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Cybernetic Serendipity the Computer and the Arts – (1968)

Exhibition catalogue. Edited by Jasia Reichardt (Studio International Special Issue, London. 1968)

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Algorithm, Architecture, Automata, Bio hacking, Brain, Cybernetics, DIY, Interface, Light, Maker, Man/Machine, Mathematics, Music, Neural Networks, Robots, Science, Society, Sound, Tactical Media

History of Computer Art : Cybernetic Sculptures

“In 1968 artists and musicians like Stephen Antonakos, Terry Riley, Charles Ross and Robert Whitman realised installations producing light and sound events for the exhibition “The Magic Theatre”. James Seawright constructed “Electronic Peristyle” 37: an uncommon work for an uncommon exhibition. He installed “power supplies” in a base under a sphere. The sphere was made of transparent plastic and contained 12 photocells. A “cylindrical metal box” with 12 “light beam projectors” was mounted underneath the “plastic sphere”. The electronics in this vertical structure with round segments “was either digital (the earliest family of Motorola RTL logic chips)” or it contained “conventional analog transistor circuits.” These electronics controlled the generation of sounds by “electronic synthesizer modules”. These modules were developed by Robert Moog. He integrated his analog equipment in Seawright´s installation.”

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Architecture, Art, Astrology, Automata, Economy, Light, Society, Sound

Nicolas Schöffer and Luminodynamism

“Echoing El Lissistsky’s ‘prouns’ defined as the midway point between architecture and painting, Schöffer would extend the scale of his sculptures to monumental proportions. His 52m high Cybernetic Tower in Liège, created in 1961, senses its immediate environment using microphones, hygrometers and anemometers (wind measurement). The information collected from these sensors is used orchestrate the movement of mirrors and lights on the towers, and also to generate environmental sounds to be played back to the city. Viewed at night time the mirrors act more as colour switches giving an overall impression of network interactions and connections inferred via pulsing colours. With nodes of interconnected light existing in a lattice perhaps Schöffer was attempting to mimic the invisible communication infrastructures that were developed during the 50′s and 60′s and who’s influence had grown to create the science of Cybernetics.”

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