History of Art and Technology

1
History of Art and Technology

• 1900 to 1975

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The Invention of the Light Bulb

• Sir Joseph Swan in 1860
• Developed perfected by Thomas Edison in 1879
• Carbonized thread in a vacuum

3
Other Important Inventions

• Daimler and Benz invent the gas powered
  automobile in 1889
• Lumière brothers invent film 1895
• First flight by Wright brothers in 1903

4
Constructivism and Tatlin

• Russia, associated with the Revolution of 1917.
• Tatlin and Constructivists saw art as a way of
  building a new political and social order.
• Embraced the use and aesthetic of industrial
  materials and techniques.
• Tatlin saw his tower as a way of exercising
  control over the forms encountered in our
  everyday life.

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Monument for the Third International Vladimir
Tatlin, 1920
6
Dada

• Wry use of the concepts and aesthetics of the
  machine.
• Created machine-like robotic costumes for
  performance.
• Noted for distancing and irony.

John Hearfield and George Grosz demonstrating at
the International Dada Fair, Berlin, 1920.
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Futurism

• Term invented by Flippo Tommaso Marinetti.
• Announced on the front page of Le Figaro in Paris
  on February 20, 1909.

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Futurist Manifesto

• 1. We intend to sing the love of danger, the
  habit of energy and fearlessness.
• 2. Courage, audacity, and revolt will be
  essential elements of our poetry.
• 3. Up to now literature has exalted a pensive
  immobility, ecstasy, and sleep. We intend to
  exalt aggressive action, a feverish insomnia, the
  racers stride, the mortal leap, the punch and
  the slap.
• 4. We affirm that the worlds magnificence has
  been enriched by a new beauty the beauty of
  speed. A racing car whose hood is adorned with
  great pipes, like serpents of explosive breatha
  roaring car that seems to ride on grapeshot is
  more beautiful than the Victory of Samothrace.
• 5. We want to hymn the man at the wheel, who
  hurls the lance of his spirit across the Earth,
  along the circle of its orbit.
• 6. The poet must spend himself with ardor,
  splendor, and generosity, to swell the
  enthusiastic fervor of the primordial elements.
• 7. Except in struggle, there is no more beauty.
  No work without an aggressive character can be a
  masterpiece. Poetry must be conceived as a
  violent attack on unknown forces, to reduce and
  prostrate them before man.

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• 8. We stand on the last promontory of the
  centuries!... Why should we look back, when what
  we want is to break down the mysterious doors of
  the Impossible? Time and Space died yesterday. We
  already live in the absolute, because we have
  created eternal, omnipresent speed.
• 9. We will glorify warthe worlds only
  hygienemilitarism, patriotism, the destructive
  gesture of freedom-bringers, beautiful ideas
  worth dying for, and scorn for woman.
• 10. We will destroy the museums, libraries,
  academies of every kind, will fight moralism,
  feminism, every opportunistic or utilitarian
  cowardice.
• 11. We will sing of great crowds excited by work,
  by pleasure, and by riot we will sing of the
  multicolored, polyphonic tides of revolution in
  the modern capitals we will sing of the vibrant
  nightly fervor of arsenals and shipyards blazing
  with violent electric moons greedy railway
  stations that devour smoke-plumed serpents
  factories hung on clouds by the crooked lines of
  their smoke bridges that stride the rivers like
  giant gymnasts, flashing in the sun with a
  glitter of knives adventurous steamers that
  sniff the horizon deep-chested locomotives whose
  wheels paw the tracks like the hooves of enormous
  steel horses bridled by tubing and the sleek
  flight of planes whose propellers chatter in the
  wind like banners and seem to cheer like an
  enthusiastic crowd.

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• Dynamism of a Dog on a Leash
• Giacomo Balla, 1912

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• Unique Form of Continuity in Space
• Umberto Boccioni, 1913

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Light Space ModulatorLászló Moholy-Nagy
1922-1930
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Light Prop for an Electric StageLászló
Moholy-Nagy, 1930

• The light prop revolves slowly, while 70 15-watt
  lightbulbs flash through the sculpture in 2 ½
  minute cycles.
• One of the first sculptures to use electric
  light.
• Not to exist as object/sculpture in itself.
• Designed to cast changing shadows on the wall.
• Predicted that light would bring about a new kind
  of art.

