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Welcome to the Radical Software Web Site. Our purpose is to make all the historic issues ofRadical Software freely available to everyone. This site is designed for easy browsing anddownloading, and hosts a sophisticated search engine to help you find the information yourequire on all aspects of independent video and video art back in the "Portapak Era."

An introductory text by David Ross

A message from the Daniel Langlois Foundation

The Radical Software Web Site is a joint projectof the Daniel Langlois Foundation of Montreal,and Davidson Gigliotti and Ira Schneider.

The historic video magazine Radical Softwarewas started by Beryl Korot, Phyllis Gershuny,and Ira Schneider and first appeared in Springof 1970, soon after low-cost portable videoequipment became available to artists andother potential videomakers. Though scholarlyworks on video art history often refer to RadicalSoftware, there are few places where scholarscan review its contents. Individual copies arerare, and few complete collections exist. ThisWeb site makes it freely available andsearchable on the Internet. [more...]

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Davidson Gigliotti, Project Director, AlainDepocas, Project Director for the Daniel LangloisFoundation, Ludovic Carpentier, Designer andWebmaster, Daniel Langlois Foundation

COPYRIGHT © RADICAL SOFTWARE 2003 ALL RIGHTS RESERVED

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Go To Issue I-1 I-2 I-3 I-4 I-5 II-1 II-2 II-3 II-4 II-5 II-6

Radical Software, Volume I, Number 1The Alternate Television Movement,

Spring 1970

C lick cover for thumbnails

In 1970, the height of the Nixon era, mediaactivists saw TV as a sophisticated vehicle forsocial control whose broad purposes were todeliver the people to advertisers, and makepublic opinion easy to orchestrate.

Reading Teilhard, McLuhan, Bateson, McCulloch,Wiener and others, they developed the premisethat if one could understand how our cultureused information, one could devise a mix ofstrategies, using 1/2" video equipment, toleverage the rigid world information order of thetime.

They thought reversing the process of television,giving people access to the tools of productionand distribution, giving them control of their ownimages and, by implication, their own lives -giving them permission to originate informationon the issues most meaningful to themselves -might help accelerate social and cultural change.Connectivity, the Videosphere as defined byGene Youngblood based on an earlier idea byTeilhard, was an important part of the vision - anearly stab at articulating the connected world,and a way to get there.

Part of the focus was on the psychological impactof the direct video experience itself, a processPaul Ryan called "self-cybernation." Ordinarycitizens did not see themselves on television

Contents

«[Presentation]».«Contents».«[Address to readers]».«[Colophon]».Youngblood, Gene. — «The videosphere».— p. 1.Sklover, Thea. — «CATV». — p. 1-2.«[Advertisement for a special edition of themagazine “The Nation” by Ralph LeeSmith]». — p. 2.Youngblood, Gene. — «Video cassetteimage publishing». — p. 3.Kragen, Robert. — «Art and TV». — p. 4.Gillette, Frank. — «EVR is EVIL». — p. 4.Fuller, Richard Buckminster. — «R.Buckminster Fuller : pirated transcription ofinterview vidotaped by RaindanceCorporation». — p. 5.Gillette, Frank. — «Random notes on thespecial case or (loop-de-loop)». — p. 6.Paik, Nam June. — «Expanded educationfor the paperless society». — p. 7-8.Yalkut, Jud. — «Frank Gillette and IraSchneider : parts I and II of an interview».— p. 9-10.Hénaut, Dorothy Todd ; Kline, Bonnie. —«In the hands of citizens : a video report».— p. 11-12.Ryan, Paul. — «Cable television : the rawand the overcooked». — p. 12.Ryan, Paul. — «Three pieces : someexplication». — p. 13.Vassi, Marco. — «Videotape piece : thankyou for presenting me with a difficultproblem». — p. 13.Paik, Nam June. — «Utopian laser TVstation». — p. 14.«[Advertisement for Channel One’s GrooveTube]». — p. 14.«[Advertisement for Global Village]». — p.14.«[TV as a Creative Medium]». — p. 14.«[Vision and Television]». — p. 14.«[Reproduction of a page from the NewYork Post, February 16, 1970]». — p. 14.«Videofreex, Inc.». — p. 15.«Raindance, Corp.». — p. 15.Youngblood, Gene. — «[Excerpt from thebook “The Videosphere” by GeneYoungblood]». — p. 16.Shamberg, Michael H. — «[Review of thebook “How to Talk Back to Your TelevisionSet” by Nicholas Johnson]». — p. 16.«A demand on the networks : serve thepeople». — p. 16.Tambellini, Aldo. — «Simultaneous videostatements». — p. 17.Vassi, Marco. — «Zen tubes». — p. 18.

Gross, Alex. — «Taping the galaxy». — p.18.«[Feedback]». — p. 19-22.«[Address to readers]». — p. 23.

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citizens did not see themselves on televisionexcept very occasionally, and then were neverallowed to directly address the broadcastaudience, but were always mediated by a casteof television professionals who provided context -a 'wraparound'.

Perhaps it was a reaction only possible at thathistoric moment, but the experience of seeingand hearing oneself on videotape, unmediated,both alone and interacting in society, not once,but as many times as wanted, was startling andliberating. This 'feedback' process empoweredmany with new self-understanding and providedmuch of the impetus of early portable video.

"The Alternate Television Movement" pulls theseand other threads together providing a snapshotof the state of independent video, and video art,as the sixties turned into the seventies.

«[Address to readers]». — p. 23.«[Subscribtion card]». — p. 23.




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Radical Software, Volume I, Number 2The Electromagnetic Spectrum,

Autumn 1970


Despite the 'Software' in the name, videohardware was still a mystery for many «RadicalSoftware» readers in 1970. Many had noproduction skills at all, or any real notion of howtelevision and videotape recording worked.Technical information in accessible form was at apremium.

At the time, most technical literature was writtenfor engineers or engineering students. EricSiegal, Parry Teasdale, Don Ward, CharlesBensinger, Ken Marsh, Videoforms, and othersprovided many short courses on the electronicsand mechanics of video production, educating ageneration of video tyros to a technicalappreciation of the medium. Not being technicalwriters by profession, they made a real attemptto explain the principles of television and video inlanguage that non-technicians could understand.Teasdale, Marsh, and Bensinger would go on towrite accessible books on video technology.

Cable television was also a subject of greatinterest to early video activists. This issue beginswith Beryl Korot's fine exposition of the ins andouts of Cable TV circa 1970.

