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Video Mind, Earth Mind is a collection of texts (1968-1991) by Paul Ryan offering ideas about how video and television can be used to respond to our ecological crisis. For example, Mr. Ryan presents the development of a teachable method for using video to interpret the natural world. Based on this method, he articulates a systemic way of using television to ground human communication in ecological systems. He argues that grounding our television communications in ecological systems will help control our runaway destruction of this planet and shape ways of living on earth that are sustainable.
- Sales Rank: #4726056 in Books
- Brand: Brand: Peter Lang International Academic Publishers
- Published on: 1993-05-01
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 6.25" w x 1.25" l, .0 pounds
- Binding: Paperback
- 437 pages
- Used Book in Good Condition
Review
«...one of the most comprehensive visions for the potential use of television and video to reconnect humanity to the 'natural' world is found in the work of the ecologist/artist Paul Ryan.» (David Dunn, International Society for Art, Science, and Technology)
«Both the ecological possibilities of TV and the problems of fascistic domination of it have been grasped by Paul Ryan - artist and polymath - subtle, complex and relevant...Ryan proposes that we generate feedback by television from the scientifically informed, thousand eyed 'demos' the people. This is something new under the sun...Hierarchy and patriarchy are no longer assumed. Assumed, rather, is a decentered, democratic system in which we all can contribute in unpredictable, self-correcting ways.» (Bruce Wilshire, Rutgers University)
«...Preeminent THINKER among his contemporaries in vides.» (Arthur Tsuchiya, Artist, Media Arts Administrator)
«...Peirce's theories lucidly presented in relationship to video.» (George Stoney, New York University)
«Ryan('s)...relational circuit...combines hierarchy, topology, intransitivity, and completeness in such a way as to fulfill all the conditions imaginable for 'a sign of itself'...» (Myrdene Anderson and Floyd Merrill, Purdue University)
«...working in an American tradition of theorizing exemplified in the work of Buckminster Fuller and John Cage...Ryan's goal of using video for local monitoring of the environment challenges all the received categories for...representations...science, art, and politics...the logic and strategy for the realization of this goal establishes Ryan as one of the most innovative explorers working today addressing the operations of an electronic civilization in its own terms.» (Gregory Ulmer, Florida State University)
About the Author
The Author: Paul Ryan has presented his design for an environmental television channel at the Museum of Modern Art, the First International EcoCity Conference and the United Nations. His pioneering video art work has shown in Japan, Germany, Holland, France, Spain and throughout the USA. He has presented his original logic of triadic relationships before the American Semiotic Society. Mr. Ryan taught at the Visual Studies Workshop in Rochester, The New School for Social Research and New York University. His Earthscore Notational System is published by NASA. A contributor to numerous Journals, he founded and edited the first bioregional magazine in the Eastern Woodlands of North America and is the author of Cybernetic of the Sacred.
Most helpful customer reviews
3 of 3 people found the following review helpful.
The Artist's Greater Purpose
By Sara Segerlin
Video Mind, Earth Mind: Art, Community and Ecology is a fascinating collection of essays written by Paul Ryan. Ryan is a theologian, anthropologist, philosopher, ecologist, and an artist. His work is based on the concerns about the Earth's balance and the artist's purpose as a change agent. Video Mind, Earth Mind offers a wide-range of ideas on how video and television can be used to facilitate the needed change to preserve our nature.
Video artist Frank Gillette, referencing the book, says "thus the singular relevance of Ryan's ongoing project resides in bridging the trenches dividing social ecological activism from the aloof preoccupations of art for its own sake." Ryan says the idea behind is book is much like "Suzuki Roshi's classic title Zen Mind, Beginner Mind...Zen invites a fresh way of paying attention to the world. Similarly, to see through a video camera is to begin again. Fresh. I remember carrying my fretful six-month-old daughter from a dark house out into the birdsong of sunrise. Her cries stopped. Her eyes and ears opened to the morning. So did mine. Carrying a video camera on your shoulder is like carrying and infant into the dawn."
The development of the portable video technology into society opened the door for artists to turn to this experimental medium. He finds that experimenting stems from artists using the medium as an outlet for personal means. Gregory Bateson, author of Steps to Ecology of Mind, affirmed to Ryan that the video medium should be used for greater purposes such as changing our embedded behavior about our coexistence with earth. Philosopher Charles Peirce also greatly influenced Ryan interpretations on the philosophy of language systems, sign and symbol, relating this to our ways of watching bio-regions within the framework of a video system.
Ryan discusses various proposals about approaching ways to improve Earth's healthy balance. He talks about the differences between thinking cybernetically and metaphorically. He feels that by thinking cybernetically Earth can fix the differences as long as the Earth stays in balance. For example, if you get a cut on your arm, if your bodies healthy, than it can heal on its own, however, if its not then the cut could get worse and infected. Ryan referred to the work of Joseph Beuys as an example of an artist who used his performance art as symbols for social change. In rallying support within the community to advocate change for religious, political, environmental, and economic issues he cites the underground group, the Passionists, which met secretly to discuss change in catholic religious structure.
His main focus is to support his endeavors in creating a highly sophisticated means of communicating this ecological crisis structured much like television programming. To Ryan the television can monitor nature's events much like television programs monitoring societal changes. Shifts and changes are noticed as there become changes in television programming or the events which are broadcast. He hopes to implement an Eco-channel, which consistently monitors Earth every day.
This book is extremely heavy to read, it is a collection of Ryan's essays and proposals in a 25-year period. Yet the book serves an educational purpose with a wealth of history about video's birth, on its development as a technology and as a medium for artists. His efforts to strengthen the ties between all academic fields is very inspiring and optimistic. Ryan see's the purpose of art and the community as a change agent for shifting our behavioral and thinking patterns towards our ecological environment. His writings offer a global perspective on how your own artwork can impact change in society and our environment by starting at the root, with our perception about living on earth.
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