This chapter argues that a change in terminology from video art to video art-music will better acknowledge the inherent audiovisuality of the video medium. In addition to laying out the contextual field of video, it proposes that the process-orientated audiovisuality of early video art-music gave rise to communal modes of creativity. This communality pressed at the boundaries between music and art and initiated new intermedial spaces in which audience members could take an active role in the creation of music and image. Using the theories of remediation and architectural space, it is suggested that the history of video art-music can be decentred: rather than focusing on works, analysis can concentrate on the spaces in which video was performed. With this in mind, the book’s thesis is delimited to video art from 1965-1971; on work produced primarily in New York City; and on live forms of audiovisual performance.
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