In 1969, the FCC ruled that cablecasters withover 3500 subscribers had to originate somelocal programming. But cablecasters saw their jobas relaying broadcast signals to clients with bad

Contents

«Contents».«[Colophon]».«[Subscription card]».«[Adress to the readers]».«What is cable television? ». — p. 1.«Electromagnetic spectrum». — p. 1.«Channels». — p. 2.«Federal Communication Commissionreport issue : CATV programmingorigination memorandum opinion andorder». — p. 2.«Cable rap». — p. 3-4.«Cable systems most likely affected by FCCprogram origination ruling». — p. 5.Cross, Lloyd. — «A short history of thelaser». — p. 6.Cross, Lloyd. — «The potential impact ofthe laser on the video medium». — p. 6.Gioscia, Vic. — «Frequency and form». — p.7.Takis, Panagiotti Vassilakis. — «Againsttechnology = anti-tech». — Excerpts. — P.8.Benson, Don. — «Neurone cluster grope».— Excerpts. — P. 8.Ward, Don. — «X-rays». — Excerpts. — P.8.Siegel, Eric. — «Standards». — p. 8.Teasdale, Parry D. — «Tips for usingportable half-inch equipment». — p. 9.«Microphones». — p. 10.«What is television?». — p. 11.«Glossary». — p. 11.«New equipment». — p. 12.Siegel, Eric. — «For sale». — p. 12.«Problems with Sony AV series». — p. 12.Hopkins, John. — «Europe now». — p. 12.«Video cartridge/cassette systems -comparative table (U.S.)». — p. 13.Ryan, Paul. — «Techniques». — p. 13.Davis, Douglas ; Pitts, Fred. — «Televisionis». — p. 14.O'Gallagher, Liam. — «Space station». — p.14.Bensinger, Charles. — «Electronic tuneup». — p. 14.Lujan, Pedro. — «Video balloon». — p. 15.Ryan, Paul. — «Self-processing». — p. 15.Rucker, Allen ; Kletter, Richard. — «Projectreport». — p. 16.Hénaut, Dorothy Todd. — «A report fromCanada : television as town meeting». —p. 17.Glass, Elliot. — «Video in El Barrio and theclassroom». — p. 17.Marsh, Kenneth. — «Alternatives foralternate media : people’s video theatrehandbook». — p. 18.

Silver, David. — «Televionaries versustelevisigoths». — p. 18.«Cultural data bank». — p. 19-20.Yalkut, Jud. — «Interview with Eric Siegel



























































as relaying broadcast signals to clients with badreception. Most were unwilling to take on the jobof program origination. It just wasn't their trade.

But many video people saw an opportunity in the'public access' channels that the FCCencouraged. Broadcast was not an option. Half-inch video signals could not be broadcast, evenon PBS stations. They did not meet the signal setby the Society of Motion Picture and TelevisionEngineers. It was illegal to broadcast asubstandard signal. But cable TV did not comeunder FCC broadcast regulations, and coulddeliver a video signal without degradation.

Video activists could, they thought, gain anaudience with their message of change using thepublic access channels. So FCC rules, cable TVeconomics, and the electromagnetic spectrumwere important issues to the video community.

Yalkut, Jud. — «Interview with Eric Siegelby Jud Yalkut». — p. 21.Einhorn, Ira. — «Noh place». — p. 22.«Psionics». — p. 22.«Feedback». — p. 23.«Feedback». — p. 24.«Feedback». — p. 25.«Feedback». — p. 26.«Feedback». — p. 27.















Radical Software, Volume I, Number 3Untitled, Spring 1971


Despite the bizarre cover drawing by AndyPoyner, a California-based artist from Joplin,Missouri, this Radical Software's main theme isgrassroots television - using portable video as atool for helping communities coalesce aroundissues important to them. This is morerevolutionary than it sounds. Most early videopeople understood that change came frompeople gaining real understanding of their truesituations and empowering themselves toexpress their desire for change in an effectiveway. Although the Civil Rights and Anti-Warmovements had the ability to gather broadgroups of supporters, smaller communities withlocal issues and injustices lacked the means toformulate and publicize them. Video could help.

The video activists of the early 70s tried to avoidarrogance. A large part of their organizationaleffort was teaching people how to use video, andletting them decide for themselves the best wayto use it. As artist Jenny Holzer once wrote: "Anytool is a weapon if you hold it right." TheRaindance people, and most of those practicing'guerrilla television' in those days believed instarting from the ground up.

Certainly weapons come to mind with Paul Ryan's

opening article, "Cybernetic Guerrilla Warfare".But despite Ryan's provocative title the readerwill find few polemics. Although there is somemention of Sun Tzu, a closer examination of

Contents

«Process».«[Colophon]».«Contents».Ryan, Paul. — «Cybernetic guerrillawarfare». — p. 1-2.Bateson, Gregory. — «Restructuring theecology of a great city». — p. 2-3.«Fobile muck truck». — p. 4.«Media bus». — p. 4.«Community video : a working model». —p. 5.Jarogene, Emanuel. — «Clinton program».— p. 6.«Clinton projects : kids and video». — p. 6.«Information offspring and theregenerative cycle : video tape as a tool inrestructuring the public school system». —p. 6.«[Watts Communication Bureau andTraining Center]». — p. 6.«Other networks to plug into...». — p. 7.«Whole earth catalog». — p. 7.Phillips, Liz. — «Sound structures». — p. 8.Schneider, Ira. — «Tentative design for aflexible video environment». — p. 8.«Alternative for Alternate Media II people’svideo theatre handbook». — p. 8.«Information exchange». — p. 9.«Cultural data bank». — p. 10.«A distribution plan». — p. 11-12.Shamberg, Michael H. — «This cassettething». — p. 13.«Economic support systems». — p. 13-14.Ryan, Paul. — «Towards an informationeconomy». — p. 14.Siegel, Eric. — «Artists’ needs». — p. 14.«Hardware : design and consequences».— p. 15.«Application Bulletin». — p. 15.Siegel, Eric. — «Equipment standards». —p. 15.Youngblood, Gene. — «Cathode-ray tubevideotronics». — Excerpt from the book«Expanded Cinema». — P. 15.Jaffe, Louis. — «Videotape versus film». —p. 16.Birbeck, Glen. — «Cap’n Rip-Off». — p. 16.Umpleby, Stuart. — «Citizen samplingsimulations : a method for involving thepublication social planning». — p. 17-18.Gillette, Frank. — «Aspects of data». — p.19.Arlo, Raymond. — «Media ecology». — p.19.Van de Bogart, Willard. — «Laser light invideo space». — p. 20.Ftergiotis, Van. — «Dial access informationretrieval systems». — p. 20.

