Peter Donebauer (born 1947) is an English video artist known for designing and building the Videokalos video synthesizer.... 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.
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.
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.
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.
- Wiki
"Donebauer collaborated over a two year period with the electronics engineer Richard Monkhouse to build the Videokalos Colour Synthesiser, a portable image processing instrument. He explored performance, improvisation and the spontaneous real-time recording of video as an abstract art form, investigating its similarities to music. He formed ‘Video and Music Performers’ (VAMP) in 1979 and presented video in live video-music concerts, often collaborating with musician Simon Desorgher.
“Frequently described as an electronic painter, I have sought to extend the possibilities of the television screen as an arena for the presentation of coloured imagery of the widest range of types.” (P. Donebauer, Video Artists on Tour programme notes, February 1980). Donebauer’s processing of video – his experimentation with abstraction synthesised video and live performance were clearly innovative of their time. Evidently, Donebauer was working with the painterly moving-image, and a scientific/engineering oriented research process; “I have been using this equipment to attempt to create an art form that is simultaneously sound, colour and visual pattern. Video is unique in allowing degrees of visual and aural spontaneity not possible with film. Thus in conjunction with an electronic music composer, I produce work that is neither music nor visual art but a combination of created sound with created vision.” - Rewind
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