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Light Display Black and White and Grey.
15
László Moholy-Nagy

• Hungarian artist.
• Worked with both light and movement.
• First to embrace new technologies in a
  multi-dimensional way, in film, photography,
  theater and kenetic-light construction. First
  multi-media artist.
• Associated with the Bauhaus in Germany.
• Leaves Germany and to form the New Bauhaus in
  Chicago.

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• Light Space Modulator series used in film
  collaboration with his future wife, Sibyl.
• Film entitled Light Display Black and White and
  Grey.
• Im not thinking in chronological termsat least
  not in the accepted sense. The rhythm of this
  film has to come from the lightIt has to have a
  light chronology. Light beams overlap as they
  cross through dense air theyre blocked,
  refracted, condensed. The different angles of
  entering light indicate time. The rotation of
  light from east to west modulates the visible
  world. Shadows and reflexes register a
  constantly changing relationship of solids and
  perforations.

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Kinetic Art

• Well established by 1915.
• Modernist interest out of Futurism and Cubism in
  movement and dynamism and in industrial processes
  and materials.
• The poetics of the machine. Machine values
  merged into art.
• Established a relationship of the body to the
  machine.
• Artists saw it as a natural progression and
  extension of sculptural concerns, i.e. 3D space,
  volume, time.
• Saw sculpture as a system.

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Rotary Glass Plate (Precision Optics)Marcel
Duchamp, 1920
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Rotary Demisphere (Precision Optics)Marcel
Duchamp, 1925
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The Bride Stripped Bare by her Bachelors,
Even.Marcel Duchamp , 1915-1923
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Marcel Duchamp

• While in the United States in 1920 Duchamp
  experiments with kenetics.
• Creates his Retinal Paintings while working on
  The Bride Stripped Bare by her Bachelors, Even.
• Rotary Glass Plate, narrow motorized glass panels
  that when viewed from the front appear as one
  flat spiral.
• Rotary Demisphere, a series of circles painted on
  the convex face of a black demisphere. When
  viewed spinning it appears as if the sphere is
  convex.

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The Motorized Mobile that Duchamp LikedAlexander
Calder, 1932
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Naum Gabo

• Russian, associated with Constructivists, but
  does not consider himself as such.
• Devoted to Tatlins program for art.
• Considered himself a realist. Writes the
  Realist Manifesto
• He calls artists to create in the manner of
  engineers.

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• The realization of our perceptions of the world
  in the form of space and time is the only aim of
  our pictorial art and plastic art
• The plumb-line in our hand, eyes as precise as a
  ruler, in a spirit as taut as a compasswe
  construct our work as the universe constructs his
  own, as the engineer constructs his bridges, as
  the mathematician his formula
• We know that everything has its own essential
  image chair, table, lamp, telephone, book,
  house, manthey are all entire worlds with their
  own rhythm, their own orbits.

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Kenetic Sculpture 1Naum Gabo, 1920
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Drawing for Kinetic ConstructionNaum Gabo, 1922
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Fritz Langs Metropolis
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• Produced in NYC in 1923, released in 1927.
• Based on a play by Czech author Karel Capek
  entitled R.U.R. (Rossum's Universal Robots) which
  opened in Prague in January 1921.
• First use of the word Robot.
• R.U.R's theme, in part, was the dehumanization of
  man in a technological civilization.
• In fact, in an essay written in 1935, Karel Capek
  strongly fought that this idea was at all
  possible
• "It is with horror, frankly, that he rejects all
  responsibility for the idea that metal
  contraptions could ever replace human beings, and
  that by means of wires they could awaken
  something like life, love, or rebellion. He would
  deem this dark prospect to be either an
  overestimation of machines, or a grave offense
  against life."

