Hollywood was very slow to adapt to the technological revolution, developing in the grassroots. The mainstream of contemporary art was also largely in denial. In response and recognition of these global innovations and experiments, EZTV programmed many exhibitions, workshops, lectures and performance centered around the newly accessible digital tools.

 

Some musicians, however, were quick to adopt the computer-based tools being developed. Keyboard Magazine editor Dominic Milano, was an early voice for the integration of visual and sound arts through computing.

 

Early on, well before the staus quo,  some of EZTV’s core team, especially Michael J. Masucci and ia Kamandalu, often in collaboration with artist Victor Acevedo, as well as curator Patric Prince and producers such as Joan Collins, Robert Gelman and Dominic Milano, fully understood the role in art making that the digital revolution would take.

 

By the late 1990′s Masucci and Kate Johnson would further foresee the role which digital innovation would take, as among the first artists to publicly convey the role which mobile communications would take in the early 20th century.

 

 

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