SUREVEILLANCE TAPE - The artists of the 1960s were beckoning its arrival.

The Fluxus movement of the 1950s and 60s is often reffered to as "Intermedia" art. Here we see experimental artists working in a way that is mimicking itself, nonsensing itself, and breaking itself down into tinier and tinier particles. This anti-art sensiblity was all about bringing the viewer into their living room, even if their living room was made of broken televisions and reconstructed pianos. John Cage was a strong hand in this movement, and worked not only in music, but also with visual art, writing and modern dance. This prepared many one of a kind of artists for the arrival of video. This artist is always someone who was breaking barriers, fraternizing with DADAism, and vitilazing themselves on the ever reproducing organism of art.

Another had-been member of this movement who went on to produce video art, is Yoko Ono. "No. 4" also known as "Bottoms" showcases a series of human bottoms that seem to walk on treadmills. This is to me a social response on so many levels, suddle and whimsical.

More than the politcal and social responses that were being had at video's expense, the first notable video artists of the time were responding with absurdity, wit, and an all around seriousness about deconstructing technology through technologies' newest child, the video camera.