Because of the Swedish TV-producer's and director's cognitive thinking, at the time - 1965 - 1966, and a silly TV-audience ( for all time ) music was rather "forced" upon us to get the "electronic painting's" televised.
An "art-installation" back into the system it came from, instead of an obsolete incompatible museum/gallery installation/exhibition.
No one realized that this very first "video animation" was a groundbreaking artistic creation and innovation 1966 and further more a logic and modern continuation of Pollock's and Klein's earlier artistic statements expressed in action's from the 50's and the 60's.
Making 'mechanic robotdolls" as "sculpture object's", - making a structure consisting of piles of TV-monitor's, as installation's like Nam June Paik, was an idea considered but would have recklessly lessen the perception of the the whole concept, the prime innovation, to conciously manipulate the electronic signal, and not with the help of a magnet on top of a TV-monitor as a "dada-expression" as many of us did in Sweden in the early 50's.
The first video synthesizer was actually build for the creation of "TIME" and before Paik/Abe or Rutt/Etra did their own "boxes". The very core of "videoart" - a term not existing 1966 - lays in the conciously manipulated electronic signal.
The Swedish TV-technician's "gave it away" to the americans - Rutt Etra, without even asking the artist's Ture Sjolander and Bror Wikstrom or Lars Weck. They even stated that " they could not remember the artist's involved"
