e n t e r

To: turesjolander@hotmail.com
Sent: Monday, April 29, 2002 2:46 AM
Subject: CD


I looked at your CD last week with Woody and Steina.
We were all much impressed.
Your early work was artistically beautiful and technically very interesting.
Thanks very much for sending it. /gene

----- Original Message -----
To: Ture Sjolander
Sent: Thursday, April 11, 2002 1:25 PM
Subject: Re: Have you received the CD ?

Yes I've received the CD. Thanks.
I haven't looked at it yet because I don't have easy access to a Mac.
Steina has one but she's out of town.
We'll look at it together when she gets back.

----- Original Message -----
To: mailto:turesjolander@hotmail.com
Sent: Wednesday, March 13, 2002 1:48 AM
Subject: Re: expanded cinema


I would be pleased to have a CD of your early works.
I would show them in my classes on the history of video art.
As for finding a host on the Web,the only possibility I'm aware of is the Art and Science Laboratory (the Vasulkas), and what they post on their site is not my decision but theirs.

I would certainly show your work to them.

Gene Youngblood

Moving Image Arts Department
College of Santa Fe
1600 St. Michael's Drive
Santa Fe, NM 87505  USA


Satellite Art project with USA 1966
The largest daily news paper
in Sweden Bonnier AB
This article below about:  "TIME"
by Ture Sjolander and Bror Wikstrom, 
 was published in Dagens Nyheter
August 29, 1966.
"TIME" was televised September 1966
in the Swedish National Television.
Signed: DIA
(Dick Idestam-Almqvist)
TV  "exposes" the present in electronic pictures
during the Jazz Festival.
So the artists Ture Sjolander and Bror Wikstrom say, of current interest as they are for the coming jazz festival within the Festival of Stockholm. Some time during the three days of the jazz festival (Sept 16 - 18) the two picture experimenter's new film is shown on TV.
It is ready made for TV with the apparatus of the TV and with the basic function of the TV before one's sight.
Some year ago Sjolander and Wikstrom brought about a sensation by exposing pictures on giant billboards outdoor's in Stockholm's City.
If you had something to display you shouldn't fence it, neither in the museums nor among the private art galleries, but expose it where people are to be found, they thought.
So consequently they have chosen the biggest medium of communication, television, for their latest exhibition.
Sjolander - Wikstrom are fully conscious of the topicalness of today, another reason for choosing television. What else can be more actual than to demonstrate the formal possibilities of TV, and what else can be more actual than mirror the present while you are demonstrating these formal possibilities?
"Scanner" re-interprets.
"Time" is the name of the exhibition, which is based upon various actualities that Sjolander-Wikstrom have come across during the spring, for instance "Gemini" and foetal-pictures.
The main part is taken up by the very much to fore avant-garde jazz-musician Don Cherry and his quintet at the Golden Circle.
The pictures are run through a specially built "scanner", an apparatus that in the ordinary cases is producing "real" pictures, but which in this synthesized state is "re-interpreting" what the camera has seen, and thus is creating new pictures. The technicians and the artists have decided what the apparatus looks like, and the apparatus has decided what the pictures look like.
The present is reflected.
Consequently the couple Sjolander-Wikstrom is demonstrating a phenomenon that is very much up to date just now: the electronic "machine" picture.
The Korean Nam June Paik is for the moment sitting at the Swedish Radio and is working with similar things. He will show his result at the festival of Fylkingen "Visions of the Present".
But this will take place one week after Sjolander-Wikstrom's demonstration, televised on Swedish National Television.
Ture Sjolander and Bror Wikstrom hold that they by "TIME" have accomplished a total reflection of the present. Novelties and actualities have been interpreted by an apparatus that per se is a novelty and an actuality. A vision of the present.
Their Ideas they spread in different quises like rings on the water. "Time" will be shown at ABF (The Worker's Federation of Culture) during the festival, still pictures of the film - made on silk-screen - will be exposed, and an edition of 300 prints have already been sold to MULTIART, the darling of Kristian Romare.
Finally a summary of the film will be edited in book-form very soon.
 And then, furthermore, Sjolander-Wikstrom are negotiating just now about contributing at the festival which the Americans of "Fylkingen" are planning in New York in October.
Possibly parts of "Time" are going to be transmitted by satellite.
(Journalist Dick Idestam-Almqvist)
Dagens Nyheter Sweden

