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"Radical Software" 1970-74Beryl Korot

April 23, 2010

Beryl Korot describes the impetus behind the innovative 1970s publication Radical Software, elucidating the history of video in art and the impact of mass media on society. Emerging from an independent video community that included media visionaries such as Marshall McLuhan and groups such as Televisionaries, Videofreex, People’s Video Theater, and Global Village, the first issue of Radical Software debuted in Spring of 1970 as a publication by the Raindance Corporation.

Beryl Korot and Phyllis Segura (Gershuny) acted as Editors, while Michael Shamburg served as Publisher with Ira Schneider as co-Originator. Early contributors included Nam June Paik, Buckminster Fuller, Ant Farm, Frank Gillette, and Paul Ryan, among others. After eleven issues, Radical Software ceased publication in the Spring of 1974 and is now an invaluable time capsule of an era.

More information and credits

Credits

Producer: Wesley Miller & Nick Ravich. Interview: Wesley Miller. Camera & Sound: Nick Ravich. Editor: Joaquin Perez. Archival Material Courtesy: Beryl Korot & the Daniel Langlois Foundation of Montreal. Special Thanks: Davidson Gigliotti & Ira Schneider.

Closed captionsAvailable in English, German, Romanian, Italian, Japanese, Korean, Chinese, Italian

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Beryl Korot

An early video-art pioneer and an internationally exhibited artist, Beryl Korot’s multiple-channel (and multiple-monitor) video-installation works explored the relationship between programming tools as diverse as the technology of the loom and multiple-channel video. For most of the 1980s, Korot concentrated on a series of paintings that were based on a language she created that was an analogue to the Latin alphabet. Drawing on her earlier interest in weaving and video as related technologies, she made most of these paintings on handwoven and traditional linen canvas. More recently, she has collaborated with her husband, the composer Steve Reich, on Three Tales, a documentary digital-video opera in three Acts and a Prologue.

Beryl Korot

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Beryl Korot

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Beryl Korot

“We had a video theater where people would come on a Friday night, with information they had videotaped at the Woodstock festival or in some community, or whatever, and come and play it for other people. And people would come and sit around these TV sets that were spread out around a loft and look at this new way of getting information. It was amazing.”

Beryl Korot

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