564:
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420:, New York, he pioneered video performance touring public access centers, colleges and galleries with the Paik/Abe video synthesizer. He also worked with the David Jones colorizer and Rich Brewster's sequencing modules. These various modules were based on David's design for voltage-controlled video amps and became the basis for the ETC studio. He was there when Don McArthur built the SAID. Woody Vasulka and Jeff Schier were close at hand building computer-based modules in Buffalo including a frame buffer with ALUs built in, mixers, keyers and colorizers. Wright also worked with
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carried forward a number of features of the early video synths. The address generator counts in a fixed rectangular pattern from the upper left hand corner of the screen, across each line, to the bottom. This discarded a whole technology of modifying the image by variations in the read and write addressing sequence provided by the hardware address generators as the image passed through the memory. Today, address based distortions are more often accomplished by
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244:(EMS), developed a hybrid video synthesiser – Spectre – later renamed 'Spectron' which used the EMS patchboard system to allow completely flexible connections between module inputs and outputs. The video signals were digital, but they were controlled by analog voltages. There was a digital patchboard for image composition and an analog patchboard for motion control.
135:
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256:'s Video Weavings used digital oscillators optionally linked to horizontal, vertical, or frame resets to generate timing ramps. These ramps could be gated to create the video image itself and were responsible for its underlying geometric texture. Schier and Vasulka advanced the state of the art from address counters to programmable (microcodable)
613:
619:
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153:, video synthesizers were designed with the expectation they would be played in live concert theatrical situations or set up in a studio ready to process a videotape from a playback VCR in real time while recording the results on a second VCR. Venues of these performances included "Electronic Visualization Events" in Chicago,
616:
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at
Woodstock Community Video, where they had a weekly cable show of live video/audio synthesis. Wright has developed his own performance video system, the Video Shredder, and uses it in performances with a mission to create a new music of sound and image. He has performed throughout the east coast of
81:
79:
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publishes "Notes on the
Aesthetics of Copying an Image Processor". He "proudly referred to himself as the ‘first copier’ of Sandin's Image Processor. The Sandin Image Processor offered artists unprecedented abilities to create, process and affect realtime video and audio, enabling performances that
260:
bit slice based address generators. On the data path, they used 74S181 arithmetic and logic units, previously thought of as a component for doing arithmetic instructions in minicomputers, to process real time video signals, creating new signals representing the sum, difference, AND, XOR, and so on,
114:
signal. A video synthesizer is able to generate a variety of visual material without camera input through the use of internal video pattern generators. It can also accept and "clean up and enhance" or "distort" live television camera imagery. The synthesizer creates a wide range of imagery through
264:
The address generator supplied read and write addresses to a real time video memory, which can be thought of as evolution into the most flexible form of gating the address bits together to produce the video. While the video frame buffer is now present in every computer's graphics card, it has not
215:
that standardized signal ranges so that any module's output could be connected to "voltage control" any other module's input. The consequence of this in a machine like the Rutt-Etra was that position, brightness, and color were completely interchangeable and could be used to modulate each other
148:
The history of video synthesis is tied to a "real time performance" ethic. The equipment is usually expected to function on input camera signals the machine has never seen before, delivering a processed signal continuously and with a minimum of delay in response to the ever-changing live video
80:
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algorithm, however long it takes. This distinguishes them from video synthesizers, which must deliver a new output frame by the time the last one has been shown, and repeat this performance continuously (typically delivering a new frame regularly every 1/60 or 1/50 of a second). The real time
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purely electronic manipulations. This imagery is visible within the output video signal when this signal is displayed. The output video signal can be viewed on a wide range of conventional video equipment, such as TV monitors, theater video projectors, computer displays, etc.