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Homage to New York Jean Tinguely, 1960
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Homage to New York (remnant)Jean Tinguely, 1960

• Sculpture designed for performance at the Museum
  of Modern Art in New York.
• Worked is a machine that destroyed itself.

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Radio DrawingJean Tinguely, 1962
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La Rotozaza No. 1Jean Tinguely, 1967
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Jean Tinguely

• Associates himself with Dada.
• Non-functional, non-purposeful machines.
• Everything is in movement including that which is
  static. Art should reflect this movement.
• Work always has Dadaist absurd sense of humor.
• Began putting together awkward machines in early
  1950s.
• Called early machines metamatic that would
  create paintings, often painting the audience.
• La Rotozaza caught balls and threw them beyond
  the viewers reach.
• Homage to New York was built with Billy Kluver.
  Blew smoke in the eyes of the viewer as it
  destroyed itself.

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Pacific ElectricCharles Frazier, 1968
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Aerial SculptureCharles Frazier, 1965
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Charles Frazier

• Sculptures designed to fly through air.
• Remote controlled and gas powered.
• One minute flight time.
• In the tradition of Leonardo DaVinci.
• Maholy-Nagy dreamed of sculptures that would
  exist in the sky.
• Beginning with the Constructivists artists wanted
  a sculpture that would be unattached to the a
  base.

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John WhitneyPioneer of computer graphics and
film.
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Arabesque, 1975
Flipbook
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John Whitney

• Paris from 1937 to 1938. While in Paris, he
  studied Schoenberg's Twelve Tone techniques with
  Rene Liebowitz and worked on the animation of
  abstract designs.
• Returning to the United States in 1939, he joined
  with his painter brother, James Whitney, to
  collaborate on several experimental films.
• Five Abstract Film Exercises (1940-1945) won
  first prize at the First International
  Experimental Film Competition in Belgium in 1949.
  
• Solomon Guggenheim Fellowship in 1948 that
  allowed John Whitney to study the composition of
  music combined with graphics.
• He was particularly interested in a study of the
  music of sine waves. John said of this period,
  "The artist/composer shapes time with his hands."
  "Time has become visual."
• By 1959, John began his pioneering work in the
  development of mechanical analog systems which
  founded the principles and techniques of
  "incremental drift" and "slit-scan."
• Whitney's first analog computer was made from an
  M-5 Anti-aircraft Gun Director and later with
  modifications from an M-7

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• Permutations was completed in 1966 it was an
  early artistic film constructed entirely off the
  black-and-white monitor of a large computer
  system (IBM 360, IBM 2250 Display, written in
  GRAF and FORTRAN).
• Color was added by editing with an optical
  printer. It is an elegant abstract work composed
  of architectures of color dots that develop
  pattern while displaying a kinetic rhythm.
• Arabesque (1975) was his final film using the
  computer/optical printer.
• In 1986, John Whitney joined with Jerry Reed to
  develop a program combining computer graphics and
  music composing.
• From 1986-1992, the Whitney-Reed RDTD
  (Radius-Differential Theta Differential)
  composing program was refined. The product of
  this work was the invention of a music/graphic
  instrument that produces a direct matching of
  "tonal action with graphic action." Whitney said,
  "I believe that visual design belongs with
  musical design."
• Whitney believed that strong emotion flows from
  the combination of Music and Visual elements.
  "I've struggled to define my vision. The union of
  color and tone is a very special gift of computer
  technologies."

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History of Computer Graphics

• 1950s
• John Whitney Sr. devises his own computer
  assisted mechanisms to create some of his graphic
  artwork and short films.
• Pioneering artists Stan VanderBeck, Ken Knowlton,
  Michael Noll and others at Bell Labs in New
  Jersey created computer assisted graphics using
  analog computer devices and plotter output.
  Later, in the mid 1960s, digital computers and
  film recorders would be used.

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Studies in Perception IKenneth Knowlton and Leon
Harmon, 1966
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Studies in Perception I

• Kenneth Knowlton Leon Harmon,1966
• 6 X 12
• Bell Labs in Murray Hill, NJ
• Scanned a photograph with a special camera that
  converted electrical signals to numerical
  representations on magnetic tape.
• Printed on microfilm plotter then enlarged.

