Peter Donebauer

Peter Donebauer (born 1947)[1] is an English video artist known for designing and building the Videokalos video synthesizer.[2]

Peter Donebauer
Born (1947-05-31) May 31, 1947
EducationManchester University
Royal College of Art, London
Known forVideo art
Notable work
'Entering' (1974), part of the seven-part 'CreationCycle'
AwardsArts Council England, British Film Institute, Calouste Gulbenkian Foundation

Life and work

Peter Donebauer studied at Manchester University and the Royal College of Art, London.

He is best known for his video artwork 'Entering', part of his seven-part 'Creation Cycle'. This was the first video piece to be commissioned and nationally broadcast by the BBC on 'Second House'. It was created in real-time at the Royal College of Art television studio and transmitted via a live microwave link to Broadcasting House where it was recorded for later broadcast.[3][4][5]

In 1975-76, Donebauer partnered with Richard Monkhouse to develop the Videokalos colour synthesizer. It decoded the video signal into its red, green and blue components allowing for complex mixing and interlayering of colours and images. The device allowed “video” to be “played live” like a musical instrument.[1][6][7]

Utilising the Videokalos synthesiser, Donebauer founded the Video And Music Performers (VAMP) delivering live interactive performances created between video and music performers. VAMP toured the UK in 1978-79 and had a retrospective performance at Tate Britain in 2006.[8]

Donebauer created other commissioned works within The Creation Cycle, including 'Struggling', a part of his Arts Council award produced in 1974, and three works commissioned by the British Film Institute: 'Circling' and 'Teeming' in 1975, and 'Dawn Creation' in 1976. In 1980 he produced 'Moving' for the Calouste Gulbenkian Foundation and in 1980-81 'The Water Cycle' for Thorn-EMI. Later works include the 'Mandala' Cycle, 1991, and 'Thames Reflections', 2003.[2]

In 1981 he partnered with David Graham to found Diverse Production, producing political programming for the newly formed Channel 4.[9]

gollark: Wait, 250KST? Madness.
gollark: Er, bid.
gollark: I shall bet 2KST.
gollark: Presumably, all tile entities ceased to exist.
gollark: Probably, all computers have been deleted via some bug or other.

References
  1. Curtis, David (2006). A History of Artists' Film and Video in Britain. British Film Institute. pp. 140-141. ISBN 978-1-84457-096-6.
  2. Meigh-Andrews, Chris (2006). A History of Video Art: The Development of Form and Function. Bloomsbury Academic. pp. 159–166. ISBN 978-1-84520-219-4.
  3. Tate. "A Century of Artists' Film in Britain: Programme 1: Calculated Abstraction". Tate. Retrieved 2019-09-26.
  4. Torsi, Gabriele e Umberto (2014). Conoscere la video arte tra cinema sperimentale e avanguardia nell'arte moderna. Pietro Macchione Editore. pp. 23-25 29-30. ISBN 9788865702406.
  5. Mulvey, Laura; Sexton, Jamie (2007). Experimental British Television. Manchester University Press. p. 148. ISBN 978-0-7190-7554-4.
  6. High, Kathy; Miller Hocking, Sherry; Jimenez, Mona (2014). The Emergence of Video Processing Tools: Television Becoming Unglued. Intellect; Volume Set ed. p. 521. ISBN 978-1-84150-663-0.
  7. Diverse Practices: A Critical Reader on British Video Art. University of Luton Press. 2006. pp. 87–98. ISBN 978-0-86196-533-5.
  8. Cubitt, Sean; Partridge, Stephen (2012). Rewind: British Artists' Video in the 1970s & 1980s. John Libbey Publishing. pp. 184 -185 & 202-203. ISBN 978-0-86196-706-3.
  9. Beckett, Andy (2016). Promised You A Miracle: Why 1980–82 Made Modern Britain. Penguin. pp. 321–344. ISBN 978-0-241-95688-5.
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