TELEVISED 1966 - 1967 - 1969.
"SPACE IN THE BRAIN" - 30 minutes. Televised 1969, in direct connection with the moonlanding project by NASA. in Swedish Television. Soundtrack by Hansson&Karlsson. First colour electronic original painting where the electronic signal where manipulated. Described in media as an Electronic Space Opera. Based on authentic material directly delivered from NASA. Space in the Brain was a creation dealing with the ; "space out there" - the space in our brains and the electronic space, (in television) Contemporary to Clarke's 2001, except that the Picture it self was scrutinized and the subject, and focused, in Space in the Brain. The Static material from the electronic paintings was worked out into other medias and materials; tapestrys made in France among other objects was made in large size, 3 x 2 meter, for Albany Corporation USA and for IBM, Sweden, as in "TIME" and "MONUMENT", see above.
And a serie of international bestseller posters was produced, and world wide distributed, by Scan-Décor Upsala, Sweden.
"Man at the Moon". is the name of the LP Record.
RUTT ELECTROPHYSICS, NY, USA.
Letter from: RUTT ELECTROPHYSICS, 21-29 West 4th Street, New Yourk,N.Y., 10012. March 12, 1974.
Signed by Sherman Price.
To: International Section of Swedish National Television, Stockholm, Sweden.
"I am writing a detailed magazine article about the history of video animation.
From literature avaiable I gather that a videofilm program, "MONUMENT", broadcast in Stockholm in January, 1968, was the first distortion of video scan-line rasters achieved by applying tones from wave form generators.
This is of such great importance - historically - that I would like to obtain more detailed documentation of the program and of the electronic circuitry employed to manipulate the video images.
I understand from your New York office that there may have been a brochure or booklet published about the program.
I will be happy to pay any expense for publications, photcopies or other documents about the program and its production -particulary with regard to the method of modulating the deflection voltage in the flying-spot telecine used.
"Video synthesis" is becoming a prominent technique in TV production here in the United States, and I think it will be interesting to give credit to your broadcasting system and personal for achieving this historic innovation."
( A number of authentic documents/letters from this communications is avaliable)
No "detailed article" or even magazine was never reported or later presented after receiving the vital information from the Swedish Broadcating Company, by Rutt Electrophysics)
Letter from the Manager of
Letter from the Manager of
THE PINK FLOYD.
Stockholm, Septembre 11th 1967.
Dear Messrs Sjolander & Weck,
Having seen your interesting Stockholm exhibition of portraits of the King of Sweden made with advanced electronic techniques I have been struck by the connection between this new type of image creating and the music-and-light art presented by The Pink Floyd.
I think that your work could and should be linked with the music of The Pink Floyd in a television production, and I would like to suggest that we start arranging the practical details for such a production immedialtely. With all his experiences from filming in the USA and elsewhere I also feel that Mr. Lars Swanberg is the ideal man tp help us made the film.
Please get in touch as soon as possible.
following text was written by
the Swedish Art writer
electronic painting 1968byTURE SJOLANDER/LARS WECK
We create pictures. We form conceptions of all the objects of our experience. When talking to each other our conversation emerges in the form of descriptions. In that way we understand one another.
Instantaneous communication in all directions. Our world in television! The world in image and the image in the world: at the same moment, in the consciousness and in the eyes of millions.
The true multi-images is not substance but process-interplay between people.
"Photography freed us from old concepts", said the artist Matisse. For the first time it showed us the object freed from emotion.
Likewise satellites showed us for the first time the image of the earth from the outside. Art abandoned representation for the transformational and constructional process of depiction, and Marcel Duchamp shifted our attention to the image-observer relation.
That, too, was perhaps like viewing a planet from the outside. Meta-art: observing art from the outside. That awareness has been driven further. The function of an artist is more and more becoming like that of a creative revisor, investigator and transformer of communication and our awareness of them.
Multi-art was an attempt to widen the circulation of artist's individual pictures. But a radical multi-art should not, of course, stop the mass production of works of art: it should proceed towards an artistic development of the mass-image.
MONUMENT is such a step. What has compelled TURE SJOLANDER and LARS WECK is not so much a technical curiosity as a need to develop a widened, pictorially communicative awareness.
They can advance the effort further in other directions. But here they have manipulated the electronic transformations of the telecine and the identifications triggered in us by well-known faces, our monuments. They are focal points. Every translation influences our perception. In our vision the optical image is rectified by inversion. The electronic translation represented by the television image contains numerous deformations, which the technicians with their instruments and the viewers by adjusting their sets usually collaborate in rendering unnoticeable.
MONUMENT makes these visible, uses them as instruments, renders the television image itself visible in a new way. And suddenly there is an image-generator, which - fully exploited - would be able to fill galleries and supply entire pattern factories with fantastic visual abstractions and ornaments.
Utterly beyond human imagination.
SJOLANDER and WECK have made silkscreen pictures from film frames. These stills are visual. But with television, screen images move and effect us as mimics, gestures, convultions. With remarkable pleasure we sense pulse and breathing in the electronic movement. The images become irradiated reliefs and contours, ever changing as they are traced by the electronic finger of the telecine.
With their production, MONUMENT, SJOLANDER and WECK have demonstrated what has also been main-tained by Marshall McLuhan: that the medium of television is tactile and sculptural.
The Foundation for MONUMENT was the fact that television, as no other medium, draws the viewers into an intimate co-creativity. A maximum of identification - the Swedish King, The Beatles, Chaplin, Picasso, Hitler etc, - and a maximum of deformation.
A language that engages our total instinct for abstraction and recognition.
Vital and new graphic communication. A television Art.
Kristian Romare, Sweden
Quotes about Ture Sjolander