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• Bill Fetter experimented with early vector
  graphic CAD at Boeing (Seattle) in the late l950s
  using an IBM 7094 computer with punch card input
  and a Gerber plotter.
• Artist Ben Laposky uses analog computers to help
  him create oscilloscope artwork.
• Vectorscope-type graphics display on the
  Whirlwind computer at MIT. A device similar to a
  light pen allowed direct input to the screen.
• Lawrence Livermore National Labs connects
  graphics display to IBM 704 use film recorder
  for color images
• DAC-1 (Design Augmented by Computers) First
  computer aided drawing system. Created by Don
  Hart and Ed Jacks at General Motors Research
  Laboratory and IBM.

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• 1960's
• Bell Labs
• "Computer assisted graphics" were being created
  as a new and unique art-form by people such as
  Charles Csuri, Ken Knowlton and John Whitley Sr.
• Many pioneering artistic films were created at
  Bell Labs from about 1963 to 1967 by artists and
  programmers such as E.E.Zajac, Kenneth C.
  Knowlton, A.M. Noll, Lilian Shwartz, and Stan
  Vanderbeek.
• The very first computer graphics company was
  formed in 1968 Drs. David C. Evans and Ivan E.
  Sutherland.
• Practical commercial and industrial use of
  computer graphics begins to take hold in many
  areas of design and manufacturing.
• Architectural and urban planning programs are
  used at Skidmore, Owings Merrill in Chicago and
  in the University of Texas School of
  Architecture.

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• In the late 60s, the Electronics Laboratory of
  General Electric (Syracuse, NY) produces a
  prototype visualization system for NASA and the
  Office of Naval Research. The system produced
  real-time color raster graphics on a monitor as a
  training aid to astronauts going to land on the
  moon.
• William Fetter of Boeing coins the term "computer
  graphics" for his human factors cockpit drawings.
• "Sketchpad A Man-Machine Graphical Communication
  System" is presented by Ivan Sutherland as his
  Ph.D. thesis at MIT. The user could input simple
  lines and curves by drawing directly on the
  screen with a light pen. The computer, the TX-2,
  had 320 kilobytes of memory and a 9 inch
  monochromatic CRT.
• Charles Csuri created an analogue computer and
  used it to make transformations of a drawing. He
  completed a series of drawings based upon the
  paintings of old masters such as Durer, Goya,
  Ingres, Klee, Mondrian and Picasso.

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• 1963
• 1st computer art competition, sponsored by
  Computers and Automation magazine.
• 1965
• 1st computer art exhibition, at Technische
  Hochschule in Stuttgart
• 1st U.S. computer art exhibition, at Howard Wise
  Gallery in New York
• 1966
• Permutations With a grant from IBM and a Fortran
  programmer named Jack Citron(sp?), John Whitney
  Sr. made the first digital computer short film.
• An IBM 2250 Graphic Display Console created dot
  patterns which were then recorded onto black and
  white 35mm film. The filmed images were then
  further enhanced with a specially designed
  optical printer to add secondary motion and
  color.

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Virtual Reality

• As Associate Professor at Harvard, Ivan
  Sutherland and his student, Bob Sproull, took
  earlier "Remote Reality" vision systems of the
  Bell Helicopter project, and turned it into
  "Virtual Reality" by replacing the camera with
  computer images.
• The first such computer environment was no more
  than a wire-frame room with the cardinal
  directions -- North, South, East, and West
  initialed on the walls. The viewer could "enter"
  the room by way of the West door, and turn to
  look out windows in the other three directions.
• Affectionately called "The Sword of Damocles"
  because of its ceiling mounted gear, what they
  called the "Head-Mounted Display," later became
  known as Virtual Reality.

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• 1968
• Cybernetic Serendipity The Computer and the Arts
  exhibition at London Institute of Contemporary
  Arts (ICA)
• The UK's Computer Arts Society (CAS) is founded
  by John Lansdown at the Royal College of Art.
• The EVENT ONE computer art exhibition is held at
  the Royal College of Art.
• Chuck Csuri's short film Hummingbird is purchased
  by Museum of Modern Art for permanent collection.
  
