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Example text

In emphasizing the unpredictable and the ‘unknown’, whereby Cage and his collaborators might approach the performance of controls ‘in the role of research worker’ (Cage 1965:1), Variations V extended a fundamental aspect of early electronic music. Here, technology itself was conceived as introducing uncertainties, distortions and spontaneity. Cage remarks: One of the very early principles of live electronic music was that through the use of amplification changes take place in the quality of sound – going through a sound system, coming through the loud speakers […].

Not being a really simple or discrete entity, video prevents the pre-requisite for a theoretical approach: that is, deciding upon an object about which you wish to know. (Cubitt 1993: xvi) Yet these positions remain paradoxical, for, even in this fracturing of ‘the medium’, the ‘video art work’ evidently comes back in the activity and exchanges of numerous video artists, exhibitions and editions, reflecting television’s camouflage. Indeed, the demise of ‘the individual work’ in video assumes a specific form of ‘artwork’, one that has acquired a solidity, permanence and uniqueness.

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