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Themesicon: navigation pathOverview of Media Articon: navigation pathSociety
Logo auf Schwarz; (anti-logo-video) (Pflumm, Daniel), 1997rolux (Lütgert, Sebastian), 2000Am Rande der Träume (MedienOperative Berlin e.V.), 1984
Technologies To The People (García Andújar, Daniel), 1996Radical Software (Korot/Schneider)

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Daniel Pflummanti-logo video,» 1997), Sebastian Lütgertrolux,» 2000) and Daniel García AndújarTechnologies to the People» from 1995) explicitly address deconstructing corporate identity and the company logo culture of the 1990s.

The concept of alternative public quality: Video and media activism in the 1970s and 1980s

The strategy of media analysis has certainly had a part to play in the art context down to the present day, but has had no repercussions in actual media development. The idea of alternative public quality goes back to the 1960s, and tends to be continued either in peripheral areas or outside the context of art. After the introduction of cable television (Cable Access Television, CATV) and Sony's Portapak video camera, a large number of video groups emerged in the USA after the early 1970s, directing their activities towards cable TV's state sanctioned public access channels. At this time, cable television was the democratic


white hope—thus playing a similar part to that of the Internet twenty years later. The magazine «Radical Software» (1970–1974), published by the Raindance Corporation, became a forum for the CATV video movement. «Raindance believed that television could be democratized through the deployment of video—on the street, on cable television, and in exhibition venues—and that this information liberation could lead to political democratization.»[25] The magazine was edited by Beryl Korot, Phyllis Gershuny (now Phyllis Segura), Ira Schneider and Michael Shamberg, the author of the important Raindance publication «Guerilla Television» (1971). «Radical Software» felt that the concept of feedback had to be introduced in order to democratize the centralized broadcasting structures of commercial television. Given that they had the practice of feedback in common—and this meant genuine two-way communication as well as deliberately disturbing communication by feedback noises—art and activism were closely linked structurally and conceptually—see the text on Guerilla Television.[26]

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