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Walter Wright: one of the first video animators, in the early 1970s, he worked at
Dolphin Productions a Division of Computer Image Corporation, where he operated a Scanimate. While at Dolphin, he worked with Ed Emshwiller on
614:
185:
equipment used in real time network television broadcast and post-production situations. Many innovations in television broadcast equipment as well as computer graphics displays evolved from synthesizers developed in the
868:
Designer: Richard
Monkhouse. Innovative Video Synthesiser using analogue and digital techniques. ... The prototype was used to provide a projected lightshow for an early Tangerine Dream concert at the London Rainbow. 15
522:
1979, Chromascope Video
Synthesizer, PAL and NTSC versions. Created by Robin Palmer. Manufactured by Chromatronics, Essex, UK. Distribution by CEL Electronics. Model P135 (2,000 units built) and Model C.101 (100 units
157:
in NYC, and museum installations. Video artist/performer Don
Slepian designed, built and performed a foot-controlled Visual Instrument at the Centre Pompidou in Paris (1983) and the NY Open Center that combined
198:
Many principles used in the construction of early video synthesizers reflected a healthy and dynamic interplay between electronic requirements and traditional interpretations of artistic forms. For example,
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Video pattern generators may produce static or moving or evolving imagery. Examples include geometric patterns (in 2D or 3D), subtitle text characters in a particular font, or weather maps.
592:
563:
93:
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1975, Dave Jones Video
Digitizer: an early digital video processor used for video art. It did real-time digitizing (no sample clock) and used a 4-bit ALU to create color effects
478:
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1975, Don McArthur's SAID: Don McArthur developed the SAID (Spatial and
Intensity Digitizer), an outgrowth of research on a black and white time base corrector with Dave Jones
1412:"Rising Crimson Tide", 1982 – Chromaton 14 Analog Video Synthesizer with colorized video feedback techniques, animations from the Apple II+ micocomputer with genlock board. (
516:
1977, Jones Frame Buffer: low-resolution digital frame storage of video signals (higher resolution versions, and multi-frame versions were made in 1979 and the early 1980s)
32:
714:
707:
661:
654:
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1974, VSYNTH's by David Jones: many creations, the most famous being the Jones
Colorizer, a four channel voltage controllable colorizer with gray level keyers.
938:
1378:
832:
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Fluidigeo synth, designed late 1970s built in early 1980s, patent has good diagrams and text describing archetypical video synthesizer of that era (
261:
of two input signals. These two elements, the address generator, and the video data pipeline, recur as core features of digital video architecture.
881:
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Spectre: Innovative video synthesiser using analogue and digital techniques, developed by
Richard Monkhouse at EMS. Later renamed to 'Spectron'.
43:
1320:
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2023, Blittertech Waveblitter Color: audio-reactive video synthesizer with inbuilt video player, composite video output in PAL or NTSC.
855:
503:
A fairly small analog video synthesizer with color quantizers and which can generate complex color images without any external inputs.
448:
1972, Rutt/Etra Video Synthesizer: co-invented by Steve Rutt and Bill Etra; this is an analog computer for video raster manipulation.
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Imagery from TV cameras can be altered in color or geometrically scaled, tilted, wrapped around objects, and otherwise manipulated.
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Computer Video Instrument: The Fairlight CVI was produced in the early 1980s, and is a hybrid analog-digital video processor.
463:
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1966, Dan Slater's custom vsynths: Dan Slater has built a number of custom homebrew vsynths over the years and worked with
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1474:
1494:
252:
Video synthesizers moved from analog to the precision control of digital. The first digital effects as exemplified by
1003:
61:
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https://web.archive.org/web/20041119134620/http://www.donebauer.net/manifestations/videokalos/features/features.htm
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of these aspects of the image in dialogues that extended the McLuhanesque language of film criticism of the time.
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Stephen Beck created some early 1970s synths that had no video inputs. They made video purely from oscillations.
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and these industries often support "electronic art projects" in this area to show appreciation of this history.
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the US and Canada at art galleries and museums, schools and colleges, media centers, conferences and festivals.
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342:
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2022, Blittertech Waveblitter: audio-reactive video synthesizer, b/w composite video output in PAL or NTSC.
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840:
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981:(Thesis). Unpublished manuscript for MA degree at School of the Arts of Virginia Commonwealth University
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inputs. Following in the tradition of performance instruments of the audio synthesis world such as the
1464:
AudioVisualizers.com historical archive of Video Synthesizer hardware. Now defunct, copy at archive,org
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https://web.archive.org/web/20060211003115/http://people.wcsu.edu/mccarneyh/fva/B/BeckDirectVideo.html
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Analog and early real time digital synthesizers existed before modern computer 3D modeling. Typical
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and began developing new analog video synthesizer modules (Visionary, Cadet, and Expedition Series).
