Wednesday, September 21. 2016
For the first time, a team of researchers have used neuroimaging to visualise the effect of LSD on the human brain.
A lot of research has been conducted into how psychedelic drug lysergic acid diethylamide, or LSD, affects human behaviour, but what does it actually do to the brain? To find out, a team of researchers from Imperial College London gave some test subjects the drug, and documented the results using brain imaging techniques.
This is the first time the human brain has been imaged while under the influence of LSD. The research has been published in the Proceedings of the National Academy of Sciences.
LSD is known for its hallucinogenic properties and altered consciousness, and the results of the study revealed why.
"We observed brain changes under LSD that suggested our volunteers were 'seeing with their eyes shut' -- albeit they were seeing things from their imagination rather than from the outside world," explained study leader Robin Carhart-Harris in a statement.
"We saw that many more areas of the brain than normal were contributing to visual processing under LSD -- even though the volunteers' eyes were closed. Furthermore, the size of this effect correlated with volunteers' ratings of complex, dreamlike visions."
Imperial College London.
The study involved 20 healthy participants, each of whom had previously taken some form of psychedelic drug. Each participant received either 75 micrograms of LSD or a placebo, and their brains were then imaged.
The results revealed that the barriers between the sections of the brain that perform specialised functions break down under the influence of LSD. This means that, as mentioned, more of the brain is involved in visual processing, which causes the hallucinations, but it also contributes to the altered consciousness associated with LSD.
"It is also related to what people sometimes call 'ego-dissolution', which means the normal sense of self is broken down and replaced by a sense of reconnection with themselves, others and the natural world. This experience is sometimes framed in a religious or spiritual way -- and seems to be associated with improvements in well-being after the drug's effects have subsided," Carhart-Harris said.
"Our brains become more constrained and compartmentalised as we develop from infancy into adulthood, and we may become more focused and rigid in our thinking as we mature. In many ways, the brain in the LSD state resembles the state our brains were in when we were infants: free and unconstrained. This also makes sense when we consider the hyper-emotional and imaginative nature of an infant's mind."
Adding music to the mix caused even more interesting changes in brain activity, causing the visual cortex to receive more information from the region of the brain associated with mental imagery and personal memory. Under the influence of both music and LSD, the study participants reported seeing even more complex visions, such as memories played out as scenes.
"Scientists have waited 50 years for this moment -- the revealing of how LSD alters our brain biology," said senior researcher David Nutt , Edmon J Safra Chair in Neuropsychopharmacology.
"For the first time we can really see what's happening in the brain during the psychedelic state, and can better understand why LSD had such a profound impact on self-awareness in users and on music and art. This could have great implications for psychiatry, and helping patients overcome conditions such as depression."
Tuesday, August 02. 2016
By fabric | ch
As we continue to lack a decent search engine on this blog and as we don't use a "tag cloud" ... This post could help navigate through the updated content on | rblg (as of 07.2016), via all its tags!