«Feedback». — p. 21.«Feedback». — p. 22.«Feedback». — p. 23.«Feedback». — p. 24.



























































mention of Sun Tzu, a closer examination ofRyan's essay reveals a skeptical attitude towardviolent revolutionary behavior in favor of a morereasoned approach, supported by some ideas ofNorbert Wiener and Warren McCulloch. FollowingRyan's essay is one by Gregory Bateson, anexcerpt touching on the importance of culturaland ecological flexibility and the work of RossAshby, Richard Sennett and ChristopherAlexander. Frank Gillette and Raymond Arlocontinue with a discussion of media ecology.

Other major topics included networks, videoediting, video distribution, a comparative reporton portable video systems, and a prescientarticle by Paul Ryan positing the need for an'information economy'.

«Feedback». — p. 24.«Feedback». — p. 25.«Feedback». — p. 26.«[Subscribtion card]». — p. [27].«Meta-manual». — Centerfold intitled«Portable video : a Radical Software state-of-the-art report».«Manual». — Centerfold intitled «Portablevideo : a Radical Software state-of-the-artreport».«Editing». — Centerfold intitled «Portablevideo : a Radical Software state-of-the-artreport».«Special effects». — Centerfold intitled«Portable video : a Radical Software state-of-the-art report».«How to build a porta-pak supportsystem». — Centerfold intitled «Portablevideo : a Radical Software state-of-the-artreport».«Porta-paks». — Centerfold intitled«Portable video : a Radical Software state-of-the-art report».

















Radical Software, Volume I, Number 4Untitled, Summer 1971


This very rich issue, with a cover by Ant Farm(which forms the back cover also), marked adeparture in terms of format, content, personnel,and price. Number Four appeared as a tabloid-sized magazine, had some content donated,layout and all, by video groups in Canada andCalifornia, and it cost $3.00 instead of $1.50.

Phyllis Gershuny, a founder of Radical Software,had left the magazine after the previous number,and Beryl Korot shared the editing tasks withMegan Williams. Gone was some of the ad hocappearance of the first issues. Clearly an attempthad been made to rationalize somewhat both theformat and content.

The editorial section begins with a lengthy article,"Biotopology 1972" by Warren Brodey, M.D.Brody, a psychiatrist from Canada who now livesin Norway, was a recognized pioneer in familytherapy, and had done related work incybernetics, artificial intelligence, and early workin interactive computer systems. Also notable are"The Nutritive Context" by Frank Gillette and"Infolding Paul Ryan" by Avery Johnson, all with a

media ecology theme.

What makes this issue so rich, however, is theplethora of reports and proposals from video

Contents

«[Presentation]».«[Top secret]».«New prices !!!».«Contents». — p. [1].«[Colophon]». — p. [1].«$$$». — p. [1].«[Tape exchange]». — p. 2-3.«Process print-out». — p. 2-3.Brodey, Warren. — «Biotopology 1972». —p. 4-7.Watermen, Stephen. — «Notes fromStephen Watermen». — p. 8.Gillette, Frank. — «The nutritive context».— p. 9.Johnson, Avery. — «Unfolding Paul Ryan».— p. 10-11.«Planet productions». — p. 12.«Revolutionary engineering : towards a‘counter-technology’». — p. 12.Jaffe, Louis. — «Videotape dance therapy».— p. 13.«[Experimental video playpen]». — p. 14.«[Videotec]». — p. 14.«[Antioch College : the media program]».— p. 14.«Jr. High school video-tape workshop,spring ‘71». — p. 15.Myers, Kurt ; Smith, Brian Reffin. —«Excerpts from a report on the City Hillvideo project». — p. 15.Bender, Tom. — «Electronic kinder garden :a proposal for exploration of theimplications ans possibilities of electronicexperience for mini-kids». — p. 16.«Other networks». — p. 16.«Nuts and bolts». — p. 17.Teasdale, Parry D. — «New agecommunications manual». — p. 18-19.Evenson, Dean. — «Hooking into masterantenna systems». — p. 20.Siegel, Eric. — «Custom modification to theSony porta-pak». — p. 21.«Have you placed your bid ?». — p. 22.Sklover, Thea. — «Manhattan cable’sanchised area 380 000 homes». — p. 22-23.Sutton, Percy E. — «Community control oftelevision». — p. 24.Chern, Barry ; Sheep Lackeys, Lloyd. —«[Letter from May 12, 1971]». — p. 24.Klüver, Billy. — «[Oral presentation onproposed CATV rules]». — p. 25.Burns, Red. — «[A proposal to establish acommunications center at the school of thearts]». — p. 25.Pratt, W. B. — «[Letter from April 2,1971]». — p. 25.«Other networks to plug into». — p. 26-27.

«Guerrilla television». — p. 27.«Access index». — p. 28-29.«Information to the disenfranchised : aprocess approach». — p. 28-29.

























































plethora of reports and proposals from videogroups on both coasts, the midwest, andCanada. These contributions both identify andmake plain the goals and methods of an entiregeneration of video activists, artists andcommunitarians committed to the belief that thefree flow of information could help effect socialchange.

Also included are the ever-present hardwaretutorials, lists of videotapes to buy and sell andthe names and addresses of their distributors,and descriptions of on-going tape projects. Onesleeper is "Game", a page by Marc Le Brun, nowan important software developer.

process approach». — p. 28-29.Cleaver, Eldridge. — «[Letter from March16, 1971]». — p. 30.«[Advertisement for Video Free America]».— p. 30.«[Review of the book “Black Talk” by BenSidran]». — p. 30.«Video community at Westbeth». — p. 30.«May day collective». — p. 31.«May day video». — p. 31.«[Blue bus]». — p. 31.«Earth light». — p. 32.«Mitsuru Kataoka». — p. 32.«A space». — p. 32.«[The Vasulkas have opened “TheKitchen”...]». — p. 32.«Cinemabilia». — p. 32.«Takahiko Iimura». — p. 32.Odell, Jay ; Odell, Tia. — «[Resolution]». —p. 33.«Video exchange». — p. 33.«Ghost dance on the plains ofinformation». — p. 33.Aigner, Hal. — «Cybernetic guerillaevolution». — p. 34.Paskal, Merrily. — «[The biggest thing thisCanadian section...]». — p. 34.«Ant Farm lineal memory». — p. 35.Tajiri, Shinkichi. — «[Letter from June 6,1971]». — p. 35.«Community information andcommunication dome». — p. 35.«Bookstores and distributors who dealRadical Software». — p. 36.

