Abstract
This article focuses on the early history of two related techniques used within artistic contexts: distorting preexisting television raster images and generating synthetic images through the application of external signals to cathode-ray tube deflection systems. Organology and media archaeological techniques are used to begin to trace an additional technical history of these complex visual instruments.

Abstract
This article employs a media archaeology framework to critically examine the evolution of image processing in film and video production. The author illustrates how different tools constitute distinct creative practices by comparing the optical printer and Dan Sandin’s Image Processor. Through detailed analysis of these machines, he challenges traditional narratives of technological progression, suggesting a more complex relationship between analog and digital media forms. The discussion extends to the implications of these tools in shaping film and video aesthetics and methodologies, urging a reconsideration of how technology influences artistic expression and perception in media.

Abstract
The analog technology of scan processing was developed and used during the 1970s as a method of electronic image animation. Because their real time modes of operation strongly resemble those of electronic musical instruments, scan processors can be considered instruments with which to compose and play moving images. Although cheaper digital tools replaced them in commercial studios during the 1980s, scan processing has a distinctive aesthetic that continues to inspire both visual artists and instrument designers. This article examines the way that scan processing instruments’ affordances arise from specific combinations of the user, technology, and situation by surveying a number of technical and artistic use cases involving two different instruments: the VP-8 Image Analyzer and the Rutt/Etra Video Synthesizer. The article also demonstrates how reenacting an instrument works through its historical affordances using current technological means to address present-day contexts.

Abstract
During an artist’s residency at WGBH-TV, Nam June Paik invented a new method of image production that created complex feedback, brilliant color, and nonstop mixing from multiple sources. The Paik-Abe Video Synthesizer allowed him to distort images and produce electronic disturbances that transformed the language, content, and geopolitics of television. This article highlights Paik’s transnationalism and the centrality of collaboration in his video projects.

Abstract
Philip Mallory Jones’s “videomation” was an early video image processing technique of the 1970s that superimposed multiple forms of image-making to convey the aesthetics of Afrodiasporic rhythms. While videomation’s application in Jones’s collaboration with Gunilla Mallory Jones in Beyond the Mountains, More Mountains (1975) expressed a disillusionment that tested the limits of Afrodiasporic connections between the United States and Haiti, he later refined this technique through splicing and weaving of visual polyrhythms in his collaboration with the Burkinabe media pioneer Moustapha Thiombiano, Wassa (1989), as an expression of double consciousness.

Abstract
Early video processing tools present a compelling perspective through which to reconsider the integrated practice of Tokyo-based early video artist Nakajima Kō. The author examines Nakajima’s practice through his concepts of animation, the development of his Animaker (1979) and Aniputer (1982), and his perspective on how video connects to Esoteric Buddhist thought. Concluding with Kō’s 1986 video Mt. Fuji, the author illustrates how the work is representative of the hybrid, analog-digital view of video that leads Nakajima to posit video as a cosmic medium circa 1986.

Abstract
In 1976, Pat Lehman screened her experimental video Video Vitae at the New York Women’s Video Festival. Lehman worked in Colorado, where she also started the first video program in the state’s college system. This article examines Video Vitae as an important example of image-processed video and early computer animation in the context of second-wave feminism. The author charts Lehman’s influences and access to the Scanimate computer used to produce Video Vitae, arguing that Lehman’s narrative about a woman’s autonomy is intertwined with her pleasure in the processing of electronic signals.

Abstract
Shigeko Kubota presented her seminal multimedia video work Riverrun—Video Water Poem for the feminist performances of Red, White, Yellow, and Black at The Kitchen in New York in December 1972. This article outlines Kubota’s exploration of the mediated production of identity as a networked, social process through live video synthesis. Drawing from discourses surrounding James Joyce’s Finnegans Wake in experimental music and video, Kubota’s distinctive use of live video synthesis and incorporation of sensorial elements in her installation attuned her audience to the multisensory nature of communication as well as the co-constitution of meaning mediated through feedback between artist, audience, and technology. In considering Riverrun as an open work, it is clearer how Kubota resisted singular interpretations, especially readings where the work is reducible to the artist’s identity.

Abstract
The author analyzes three 1980s video works by Argentinian pioneer artist Carlos Trilnick (1957–2020), whose insubordinate interventions with image-processing tools served the purpose of a reflection upon time, challenging traditional narratives of sequentiality, segmentation, and cause-effect linearity. These video works display a virtuous interconnection of art and technology, built upon a solid politica perspective on audiovisual representation, art history, and territorial disputes. Acknowledging the work of this artist contributes to the expansion of global dialogues about the use of image-processing tools, incorporating Latin America into traditional narratives dominated by Europe-U.S. exchanges.

Abstract
Nam June Paik’s artistic experiments, especially the distortion of the electronic image with magnets, from which he started, provide the author a defining example and reference point for his audiovisual work. The possible combinations of analog and digital techniques open up new doors for contemporary media artists. In this artistic statement the author describes some of his own experimental works of art in the hopes of stimulating a discourse on experimentation and innovation.

Abstract
The Nipulator electronic bra is a custom-built wearable device that uses two potentiometers, a hacked DJ Hero microcontroller, and Cycling ’74 software to (nip)ulate the author’s voice and image in real time. The bra functions as an instrument for live video and sound processing as well as a feminist art object. This essay discusses how the author’s work with rare and historically significant image and sound processing tools like the Sandin Image Processor, Jones Frame Buffer, and Paik-Abe Raster Manipulation Unit influenced the creation of The Nipulator, as well as her experimental media art practice. Other artistic and personal influences are also considered, and a thorough description of the bra’s design, technical evolution, and durability challenges is provided.

Abstract
In this article, the authors reveal a new significance for the phrase “deliberately maladjusted” (borrowed from video art of the 1970s and its critical interventions) in the act of microbial image processing using two artworks by the authors: A Medium for Images or Luminous Bacteria and ‘イ’ (1926) by BioLuminescent Bacteria. In contrast to early video experimentations, contemporary computational image processing simulates and manipulates various visual media in a manner well-adjusted for digital computation and display. The authors reconsider the historical process of image processing with living entities and microorganisms as they attempt to extend the possibility of works being deliberately maladjusted.

Abstract
The multidisciplinary artist duo LoVid have been making art that combines analog and digital media, as well as handmade and code-based methods, for nearly a quarter century. Topics discussed in this interview include image processing, generative art, Web3, and sociality in contemporary media art.