EXPERIMENTAL TELEVISION CENTER Video History: Making Connections Conference (October 16-18, 1998) InterviewsConductedbyKathy High - 62 - HORNBACHER (Cont.): involved with my students. And I feel that’s part of the politics. Part of the politics is never to give up being a video art until I die. I won’t. Because I can’t. I can’t stop, because then that continuum wouldn’t be there. And the other is, you know, teach as long as I can. Because I think it’s the best activity for an artist to be… You know, in other words, it’s like you’re learning from your students, and you’re teaching your students, and there’s this exchange, and you’re forced to keep thinking, and they’re very challenging and… Because they’re coming from another generation and… I love the medium, so it’s easy to teach that. It’s harder to find the acceptance in the ideas. And I’ve heard many of the people here say the same thing, so I think that’s just a general problem we all have now with the educational situation, when it’s so driven by job as a goal. I mean, in the seventies, there was so much— the cost of living was so much lower, all of us were still coming from a sixties mindset, and so those were kind of considerations. We were just curious and wanted to learn. And of course, it wasn’t old then, either; it’s old now. You know? But anyway… I think that’s it, right? HIGH: Yeah, that’s great. (inaudible voice) HIGH: So start again.
EXPERIMENTAL TELEVISION CENTER Video History: Making Connections Conference (October 16-18, 1998) InterviewsConductedbyKathy High - 63 - LISTER: Ok, my name is Ardele Lister. HIGH: And Ardele, when was the first time you ever encountered what we might call video art? Do you remember the date, also? LISTER: Oh, well, yeah. I was doing my MA in art history in Vancouver, British Columbia in 1973, I guess. And I was asked by Arts Canada to cover the first International Festival of Women in Film, which had really happened in a big way in Toronto and New York, but had sort of smaller festivals traveling around San Francisco, L.A., Vancouver. And they had neglected to send anyone there, so they said to me, “Can you please see as many things as possible?” And I said alright. And so I stayed up for three days and three nights, and I saw fifty-four films made by women. And tapes. And of course, my mind was blown, because I had taken a lot of film history, appreciation, semiotics courses, and in fact, was writing my thesis about the aesthetics of film. And I had probably seen one film by Maya Duran(sp?) and one film by Elaine May, and that was all that I had really seen, so it was a real revelation, and… ’Cause I was down there for the whole time, pretty much. I was hanging out with the women who organized the Vancouver component of the festival, and they were kind of a varied group. It turned out I was, like, probably the youngest one. There were a couple of women over forty who were more involved in photography. And the energy was so incredible that we kind of decided that we needed to keep meeting, because you know, why should the end of the festival mean that this something shouldn’t continue? So we met, at first thinking that we