Page 25 - Studio International - March 1969

Automata in art, where we can surpass in dimension, com- vast output. The compromises and capitula-
plexity, and control, any previous automata, tions such aims necessitate have left their mark
history we can afford to face the challenge of previous not only on the individuals concerned, but on
achievements. A study of automata will clarify
the movements with which they were associ-
a number of technical and aesthetic issues, ated.
and, more important in an immediate sense, The Bauhaus contribution in numerous
Gustav Metzger artists will acquire a greater confidence on re- directions; its publications, its service as a
discovering the important social function of focal point fora variety of international
automata in history. developments, its establishment of a vocabu-
Kinetic art failed to keep in step with an un- lary of kinetic and op-art, cannot be over-
precedented technology that went through estimated. It failed in its aim of social change
Technological art is kinetic art plus a lot of fundamental transformations every ten years through art and technology, because that
money. Whereas kinetic art can be produced or so. The equation of art media with present combination is insufficient for the task.14 By
by the artist in his studio, technological art — and future—industrial and research techni- supplying 'good design' it helped cement
depends on direct contact with industry and ques is the aim of technological art. Capitalism, and enabled manufacturers and
research laboratories. Its ascendancy is a factor In response to nineteenth-century mechaniza- retailers to increase their profits. It encouraged
in the disruption of the post-war art boom— tion, England produced a violent reaction, led the rise of designers as well as the (at first
dealers are unable to finance technological by Ruskin and Morris; whilst another extreme ancillary and later dominant) stylists and
art, they lack the space to exhibit it, and it — but positive—response emerged in Italian media manipulators, and, by developing ad-
demands the extensive remodelling and up- Futurism. Of the several intermediate re- vertising techniques, handed the established
dating of galleries. Furthermore, since, like actions that of Moholy-Nagy is the most systems the instruments of mass-persuasion.
automata of the past, technological art in- balanced: 'This is our century: machine- In the course of the past twenty years in which
herently tends towards obsolescence, dealers technology-socialism. Come to terms with it, artists have strained to get nearer to science
lose a strong selling line—the appeal to the and shoulder the tasks of the century'. and technology, there has occurred a signifi-
urge to invest. Midway between this period and 1880 lies the cant shift among some scientists. The scientist's
Making automata and related mechanical art Bauhaus. Here the various conflicting atti- backlash has its origin in the revulsion and
was formerly an inter-media activity—mathe- tudes around the machine, science, and their guilt felt by leading physicists over the detona-
maticians, scientists, artists, engineers, musi- social interactions, received intelligent, syste- tion of the atomic bombs over Japan. Having
cians, priests, astronomers, princes, skilled matic, and intense, treatment over a period of encouraged their construction, they now
men from scientific instrument makers to gold- thirteen years. The artistic and social ideals of helped to establish and finance groups like The
smiths, worked in collaboration. Automata Ruskin and Morris are in evidence in the Atomic Scientists of Chicago (2). Since 1945,
have played a prominent role in some societies. Bauhaus manifesto of 1919 with its Feininger thousands of books, articles and speeches have
Clocks and automata in ancient China, woodcut The Cathedral of Socialism. Itten's been published by scientists and other
Greece, Islam, India, medieval and renais- departure, March, 1923, signified the collapse specialists warning of the imminent collapse
sance Europe, conveyed information about of one of the factions struggling for control of of civilization unless radical changes are
advanced technology. At times workers in the Bauhaus policy on mechanization and made.5 Research programmes into aggres-
this field became wealthy, influential members rapprochement with Capitalism. Itten said; 'I sion and destruction in man have been estab-
of society. There have been periods where the became conscious that our scientific technical lished in universities. Within the scientist's
technological abilities of a society have not civilization had come to a critical point. The backlash there is a direction which seeks to
only been reflected in, but advanced by, slogans 'Back to Handicraft' or 'Unity of Art effect fundamental changes in science and
kinetic art, whereas the gap that existed and Technology' did not seem to solve the technology. Our science is only one of numer-
between kinetic art and science and techno- problems'.11 On the opening day of the ous ways of manipulating matter; its develop-
logy in the nineteenth century has developed Bauhaus Week, August, 1923, the policy crisis ment has been flawed by close associations
at an exponential rate ever since. 4 9 19* was seen to be resolved by Gropius's address with repressive and exploitative priesthoods
Twentieth-century kinetic art developed in a `Art and Technics, a New Unity'. and ruling classes. The ideal is to tap energy
self-imposed insulation from a tradition going We cannot forget that between the embarras- as directly as possible, with a minimum of
back at least three thousand years. In part, sing, unfounded, Idealismus of his 1919 mani- plant, waste of raw material, and damage to
this was a form of self-protection—kinetic art festo, and the Realpolitik of the 1923 position, man and any form of nature. This approach
had in the past achieved works that dwarf the Gropius not only went through crises of con- to the future of technology is in line with an
scale and mechanical ingenuity of most science, but also suffered failures of nerve (1). ancient dream known as paradise—life in a
twentieth-century efforts. The reputation of Gropius, along with that of temperate climate, with a minimum of shelter
Now that we are in a renaissance of kinetic other eminent figures in twentieth century and clothing, food readily available, and
design and architecture is due for major revi- work non-arduous. Instances of this kind of
sion. It will be seen that, like others, he was technology are the use of water and air, solar
*Small numerals refer to bibliography. Numerals
in parentheses refer to notes. committed to a safe career and the pursuit of a energy, and vibration within matter.

the cover for this issue. KEVIN GOUGH-YATES lectures in film and television Contributors to the Art Book Supplement are listed in
studies at Hornsey College of Art, and is co-editor of the Supplement.
ROBERT HUGHES has recently published his book Screen.
Heaven and Hell in Western Art and is currently working
on a study of Leonardo da Vinci. JONATHAN BENTHALL works with the Centre for Studies
of Science in Art.
DENIS DUERDEN runs the Transcription Centre, the aim
of which is to promote African culture. He has pub- CHARLES HARRISON is assistant editor of Studio Inter-
lished a book on Klee and he lectures extensively. national.