Canadian content

«Contents». — p. 1.«Brief to the canadian radio and televisioncommission». — p. 2-3.Paskal, Tom. — «Which side has power ?».— p. 2-3.Selman, Dallas. — «What’s happening,what’ not happening : community access».— p. 4.Cable, Rogers. — «Introducing the 20thcentury community centre». — p. 5.Matsell, Gordon ; Blumer, Ron. — «Goodnews». — p. 6.«Excerpts from “Québec Libre”». — RadicalSoftware. — Transcribed by LindaGaboriau. — Vol. 1, no. 4 ([1971]). — Under«Canadian content». — P. 7.Leduc, Nicole. — «Tevec : télévisionéducative du Québec». — p. 8-9.Bacopoulos, Alex. — «Videographics byfunctional simulation». — p. 10-11.Blumer, Ron. — «Dear Mom». — p. 12.Bethune Levine, Norman. — «Who is Miss J?». — p. 12.Tsuchiya, Haruki. — «Marilyn in the net». —p. 13.Mills, Mike. — «The tale of Anode andCathode». — p. 14-15.

«[Extras]». — p. 16-17.«[Feedback]». — p. 18.«[Feedback]». — p. 19.«[Feedback]». — p. 20.«[Feedback]». — p. 21.«[Feedback]». — p. 22.«[Feedback]». — p. 23.«[Feedback]». — p. 24.

California content

«Content». — p. [1].S.S. — «Getting wired : an interview withHugh Macdonald». — p. 2.Ezios, Ralph. — «Implications ofphysiological feedback training». — p. 2-4.S. S. — «[You can now own your own brainwave feedback device]». — p. [3].Willig, Robert. — «Acid programming». — p.4.LeBrun, Marc. — «Game». — p. 5.Borgogno, Danne ; Ginsberg, Sukey. —«High school». — p. 6.Ryan, Ken. — «Corps TV». — p. 6.Surpin, Shelley ; Crowley, Pat. — «TheScripps High School video workshop». — p.6.Smith, Jeff. — «Get into radio». — p. 7.Milam, Lorenzo. — «[For those of uswho...]». — p. 7.Rucker, Allen. — «Teg’s 1994». — p. 7.«Kybernetic klassroom». — p. 8-9.van Brunt, Dick. — «Converting a TV to amonitor». — p. 10.Ant Farm. — «Voiceless video». — p. 10.«[Porta-back-pak]». — p. 10.Wilmer, Harry A. — «TV monologuepsychotherapy». — p. 11.

Ryan, Paul. — «Everyman’s moebius strip».— p. 11.Alternetworks. — «Community accessscheme». — p. 12.«Proposal to New York State Council onthe arts». — p. 13.



































































«[Feedback]». — p. 24.








Radical Software, Volume I, Number 5Realistic Hope Foundation,

Spring 1972


This issue came together at a time when themembers of the Raindance Foundation weregoing separate ways, and no one was sure howRaindance would evolve, or even continue. Thisuncertainty surfaces in the essay, "TheRaindance Story" at the beginning of themagazine. The Videofreex, an allied videocollective, had made a successful move to thecountry, and others were ready to follow suite.New York State Council on the Arts fundingpolicies made a video Diaspora desirable. MichaelShamberg was engaged in a new project, TVTV,which would bring him national attention. He andMegan Williams eventually moved to California.The Evensons moved to Downsville, New York,and developed independent projects of theirown. Schneider and Korot were left with theRaindance Foundation, and they moved to Ruby,New York, not far from Woodstock, although theykept a base in New York City.

It was also the first issue to be done fully inmagazine format, as insisted upon by Gordonand Breach, the publishers who had finallyagreed to print and distribute Radical Software. It

was also the only issue where Beryl Korot, one ofthe founders of Radical Software, was not co-Editor or co-Editor in Chief.

Contents

«The future of Radical Software».«Radical Software». — p. [1].«Contents». — p. 2-3.«Revolutionaries are not just anotherspecial interest group». — p. 4-5.Evenson, Dean. — «Open ended nervoussystem». — p. 6-9.Devyatkin, Dimitri. — «Neural notes for thevideo worker». — p. 10-11.Laffoley, Paul. — «[Boston visionary cell]».— p. 14.Bender, Thomas. — «Telepa-vision : thecommunication of mental images». — p. 15.Kawin-Toomin, Marjorie. — «Alpharhythm». — p. 16-17.Sowaal, John. — «Vital sign integration». —p. 17.Mohr, Manfred. — «Manfred Mohr computergraphics». — p. 18-19.Paskal, Merrily. — «Video soma feedback».— p. 20-21.Graham, David. — «Attitudes towardstechnology». — p. 22-29.Humphrey, Clifford. — «Constructing newlifestyles from an ecological perspective».— p. 30-31.«[Environmental conference in Sweden]».— p. 32.Bateson, Gregory. — «Up against theenvironment or ourselves?». — p. 33.Brodey, Warren. — «Recycling biotopology1972 : notes from ecology tool & toy». —p. 34-36.Ryan, Paul. — «From crucifixion tocybernetic acupuncture». — p. 38-40.«Video and health care». — p. 41.«Using video in health care». — p. 42-43.Schwartz, Michael. — «Second generationmedicine». — p. 44-46.Grayson, John. — «Gestalt learning». — p.47.«Towards a video college». — p. 48.«A world system of universities andcolleges». — p. 49.«Pacific High School’s apprenticeshipservice program». — p. 49.Graham, David. — «Learning». — p. 50-51.Hocking, Ralph ; Dominick, Ken. — «Thecommunity centre for televisionproduction». — p. 52.Evenson, Dean ; Evenson, Dudley. —«Alternate education conference». — p. 53.Rudy, Chris. — «Iconics». — p. 54.[Dudley]. — «Portable video : the naturalmedium». — p. 55-57.Berg, Peter ; Berg, Judy. — «Homeskin :video pony express». — p. 58.«Feedback : Videofreex / Media Bus at

maple tree farm». — p. 60-61.Reilly, John ; Stern, Rudi. — «Globalvillage». — p. 62-63.«Challenge for change». — p. 64-65.






















































Instead, Michael Shamberg shared the editorshipwith Dudley Evenson, and it is the hand of Dudleyand that of her husband, Dean Evenson, whichestablishes the flavor of the opening pages ofthis issue of Radical Software. Under the categoryof "Networks and other Natural Systems" is a listof articles focussing on such topics as thenervous system (Dean Evenson, it should beremembered, was a micro-biologist), spiritualissues, the science fiction of Olaf Stapledon,Yogananda, alpha rhythms, video soma feedback,and other topics biological, personal and spiritual.

In the second section, "Ecological Literacy", thereis an article by Gregory Bateson. Bateson, ananthropologist, was so important to Raindancefounder Frank Gillette and his friend Paul Ryan,both of whom knew him personally, and soinfluential among media thinkers of the day, thathe deserves some special mention.