HERE ARE ALL THE CURRENT TAGS TO NAVIGATE ON | RBLG BLOG:
(to be seen just below if you're navigating on the blog's page or here for rss readers)
Posted by Patrick Keller in fabric | ch at 16:58
Defined tags for this entry: 3d, activism, advertising, agriculture, air, animation, applications, archeology, architects, architecture, art, art direction, artificial reality, artists, atmosphere, automation, behaviour, bioinspired, biotech, blog, body, books, brand, character, citizen, city, climate, clips, code, cognition, collaboration, commodification, communication, community, computing, conditioning, conferences, consumption, content, control, craft, culture & society, curators, customization, data, density, design, design (environments), design (fashion), design (graphic), design (interactions), design (motion), design (products), designers, development, devices, digital, digital fabrication, digital life, digital marketing, dimensions, direct, display, documentary, earth, ecal, ecology, economy, electronics, energy, engineering, environment, equipment, event, exhibitions, experience, experimentation, fabric | ch, farming, fashion, fiction, films, food, form, franchised, friends, function, future, gadgets, games, garden, generative, geography, globalization, goods, hack, hardware, harvesting, health, history, housing, hybrid, identification, illustration, images, information, infrastructure, installations, interaction design, interface, interferences, kinetic, knowledge, landscape, language, law, life, lighting, localization, localized, magazines, make, mapping, marketing, mashup, materials, media, mediated, mind, mining, mobile, mobility, molecules, monitoring, monography, movie, museum, music, nanotech, narrative, nature, networks, neurosciences, opensource, operating system, participative, particles, people, perception, photography, physics, physiological, politics, pollution, presence, print, privacy, product, profiling, projects, psychological, public, publishing, reactive, real time, recycling, research, resources, responsive, ressources, robotics, santé, scenography, schools, science & technology, scientists, screen, search, security, semantic, services, sharing, shopping, signage, smart, social, society, software, solar, sound, space, speculation, statement, surveillance, sustainability, tactile, tagging, tangible, targeted, teaching, technology, tele-, telecom, territory, text, textile, theory, thinkers, thinking, time, tools, topology, tourism, toys, transmission, trend, typography, ubiquitous, urbanism, users, variable, vernacular, video, viral, vision, visualization, voice, vr, war, weather, web, wireless, writing
Thursday, June 23. 2016
Platform of Future-Past by fabric | ch, architecture competition, (ex)1st price | #data #architecture #experimentation
Note: we've been working recently at fabric | ch on a project that we couldn't publish or talk about for contractual reasons... It concerned a relatively large information pavilion we had to create for three new museums in Switzerland (in Lausanne) and a renewed public space (railway station square). This pavilion was supposed to last for a decade, or a bit longer. The process was challenging, the work was good (we believed), but it finally didn't get build...
Sounds sad but common isn't it?
We'll see where these many "..." will lead us, but in the meantime and as a matter of documentation, let's stick to the interesting part and publish a first report about this project.
It consisted in an evolution of a prior spatial installation entitled Heterochrony (pdf). A second post will follow soon with the developments of this competition proposal. Both posts will show how we try to combine small size experiments (exhibitions) with more permanent ones (architecture) in our work. It also marks as well our desire at fabric | ch to confront more regularly our ideas and researches with architectural programs.
This first post only consists in a few snapshots of the competition documents, while the following one should present the "final" project and ideas linked to it.
By fabric | ch
On the jury paper was written, under "price" -- as we didn't get paid for the 1st price itself -- : "Réalisation" (realization).
Just below in the same letter, "according to point 1.5 of the competition", no realization will be attributed... How ironic! We did work further on an extended study though.
A few words about the project taken from its presentation:
" (...) This platform with physically moving parts could almost be considered an archaeological footbridge or an unknown scientific device, reconfigurable and shiftable, overlooking and giving to see some past industrial remains, allowing to document the present, making foresee the future.
The pavilion, or rather pavilions, equipped with numerous sensor systems, could equally be considered an "architecture of documentation" and interaction, in the sense that there will be extensive data collected to inform in an open and fluid manner over the continuous changes on the sites of construction and tranformations. Taken from the various "points of interets' on the platform, these data will feed back applications ("architectural intelligence"?), media objects, spatial and lighting behaviors. The ensemble will play with the idea of a combination of various time frames and will combine the existing, the imagined and the evanescent. (...) "
Download pdf (14 mb).
Project: fabric | ch
Team: Patrick Keller, Christophe Guignard, Sinan Mansuroglu, Nicolas Besson.
Tuesday, June 14. 2016
Note: the architecture (of atmospheres) could become atomized into fine particles that aggregate in different manners along time, following different "rules" (these "rules" being the ones to be designed by the architect).
While we digg into sensors than monitor elements of the atmosphere (physical and non physical elements), we're definitely looking for a kind of architecture that would "deal" with these elements/particles and recompose them.
