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\nThis page contains a reproduction of the official program of the Electronic Hokkadim.<\/p>\n
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\n“In 1971 and 1972 Douglas Davis integrated interactions with and between spectators in programs of the Commercial Broadcast. It was planned for “Electronic Hokkadim” (1971) to combine a life show sent from the Corcoran Gallery of Art (Washington D.C.) with reactions in the form of telephone calls. But the broadcast “WTOP-TV” (a filiation of CBS) transformed Davis\u00b4 project into a “personality parade” with “amazing participative [telephone] inputs” added in the last two minutes. The life filmed pictures were transformed by video-synthesizers (of Nam June Paik\/Shuya Abe and Eric Siegel?). The electronic picture transformations reacted to the spectators\u00b4 sounds.” (Thomas Dreher)<\/p>\n
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“In June 1971, Davis organized his final climactic happening in Washington, Electronic Hokkadim, produced with the Corcoran Gallery and CBS affiliate WTOP-TV. Poster manifestos proclaimed, in appropriately streaming syntax, \u201cthe world\u2019s first participative telecast live while it is happening the viewers create what they watch and hear at home.\u201d The day-long event culminated in a half-hour evening broadcast involving many pioneering video artists, including Nam June Paik, Eric Siegel?, Bruce Nauman? and Peter Campus?, as well as the artist collectives Videofreex?, Raindance Corporation, Global Village and People\u2019s Video Theater. Howard Wise, now a familiar colleague, delivered a keynote statement that \u201cthe artist\u2019s role in society is that of a pre-sensor of things to come.\u201d Although Electronic Hokkadim had mixed results, failing to live up to its claims as a \u201ctwo-way broadcast,\u201d it tapped into yet unexplored capacities for television.<\/p>\n
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Around this time, John Hightower?, newly appointed director of the Museum of Modern Art (he previously shaped the very progressive New York State Council on the Arts) became determined to hedge against MoMA\u2019s reputation for stodginess. A forward showing of artists\u2019 television could rattle the moribund institution. Hightower spoke to Davis about reconvening the spirit rallied at Electronic Hokkadim \u2013 of artists, filmmakers, critics, curators, administrators and others attuned to the video medium (which still eluded aesthetic categorization and art-world acceptance). First intended to be spearheaded by an exhibition that met resistance from MoMA\u2019s \u201cstodgy\u201d curators, it quickly became obvious that the pressing need was for a wide-open forum on artists and television.” (Ben Portis)<\/p>\n
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Source: http:\/\/timeline.1904.cc\/tiki-index.php?page=Electronic+Hokkadim<\/a><\/p>\n http:\/\/iasl.uni-muenchen.de\/links\/NARSe.html<\/a><\/p>\n