Bateson thought that human survival dependedon understanding the dynamics of humans'interaction with themselves, their environment,and their history. He attached great importanceto media studies and applied ecological principlesto them. He was, in the opinion of many earlyvideo people, a brilliant innovative thinker whocharted whole new areas of knowledge.

«Challenge for change». — p. 64-65.Valiquette, Yolande ; Cuozzo, Peter. —«Video outreach». — p. 66-67.Harris, Jes ; Dragge, Alan. — «Alternatenetworks». — p. 68-69.Wodetzki, Tom. — «First progress reportletter on rough plans for a nation-wide"movement"distribution set-up». — p. 69.Arlen, Ann. — «Video in prison». — p. 70.«Videotapes for sale and/or exchange». —p. 71-78.«[Advertisement for H. Allen Frederiksen'sbook "Community access video"”]». — p.79.«[Cable TV : introduction]». — p. 80.Arlen, Ann. — «Public access : the secondcoming of television?». — p. 81-85.«[Raindance’s cable TV report]». — p. 86-89.«Woodstock cable». — p. 90-91.«[Advertisement for the "April videoconference & jamboree"]». — p. 92.«Please read me : an open letter from theproducers of "are you there?"». — p. 93.«Video directory». — p. 94-107.Siegel, Eric. — «Eric Siegel’s video report: ahalf-inch world video standard; theEuropean scene; electronic correction;videotape publishing». — p. 108.«A Radical Software state-of-the-artreport». — p. 109-115.«Books». — p. 116-117.«[Advertisement for the book "GuerillaTelevision"by Michael Shamberg andRaindance Corporation]». — p. 118.«[Advertisement for "Radical Software"magazine]». — p. 119-120.Sullivan, Walter. — «To let others know weare here». — p. [121].«Raindance Video». — N. p.




























Radical Software, Volume II, Number 1Changing Channels, Winter 1972


Both the title, the cover and the table ofcontents, designed by Ira Schneider, suggest apreoccupation with television, although theactual article contents cover a wide range oftopics.

One of the elements that makes for RadicalSoftware's lasting significance is the quality of thepeople who wrote for it, many of whom wereimportant, or went on to become important, intheir chosen fields.

For instance: Mark Hinshaw, author of "WiringMegalopolis" is an architect, city planner andwriter now based in the Pacific Northwest. He is aprincipal at LMN, a planning and design firm inSeattle and is the author of several books onplanning.

Anne Tyng, excerpts from Geometric Extensions ofConsciousness, is one of America's foremostarchitects and architectural theoreticians. She ismainly known for the work she did with LouisKahn, with whom she partnered for thirty years.

Willard Van De Bogart, who authored "Eulogy for

Culture" still writes on ecology and relatedsubjects at:http://www.earthportals.com/Portal_Messenger/willard.html He lives in Thailand.

Contents

«[Presentation]».«Program guide». — p. [1-2].Hinshaw, Mark. — «Wiring megalopolis:two scenarios». — p. 3-10.«Top Value Television coverage of 1972political conventions». — p. 11-14.«[Advertisement for the "Public accesscelebration"]». — p. 15.«Woodstock community video». — p. 16.«Woodstock community video cablebroadcasts». — p. 17.Shafer, Jon. — «Brief report fromMinnesota : CATV organisations andpublications». — p. 17.Kolpan, Steven. — «Community video inNew Paltz». — p. 18.«Downsville community video». — p. 18-19.«Environmental information network». — p.19.Gappert, Gary. — «Wisconsin : a tentativelook at some potential benefits and costsof cable TV». — p. 20.«[Prospectus: Cable Funding Corp.]». — p.21-22.Marchese, Lamar. — «Telecommunity forAppalachia». — p. 22.«California : Berkely public acces». — p. 23.«CATVIS». — p. 23.Deling, Bert. — «Australia». — p. 23.Benson, Don. — «Why are we in the theuniverse?». — p. 24-26.«The synergy project». — p. 27.Platt, John. — «Hierarchical restructuring».— p. 28-32.Platt, John. — «What we must do : sciencefor survival». — p. 33-34.Tyng, Anne. — «Geometric extensions ofconsciousness». — p. 35-38.Venne, Christopher. — «C synch». — p. 39.Gillette, Frank. — «Matrices, loops,circuits». — p. 40-41.Van de Bogart, Willard. — «Eulogy forculture». — p. 42-43.«Environetic synthesis». — p. 44.Theobold, Robert. — «Communications andchange». — p. 45-48.«A proposal : towards founding a societyfor visual anthropology». — p. 49-50.«VTR screenings and discussion - atTemple University’s fifth annualanthropological and documentary filmconference». — p. 50.«"For immediate release" : conference onvisual anthropology». — p. 51.«Northwest : proposal for mini TVbroadcasting station». — p. 51.Carey, Tobe. — «Mexico : video birth». —p. 52-53.

«Happy trails». — p. [54]-55.«Pilchuk proposal». — p. 56.«Video directory». — p. 57-62.«Video tools and tips». — p. 63-67.


















http://www.earthportals.com/Portal_Messenger/willard.html







































willard.html He lives in Thailand.

Dale Chihuly wrote "Pilchuck Proposal", and ispossibly the world's foremost glass artist, and anearly user of portable video.

Robert Theobold became known as adistinguished futurist. Born in Canada in 1929, hedied in Spokane, Washington in 1999. Educatedas an economist, his career as a thinker andwriter on futurist subjects spanned 40 years. Hewas the author of several books, and numerousarticles, including "Communications and Change"on page 45 of this issue.

The proposal to found a Society for VisualAnthropology by Sol Worth and Jay Rubin onpage 49 did, in fact, result in the founding of TheSociety for the Anthropology of VisualCommunication. Worth himself was an interestingcharacter. A photographer and filmmaker, hepursued a career in scholarship in mid life, joiningthe Annenberg School of Communications. Hedied in 1977.

«Video tools and tips». — p. 63-67.«Print publications». — p. 70-71.«[Advertisement for "Radical Software"]».— p. 72.«Forthcoming issues of Radical Software».— p. [73].


http://www.earthportals.com/Portal_Messenger/willard.html










Radical Software, Volume II, Number 2The TV Environment, Spring 1973


Contents

«[Presentation]».«The president». p. 2-3.«News». p. 4.«Talk shows». p. 5.«Game shows». p. 6-8.«Dennis James». p. 9-11.«Highlights from Dennis James' career». p.12-13.«Situation comedies». p. 14.«Bill Gray». p. 15-16.«The Andersons». p. 17.«Baseball». p. 18-19.«Football». p. 20-21.«Wrestling». p. 22-23.«Women». p. 24-26.«Soap Operas». p. 27-29.«Louis Priven». p. 30-31.«Commercials». p. 32-33.«Eddie». p. 34-35.«Religion». p. 36-37.«TV stars' home». p. 38-39.«TV stuff». p. 40-44.«TV watchers». p. 45-49.«TV salesman». p. 50-51.«TV serviceman». p. 52-53.«TV rental man». p. 54-55.«Us». p. 56-59.«Our TV sets». p. 60.«For sale». p. 61.«Telethon». p. 62-63.«[Advertisement for "Radical Software"magazine]». p. 64.