Via Cabinet (Spring 2001)
By David Gissen
In the history of architecture and design there have only been a few "effects"—electric light, forced air—that have had the capacity to cause massive environmental and behavioral shifts. Last year at Barcelona's annual design fair, the Catalonian designer Marti Guixe presented another—breathable food. "Pharma-food, a system of nourishment by breathing," is an appliance that was developed by Guixe to explore the transformation of food into pure information.
Dust Food Muesli. Photos: Inga Knölke.
Pharma-food joins the work of other, primarily European, designers who are exploring alternative regimens for such activities as washing or eating. One of Guixe's Catalonian contemporaries, Ana Mir, is exploring a technology that allows one to wash without water. Like Guixe's approach, this project would allow washing to occur anywhere. In their work, these designers not only free regimens from their fixed location in relation to certain products; they also free these activities from their traditional engagement with the body. Unlike designers such as Philippe Starck or Richard Sapper, who strive to revise traditional technologies, Guixe has discovered that the problem of eating does not involve the design of a new type of stove, sink, or refrigerator—the problem of eating requires finding a new mouth.
Pharma-BAR. Photo: Inga Knölke.
Guixe, who has been studying alternative forms of eating for several years, realized that the breathing of "food" already occurs via the inhalation of dust that hangs in the air at work and at home. Guixe hypothesized that this form of eating, from which one gains a miniscule amount of minerals and vitamins, could be trans-formed into a more potent meal, a "dust-muesli," that would supply a powerful dose of nutrients. The Pharma-Food appliance, which sprays this ærosolized nutrition, connects to a computer and requires Microsoft Excel to enter exact values for such things as riboflavin, vitamin C, and protein. The combination of these nutrients are saved on the computer as documents with names such as "SPAMT," which has the nutrient "language" of tomatoes and bread, and "Costa Brova," a "seafood" dish that is heavy on the iodine and light on carbohydrates. Guixe imagines diners composing these "meals" and sending them as e-mail attachments to other owners of the Pharma-food emitter. "Like MP3," says Guixe.
David Gissen is associate curator for architecture and design at the National Building Museum in Washington, D.C. He is currently developing an exhibition on human conveyance (elevators, escalators and moving sidewalks) and one on flying buildings.
Tuesday, May 24. 2016
Note: even people developing automation will be automated, so to say...
Do you want to change this existing (and predictable) future? This would be the right time to come with counter-proposals then...
But I'm quite surprized by the absence of nuanced analysis in the Wired article btw (am I? further than "make the workd a better place" I mean): indeed, this is a scientific achievement, but then what? no stakes? no social issues? It seems to be the way things should go then... (and some people know pretty well how "The Way Things Go", always wrong ;)), to the point that " No, Asimo isn’t quite as advanced—or as frightening—as Skynet." Good to know!
By Cade Metz
Deep neural networks are remaking the Internet. Able to learn very human tasks by analyzing vast amounts of digital data, these artificially intelligent systems are injecting online services with a power that just wasn’t viable in years past. They’re identifying faces in photos and recognizing commands spoken into smartphones and translating conversations from one language to another. They’re even helping Google choose its search results. All this we know. But what’s less discussed is how the giants of the Internet go about building these rather remarkable engines of AI.
Part of it is that companies like Google and Facebook pay top dollar for some really smart people. Only a few hundred souls on Earth have the talent and the training needed to really push the state-of-the-art forward, and paying for these top minds is a lot like paying for an NFL quarterback. That’s a bottleneck in the continued progress of artificial intelligence. And it’s not the only one. Even the top researchers can’t build these services without trial and error on an enormous scale. To build a deep neural network that cracks the next big AI problem, researchers must first try countless options that don’t work, running each one across dozens and potentially hundreds of machines.
“It’s almost like being the coach rather than the player,” says Demis Hassabis, co-founder of DeepMind, the Google outfit behind the history-making AI that beat the world’s best Go player. “You’re coaxing these things, rather than directly telling them what to do.”
That’s why many of these companies are now trying to automate this trial and error—or at least part of it. If you automate some of the heavily lifting, the thinking goes, you can more rapidly push the latest machine learning into the hands of rank-and-file engineers—and you can give the top minds more time to focus on bigger ideas and tougher problems. This, in turn, will accelerate the progress of AI inside the Internet apps and services that you and I use every day.