----Original Message Follows----
From: Christopher Meigh Andrews <cmeigh-andrews@uclan.ac.uk>
To:Ture Sjolander
Subject: RE: Monument
Date: Wed, 01 Jun 2005 12:14:19 +0100


As you rightly say, there is a sense in which the American artists have
written everybody else out of the history of video art. I would like to
put some people (such as yourself) back in! I would like to use an image
or two from the stills of Monument that I have found on the web, but
they are very low resolution. Would you be willing to e-mail an image of
greater resolution? (300dpi would be best- jpeg or tiff, if possible)
also, i attach a little form so that you grant me the rights to
reproduce the image in the book. Is this OK? if so, please fill it in
and send it back to me.

I would like to do more than simply paraphrase what Gene (Youngblood)
has written in Expanded Cinema, which as you say is what M. Rush has
done. Any chance that you can tell me a little bit more about your ideas
with Monument and how it began? I will of course piece togther what I
can from the web site, and from what Aapo Saask has written. I also will
talk to Brian Hoey and Peter Donebauer. i also have the Biddick Farm
catalogue from the exhibtion at Tyne & Wear, which has a little info.

All best wishes to you- and i will certainly send your regards to Brian
& Peter!!!


Dr. Chris Meigh-Andrews PhD (RCA) MA, HDCP
Electronic & Digital Art Unit
38 St. Peters Street
Preston PR1 7BS

Tel: 01772-893204
Fax: 01772-892921
Mobile: 07855954298

www. meigh-andrews.com

"Art has operated in the gap between what we know and what we dream. The
gap is closing quickly: what we dream is often what we see. Television will serve
to bridge the gap and to guide the way toward a more successful environment.
The eyes replace the me's and we arrive at a condition where what we show
becomes what we say."
On July 20, 1969, approximately 400 million world people watched
the same Warhol movie at the same time. As iconographic imagery
goes there's no appreciable difference between four hours of Empire
and four hours of LM. There even were similar hallucinations of
redundancy in our sustained hot cognition of NASA's primary
structure. The bit-capacity of that Minimal hard-edge picture plane
without gray scale was really amazing. We were getting a lot of
information in dragtime across space-time.
Jud Yalkut: Paikpieces
Recognized as one of the leading intermedia artists and filmmakers
in the United States, Jud Yalkut has collaborated with Nam
June Paik since 1966 in a series of films that incorporate Paik's
television pieces as basic image material. Yalkut's work differs from
most videographic cinema because the original material is videotape,
not film. They might be considered filmed TV; yet in each case
the video material is selected, edited, and prepared specifically for
filming, and a great deal of cinematic post-stylization is done after
the videographics have been recorded.
In addition to Paik's own slightly demonic sense of humor, the films
are imbued with Yalkut's subtle kinaesthetic sensibility, an ultra-
sensitive manipulation of formal elements in space and time. Paik’s

Videographic Cinema 329

Jud Yalkut: Paikpieces. (Left column)
Beatles Electroniques. 1967. VTR/
16mm. film. Black and white. 3 min.
(Right column) Videotape Study No. 3.
1968. VTR/16mm. film. Black and white.
5 min.

330 Expanded Cinema
electro-madness combined with Yalkut's delicate kinetic consciousess
result in a filmic experience balanced between video and cinema
in a Third World reality.
The two films illustrated here— Beatles Electroniques and
Videotape Study No. 3— are part of a forty-five-minute program of
films by Yalkut and Paik, concerning various aspects of Paik's activities.
The other films include P+A-I=(K), a three-part homage to the
Korean artist, featuring his concert Happening performances with
Charlotte Moorman, Kosugi, and Wolf Vostell; his robot K-456
walking on Canal Street in New York; and his color television abstractions.
Other films in the Paikpieces program are Cinema
Metaphysique, a nontelevision film in which the screen is divided in
various ways: the image appears on a thin band on the left side, or
along the bottom edge, or split-screen and quarter-screen; and two
other films of Paik's video distortions, Electronic Yoga and Electronic
Moon, shown at various intermedia performances with Paik and Miss
Beatles Electroniques was shot in black-and-white from live broadcasts
of the Beatles while Paik electromagnetically improvised distortions
on the receiver, and also from videotaped material produced
during a series of experiments with filming off the monitor of a Sony
videotape recorder. The film is three minutes long and is accompanied
by an electronic sound track by composer Ken Werner,
called Four Loops, derived from four electronically altered loops of
Beatles sound material. The result is an eerie portrait of the Beatles
not as pop stars but rather as entities that exist solely in the world of
electronic media.
Videotape Study No. 3 was shot completely off the monitor of the
videotape recorder from previously collected material. There are two
sections: the first shows an LBJ press conference in which the tape
was halted in various positions to freeze the face in devastating
grimaces; the second section shows Mayor John Lindsay of New
York during a press conference, asking someone to "please sit
down," altered electronically and manually by stopping the tape and
moving in slow motion, and by repeating actions. The sound track is
a political speech composition by David Behrman. In his editing of
these films, Yalkut has managed to create an enduring image of the
metaphysical nature of video and its process of perception.