Certainly the issue which most directly referencesbroadcast television; in fact, it is almost acelebration of 1950s and 60s TV. Interviews arethe strong suite, chronicling the careers of DennisJames and Bill Gray (who created the role of BudAnderson in Father Knows Best); interviews withtelevision viewers talking about their favoriteprograms. There are even interviews with a storeowner who acts in TV commercials for his clothingstore, a TV repairman, and a guy who rents TVsfor a living.

The issue is rich in off-screen photographs offamous and infamous television personalities.Wrestling, baseball and football are covered.There is a section on "TV Stuff" featuring photosof everything "TV" from TV stands and TV chairsto TV dinners.

This issue, from the minimal front cover to the off-screen image of Tex Antoine on the back coverhas an informational conceptual art look to it thatwas not uncommon to the early 70s.

The perpetrators went on to different walks inlife. John Margolies has a distinguishedpublishing history, mainly books on architectureand other aspects of the American builtenvironment. Billy Adler is a digital artist inCalifornia. Ilene Segalove has had a career as avideo artist, PBS radio personality, and writer.Van Schley became a baseball entrepreneur. Heowns, and partially owns, several minor leagueteams, and is Chairman of the Northeast League.You just never know...






















































Radical Software, Volume II, Number 3Videocity, Summer 1973


At the turn of the decade, San Francisco had apowerful music scene, a vibrant and subversivecommunity of comic book cartoonists andillustrators, and a laid-back Marin County lifestyle.Right next door at Berkeley, activists of the NewLeft conceived the notion of participatorydemocracy and developed the habit of speakingtruth to power. Video was a natural.

Videocity was Phillip Gietzen's name for it all;there was a lot of video in San Francisco, andvery early on as well. Gietzen, the editor of thisissue, was himself making video in 1970. VideoFree America, piloted by Skip Sweeney and ArthurGinsberg, and championing the inventive geniusof Philo T. Farnsworth, inventor of television, wasactive early in 1970 (and is still going strong).Peter Berg's Homeskin, the Portola Institute innearby Palo Alto, Ant Farm from Sausilito, andGietzen himself had all contributed a paragraphor two to the very first issue of Radical Software in1970.

Even earlier, in 1967, The National Center forExperiments in Television was founded at KQED,San Francisco's public TV station. It was fundedby the Rockefeller Foundation, and directed byBrice Howard. Howard was less interested inprogramming suitable for broadcast than he wasin true video experimentation. He coined the term'videospace' and invited artists from all over to

Contents

«Celestial map».Sattyo. — «Collage». — p. 1.Gietzen, Philip G. — «Videocity». — p. 2.«Table of content». — p. 2-3.«[Two cut and mail cards - recto]». — p. 3.«[Two cut and mail cards - verso]». — p. 4.«[Publicity for Remington Rand]». — p. 4.Stopple, Lois. — «Hello». — p. 5.«Area map». — p. 5.«Mission mediarts». — p. 5-6.«Able». — p. 6-7.«Video Chinatown». — p. 7-8.Berg, Peter. — «Homeskin». — p. 8.«Cal State at San Francisco». — p. 9.Dewitt, Tom. — «Medium opto-mystic». —p. 10-11.«Optic nerve». — p. 11.Ainsworth, Harriet. — «Cal College of arts& crafts». — p. 12.«Mills tape center». — p. 13.Coelho, Francis. — «Antioch CollegeWest». — p. 13.Sears, Loren. — «Tribal videography». — p.14.Schneider, Ira ; Korot, Beryl ; Gillette,Frank. — «A note from ChangingChannels/Radical Software in Ruby, N.Y.».— p. 15.Ginsberg, Arthur. — «Video free America».— p. 16-19.Harris, Bill. — «Contact sheets». — p. 20-21.Canary, Mary. — «TV dinner». — p. 22.Myers, Mary. — «Ursa Major». — p. 22-25.Beeson, Connie. — «Connie shooting stills: the video artist». — p. 25-27.O'Gallagher, Liam. — «Video obscura». —Credit to Douglas Davis. — p. [28].Gietzen, Philip G. ; Bower, Jeff. — «Poster».— p. [29-30].Crosley, Max. — «Electro-magneticspectrum blues». — p. [31-32].Gietzen, Philip G. — «Dr. Philo TaylorFarnsworth». — p. [33-34].«[Photography]». — p. [35-36].Byars, Pamela. — «Man is typed». — p. 37.«Alien calls from space». — p. 38.«The record». — p. 39-41.Gietzen, Philip G. — «T.V. is a timemachine». — p. 42-44.«[Electronicus homosapiens circa 1972]».— p. 45.Turner, Ann et al. — «The National Centerfor Experiments in Television». — p. 46-51.Gray, George. — «Positronic brain». — p.52-54.Sattyo. — «Collage». — p. 55.Albright, Thomas. — «School of

holography». — p. 56-57.Fox, Sue ; Videotape, Johnny. — «Cablecop». — p. 58-61.«Conglomerates behind Bay Area Cable






























































'videospace' and invited artists from all over tohis workshop in San Francisco.

Gietzen himself was an interesting player. Anative of North Carolina, a licensed architect anda visionary, he worked for various architecturalfirms in the Bay area before opening his ownoffice. With a small circle of friends, he gatheredand assembled this very inclusive survey of SanFrancisco video activity in 1973. Sadly, PhilGietzen died of a heart attack at his home in theMission in 1999.

«Conglomerates behind Bay Area CableTV». — p. 62.«[Selection of readings and listenings]». —p. 63.«Subsciption information». — p. [64].Gietzen, Philip G. — «Postcript». — p. [65].«Abracadabra design & topography». — p.[65].












Radical Software, Volume II, Number 4Solid State, Autumn 1973


The connection between video andpsychotherapy and mental health issues hadbeen briefly addressed in earlier numbers ofRadical Software, but Solid State, produced by TheCenter for Social Research and Action, a graduateprogram at the Baltimore Campus of AntiochCollege, was devoted to the subject.