In other words, for computers to get smarter faster, computers themselves must handle even more of the grunt work. The giants of the Internet are building computing systems that can test countless machine learning algorithms on behalf of their engineers, that can cycle through so many possibilities on their own. Better yet, these companies are building AI algorithms that can help build AI algorithms. No joke. Inside Facebook, engineers have designed what they like to call an “automated machine learning engineer,” an artificially intelligent system that helps create artificially intelligent systems. It’s a long way from perfection. But the goal is to create new AI models using as little human grunt work as possible.
Feeling the Flow
After Facebook’s $104 billion IPO in 2012, Hussein Mehanna and other engineers on the Facebook ads team felt an added pressure to improve the company’s ad targeting, to more precisely match ads to the hundreds of millions of people using its social network. This meant building deep neural networks and other machine learning algorithms that could make better use of the vast amounts of data Facebook collects on the characteristics and behavior of those hundreds of millions of people.
According to Mehanna, Facebook engineers had no problem generating ideas for new AI, but testing these ideas was another matter. So he and his team built a tool called Flow. “We wanted to build a machine-learning assembly line that all engineers at Facebook could use,” Mehanna says. Flow is designed to help engineers build, test, and execute machine learning algorithms on a massive scale, and this includes practically any form of machine learning—a broad technology that covers all services capable of learning tasks largely on their own.
Basically, engineers could readily test an endless stream of ideas across the company’s sprawling network of computer data centers. They could run all sorts of algorithmic possibilities—involving not just deep learning but other forms of AI, including logistic regression to boosted decision trees—and the results could feed still more ideas. “The more ideas you try, the better,” Mehanna says. “The more data you try, the better.” It also meant that engineers could readily reuse algorithms that others had built, tweaking these algorithms and applying them to other tasks.
Soon, Mehanna and his team expanded Flow for use across the entire company. Inside other teams, it could help generate algorithms that could choose the links for your Faceboook News Feed, recognize faces in photos posted to the social network, or generate audio captions for photos so that the blind can understand what’s in them. It could even help the company determine what parts of the world still need access to the Internet.
With Flow, Mehanna says, Facebook trains and tests about 300,000 machine learning models each month. Whereas it once rolled a new AI model onto its social network every 60 days or so, it can now release several new models each week.
The Next Frontier
The idea is far bigger than Facebook. It’s common practice across the world of deep learning. Last year, Twitter acquired a startup, WhetLab, that specializes in this kind of thing, and recently, Microsoft described how its researchers use a system to test a sea of possible AI models. Microsoft researcher Jian Sun calls it “human-assisted search.”
Mehanna and Facebook want to accelerate this. The company plans to eventually open source Flow, sharing it with the world at large, and according to Mehanna, outfits like LinkedIn, Uber, and Twitter are already interested in using it. Mehanna and team have also built a tool called AutoML that can remove even more of the burden from human engineers. Running atop Flow, AutoML can automatically “clean” the data needed to train neural networks and other machine learning algorithms—prepare it for testing without any human intervention—and Mehanna envisions a version that could even gather the data on its own. But more intriguingly, AutoML uses artificial intelligence to help build artificial intelligence.
As Mehana says, Facebook trains and tests about 300,000 machine learning models each month. AutoML can then use the results of these tests to train another machine learning model that can optimize the training of machine learning models. Yes, that can be a hard thing to wrap your head around. Mehanna compares it to Inception. But it works. The system can automatically chooses algorithms and parameters that are likely to work. “It can almost predict the result before the training,” Mehanna says.
Inside the Facebook ads team, engineers even built that automated machine learning engineer, and this too has spread to the rest of the company. It’s called Asimo, and according to Facebook, there are cases where it can automatically generate enhanced and improved incarnations of existing models—models that human engineers can then instantly deploy to the net. “It cannot yet invent a new AI algorithm,” Mehanna says. “But who knows, down the road…”
It’s an intriguing idea—indeed, one that has captivated science fiction writers for decades: an intelligent machine that builds itself. No, Asimo isn’t quite as advanced—or as frightening—as Skynet. But it’s a step toward a world where so many others, not just the field’s sharpest minds, will build new AI. Some of those others won’t even be human.
