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Explored non-professional use of portable video recorders

I began writing letters to one company after another, mostly Japanese companies, because in that period, the 60s, is when the Japanese companies such as Sony, Canon, Panasonic and others began pioneering the possibility of exploring the consumer and non-broadcast potential of video. So, one of the key early respondents to my letters was a company named Akai. We received a grant from Mr. Akai of 12 of these so-called portable, or PortaPaks. At that time we had to wear like backpacks on our backs and the camera itself was carried separately, connected to a backpack. It was extremely heavy.

Although people laughed at me in the beginning. People that were professionals in broadcast television thought it was ridiculous, thought we would get nowhere, because the equipment did not compare. The whole point was to explore any kind of potential that doesn’t exist.


Akai Electric Company videography video recorders videos

Date: September 15, 2017

Location: California, US

Interviewer: Jennifer Cool

Contributed by: Jennifer Cool, Matthew Purifoy

Interviewee Bio

Mitsuru “Mits” Kataoka, a designer, educator, and pioneer of new media technologies, was born in 1934 in Jefferson Park, California. In 1942, his family was sent to the Pomona Assembly Camp and then to the Heart Mountain concentration camp in Wyoming. At the end of World War II, Kataoka’s parents were among the incarcerees recruited as laborers for Seabrook Farms in New Jersey.

Kataoka graduated from high school in New Jersey, then studied at the University of California, Los Angeles (UCLA) where he received a B.A. in Arts Education in 1957 and an M.A. in Communication Design in 1959. From 1957 to 1965, he served in the U.S. Army Reserves as an armored tank officer. He became a faculty member at the Department of Art, Art History, and Design at UCLA in 1966. In the early 1970s, he developed the first two-way, decentralized citywide cable television system in the United States.

Kataoka was instrumental in bringing digital printmaking to the art world. He envisioned a computer and printer system that could be operated by artists with museum quality resolution and archival inks and paper, years before ink jet technology was capable of such quality.

He passed away in May 2018. (July 2019)

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