Experiments in Art and Technology (E.A.T.)

In den 1960er Jahren kommt es in der
Medientheorie McLuhans sowie in Kunst
und Performance zu einer Verumweltlichung
von Medien, die ein elektrisiertes
Sein als holistisches und drogenartig
bewusstseinserweiterndes be-in in medientechnischen
environments verspricht. Findet
sich dieses Erbe McLuhans und die mit ihm
einhergehende Faszinationsgeschichte eines
resonanten be-in heutzutage in techno-ökologischen
Theorien sowie in der Psytrance
der Goa-Festival-Szene wieder? Es steht in
Frage, welche Bedeutung und welche Konsequenzen
die Faszinationsgeschichte des
be-in für den Umgang mit zeitgenössischen
technologischen Umwelten in ubiquitären
und selbst organisierten digitalenInfrastrukturen hat, die vor allem von der
Verarbeitung von Daten z.B. von menschlichen
Agierenden „leben“. Könnte die
Faszination dazu beitragen, politische und
ökonomische Machenschaften zu übersehen
und wider besseres Wissen zu Daten-
Regimen an technologischen environments
zu partizipieren und diese zu unterhalten?

The essay “Divinations” focuses on Robert Rauschenberg’s Oracle (1962-1965), a work whose making and display entailed close collaboration between the artist and the engineers Billy Klüver and Harold Hodges, both of Bell Laboratories. The piece stemmed from Rauschenberg’s interest in sound, sculptural form, and radio networks: it housed ten radios and speakers in various sculptural elements constructed from found metal objects, including ducts, window frames, a bathtub, and a car door. Audience members could turn dials that indirectly modified the volume and tuning of the radios. Walking through the sculptural installation, one experienced shifting acoustic, spatial, and visual effects. This text seeks to understand how the interactions between artist and engineers—and between sound sculpture and viewers—engaged systems of industrial and postindustrial production, broadcast radio, and audiovisual reception.

First published in Intermédialités : histoire et théorie des arts, des lettres et des techniques / Intermediality: History and Theory of the Arts, Literature and Technologies, Numéro 13, printemps 2009, p. 38-55.
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Using the power of digital photography, this interactive PowerPoint eBook for teachers, students and artists examines the depiction of motion in still photography. It is based in part on the innovative work of the Cubist painters (Picasso & Braque), the Italian Futurists, and in particular the photographs of Anton Bragaglia, a photographer associated with the Italian Futurist movement -- around 1900. A brief explanation of their work and ideas is included in an introduction. This interactive PowerPoint presentation concentrates on the movements of musicians, exposed over an extended period of time, in candid situations -- dubbed 'time flow' photography. The resulting imagery is similar to the goals of the Italian Futurists. In over 60 candid digital photographs taken over five years, this eBook presents photos of guitarists, violinists, singers, bass players and more. Teachers, students and schools may use this presentation in their work, if they want -- see the notice in the eBook.

This paper discusses a significant performance event of the 1960s titled 9 Evenings: Theatre & Engineering. In 2006, MIT held an exhibition to mark the fortieth anniversary of this event, the first large-scale performance in the US in which electronic technology, and importantly, ...

In his classic 1972 Artforum essay, critic Lawrence Alloway described the art world as a network. Taking cues from Alloway’s observation about the nature of art production in the 60s and 70s, John A. Tyson proposes that the era’s portfolios of printed multiples can be understood as networked coproductions. In this lecture, Tyson historically contextualizes a selection of collective projects from the National Gallery of Art’s holdings: Walasse Ting’s “1-Cent Life” (1964), the Wadsworth Athenaeum’s “X + X (Ten Works by Ten Painters)” (1964), curated by Samuel Wagstaff Jr.; gallerist Leo Castelli’s multimedia “Ten from Leo Castelli” (1968), William Copley’s serial, boxed magazine S.M.S. (February-December, 1968); and, finally, Experiments in Art and Technology (E.A.T.)’s “The New York Collection for Stockholm” (1973). These portfolios consist of works in a variety of traditional and nontraditional artistic media—from poetry to silkscreen to plastic sculpture and even a vinyl record. As signaled by Nam June Paik’s Untitled print from E.A.T.’s portfolio, the notion of broadcasting information with art—evoking televisual connotations of “network”—was of concern to many. While scaled to tabletops, these multiples had a wide range of distribution: how they respectively negotiate concerns for materiality as well as desire for decentralization and dematerialization merits further analysis.