• Dicomed is founded as a manufacturer of hardware
  and software products to apply computer graphic
  technology to the field of radiology by scanning
  x-ray films, converting the information into
  digital data, enhancing it and redisplaying the
  processed image.
• Bill Fetter contributed to the first (vector
  based) computer generated television commercial
  in 1968 while at Boeing.

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• 1969
• The first major public Computer Art show is held
  in London. Cybernetic Serendipity also publishes
  a book of the same name.
• Bell Labs developed the first frame buffer for
  storing and displaying 3bit images.
• Relatively affordable frame buffers became
  available in the mid to late 70s which opened up
  the commercial market for true CG production.
• Michael Noll arranges some of the first public
  gallery showings of computer generated art in the
  United States.
• Nelson Max at Lawrence Livermore National
  Laboratories uses CG to illustrate basic biologic
  research the first "scientific visualizations".

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• 1972
• PONG developed by Nolan Bushnell. (Later founder
  of Atari)
• First feature film appearance of CG West World.
  A "block pix" scene done at Information
  International Inc. (III aka "Triple I") Led by
  John Whitney Jr., digitally processed film was
  used to portray a pixelated android point of
  view.
• 1973
• First physical structure designed entirely with
  computer-aided geometric modeling software A
  large Easter egg which is still standing in
  Vegreville, Alberta, Canada. "The Easter Egg
  Capitol of the World".

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• 1974
• Breakthroughs in image techniques involving
  fractals, morphing, image compositing, and
  Mip-Map texture mapping and many others.
• Three 8bit buffers could be combined to create
  the first RGB color frame buffer.
• Three additional framebuffers were added to a
  total of six. At 60,000 each (plus the 80,000
  for the first) what this meant in todays dollars
  is about 2million worth of equipment.
• 1975
• Hunger by Peter Foldes "First fully animated
  figurative film every made using computer
  techniques."
• The venerable icon of early computer graphics,
  the famous "Utah Teapot" is designed by Martin
  Newell at the University of Utah.

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Utah Tea pot
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Utah Teapot
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• 1976
• Future World Gary Demos, John Whitey Jr and a
  team at Triple-I creates the first feature film
  appearance of 3D CG a 3D polygonal
  representation of actor Peter Fondas head. was
  rendered and filmed out at 3000 pixel resolution.
  
• 1977
• Star Wars (Twentieth Century Fox), The Death Star
  simulation was designed and created by pioneering
  algorithmic artist Larry Cuba.
• 1980's
• The first digital computers used in CG as we know
  it today were introduced in the early 1980s by
  companies such as Apple Computer and Silicon
  Graphics Inc.
• The consumer market began with the Macintosh
  personal computer and its MacDraw and MacPaint
  software.

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Minimalism and the use of industrial materials
and processes.

• Artists explore industrial processes as means of
  fabrication.
• Distancing and the removal of the artists hand
  in the creation of the work of art.
• New materials allowed for new textures and
  surfaces.
• New processes created new kinds of sculpture that
  played with light.
• Art as ideacan be fabricated by anyone.

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UntitledDonald Judd, 1968
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Holograms (Making Faces)Bruce Nauman, 1968
65
UntitledLarry Bell, 1966-67
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Solid State Construction 12Norman Zammit, 1969
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Monument V.TatlinDan Flavin, 1966-69
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Experiments in Art and Technology (E.A.T.)

• 1966, Founded by Robert Rauschenberg and Swedish
  engineer Billy Klüver employed by Bell
  Laboratories. Klüver had come to New York to
  assist Jean Tinguely on Homage to New York.
• Stressed collaboration between artists,
  musicians, dance, scientists and engineers.