Headed by Al Engelman, assisted by librarian andmedia instructor Brenda Engelman and filmmakerAlan Kaplan, the program was inspired by theNew Left politics that had begun to dominate thepolitical thinking on college campuses since thepublication of the Port Huron Statement in 1962,and by the films of Fred Wiseman. The teachersand their students brought portapak video tobear on themes of community organization,institutional analysis, and psychotherapy. Theyalso participated actively in the street politics ofthe day. They were present with portapaksduring the Mayday 1971 demonstrations inWashington, D.C. when 13,000 demonstratorswere arrested and locked up at the RFK Stadiumand the DC jail.

Solid State leads off with "Video and

Psychotherapy" by Vic Gioscia. Gioscia, whotrained as a philosopher, was a friend of bothFrank Gillette and Paul Ryan, appearing in Vol. I.,Number 2 of Radical Software with a piece on the

Contents

[B.K] ; [I.S]. — «A note from the generaleditors of Radical Software, volume II:».«Radical software».Gioscia, Vic. — «Notes on videotherapy». —p. 1-4.Weisborg, H.F. — «Video tape for theexceptional». — p. 5-8.Berger, Milton. — «Multiple image selfconfrontation». — p. 8-12.Kaplan, Alan ; Spiliadis, Stelios. — «Whatcan a Portapak do?». — p. 12-14.Sandidge, Bob. — «Critical mass». — p. 15-16.Engelman, Abram. — «Video as a tool ininstitutional analysis». — p. 17-22.Sherman, Randy. — «Video enclosing». —p. 23-24.«Shirley Clarke : an interview». — p. 25-27.«Antioch College M.A in media». — p. 28-30.«Public access : A report from Survival ArtsMedia». — p. 31-33.Valiquette, Yolande. — «Selectovision». —p. 34-36.Gravelle, Pauline ; Smith, Mary E. —«Bridgeport video center». — p. 37.Morrow, Barry ; Gronseth, Paul. —«Beltrami ethnic history project». — p. 38.Morrow, Barry ; Aitken, Tacoumba ;Doepke, Bruce. — «Video involvementproject». — p. 38-39.«D.C video center». — p. 39.«Video Rivington». — p. 39-40.Orton, Barry. — «The UrbanCommunications Teaching and ResourceCentre». — p. 41-42.«Downtown community television center».— p. 42-43.«1st national video festival». — p. 44-45.Harding, Robert. — «Notes on theevolution of Baltimore». — p. [46-47].«[Advertisement for a Frank Gilletteexhibition]». — p. [48].Davis, Douglas. — «Talk out». — p. [49].«Playback environment questionnaire». —p. 50.Orton, Barry. — «Rutgers University : thestate university of New Jersey». — p. 51.Sandin, Daniel J. — «[Video Inflato eventworkshop]». — p. 52.Lord , Charles. — «[California Institute ofthe Arts]». — p. 53.Goldberg, Mike. — «Bottin internationalvideo exchange directory». — p. 54-55.«Global village». — p. 56-57.Repairbear, Joe. — «Hardware hints fromVideoball». — p. 58-59.

Shamberg, Michael H. — «From 1/2inch to2inch». — p. 59.«Video tape roundup». — p. 60-65.«[Advertisement for Adwar Video






















































Number 2 of Radical Software with a piece on thesubject of time.

Gioscia had been Director of Research for JewishFamily Services, a New York family counselingorganization. He was the direct link betweenRaindance and the burgeoning world of videopsychotherapy, a community of mental healthprofessionals who had also discovered video inthe late 60s.

Ian Alger, M.D. with Peter Hogan, M.D. authoredarticles on the subject in the American Journal ofPsychiatry as early as 1967. Milton Berger, M.D.,who wrote the third article in Solid State, editeda book on the subject in 1970, VideotapeTechniques in Psychiatric Training and Treatment.

The whole story of the video movement of thelate 60s and early 70s, and its connection to theuse of video and psychotherapy deserves seriousattention.

«[Advertisement for Adwar VideoCorporation]». — p. [66].«[Advertisement for CTL Electronics Inc]».— p. [67].«[Advertisement for Video Tape Network]».— p. 68-69.«[Advertisement for TechnisphereCorporation]». — p. 70.«Brought to you by:». — p. [71].












Radical Software, Volume II, Number 5Video and Environment, Winter 1973


The late Chilean-American artist Juan Downey,Ira Schneider, and Frank Gillette dominate theearly pages of this number, as they do the coverphotograph, looking out of a tent, probably atRuby, New York. Korot is there, too, at theextreme left. The slightly obscure and obliquehead with the large hair belongs to Andy Mann, afriend to the others and a significant video artistin his own right. He, too, is deceased. The othersare Juan's wife Marilise, her son and daughter,Juanfi and Titi LaMadrid, and Barbara Goldberg.

They were a loose gang for a time, a group offriends who did video and enjoyed each other'scompany and cooking. They were all very close totheir art. They thought a lot about it andcommitted themselves to it fully. Not that they,and the larger group they represented here,were the New York art world's idea of what videoartists should be, even though they could lay anauthoritative claim to having helped invent theform. But they had two champions, Howard Wiseof Electronic Arts Intermix, and Jim

Harithas of the Everson Museum in Syracuse;both interesting characters and both absolutely

crucial to the history of video art. There is a rareessay by Harithas on page 45 of this issue ofRadical Software.

Contents

«[Presentation]». — p. [1].Downey, Juan. — «Technology andbeyond». — p. [2-3].Downey, Juan. — «Video trans Americas».— p. 4.Downey, Juan. — «3 way communication».— p. [5].Downey, Juan. — «Plato now». — p. 6-8.«[Juan Downey]». — p. 9-10.«[A modular prefabricated school for theera of communications]». — p. 11.Schneider, Ira. — «The infinity chamber».— p. 12.«An interactive experiment». — p. 13.Schneider, Ira. — «Video theatre». — p.[14-15].«No man is an island, but Manhattan is :Manhattan is and island : Manhattan». —p. [16].Schneider, Ira. — «[Real time : (a videoenvironment for the USA bicentennialexhibition)]». — p. 17.«Modular video matrix». — p. 18-19.Castro-Cid, Enrique. — «Brief space note».— p. 20-22.«[Frank Gillette : Six matrices]». — p. 23-[29].Gillette, Frank. — «[Proposal : Maze]». —p. 30.Bobkoff, Ned. — «Transformational video».— p. 31.Ross, David. — «Circuit : a videoinvitational at the Everson Museum of Art,Syracuse, New York». — p. 32-35.Horowitz, Andrew. — «Domesticcommunications satellites». — p. 36-40.Dobkins, John. — «On gaming». — p. [41].Gillette, Frank. — «Notes for a proposal ofconceptual gamming [sic]». — p. 42-43.Harithas, James. — «Blueprint for acreative reorientation». — p. 44-45.«VT program guide». — p. [46-51].«Spare reel directory». — p. 52-56.«By the people : a project designed tocatalyse local tv program origination». — p.[58]-59.«VT tools and tips : modifications to VTRequipment to provide an improved methodof editing 1/2-inch videotape recordings».— Excerpt of «National Film Board ofCanada technical bulletin #10». — p.[60]-61.Mann, Andy. — «Tips from Andy Mann». —p. 62.«[Advertisement for TechnisphereCorporation]». — p. 63.Rosebush, Judson. — «Frank Gillette :Everson Museum of Art, Syracuse, New

