scratch video

Original Scratch Video works continue to be shown in major exhibitions around the world.

Scratch video was a British video art movement that emerged in the early to mid-1980s.

Listen up - why loud music may be making you sick, and we look at the latest music innovation: scratch video.

TV stations like Channel 4 began late night screenings of art videos, including "scratch video".

In keeping with the multi-media ethos of the band, video artists will be on hand to scratch video and animation projections over the stage.

Today Scratch Video continues to be popular historical form, maintaining a cult following in niche contemporary art video circles.

Scratch video arose in opposition to broadcast TV, as (anti-)artists attempted to deal critically and directly with the impact of mass communications.

Another original 1980s Scratch Video, off air footage cut to Factory Record s Section 25 - Friendly Fires from...

'Scratch Video' is a rather catch-all category of work which derive from popular dance and music fashions and the cutting of found trash images with it.

Golden Pixil Award 2005 (Most innovative use of new media ("War of the Worlds scratch video"))

By using these types of switchers (the Pioneer A/V switcher is a very common example), scratching video effects can show the typical back-and-forth motion heard on audio.

In my mind a journalist called Pat Sweeney came up with the name scratch, but scratch video may have already existed as a named form in the US.

Dessa Fox in the NME tried a similar hype when she suggested that scratch video was a televisual punk rock".

These simple performances were formally quite different to the scratch videos however conceptually in line with Barber's larger body of work as he layered his own stories with existing film and videos.

The British art collective Gorilla Tapes, comprising Gavin Hodge, Tim Morrison and John Dovey, developed a body of scratch video art work, also to much critical acclaim, during the early to mid-1980s.

The phenomenon of Scratch video, for example, and the rise of the music video and cheaper and more available video "camcorder" technology produced a different aesthetic less connected to the modernist concern for medium specificity which first characterised video.

Andy Lipman ran a City Limits cover story on Scratch Video in October 1984 where he tried to create the myth that scratch was made by disaffected youth taping the TV and reediting it on VCR's at home.

The primary audience for scratch video in the early to mid 80s, was in nightclub performances by "industrial music" bands such as The Anti-Group Company, Cabaret Voltaire, Nocturnal Emissions, Psychic TV, SPK, Test Dept, Autopsia, etc.

A site like Ms. Rule's Scratch Video, which has about 8,000 subscribers, suggests that it may soon be possible for video producers to distribute their programs directly through the Internet - and possibly even make a living doing it, in much the same way novelists with small but loyal followings can build a career without ever cracking the best-seller list.