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1976, Denise Gallant's vsynth: created a very advanced analogue video synthesizer in the late 1970s.
762:
217:
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Video generated by an LZX video synthesizer setup reacting as a live background for a musical band
36:
that states a Knowledge editor's personal feelings or presents an original argument about a topic.
1429:
Collopy, Peter Sachs (October 2014). "Video Synthesizers: From Analog Computing to Digital Art".
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operations moving data in the memory, rather than changes in video hardware addressing patterns.
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constraint results in a difference in design philosophy between these two classes of systems.
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are not real time, as they concentrate on computing each frame from, for example, a recursive
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dramatized this new class of effects. This led to various interpretations of the multi-modal
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Image Articulator (Vasulka, Schier, Dosch) real-time digital data ops by S181 addressing by
863:
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during the processing that led to the final image. Videotapes by Louise and Bill Etra and
39:
8:
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https://web.archive.org/web/20060211005327/http://www.fluidigeo.com/patents/US4791489.pdf
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Workshop on video synthesis - Stephane Lefrancois and the LZX Industries Visual Cortex
416:. He also made several tapes on his own. In 1973–1976, as artist-in-residence at the
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1970, Lear Siegler's vsynth: unique high-resolution video processor used in the film
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with the Chromaton 14 Video Synthesizer. and channels of colorized video feedback.
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EYESY: video synthesizer that supports 1080p output, MIDI input and programming.
519:
1979, Chromachron: one of the first DIGITAL VSynths – designed by Ed Tannenbaum.
370:
1970, Eric Siegel's EVS Electronic Video Synthesizer and Dual Colorizer (Analog)
379:(video and music program for interactive realtime exploration/experimentation).
182:
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311:
1483:
1362:
https://web.archive.org/web/20051023192358/http://www.kidsart.com/IS/418.html
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https://web.archive.org/web/20060515063107/http://www.lundberg.info/vidsynth/
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Video images created by a video synthesizer across multiple television sets.
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A video synthesizer (bottom) being operated which creates video images (top)
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253:
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Sandin Image Processor, references to videotapes from, with stillframes (
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This page is based upon an article by David Kirk, for FOCUS magazine ... .
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literally set the stage for current real-time audio-video New Media Art."
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2015, CFOGE Video Equations: procedurally generated digital video synth.
124:
A particular video synthesizer will offer a subset of possible effects.
1405:"Next Time", 1983 – Chromascope with Luma-Keying and Image Processing (
1300:
http://www.audiovisualizers.com/toolshak/vidsynth/ruttetra/ruttetra.htm
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376:(generated real-time output operations on voltage-controlled equipment)
200:
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445:: very early video synth, DIY modular, built by Dan Sandin of Chicago.
232:
978:
The Role of Technology in the Art of Nam June Paik: Paik's Videotapes
804:
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689:
421:
304:
288:
204:
187:
1326:
287:'s ANIMAC: (Hybrid graphic animation computer) – predecessor to the
1314:
http://www.audiovisualizers.com/toolshak/vidsynth/sandin/sandin.htm
150:
1012:
Rose Goldsen Archive of New Media Art, Cornell University Library
338:
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Meet Ming Micro, the Portable 8-Bit Video and Audio Synthesizer
257:
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193:
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More artworks created by this technology can be found in the
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1968, Eric Siegel's PCS (Processing Chrominance Synthesizer)
154:
1398:"Beginnings", 1983 – Chromascope Analog Video Synthesizer (
1109:
Ming Mecca, The Jazz Instrument for Videogame Improvisation
33:
personal reflection, personal essay, or argumentative essay
1076:. Critter & Guitari. 25 September 2011. Archived from
577:
360:
1969, Glen Southworth's CVI Quantizer and CVI Data Camera
1392:
664:
Black & White Video Scope: preset video synthesizer.
