1958 William Higinbotham, Tennis for Two, first non-commercial video game.

1971 Nutting Associates, Computer Space, first commercial video game.

1994 Sony introduces the PlayStation console in Japan.

1996 The Rangers, Diary of a Camper, first Quake movie.

2000 Hugh Hancock coins the term "machinima".

2002 First Machinima Film Festival in Dallas, Texas.

2015 Live streaming website reaches 100 million viewers monthly.

1965 Sony introduced the Portapak camera.

        Nam June Paik creates the first work of video art.

        Dick Higgins coins the term "intermedia".

1969 Howard Wise curates the exhibition TV as a Creative Medium in New York.    

1970 Gene Youngblood publishes Expanded Cinema.

1971 Electronic Arts Intermix opens in New York.

1979 Ars Electronica opens in Linz, Austria.

1996 Miltos Manetas' Miracle on display at Joint Ventures, curated by Nicolas Bourriaud in New York.

2006 Nam June Paik dies.


* Not all art historians agree that 1965 marks the beginning of video art. However, as Helen Westgeest writes in her essential study Video Art Theory. A Comparative Approach (2016):

"According to William Kaizen, Andy Warhol was the first well-known artist to acquire a video camera, in July 1965, presenting its first results that same summer, several months before video art pioneer Nam June Paik obtained his first video equipment in October 1965 (in Leighton 2008, 258–259). Yet according to Ken Hakuta, Paik already experimented with the Sony Portapak in 1962 or 1963 while living in Tokyo, being a friend of Nobuyuki Idei, an executive at Sony who later became its president. Paik took his Sony Portapak with him to New York when he moved there in 1964; on 4 October 1965 the first public presentation of his video work took place (in Hanhardt and Hakuta 2012, 20). In both versions 1965 can be considered the year of video art’s entry into the public domain. However, some authors do not agree, for instance Wulf Herzogenrath who claims that video art was born in March 1963 in Wuppertal, Germany, with an exhibition of TV assemblages by Fluxus artists such as Wolf Vostell and Paik (1983, 26). Regardless of which account is embraced, most authors agree that the availability of the video camera in the mid-1960s coincided with radical changes in modern art as well as in society." (pp- 10-11)