Thursday, January 28. 2016
Note: I'll move this afternoon to Grandhotel Giessbach (sounds like a Wes Anderson movie) to present later tonight the temporary results of the research I'm jointly leading with Nicolas Nova for ECAL & HEAD - Genève, in partnership with EPFL-ECAL Lab & EPFL: Inhabiting and Interfacing the Cloud(s). Looking forward to meet the Swiss design research community (mainly) at the hotel...
Christophe Guignard and myself will have the pleasure to present the temporary results of the design research Inhabiting & Interfacing the Cloud(s) next Thursday (28.01.2016) at the Swiss Design Network conference.
The conference will happen at Grandhotel Giessbach over the lake Brienz, where we'll focus on the research process fully articulated around the practice of design (with the participation of students in the case of I&IC) and the process of project.
This will apparently happen between "dinner" and "bar", as we'll present a "Fireside Talk" at 9pm. Can't wait to do and see that...
The full program and proceedings (pdf) of the conference can be accessed HERE.
As for previous events, we'll try to make a short "follow up" on this documentary blog after the event.
Wednesday, December 30. 2015
Note: could a perfect ending for this year be this post about (yet another) new exhibition (in Boston)? It is about the fantastic, the radical and the utopian Black Mountain College in North Carolina that became an important school for a large part of the post-war avant-garde in the United States/East coast.
It was an "adventure in progressive education" which points again how schools, when they remain "wild" enough, can become important structures to crystalize creative energies and momentum (and that is therefore also logically listed in Beatriz Colomina's research project about historical "Radical Pedagogies" in architecture).
Via MIT Press
"Leap Before You Look: Black Mountain College 1933-1957," an exhibition currently showing at the Institute of Contemporary Art in Boston, focuses on how Black Mountain College (BMC) became a seminal meeting place for many of the artists, musicians, poets, and thinkers who would become the principal practitioners in their fields of the postwar period. "Leap Before You Look," the first exhibition in the US to examine BMC as a hotbed for the American avant garde, opened on October 10, 2015 and will show through January 24, 2016. Senior Production Coordinator Christine Savage recently checked it out and shares the following insights:
The story of Black Mountain College (BMC) serves as an excellent reminder of how brilliant, prolific, and innovative people can be. The school was an idyll, an embodiment of a progressive, collaborative, utopian future. The college was also an absolute anomaly, and serves possibly as an even better reminder of how rarely we come together to achieve such promise.
If only it hadn’t gone broke and closed after only 24 years.
“Leap Before You Look: Black Mountain College 1933-1957” is a remarkable exhibit that does a wonderful job of illustrating BMC’s proud stature among the great artistic moments in the last century. The collection features music and dance performances, as well as over 200 pieces of artwork created at the college. A history of the school and the art created there can be found in the MIT Press book, Black Mountain College: Experiment in Art edited by Vincent Katz, which documents the brief—but influential—existence of the school, and offers a fascinating glimpse of campus life.
BMC was a tiny school with a disproportionate influence on art and culture in the 20th century. (A partial—yet still absurdly impressive—list of artists who taught and studied there includes Willem and Elaine de Kooning, Robert Rauschenberg, Josef and Anni Albers, Jacob Lawrence, Ruth Asawa, Merce Cunningham, John Cage, Cy Twombly, Kenneth Noland, Vera B. Williams, Franz Kline, Buckminster Fuller, Francine du Plessix Gray, Charles Olson, Robert Creeley, Dorothea Rockburne, and Walter Gropius.)