York». — p. 64.«[Advertisement for Frank Gillette's book"Between paradigms"]». — p. [65].«[Advertisement for the book series "Social



















































The early pages serve as a showcase for some ofDowney's, Schneider's and Gillette's video artwith descriptions, drawings, installationphotographs, and proposals for projects.

Another interesting page is 19, on which there isa description of a very early industrial project forthe American Can Company by Schneider andGillette, with Paul Ryan and John Reilly. Alsoinvolved was Woody Vasulka, though his name isnot mentioned. As a video display system it hasinterest, although the group lost control of thesoftware, much to their disappointment.

Don't miss Andrew Horowitz's article "DomesticCommunications Satellites" on page 36; wideranging and full of relevance.

«[Advertisement for the book series "Socialchange"]». — p. [66].«[Advertisement for the book "PsychicStudies" by Dr. Stanley Krippner]». — p.[66].«[Advertisement for the book "Picturebandwidth compression" edited by ThomasHuang and Oleh Tretiak]». — p. [67].«[Advertisement for the periodicals"Natural life styles", "Counterplay" and"Women's studies"]». — p. [68].











Radical Software, Volume II, Number 6Video and Kids, Summer 1974


The conditions that sustained the embryonicvideo community in 1970 differed markedly fromthose that prevailed four years later. For onething, the landscape had evolved to include awide variety of forms. Some types of video artwere finding acceptance in galleries andmuseums. And with the advent of time-basecorrection, documentary and narrativevideotapes produced on half-inch portableequipment were beginning to appear ontelevision.

Also, the number of people who called the videocommunity home had expanded exponentially.The community had grown from a handful ofvideo pioneers, who knew each other more orless well, into a national movement withhundreds of practitioners. Non-profitorganizations dedicated wholly or in part to 1/2-inch portable video production had sprung upacross the nation and a generous supportsystem of grants and fellowships had evolved tomeet their funding requirements. It seemed to bea rosy picture and, in some respects, it was.

But for some of the people who encouraged it all- the community represented by Radical Software,

its contributors and readership - the perceivedemphasis on product marked a troublingdeparture from their goal of evolutionary change.There was less a sense of challenging the

Contents

«[Presentation]».Haratonik, Peter ; Laybourne, Kit. —«About this issue». — p. 1-2.«Contents». — p. 3.«What matters most : a collection ofconcerns». — p. 4-7.Strickler, Jeff. — «The video carrot». — p.7-8.Gordon, George. — «Don’t try tounderstand media - know thyself». — p. 8-10.Le Baron, John. — «Implications of the newtelevision for the open classroom». — p.10-12.Anderson, Chuck. — «The great plasticweekly video magazine». — p. 12-[16].Falk, Irving. — «The tactics of the truth». —p. [16]-17.Behr, Bob. — «Video in a psychiatriccontext». — p. 17-18.Lopate, Phillip. — «Aesthetics of thePortapak». — p. 18-[21].Laybourne, Kit. — «Three propositions, twoframeworks and an indictment». — p. 22-26.Petner, Joe ; Sherwood, Susan. —«Teaching and reflecting». — p. 27-28.Ackerman, Mitch. — «An attempt at videoresearch». — p. 28-30.Cowlan, Maggi. — «Action for children’stelevision». — p. 30-31.Page, Anne. — «Invitation to a videoprogram». — p. 31-32.«Things to do with kids : A portfolio ofactivities». — p. 33-35.Bent, Quincy. — «Introductory videoexercises». — p. 35-38.Laybourne, Kit. — «Portraits». — p. 38-39.Laybourne, Gerry. — «Theater gaming». —p. 39-40.Haratonik, Peter. — «Music, movement andvideo». — p. 40-41.Cost, Bruce. — «6:00 news». — p. 41-42.«Neighbourhood documentary». — p. 42-43.Anderson, Chuck. — «Video animation». —p. 43.Laybourne, Kit. — «In-depth interviews».— p. 43-44.Tambellini, Aldo. — «Creativeelectrography». — p. 44.Haratonik, Peter. — «Reading: experiencethrough video». — p. 45.«Resources that will help». — p. 45.«What’s doing : some video programs hereand there». — p. 46-48.Anderson, Chuck. — «The evolution of anon-program». — p. 48-49.

Cost, Bruce. — «Video in a therapeuticcommunity». — p. 50-51.Garmey, Jane ; Bush, Jeff. — «A newapproach in higher education». — p. 51-52.




















































There was less a sense of challenging theinformation order of the day and more a sense ofbecoming part of it.

There is some feeling of this in the openingparagraphs of this last issue of Radical Software,"Video & Kids", put together by Peter Haratonikand Kit Laybourne of the Center forUnderstanding Media. Concerned mainly with theuse of video for educating children, and sensing acommunity-wide feeling of doubt about goals andmethods, they called together a conference ofeducators and video activists who shared theirconcerns, and challenged them to explicate theirown work and goals. This last issue of RadicalSoftware is the remarkable result.

approach in higher education». — p. 51-52.Miles, Ellen. — «Student-centred ETVbroadcasting». — p. 52-54.Jonassen, David. — «Video for migrantchildren». — p. 54-55.Kearney, Jim. — «Project TV : video as asecond language». — p. 55-56.Haratonik, Peter. — «Video catalyst». — p.56-60.Dunn, Jon. — «Inner-city video». — p. 60-61.Rabin, Paul ; Halsband, Myles. — «Kidstoday : a cable project». — p. 61-[62].Strickler, Jeff. — «Creating an elementaryschool video environment». — p. 63-64.Walter Dale. — «Video and the publiclibrary». — p. 64-66.«Contributors». — p. 67-68.«[Advertisement for [MORE] magazine]». —p. [69].«[Advertisement for the Videofreex"Spaghetti City video manual"]». — p. [71].«[Advertisement for "Counterplay"magazine]». — p. [73].
















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