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Nine Evenings Theater and Engineering

• Established Experiments in Art and Technology
  (E.A.T.).
• NYC, October 13 - 23, 1966 at the 69th Regiment
  Armory. The site of the controversial 1913
  Armory Exhibition.
• Nineteen engineers donated 2,500 hours during
  performance.
• Cost was 100,000.
• Total audience was 10,000.
• Nine participating artists contributing two
  performances each.
• Interminable technical problems and delays.
• Critical failure.

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Variations VIIJohn Cage, Nine Evenings, 1966
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John CageVariations. Thirty photocells were
mounted at ankle level around the performance
area. The cells activated a variety of sound
sources as the performers moved. These sounds
came from contact microphones placed on a
blender, juicer, fan, and toaster, 20 radio
channels, and two Geiger counters. In addition
Cage had ten open phone lines to sites in New
York City like Luchows restaurant, the Aviary,
and the 14th Street Con Edison electric power
station.
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John Cage on Variations VII

• making use of the sound system which has been
  devised collectively for this festivalusing as
  sound sources only those sounds which are in the
  air at the moment of performance, picked up via
  the communication bands, telephone lines, and
  microphones, together with, instead of musical
  instruments, a variety of household appliances
  and frequency generators.

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Two Holes of WaterRobert Whitman, intermedia
theater piece, Nine Evenings, 1966
75
Robert WhitmanTwo Holes of Water Seven cars,
carrying film and television projectors, drove
out onto the Armory floor and parked facing the
back wall covered with white paper. On the
balcony, television cameras shot performances
two girls moving slowly in front of a curved
mirror, a girl typing. A small fiber optic camera
showed the inside of a coat pocket. Whitman fed
images of these live performances and off-air
television images to television projectors in the
cars. He also cued the drivers to turn on the
films of nature subjects and other films he had
made.
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Steve PaxtonPhysical Things.
A polyethylene air-inflated structure occupied
most of the Armory floor. The audience could walk
through the structure freely, encountering
projections, sounds and performers. Outside the
structure, wire loops suspended above the
audience generated sounds of music, screaming
jungle birds and a discourse on fishing the
audience heard through small pick-up devices.
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David Tudor Bandoneon!
As Tudor played the bandoneon, ten contact
microphones picked up the sound and distributed
it to four processing devices. The output of a
forty- channel filter was fed to 12 speakers, and
controlled the spotlights on the balcony. An
audio processing and modifying circuit fed four
transducers attached to wood and metal structures
and horn speakers on the Armory floor. Another
device controlled images on three television
projectors.
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Carriage DirectnessYvonne Rainer, Nine Evenings,
1966
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Carriage DirectnessYvonne Rainer

• Dancers were moved about the space by Rainer via
  walkie-talkies.
• Slide projections, light, sound and various
  photo-chemical phenomena were programmed and
  performed by TEEM (Theater Electronic
  Environmental Modular Systems.)

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Yvonne RainerCarriage Discreteness. On the
floor were spread out cubes, planks, sheets and
beams of different materials masonite, wood,
styrofoam, rubber, and so on. Seated in a high
balcony, Rainer transmitted instructions to the
performers to carry objects from one place to
another. Accompanying these movements were
"events" pre-programmed on ACTAN drum switches,
which included film and slide projections, a
super ball and pieces of foam rubber dropped from
the ceiling, and a collapsing screen.
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SoloDeborah Hay, Nine Evenings, 1966
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SoloDeborah Hay

• Dancers guided around the floor on motorized
  platforms. A tightly choreographed performance
  utilized dancers and carts. Eight formally
  dressed, seated players controlled the movement
  of the carts. The dancers entered, either walking
  or riding on a cart, and then walked or rode on
  the vehicles in solo, duet or trio formations,
  filling the large Armory floor with changing
  patterns of movement, light and sound.

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VehicleLucinda Childs, Nine Evenings, 1966
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VehicleLucinda Childs

• A 70kHzDoppler sonar system, especially designed
  for this piece, was activated by three red
  fireman's buckets Childs took from a performer in
  a Ground Effects Machine and hung from
  scaffolding. As she swung the buckets around
  inside the ultra-sonic sound beams, the reflected
  signals from the buckets mixed with the original
  70 kHz signal, and the resulting beat frequency
  fell in the audible range. These sounds were
  transmitted to the twelve speakers around the
  Armory.