357:
1969, Bill Hearn's VIDIUM: (Analog XYZ driver/sequencer)
678:
486:
Output from an Atari Video Music, with music from 2018
1286:
http://pastexhibitions.guggenheim.org/paik/index.html
1369:
http://www.audiovisualizers.com/toolshak/vsynths.htm
862:. Cornwall: Electronic Music Studios. Archived from
314:, including interview with inventor Lee Harrison III
127:
211:carried forward as an essential principle ideas of
959:
710:ETC: video synthesizer that supports 720p output.
1481:
1025:"The Daniel Langlois Foundation - CR+D/Document"
860:A Guide to the EMS Product Range - 1969 to 1979
671:: modular pixel-art-oriented analog video synth
247:
1169:"The Lumen app emulates an analog video synth"
1126:
1279:Tools Thomas Dreher: History of Computer Art
396:'s Direct Video Synth and Beck Video Weaver
1152:: CS1 maint: numeric names: authors list (
727:
236:Image produced by Spectre video synthesizer
194:Confluence of ideas of electronics and arts
692:: a modular video synthesizer package for
240:In the UK, Richard Monkhouse, working for
110:is a device that electronically creates a
1414:http://www.veoh.com/videos/e6820952kjjPX4
1407:http://www.veoh.com/videos/e68279sepxtkB3
1400:http://www.veoh.com/videos/e68305kXXwNmEs
847:
242:Electronic Music Studios (London) Limited
62:Learn how and when to remove this message
1386:http://iknewthem.tripod.com/gear/bob.htm
731:
703:: pixel-art-oriented digital video synth
681:: semi-modular software video synth for
633:2008, Lars Larsen and Ed Leckie founded
474:
428:
334:, designed by artist/engineer Shuya Abe.
231:
131:
88:
73:
1431:IEEE Annals of the History of Computing
1428:
1089:
1087:
657:Rhythm Scope: preset video synthesizer.
1482:
1166:
1129:"Cat Full Of Ghosts – Video Equations"
974:
856:"Spectron (formerly Spectre) (1974/5)"
853:
827:
825:
650:Video Scope: preset video synthesizer.
557:LZX modular video synthesizer in work.
402:He also modified a few Paik/Abe units.
390:and by Douglas Trumbull and Dan Slater
181:Video synthesizers overlap with video
1238:
1236:
960:Anthony Singleton (12 October 2009).
1342:Keeling Video Machine design blog (
1335:(Analog and Digital video synths) (
1127:Yocheeaka 7dex, V. J. (2018-05-27).
1084:
15:
822:
13:
1422:
1233:
569:A sample of processed video image.
14:
1506:
1458:
1327:http://copyitright.wordpress.com/
882:"SPECTRE Color Video Synthesizer"
303:1968, Computer Image Corporation
128:Real-time performance instruments
1468:
1356:Tannenbaum's "Recollections" at
1281:Chap. IV.1.2 Video Synthesizers.
1167:Carman, Ashley (27 April 2016).
609:
588:
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20:
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1244:"Waveblitter Video Synthesizer"
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1001:Experimental Television Center
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418:Experimental Television Center
1:
1375:Videokalos Colour Synthesiser
854:Hinton, Graham (2001-06-17).
815:
790:VJ (video performance artist)
1307:https://nohtv.wordpress.com/
1043:Chromasope Video Synthesizer
470:
364:
248:Evolution into frame buffers
7:
1391:Don Slepian music videos: (
1293:http://www.paikstudios.com/
939:"EMS SPECTRE - User Manual"
783:
373:1970, groove & VAmpire
10:
1511:
1029:www.fondation-langlois.org
272:
1495:Film and video technology
1367:Video Synthesizer List (
1325:Phillip Morton Archive (
1312:Sandin Image Processor (
1227:"EYESY Video Synthesizer"
975:Kearns, Mary Ann (1988).
352:has one still operational
1229:. Critter & Guitari.
1215:. Critter & Guitari.
1097:. Critter & Guitari.