Founded in 1933 at a former summer camp with 22 students in the Blue Ridge Mountains of North Carolina, BMC was an adventure in progressive education. Less an art school than a perpetually broke experimental liberal arts college, the program’s philosophy centered around the belief that artistic experience was instrumental to all aspects of learning and grew students into better—and more curious—democratic citizens. Fortunately for art lovers the world around, BMC’s college life and curriculum revolved around the artistic process at a critical moment when American Progressivism combined with European Modernism.
Photographs at the start of the exhibit show the communal, egalitarian style of living and working at the school. The faculty owned and operated the college, and governed it together with students. In the early 1930s, sweat equity was more useful than tuition—they grew their own food, cooked their own meals, and built their own classrooms.
The founders of BMC kicked off their utopian educational experiment by hiring Bauhaus artists Josef and Anni Albers, who brought with them a healthy dose of enthusiasm for communal idealism and experimentation. These values remain evident in the profoundly interdisciplinary art created at the college during its brief existence, spanning painting, sculpture, ceramics, textiles, poetry, dance, music, and theater.
The exhibit begins with the colorful geometric paintings and prints of Josef, and the striking, modernist weavings and jewelry of Anni. In nearby rooms, photographs and models showing Buckminster Fuller’s experimental architecture—and the oftentimes unsuccessful attempts at constructing it—sit in conversation with the geometric and organic drawings and sculptures of Ruth Asawa, as well as the vibrant, expressionistic paintings of Elaine and Willem de Kooning and Franz Kline.
Later in the exhibit, the artistic creations of Merce Cunningham, John Cage, and Robert Rauschenberg showcase the collaborative, bodily nature of the work at BMC. Displays and performances using their choreography, music, and set decorations—schedules of which are available on the ICA website—allow museum visitors to share in an experience that, well, grew from shared experience.
As one might expect from the school’s summer camp beginnings, it was a perfect storm of intense closeness, idealism, freedom, and collaboration. Throughout the ICA’s galleries, the works of art from BMC seem to speak to each other, and to be in their presence is to get a glimpse of how their creators exemplified the school’s motto of “learning through doing.”
It’s an education in the importance of experimentation and exposure to difference, and a chance for (oft-maligned) utopian idealism—however short-lived—to get a little vindication.
Monday, December 21. 2015
Gramazio Kohler celebrates 10 years of research in digital fabrication at ETHZ in a video | #digitalfabrication #researchbydesign
Monday, September 28. 2015
Note: a book as a follow up of the exhibition for which fabric | ch designed the scenography last May at the Haus der elektronische Künste in Basel (project White Oblique, downloadable pdf on our website). I was implicated in a double way in the exhibition due to the fact that the content of the design research I'm jointly leading with Nicolas Nova for ECAL and HEAD, Inhabiting and Interfacing the Cloud(s), was also exhibited. I have the pleasure to publish a text in the book about the state and objectives of the ongoing research as well.
Note: we’re pleased to see that the publication related to the exhibition and symposium Poetics & Politics of Data, curated by Sabine Himmelsbach at the H3K in Basel, has been released later this summer. The publication, with the same title as the exhibition, was first distributed in the context of the conference Data Traces. Big Data in the Context of Culture and Society that also took place at H3K on the 3rd andf 4th of July.
The book contains texts by Nicolas Nova (Me, My cloud and I) and myself (Inhabiting and Interfacing the Cloud(s). An ongoing Design Research), but also and mainly contributions by speakers of the conference (which include the american theorician Lev Manovitch, curator Sabine Himmelsbach and Prof. researcher from HGK Basel Claudia Mareis) and exhibiting artists (Moniker, Aram Bartholl, Rafael Lozano-Hemmer, Jennifer Lyn Morone, etc.)
The publication serves both as the catalogue of the exhibition and the conference proceedings. Due to its close relation to our subject of research (the book speaks about data, we’re interested in the infrastructure –both physical and digital– that host them), we’re integrating the book to our list of relevant book. The article A short history of Clouds, by Orit Halpern is obviously of direct signifiance to our work.
