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200);this.onload=null;this.rel=\u0026#039;stylesheet\u0026#039;\u0022 \/\u003E\n\u003C\/head\u003E\u003Cbody\u003E\u003Cdiv class=\u0022panels-ajax-tab-panel panels-ajax-tab-panel-profile\u0022\u003E\u003Cdiv class=\u0022one-column at-panel panel-display clearfix\u0022 \u003E\n  \u003Cdiv class=\u0022region region-one-main\u0022\u003E\n    \u003Cdiv class=\u0022region-inner clearfix\u0022\u003E\n      \u003Cdiv class=\u0022panel-pane pane-node-content no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-11671\u0022 class=\u0022node node-artist article odd node-lang-en node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/stanvanderbeek_0.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-11671-6A6SJhltHjY\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/stanvanderbeek_0.jpg?itok=rMV8hKH8\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003EStan VanDerBeek\u003C\/strong\u003E (January 6 1927 - September 19 1984) was an American experimental filmmaker.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EBiography\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EVanDerBeek studied art and architecture first at Cooper Union College in New York and then at Black Mountain College in North Carolina, where he met architect Buckminster Fuller, composer John Cage, and choreographer Merce Cunningham. VanDerBeek began his career in the 1950s making independent art film while learning animation techniques and working painting scenery and set designs for the American TV show, Winky Dink and You. His earliest films, made between 1955 and 1965 mostly consist of animated paintings and collages, combined in a form of organic development.\u003C\/p\u003E\n\u003Cp\u003EVanDerBeek\u0027s ironic compositions were created very much in the spirit of the surreal and dadaist collages on \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Max_Ernst\/\u0022\u003EMax Ernst\u003C\/a\u003E, but with a wild, rough informality more akin to the expressionism of the Beat Generation. In the 1960s, VanDerBeek began working with the likes of \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Claes_Oldenburg\/\u0022\u003EClaes Oldenburg\u003C\/a\u003E and \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Allan_Kaprow\/\u0022\u003EAllan Kaprow\u003C\/a\u003E, as well as representatives of modern dance, such as Merce Cunningham and \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Yvonne_Rainer\/\u0022\u003EYvonne Rainer\u003C\/a\u003E. Building his Movie Drome theater at Stony Point, New York, at just about the same time, he designed shows using multiple projectors. These presentations contained a very great number of random image sequences and continuities, with the result that none of the performances were alike.\u003C\/p\u003E\n\u003Cp\u003EHis desire for the utopian led him to work with Ken Knowlton in a co-operation at Bell Labs, where dozens of computer animated films and holographic experiments were created by the end of the 1960s. Between 1964 and 1967 Vanderbeek created \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Poem_Field\/\u0022\u003EPoem Field\u003C\/a\u003E, a series of 8 computer-generated animations with \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Ken_Knowlton\/\u0022\u003EKen Knowlton\u003C\/a\u003E.\u003C\/p\u003E\n\u003Cp\u003EDuring the same period, he taught at many universities, researching new methods of representation, from the steam projections at the Guggenheim Museum to the interactive television transmissions of his \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Violence_Sonata\/\u0022\u003EViolence Sonata\u003C\/a\u003E broadcast on several channels in 1970. He ran the University of Maryland visual arts program until his death.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EFilm career\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EA pioneer in the development of experimental film and live-action animation techniques, Stan VanDerBeek achieved widespread recognition in the American avant-garde cinema. An advocate of the application of a utopian fusion of art and technology, he began making films in 1955. In the 1960s, he produced theatrical, multimedia pieces and computer animation, often working in collaboration with Bell Telephone Laboratories. In the 1970s, he constructed a \u0027\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Movie_Drome\/\u0022\u003EMovie Drome\u003C\/a\u003E\u0027 in Stony Point, New York, which was an audiovisual laboratory for the projection of film, dance, magic theater, sound and other visual effects. His multimedia experiments included movie murals, projection systems, planetarium events and the exploration of early computer graphics and image-processing systems.\u003C\/p\u003E\n\u003Cp\u003EVanDerBeek was also intimately involved with the artists and art movements of his time; he filmed Happenings and merged dance with films and videos. VanDerBeek was a preeminent thinker, scientist, artist, and inventor who forged new links between art, technology, perception, and humankind. In 1966, he wrote a visionary manifesto about man losing his way in his place on earth and the power of artists to rectify the course.\u003C\/p\u003E\n\u003Cp\u003EVanDerBeek wrote: \u003Cem\u003EIt is imperative that we quickly find some way for the entire level of world human understanding to rise to a new human scale. The scale is the world\u0027 The risks are the life or death of this world. The technological explosion of this last half-century, and the implied future are overwhelming, man is running the machines of his own invention\u2026 while the machine that is man\u2026 runs the risk of running wild. Technological research, development, and involvement of the world community has almost completely out-distanced the emotional-sociological (socio-\u0027logical\u0027) comprehension of this technology. The \u0027technique-power\u0027 and \u0027culture-over-reach\u0027 that is just beginning to explode in many parts of the earth, is happening so quickly that it has put the logical fulcrum of man\u2019s intelligence so far outside himself that he cannot judge or estimate the results of his acts before he commits them. The process of life as an experiment on earth has never been made clearer. It is this danger \u2014 that man does not have time to talk to himself \u2014 that man does not have the means to talk to other men. The world hangs by a thread of verbs and nouns. Language and cultural-semantics are as explosive as nuclear energy. It is imperative that we (the world\u2019s artists) invent a new world language...\u0027\u003C\/em\u003E\u003C\/p\u003E\n\u003Cp\u003E\u00a0\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENationality:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003EUnited States\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}