728:Other video synthesizers
625:An LZX video synth video
527:
312:News Report on Scanimate
277:
218:Steina and Woody Vasulka
188:video artists' community
1213:"ETC Video Synthesizer"
962:"Scanimate News Report"
746:
487:
443:Sandin Image Processor
437:
435:Sandin Image Processor
343:Experimental TV Center
328:Experimental TV Center
237:
162:early micro-computers
145:
103:
86:
42:by rewriting it in an
1477:at Wikimedia Commons
1393:http://DonSlepian.com
778:Virtual Light Machine
744:
715:Critter & Guitari
708:Critter & Guitari
662:Critter & Guitari
655:Critter & Guitari
648:Critter & Guitari
485:
432:
346:Binghamton University
326:Built at WGBH Boston
235:
143:
101:
84:
1443:10.1109/MAHC.2014.62
964:– via YouTube.
943:AudioVisualizers.com
927:AudioVisualizers.com
911:AudioVisualizers.com
907:"Video Synthesizers"
886:AudioVisualizers.com
837:audiovisualizers.com
506:Built by BJA Systems
387:The Andromeda Strain
1195:. 9 February 2016.
800:Music visualization
602:Video synth footage
500:1976, Chromaton 14
1475:Video synthesizers
1107:Elliot, Patrick. "
1006:2020-05-17 at the
750:Electro-Harmonix'
747:
488:
438:
238:
146:
104:
87:
44:encyclopedic style
31:is written like a
1473:Media related to
742:
696:by Kevin Kripper.
620:
597:
512:Atari Video Music
483:
337:Several built at
323:/Abe synthesizer
297:on various films.
141:
108:video synthesizer
99:
82:
72:
71:
64:
1502:
1472:
1454:
1384:The Bob System (
1284:Nam June Paik (
1265:Computer Lib by
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1117:. 30 March 2015.
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945:. Archived from
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929:. Archived from
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913:. Archived from
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896:
888:. Archived from
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844:
839:. Archived from
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566:
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295:Douglas Trumbull
285:Lee Harrison III
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1423:Further reading
1305:Walter Wright (
1291:Nam June Paik (
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1252:
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1234:
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1185:Pangburn, DJ. "
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1045:". Eyetrap.net.
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1008:Wayback Machine
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892:on 2013-05-23.
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866:on 2013-10-31.
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795:Audiovisual art
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677:2016, Paracosm
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583:An LZX 'Vidiot'
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1246:. Blittertech.
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1080:on 2011-09-25.
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833:"CHromaton 14"
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1298:Rutt-Etra (
1255:Bibliography
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1137:. Retrieved
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983:. Retrieved
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926:
923:"Tool Shack"
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394:Stephen Beck
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348:, WNET NYC;
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254:Stephen Beck
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228:EMS Spectron
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171:3D renderers
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52:October 2009
49:
30:
1135:(in German)
1114:Kill Screen
810:Raster scan
542:2000s–2020s
453:Phil Morton
350:Jim Wiseman
310:Video of a
222:synesthesia
213:Robert Moog
175:ray tracing
155:The Kitchen
1484:Categories
1267:Ted Nelson
1139:2021-01-23
816:References
752:Light Tube
701:Ming Micro
694:Max/Jitter
669:Ming Mecca
414:Scapemates
258:AMD Am2901
201:Steve Rutt
1490:Video art
1201:1077-6788
1173:The Verge
805:Video art
471:1975–1979
433:The 1971
422:Gary Hill
365:1970–1974
305:Scanimate
289:Scanimate
205:Bill Etra
160:genlocked
1148:cite web
1004:Archived
784:See also
774:computer
151:Theremin
1451:9590379
1056:"Thump"
1010:in the
523:built).
339:CalArts
273:History
267:blitter
38:Please
1449:
1199:
1095:"Blog"
985:15 May
869:Built.
758:Am2901
713:2021,
706:2017,
699:2016,
690:Vsynth
688:2016,
667:2014,
660:2014,
653:2013,
646:2011,
640:2010,
533:1984,
462:1974,
451:1973,
441:1971,
341:, and
319:1969,
283:1962,
1447:S2CID
1260:Books
772:Amiga
683:MacOS
679:Lumen
528:1980s
278:1960s
112:video
1197:ISSN
1192:Vice
1154:link
1060:Vice
987:2023
770:for
763:Neon
412:and
321:Paik
207:and
1439:doi
1273:Web
1189:".
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464:EMS
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