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The Medium Is the Medium (WGBH), 1969Hello (Kaprow, Allan), 1969Video Commune; Beatles from beginning to end - An experiment for television (Paik, Nam June; Jud Yalkut), 1965
Paik/Abe Synthesizer (Paik, Nam June; Abe, Shuya), 1969Die Fernsehgalerie (Schum, Gerry), 1968

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to something else without rhyme or reason.»[52] The most distinguished product of work with artists was in 1969, «The Medium Is the Medium,» a program with contributions by Allan Kaprow, Nam June Paik, Otto Piene, James Seawright, Thomas Tadlock and Aldo Tambellini. A really heterogeneous mixture of different styles is the result. It tries out innovative electronic image generation devices, running through all the variations available at the time. This ranges from abstract video patterns and Tadlock's effects equipment to Kaprow's complex two-way communications event «Hello[53] Paik invited two hippies from the street into the studio to join in. He continued this open concept for WHGB in 1970 with the four-hour live broadcast «Video Commune.» The Videosynthesizer[54] developed by Paik and Shuya Abe was used to generate and manipulate electronic images, accompanied by Beatles music. The invited audience was also allowed join in with creating the program, thus transferring a collective creative event into the medium of television.


Schum's «Fernsehgalerie«—art without a place

The German filmmaker Gerry Schum developed a clear concept for the artistic use of television from 1968. His visionary «Fernsehgalerie« (Television Gallery) was intended to produce and present art exclusively in the medium of television and not use any normal exhibition galleries. «One of our ideas is communication of art instead of possession of art objects. … The TV Gallery is more or less a mental institution, which comes only into real existence in the moment of transmission by TV.»[55] Schum sees television as a new way for conveying artistic processes and concepts beyond the object. His conceptual purism is the counter-pole to Otto Piene's and Aldo Tambellini's multimedia actionism and WHGB's techno-euphoria. He does not work on the basis of technical feasibility, but addresses current artistic developments, which can be summed up by Harald Szeemann's programmatic exhibition title «When Attitudes Become Form: Live in Your Head[56]

Schum's collaboration with television stations is therefore restricted to broadcast and finances, and

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