Page 21 - Studio International - February 1967

vertical lines which can be manipulated and changed suitable matrix, an array of numbers used in mathe- duration then there are two radical choices—
by the spectator. In it I will incorporate mist, ice, matics to specify the transformation of a vector. The the use of an arbitrary voluntary motivator
steam and smoke. geometric configuration-Symmetry and Dualism- which would be a hit or miss activity—a
The Poem for Malevich will incorporate a ramp, and forms the strucural basis of the language and can be
an echo chamber, and a chute through which the seen incorporated into the nine rotating elements of mirror activity in terms of painting, or
spectator will pass, experiencing different changes the model. As the main concern is with visual com- alternatively the use of an involuntary
of temperature and different velocities. The sounds munication, it must be emphasized that at this stage motivated transmitter.
will be composed of the spectator's breathing elec- (of constraints, repetitive cycle), the observer is The problem I have become involved in is the latter
tronically modulated and amplified. required to relate by analogy attributes (an observable of the two radical choices-the programming via an
property of an assembly) of his own assembly (a part inanimate transmitter, which will trigger off Omni-
of the real world selected for observation), to that of directional Behaviour in the observer leading to
The Centre for Advanced Study the system displayed. It must be remembered also
of Science in Art that the observer will choose and impose his own motorized self directed periods involving the observer
in a critically creative role in the total activity. As I
Through the use of industrial materials and reference frame (a collection of comparable systems) wish to find the shortest route between the trans-
upon the assembly.' mitter (object) and receiver (observer) I have con-
scientific discoveries a new field lies ahead
Michael Milne's scientific training helps in the cerned myself with the reduction and cutting back of
for the development of art. In an age when
research into structure of materials, and he has noise (or interference). This has meant limiting and
movement is perhaps the most characteris- become involved in other very complex research set controlling the references, and the provision of
tic element it is not surprising that the ideas up by the Centre. Work is done on each project with behavioural motors which operate physically rather
of artists should be concentrated upon it, the collaboration of various outside bodies and than symbolically. This has led to my work being
and to achieve it in their work they resort institutes. kinetic.
The series of works which I did called Visual Auto-
to both natural and technological means.
Jeffrey Steele matics took the form of a limited set of automatic
Some go further. They draw their inspira- variables at a set frequency, but with infinite random
tion from discoveries made by scientists Music, poetry, drama, film etc. are natur- sub-sets and combinations, the observer being
and technologists and seek to give them new ally kinetic art forms, unthinkable without forced to discriminate between various random sets
aesthetic expression. The work of these the time element. Only painting and and build his own order. A game of prediction is set
up where the observer tries to impose an order and
artists (who are often technologists in their sculpture seem to have been sidetracked
work out the probability of occurrence.
own right) has a new environmental and into dealings with the 'frozen instant' but With the later series of works, the Visual Trans-
architectural significance if a proper colla- 'good' artists have of course always intro- mitters, they differ from the Automatics in the sense
boration with industry, scientists and duced implications of movement and life that instead of having a large field, with sparsely
specialists in all the humanities is made into this concept of a dead, mortician's art. deployed stimuli which the observer adds to or
fills in, the area is over crowded and the observer
possible, and they see it, not just as decora- Seeing is, itself, a kinetic activity. Even the observa- reaches a Tolerance Maximum and is then forced to
tion, but as a functional necessity in a tion of any given static object entails a complex generalize and simplify the image.
range of movements in eye and brain until recogni-
world developing in new directions. My reason for the use of artificial light in these
tion or identification is achieved. I try, in my paint-
To achieve results there is a need for an outside ings, to balance numerous possibilities for appraisal, objects is through my need to isolate sets of stimuli.
workshop where research is done in complete free- (oppositions of deep and flat perspective, blurred and Darkness does this most conveniently and enables
dom and where aesthetics and the building of ana- sharp focus, etc.), so that any final resolution is me to keep my stimuli constant.
logies are free from any form of pressure. The Centre The use of light in my later work differs inasmuch as
blocked. This brings the spectator's optical dynamics
(at 72 Chalk Farm Road, London, N.W.1) has been into value rather as, in ju-jitsu, one's opponent's it is used only to produce non-random variables of the
opened to provide for this need. It is equipped with energy is used against himself. I must emphasize, rotas. The use of subliminal means of communication
instruments and machinery for work on different is also used to reinforce the breakdown when a
however, that this should not, for me, be a violent or
materials. It will not be a spring-board for the launch- painful process but one in which the conscious mind tolerance level is reached.
ing of any group, nor a gallery for exhibiting new art is freely engaged.
forms, but will use its premises for realizing a com- As well as this optical aspect, my work is inherently
bination of specialized knowledge in various fields. kinetic in another way. The systems of vectors and Kinetics on Brighton Pier
To put these ideas into practice the Centre is at progressions which I use are mathematically coher-
work now on a kinetic building which should be com- During the Brighton Festival-April 14-30-the Ad-
ent and undoubtedly contain rich possibilities for
pleted by the summer. The stainless steel structure is vanced Studies Group of Hornsey College of Art,
extension, permutation and translation (computer-
in the form of an asymmetrical dodecahedron and which runs the College's LIGHT/SOUND WORK-
wise) into actual movement. To complete, as it were,
covered with plastic panels. Some of these will be SHOP, is presenting three features aiming 'to present
the cycle of a given work and produce the kinetic end
specially treated to produce a sequence of rainbow product on a reasonable scale would, however, cost a the kinetic/audio/visual experience at a number of
colours that will vary in intensity throughout the day, levels; to communicate and involve single individuals
great deal of time and money. Having spent, for
and others will be of photometric glass that darkens as well as large groups; and to use multiple media
example, many months of quite hard work on a
as the light becomes stronger. The idea of the Light- particular image I tremble to conceive it as just one techniques.' Two of the features will be:
house was Erica Marx's and is based on her under- An arena where special audio/visual kinetic per-
single frame in a Disneyesque animation process.
standing of natural structures. It is through the com- formances will be presented, with projections on a
My pictures therefore remain on the level of mere
bination of this understanding and Marcello propositions. white cylinder of screen 60 ft in diameter and 15 ft
Salva-dori's knowledge of the aesthetics of materials that high. Images thrown on the white plastic projection-
this project was able to be developed, combining the screen will be visible through the windows of the
interaction and similarity of inorganic materials and Stephen Willats pavilion and will provide a glowing curtain of moving
nature. This has led to extensive research into light, In talking about kinetic art one is talking colour visible from a considerable distance. There will
sound, movement, materials and tension, and shows also be performances by Pink Floyd Sound, and by
how functional works of art can be applied to the about medium. If one inquires about the Bruce Lacey with his humanoid robots.
environment. basis of this medium one finds it to be A labyrinth, designed as 'a means of presenting a
The long process of understanding and superim- diverse (Conceptual or otherwise), so if number of British and foreign artists working with
posing visual perception can be illustrated by the I am to show how my work relates to this artificial light, together with environments created by
work of a young artist, Raymond Connor, using sound medium then I would like to propose the LIGHT/SOUND WORKSHOP.' The spectator will pass
vibrations to produce gratings for use In his through alternating light and dark areas, seeing
following.
three dimensional work. He also made Artifact: 'a kinetic light boxes, projections, a mirrored room, and
device constructed to simulate some aspects of be- If voluntary motivated Omni-directional a room where delineations of space are created by
haviour. The behaviour pattern is derived from a Behaviour is to be sparked off for a limited programmed light tubes on cube modules.