Experiments in Art and Technology Essay

â€Å"The new interface I will define is one in which the artist makes active use of the inventiveness and skills of an engineer to achieve his purpose. The artist could not complete his intentions without the help of an engineer. The artist incorporates the work of the engineer in the painting or the sculpture or the performance. † what a perfect synergy! Introduction ‘Experiments in Art and technology’ (E. A. T. ) is an aged non profit making and tax exempted organization instituted as far back as 1966 by renounced engineers and artists. The engineers included the persons of Billy Kluver and Fred Waldhauer, while the artists, the persons of Robert Rauschenberg and Robert Whitman. Experiments in Art and Technology was pioneered from the experience of a popular work titled – ‘9 Evenings: Theatre and Engineering’. The notable event was of the 69th ‘Regiment Armory in new York City, United State of America† (October 1966). About 40 engineers and 10 popular artists symbiotically worked together to put up an engineered and equally artistic performances. With the works of E. A. T. , artists and engineers’ relationships have received huge boost, thereby stimulating the willingness and participation of industries in artistic events. Companies’ cooperation through sponsorship is one of the achievements of E. A. T. There was fast expression of interest in the group over the space of time. Three years after the inauguration of Experiments in Art and Technology, the organization recorded over 4,200 memberships of diversified artists and engineers all around the United States of America, South America, Japan, Canada and every other interested industry all over the world. Through the process towards achieving the aim of E. A. T. , there was a local program within the group named the Technical Services Program. This program enhanced the effective collaboration of artists working hand-in-hand with engineers on a specific assignment/project. This was made possible by a deliberate effort at pinning suitable artists with appropriate engineers for synergic results. The program also assisted the collaborators in reaching out to industries and corporate-business communities in meeting the needs to accomplish outstanding project. Furthermore, E. A. T. commissioned inter-field projects and events which were anchored by artists involving the use of new technological woks. Some of the projects included the earlier mentioned ‘9 Evenings: Theatre and Engineering† in 1966’, ‘Some More Beginning in 1968’ – the later happened to mark the start of ‘exhibition of art and technology. The exhibition was held at a museum in Brooklyn. Included in the list of the project was the â€Å"artist-engineer collaborations to design and program the Pepsi Pavilion at Expo 70 in Osaka, Japan. † Picture showing First meeting of E. A. T. in November 1966 The Story of Experiments in Art and Technology When Andy Warhol was trying to create floating light bulbs, he asked Billy Kluver for his kind assistance. Kluver, who was an engineer working at Bell Laboratories in New Jersey, rejected the plea but instead promised to offer him a wrapper usually use to wrap sandwiches, the material is silvery. Warhol fashioned the material into a rectangular object called Mylar today. Injecting Helium into this Mylar created a floating funhouse mirrors in 1966. This example of collaboration between artists and scientists was a motivation to forming Experiments in Art and Technology (E. A. T. ). The artist-engineer collaboration in E. A. T. was formalized at the event of â€Å"9 Evenings; Theatre and Engineering†, (Oct. 1966, in New York). The program exposed audience to â€Å"state-of-the-art performances and music† from about 50 artists and engineers. Technology electrified things in an appreciable ways, e. g. â€Å"Dancers tripped light switches by moving their legs past photo-cells, and a tennis game was amplified through microphones in the rackets. The compliment received was overwhelming reflecting the need for engineers in artistic works. E. A. T. was then established in November, and by the early ’70s it had already absorbed networks of over 6,000 members. â€Å"Throughout the lifespan of E. A. T. , affiliated groups produced over 500 artworks; most common was the body-oriented performance or supercharged minimalist sculpture. One of the most memorable projects commissioned was the Pepsi Pavilion of Expo 1970 Osaka. There, over 60 artists and engineers contributed to the interactive exhibits inside the futuristic dome† The Pepsi Pavilion at Expo ’70 Osaka with Fujiko Nakaya’s mist shroud Aims and objectives of E. A. T. The non profit making organization was vibrant primarily within the two decades of its institution in 1966 by Billy Kluver, Fred waldhauer, Robert Rauschenberg and Robert Whitman. It was carved out of the need to ‘mobilize the ingredients of arts, industry and science around collective projects, calling the participation from different disciplines. E. A. T. also aimed at encouraging the technical harmony towards the realization of new means of expressing arts using modern technological equipment such as computer-made images, sounds, video, (audiovisual), manufacturing materials and robotics. To start with, ‘Experiments in Art and Technology’ brought artists and engineers together to enlighten the participants in order to accustom them with â€Å"tele-writing and satellite transmission using telecommunication technology†. In addition, E. A. T. aimed at giving the developing countries around an ease of Communication Bridge through certain project assignments. In pursuance of these goals, E. A. T. began opening annexes in the US, Canada and Japan. Other Projects Projects realized at the advent of interdisciplinary included: The Anand Project of 1969, this project aided educational television whereby public spaces were linked together to facilitate interactions irrespective of the distance apart. Through this, different countries all around the world can exchange disturbing questions even about a common uncertainty. For example, â€Å"Anand Dairy Cooperative in Baroda (India); Telex: Q&A (1971), which linked public spaces in New York (U. S. ), Ahmadabad (India), Tokyo (Japan) and Stockholm (Sweden) by telex† Still among the projects is the ‘Children and Communication in 1972’this particular project piloted the enabling of children within the suburb of New York City, to exchange conversation with telex, telephone and fax machine. Also, in El Salvador is a project to fashion out methods for storing culture and tradition in the region (1973). Collection of E. A. T. ’s Published Documents Detailing the activities of Experiments in Art and Technology in 1980; over 400 documents were stored in archive ranging from information bulletins, exhibition catalogues, periodicals, photocopies of press clippings, proposals, lectures, announcements newsletters reprints of major articles, among others. The archive was deposited at major libraries in New York, Moscow of Russia, Washington in U. S., Paris in France et cetera. The archive was aimed at monument the reflection of E. A. T. ’s wide geographical tentacle with technical and artistic diversity. Technical Service Program (1966-1973) Technical service program (TSP), founded as a subgroup in mid 60s, permits specialist in art and engineering to collaborate with the aim of meeting the artist’s technological needs without interruption in the team projected design and developmental stages. Highly technical projects were accomplished with this partnership. This collaboration was publicized when E. A. T. group came up with EAT News that announced projects at different stages of completion. Still, was the periodic public forum held on upcoming technologies such as ‘lasers and holography. ’ The TSP came to an end in 1973 Technical Information (1966) This program provided consulting services for artists. The service provisions included ‘technical libraries’ for artists in New York and telephone assistance line operated by engineers from E. A. T. offices. The library collection features documented activities of EAT from ‘60s to ‘80s. More on â€Å"9 Evenings: Theatre and Engineering† (1966-2005) These were series of events that catapulted performances of artists and engineers working in unison as an E. A. T. group. The performances broke down inter-relationship barrier. It went does: Billy kluver and Robert Rauschenberg requested the working relation of 30-man engineer at Bell Laboratories, seeking their involvement in an inter-disciplinary project where avant-garde theatre, dance and new technologies were blended together. The artists involved were John Cage, Lucinda Childs, Oyvind Fahlstrom, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor and Robert Whitman. These artists were paired with engineers to produce technical components on the podium used by the participants. It was indeed a break through adventure in the field of Art and technology. Billy Kluver, farther of ‘Experiments in Art and technology’ Reference http://www. fondation-langlois. org/html/e/page. php? NumPage=306 The Man Who Made a Match of Technology and Art