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Grass FieldsAlex Hay, Nine Evenings, 1966
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Alex HayGrass Field. Hay wore a backpack of
specially designed differential amplifiers and FM
transmitters, which picked up brain waves, muscle
activity, and eye movement from electrodes placed
on Hay's head and body. These sounds were
broadcast to the audience as Hay carefully laid
out 64 numbered pieces of cloth. Then he sat
facing the audience, with his face being
projected on a large screen behind him, while two
performers systematically picked up the pieces of
cloth.
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Open ScoreRobert Rauschenberg
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Robert RauschenbergOpen Score. The first
movement was a tennis match between the artist
Frank Stella and a tennis professional. A
specially built FM radio transmitter fit in the
handle of each racquet. Each time the ball hit
the strings of the racquet, a contact microphone
picked up the "BONG," which was amplified through
12 speakers around the Armory. One stage light
went out with each "BONG." When the area was
completely dark, a crowd of 300 people entered.
Infra red television cameras picked up the
group's movements and projected these images to
three large screens seen by the audience.
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Kisses Sweeter Than Wine,Oyvind Fahlstrom
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Oyvind Fahlstrom Kisses Sweeter than Wine.
Kisses was a complex theater performance
incorporating live actors, elaborate props,
slides, film and television projection.
Characters and images included Jedadiah Buxton,
an idiot savant who could multiply large numbers
in his head, played by Robert Rauschenberg Space
Girl, dressed in silver, who descended in a winch
hoist from the ceiling a girl in a plastic
swimming pool of Jello, and a remote-controlled
mylar inflated
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Pepsi-Cola PavilionE.A.T., Osaka Japan, Worlds
Fair, 1970
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Pepsi-Cola Pavilion

• Designed as environment inside and out.
• Water cloud floated above the pavilion.
• Triggered by movement and behavior of
  participants.
• The largest spherical mirror made.
• Viewer saw a life-size image of him/herself
  floating in space projected onto 90 dome.
• First light sound system ever designed for a
  spherical structure.
• Designed as an open ended experience.

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OracleRobert Rauschenberg, 1965
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Oracle

• Five part sculpture.
• Remote controlled radio.
• Music and sound are projected from each part in a
  predefined sequence.

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SoundingsRobert Rauschenberg, 1968
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Soundings

• 8 X 36 made of 27 plexiglass panels with silk
  screen images on them.
• Spectators clap or call out the panels light from
  behind revealing the images.

102
Art and Technology Exhibition

• Curated by Maurice Tuchman and Jane Livingston.
• Program ran from 1966 to 1971.
• Artists were teamed up with industries to produce
  work for exhibition at the Los Angeles County
  Museum.
• 76 artists participated.
• 40 corporations.
• Considered a critical failure.

103
Mud-MuseRobert Rauschenberg, 1968-70
104
Mud-MuseSchematic
105
Mud-Muse

• In collaboration with Teledyne Corporation.
• Recreates paint-pots of Yellowstone National
  Park.
• Mud activated by sound.

106
IcebagClaes Oldenburg, 1968-70
107
Icebag

• Done in collaboration with Disney/WED.
• 16 high.
• Designed to extend and uncoil as it moves upward.
• Powered by hydraulic system.

108
Day Passage 1971 Rockne Krebs Argon and
helium-neon laser, mirrors. In collaboration
with Hewlett-Packard Corp. for Art and Technology
109
Watcher 1965-66 James SeawrightMotorized sound
sculpture. Light levels in room and internally
control the sculpture.
110
Electronic Peristyle 1968 James SeawrightViewer
enters the space and triggers various light,
sound and air patterns.
111
Moon MuseumForest Myers 1969Miniaturized
Iridium-plated drawings on ceramic wafer. To be
left on the moon. Drawings by Myers, Robert
Rauschenberg, Claus Oldenberg, Andy Warhol, David
Novros and John Chamberlain
112
Silver CloudsAndy Warhol, 1965-68