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              Videotape Study No.3
              ES ES-OVNI CTX-S003-SS003-0013 · Item · 1967
              Part de Non-Identified Video Observatory (OVNI)

              Early attempts at critical observation of television were conditioned by the development of the first recording technology. This is the context of this historic Nam June Paik piece, a document about the feedback relationship between video and television, and the ability of television to filter and pixilate information. 3 Mostra de Vídeo Independent de Barcelona 1996.

               Nam June Paik
              Viajes Imaginarios
              Viajes Imaginarios
              ES ES-OVNI CTX-S003-SS003-0005 · Item · 1995
              Part de Non-Identified Video Observatory (OVNI)

              "Imaginary Trips I" is a Portrait of a City where the different languages that inhabit the urban landscape intersect. The travel document through the subjective story, the history and the dislate, whose roots are the narrations about remote cultures and unknown territories: literary genre of seekers of fortune, sailors and anthropologists. In this first chapter of "Imaginary Travels", a tour of the city of Buenos Aires, its history and myths. 3 Mostra de Vídeo Independent de Barcelona 1996.

               Jacobo Sucari
              Utopia
              Utopia
              ES ES-OVNI CTX-S003-SS005-0018 · Item · 1994
              Part de Non-Identified Video Observatory (OVNI)

              Video version of an interactive work caricaturing the idea of freedom of choice. The context is a series of test questions, but the answers are predetermined and in this case lead us to destruction by accumulation, exploitation, ... 3 Mostra de Vídeo Independent de Barcelona 1996.

               Max Almy
              The True Adventure of Beaver Valley
              The True Adventure of Beaver Valley
              ES ES-OVNI CTX-S003-SS005-0016 · Item · 1980
              Part de Non-Identified Video Observatory (OVNI)

              Because subliminal inculturation is not always consciously recognized, Tanaka strives for her work to incorporate a primary visceral effect with an analytical statement reflecting the multiplicity of a particular experience and observation. Accordingly, in Beaver Valley more personal black and white footage contrasts sharply with slick media images of Marilyn Monroe and designer jeans; the myth of woman is returned for a refund. 3 Mostra de Vídeo Independent de Barcelona 1996.

               Janice Tanaka