Videographic Cinema 331
Ture Sjölander, Lars Weck:
Video Monument in Sweden
In the fall of 1967, intermedia artists Ture Sjölander and Lars Weck
collaborated with Bengt Modin, video engineer of the Swedish
Broadcasting Corporation
in Stockholm, to produce an experimental
program called Monument. It was broadcast in January, 1968, and
subsequently has been seen throughout Europe, Asia, and the
United States. Apart from the technical aspect of the project, their
intention was to develop a widened consciousness of the communicative
process inherent in visual images. They selected as source
material the "monuments" of world culture— images of famous
persons and paintings.
The program was created in the form of a black-and-white
videographic film, made with the telecine projector from other film
clippings and slides. The films and slides first were recorded on
videotape and then back onto film for further processing. Image
distortions occurred in the telecine process of recording film on
videotape. The basic principle involved was the modulation of the
deflection voltage in a flying-spot telecine, using sine and square
impulses from a wave-form generator. With the flying-spot method
used by Swedish television, the photographic image is transformed
into electrical signals when the film is projected toward a photocell
with a scanned raster as the source of light. The deflection voltage
regulates the movement of the point of light that scans the screen
fifty times per second.
In the production of Monument, the frequency and amplitude of the
flying-spot deflection was controlled by applying tones from the
wave-form generators. Thus image distortions occurred during the
actual process of transforming original image material into video
signals, since the scan that produces the signals was electromagnetically
altered. In principle this process is similar to methods
used by Nam June Paik and others, except that the Swedish group
applied the techniques at an early stage in the video process, before
signal or videotape information existed.
After the videotape was completed from various film clips, a
kinescope was made, which was edited by Sjölander and Weck into
its final form. The result is an oddly beautiful collection of image

332 Expanded Cinema

The King of Sweden as
seen in videographic
film Monument (1967),
by Ture Sjölander and
Lars Weck.

Videographic Cinema 333

Paul McCartney in Monument.
sequences unlike any other video art. We see the Beatles, Charlie
Chaplin, Picasso, the Mona Lisa, the King of Sweden, and other
famous figures distorted with a kind of insane electronic disease.
Images undergo transformations at first subtle, like respiration, then
increasingly violent until little remains of the original icon. In this
process, the images pass through thousands of stages of
semicohesion, making the viewer constantly aware of his orientation
to the picture. The transformations occur slowly and with great
speed, erasing perspectives, crossing psychological barriers. A
figure might stretch like Silly Putty or become rippled in a liquid
universe. Harsh bas-relief effects accentuate physical dimensions
with great subtlety, so that one eye or one ear might appear slightly
unnatural. And finally the image disintegrates into a constellation of
shimmering video phosphors.
More than an experiment in image-making technologies,
Monument became an experiment in communication. Monument
became an image-generator: newspapers, magazines, posters,

334 Expanded Cinema
record albums, and even textile factories began using images from
the videographic film. Sven Höglund, a well-known Swedish painter,
entered the project after the film was completed. He made oil
paintings based on the Monument images because he found them
"parallel to my own creative intentions; I had for a long time been
working on problems concerning transformations of forms. My
painted versions of the images became another phase of the
in communication called Monument.
"Other phases were silk-screen prints, illustrated magazine
articles, posters, giant advertisements. In each phase Monument
experiments with pictures in their relation to spectators. The
common denominator is the mass-media picture, especially the most
commonly seen pictorial representation, the television picture. The
pictures in the film are so well known to the public that they have
been invested with symbolic meaning. People recognize them and
are able to retain this identification throughout all the transformations
and variations of the electronic image."