"Founded in September 1972, Open Space is non-profit artist-run centre located in Victoria, British Columbia. For over thirty years, Open Space has supported professional artists who utilize hybrid and experimental approaches to media, art, music, and performance. As an exhibition and performance centre, Open Space reflects the wide diversity of contemporary art practices in Victoria, across Canada, and beyond. Our commitment to contemporary artists is an inclusive situation, embracing work by artists of different disciplines, media, generations, cultures, and communities.
Open Space supports experimental artistic practices in all contemporary arts disciplines, acting as a laboratory for engaging art, artists, and audiences."
(Open Space Arts Society Vision Statement, 2010)
Fig.1 "Video as a Cultural Metaphor" Artist: Chris Creighton-Kelly, Date: March 9 and 10, 1979.
"Unlike most documentaries of its day, An American Family had no host, no interviews, and almost no voice-over narration. Producer Craig Gilbert presented the family's daily life - as captured by filmmakers Alan Raymond behind the camera, and Susan Raymond covering sound - in the style of cinéma vérité. It was the most controversial and talked-about television program of its era.
PBS was then a fledgling 'fourth network' joining CBS, NBC and ABC, and despite its non-commercial profile was looking for blockbuster hits, according to Bill Kobin, Vice President for programming at NET at the time. In the course of its 12 week run, An American Family riveted the country and drew in a record 10 million viewers a week. In the years since it was first broadcast, the series has become the subject of lengthy articles and reviews, including panel discussions with anthropologist Margaret Mead, who speculated that An American Family could be the beginning of a new way to explore the complexities of contemporary reality, 'maybe as important for our time as were the invention of drama and the novel for earlier generations.'
Now, 40 years since filming, the original filmmakers have edited a new 2-hour feature-length special capturing the most memorable and compelling moments of the landmark series. See for yourself why An American Family is one of the 50 Greatest TV Shows of All Time (TV Guide, 2002)."
Public Broadcasting Service (PBS)
Fig.1 An American Family: Anniversary Edition was produced by Alan Raymond and Susan Raymond, edited by Alan Raymond and Charlotte Mangin served as the supervising producer. The original series was conceived and produced by Craig Gilbert. At WNET, Stephen Segaller was the executive in charge of production and Jane Buckwalter was the director of programming operations. At WLIW, John Servidio was the general manager. An American Family: Anniversary Edition premiered July 2011.
"'Pink Flamingos was an antihippie movie made for hippies who would be punks in two years. It's a pothead movie. I wrote it on pot.' - John Waters"
(Jeff Jackson, DreamlandNews)
Fig.1 John Waters (1972). trailer for "Pink Flamingos".
"In the 1960's and 70's, the advent of computers not only reinforced this notion of man as a rational animal, it also led many people to predict that we would soon have machines that could think and act just like human beings. In 1972, however, Hubert Dreyfus's seminal and controversial book What Computers Can't Do anticipated the failure of what came to be known as 'artificial intelligence'.
In the book, Dreyfus explains that human beings are not at all like computers. We do not apply abstract, context-free rules to compute how to act when we engage in skilled behavior. Instead, Dreyfus argued, the fundamental thing about humans is that we are embodied beings living in a shared world of social practices and equipment. In the end, it is our skillful mastery and our shared practices that not only distinguish us from machines but allow us to assume meaningful identities."
(Tao Ruspoli, 2010)
"The hospital is a sequence of pavilions, each devoted to a particular disease. They are connected by a medical boulevard -a slow-moving belt that displays the sick in a continuous procession, with a group of dancing nurses in transparent uniforms, medical equipment disguised as totem poles, and rich perfumes that suppress the familiar stench of healing, in an almost festive atmosphere of operatic melodies.
Doctors select their patients from this belt, invite them to their individual pavilions, test their vitality, and almost playfully administer their (medical) knowledge. If they fail, the patient is returned to the conveyer; perhaps another doctor tries the patient, but it soon becomes apparent that the belt leads beyond the pavilions, through the cruciform building, and straight into the cemetery."
(Koolhaas, R., M. Vreisendorp, et al.)
Fig.1 - 9 Rem Koolhaas, Madelon Vreisendorp, Elia Zenghelis, and Zoe Zenghelis (1972). 'Exodus, or the voluntary prisoners of architecture'