piece and Tap piece from TV Interruptions (7 TV Pieces)
and made specifically for broadcast, these were transmitted by Scottish
TV during the Edinburgh Festival. The idea of inserting them as interruptions
to regular programmes was crucial and a major influence on their content.
That they appeared unannounced, with no titles, was essential.. These
transmissions were a surprise, a mystery. No explanations, no excuses.
Reactions were various. I viewed one piece in an old gents' club. The
TV was permanently on but the occupants were oblivious to it, reading
newspapers or dozing. When the TV began to fill with water newspapers
dropped, the dozing stopped. When the piece finished normal activity was
resumed. When announcing to shop assistants and engineers in a local TV
shop that another was about to appear they welcomed me in. When it finished
I was obliged to leave by the back door. I took these as positive reactions...'
DH, 19:4:90 Television Interventions cat., Third Eye Centre Glasgow and
Ikon Gallery Birmingham, Fields and Frames 1990.
101 TV Sets, installation 1972-1975
First shown as 60 TV Sets at the exhibition A Survey of the Avant-Garde in Britain, Gallery House, London 1972, and as 101 TV Sets at The Video Show, Serpentine Gallery, London 1975 (both made in collaboration with Tony Sinden)
no video is directly involved (the TV sets are tuned or mis-tuned to broadcast
signals, and all parameters of picture quality variously utilised) this
is an important precursor of British multi-channel video installation
work...' Chronology, Diverse Practices: A Critical Reader on British Video
Progressive Recession, video installation 1974
First shown at The Video Show, Serpentine Gallery, London 1975
live interactive installation (using no recording equipment) which, as
the participant moves through, progressively separates and distances his/her
image from its origin.
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