It can be ordered directly from H3K website:
Monday, July 27. 2015
Note: nice to discover that a museum has decided to mount a retrospective ("first-ever") about the activities of Expriments in Art and Technologies (E.A.T.), a group composed of avant-garde artists and scientists (R. Rauschenberg, R. Whitman, D. Tudor, B. Klüver, F. Waldhauer) that were behind milestones events such as "Event scores, 9 evening" in New York (mainly scored by R. Roschenberg, but with fellow artists and "scorists" like J. Cage, D. Tudor, R. Whitman, L. Childs, etc.) or later the Pepsi Pavilion in Osaka, with Fujiko Nakaya (fog sculptures). This association helped anchor the association of visionary people and scientific labs (Bell Labs in this case, where people like Frank Malina was also working at the time, or A. Michael Noll too... to name a few). Later influential labs (Menlo Park, Xerox, Media Lab) and of course many recent Swiss initiatives (i.e. Artists in labs or Collide@CERN) are inheritors of this early collaboration.
BTW, we should suggest to Pro Helvetia that they could also run an "architects in labs" so as a "designers in lab", that would be a great initiative!
The exhibition opened last Saturday and will last until November 1, 2015.
The Museum der Moderne Salzburg presents a comprehensive survey of the projects of the evolving association of artists and technologists E.A.T. – Experiments in Art and Technology.
The Museum der Moderne Salzburg mounts the first-ever comprehensive retrospective of the activities of Experiments in Art and Technology (E.A.T.), a unique association of engineers and artists who wrote history in the 1960s and 1970s.
Artists like Robert Rauschenberg (1925–2008) and Robert Whitman (b.1935) teamed up with Billy Kluver (1927–2004), a visionary technologist at Bell Telephone Laboratories, and his colleague Fred Waldhauer (1927–1993) to launch a groundbreaking initiative that would realize works of art in an unprecedented collaborative effort.
Top and above: Experiments in Art and Technology (E.A.T.), Pepsi Pavilion, exterior with fog installation by Fujiko Nakaya and Floats by Robert Breer © J. Paul Getty Trust. Getty Research Institute, Los Angeles (2014.R.20). Photo: Shunk-Kender
Around two hundred works of art and projects ranging from kinetic objects, installations, and performances to films, videos, and photographs as well as drawings and prints exemplify the most important stages of E.A.T.’s evolution.
In light of the rapid technological developments of the period, the group aimed to put an art into practice that would employ cutting-edge technology. Starting in the early 1960s, Kluver collaborated with artists including Jean Tinguely, Andy Warhol, Jasper Johns, and Yvonne Rainer on an individual basis.
Like some artists of the time, he was interested in the social implications of novel technologies and believed that the marriage of art and science had to take place on a practical and physical level. Members of E.A.T. hoped that the meeting between artists and engineers would allow for the production of works that would not have been possible without the special expertise of trained technologists. The engineers would conversely be inspired to think in new directions and help shape the future evolution of technology.
Jean Tinguely, Homage to New York, 1960. Kinetic sculpture (mixed media) and performance. The Museum of Modern Art, New York, NY, US, Sculpture Garden, March 17, 1960 © Estate of David Gahr. Photo: David Gahr. Right: Jean Dupuy, Heart Beats Dust, 1968. Engineer: Ralph Martel Lithol rubine pigment, wood, glass, light, stethoscope, amplifier. Collection FRAC Bourgogne © ADAGP, Paris/Courtesy Galerie Loevenbruck, Paris. Photo: Terry Stevenson
July 25 – November 1, 2015
(Page 1 of 24, totaling 231 entries) » next page
fabric | rblg
This blog is the survey website of fabric | ch - studio for architecture, interaction and research.
We curate and reblog articles, researches, writings, exhibitions and projects that we notice and find interesting during our everyday practice and readings.
Most articles concern the intertwined fields of architecture, territory, art, interaction design, thinking and science. From time to time, we also publish documentation about our own work and research, immersed among these related resources and inspirations.
This website is used by fabric | ch as archive, references and resources. It is shared with all those interested in the same topics as we are, in the hope that they will also find valuable references and content in it.
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