“Since only the user is in a position to know what is relevant
for him and how he wants to access relevance and information,
exchange must include the user from the beginning.”
— Paul Ryan, “InfomorphOne: Organization of Ignorance,” 

, the first periodical devoted to video, to present a survey of some of the very earliest video art in existence. In the earliest days of video, the lines between art, documentation, journalism, and experimentation were either not yet existent or intentionally blurry. The community of exchange that Radical Software facilitated was notable for the unusual intersection of hybrid practices and ideologies including radical pedagogy, feminism, left activism, gonzo journalism, experimental art, and erotica. This installation is in the spirit of the early 1970s Friday-night video screening parties held in the Prince Street SoHo loft inhabited by members of the video art collective Videofreex. Included are works by Videofreex, Raindance, TVTV, Ant Farm, John Reilly, People’s Video Theater, and Ladies Home Journal.

Videofreex

Raindance

TVTV

Ant Farm

John Reilly

People’s Video Theater

Ladies Home Journal

Liz Flyntz

Liz Flyntz is a curator and writer based in Brooklyn, NY. Focused on media and systems-based art, she has organized exhibitions, screenings, and symposia around the US and in Germany.
She is co-curator of the Pioneer Works exhibition,<a href="http://pioneerworks.org/exhibitions/the-present-is-the-form-of-all-life-the-time-capsules-of-ant-farm-and-lst/">The Present is the Form of All Life: The Time Capsules of Ant Farm and LST.  The exhibition explores the time capsule projects of seminal media art and architecture group Ant Farm and their contemporary successors, LST. She co-edited the publication of the same name, available through DAP.</a>
In 2014 she first presented the exhibition <a href="http://hyperallergic.com/162314/alternative-media-software-and-video-in-1970s-counterculture/">SEND BLANK TAPE: Radical Software Magazine and Early Video Distribution Networks</a> as an installation of early video at Pioneer Works.
Her writings on technology and art, media art history, and interviews with contemporary media artists have been published by <a href="https://www.questia.com/library/journal/1G1-405923671/takedown-notice-a-conversation-with-paolo-cirio">Afterimage</a>, <a href="http://thecreatorsproject.vice.com/blog/will-future-art-galleries-be-on-the-human-body">The Creators Project</a>, and <a href="http://pioneerworks.org/intercourse/">Intercourse</a>. She has a BA from Antioch College, an MFA in Media Study from SUNY Buffalo, and studied Media Art and Culture at the Bauhaus University.

Send Blank Tape

“Since only the user is in a position to know what is relevant 
for him and how he wants to access relevance and information, 
exchange must include the user from the beginning.” 
— Paul Ryan, “InfomorphOne: Organization of Ignorance,” Radical Software 1(3)
This exhibition mines Radical Software, the first periodical devoted to video, to present a survey of some of the very earliest video art in existence. In the earliest days of video, the lines between art, documentation, journalism, and experimentation were either not yet existent or intentionally blurry. The community of exchange that Radical Software facilitated was notable for the unusual intersection of hybrid practices and ideologies including radical pedagogy, feminism, left activism, gonzo journalism, experimental art, and erotica. This installation is in the spirit of the early 1970s Friday-night video screening parties held in the Prince Street SoHo loft inhabited by members of the video art collective Videofreex. Included are works by Videofreex, Raindance, TVTV, Ant Farm, John Reilly, People’s Video Theater, and Ladies Home Journal.

Liz Flyntz is a curator and writer based in Brooklyn, NY. Focused on media and systems-based art, she has organized exhibitions, screenings, and symposia around the US and in Germany.

She is co-curator of the Pioneer Works exhibition,<a href="http://pioneerworks.org/exhibitions/the-present-is-the-form-of-all-life-the-time-capsules-of-ant-farm-and-lst/">The Present is the Form of All Life: The Time Capsules of Ant Farm and LST.  The exhibition explores the time capsule projects of seminal media art and architecture group Ant Farm and their contemporary successors, LST. She co-edited the publication of the same name, available through DAP.</a>

In 2014 she first presented the exhibition <a href="http://hyperallergic.com/162314/alternative-media-software-and-video-in-1970s-counterculture/">SEND BLANK TAPE: Radical Software Magazine and Early Video Distribution Networks</a> as an installation of early video at Pioneer Works.

Her writings on technology and art, media art history, and interviews with contemporary media artists have been published by <a href="https://www.questia.com/library/journal/1G1-405923671/takedown-notice-a-conversation-with-paolo-cirio">Afterimage</a>, <a href="http://thecreatorsproject.vice.com/blog/will-future-art-galleries-be-on-the-human-body">The Creators Project</a>, and <a href="http://pioneerworks.org/intercourse/">Intercourse</a>. She has a BA from Antioch College, an MFA in Media Study from SUNY Buffalo, and studied Media Art and Culture at the Bauhaus University.