Page 26 - Studio International - March 1969

It is when we correlate the attacks on technology is, what it is doing—and will do— to To fight the social system whilst also demand-
capitalism and mechanization in the writings people, animals, nature as a whole, is far more ing unhindered access to expensive techniques,
of Ruskin, Morris, and Moholy-Nagy, with critical than its automatic replication; if materials, sources ofinformation, and technical
the scientist's backlash, that we reach the centre society were genuinely concerned to avert self- and physical assistance, is too difficult a task
of the crisis in technological art. It is a moral destruction, it would spend the greatest part for individual artists, but collectively such a
crisis and hinges on the artist's social responsi- of its wealth on finding out why it is heading programme is realizable; that is why political
bility. There is a tendency for the artist to for destruction, and on measures to avert that and moral issues need to come to the foreground
submit to and to be overwhelmed by the fate. By giving artists unrestricted access to in art and technology organizations. Such
tremendous opportunity, challenge, excite- science and technology, society will benefit in organizations whose programmes do not in-
ment, and power of the new media. There numerous spheres; we can only consider two clude a concern with fundamental social
exists a great danger that the artist will be major areas. change are already out-dated, and may ulti-
eaten up by big business and manipulated by In the fine arts there is an emphasis on public mately be discredited.
technology. That would be catastrophic. art, fantasy, and Utopian ideas. Artists want The waves of protest in the States against
Far more than the universities, big business to make large and costly environments where manufacturers of war materials should lead
is dependent on government contracts for its people can go through regenerative, or mind- E.A.T. to refuse to collaborate with firms pro-
survival. This applies especially to the aircraft and sense-disorientating experiences. Artists ducing napalm and bombs for Vietnam. (Of
industry, the space programme, and other are making spectacles midway between course, practically any technically advanced
industries directly or indirectly concerned theatre and concert hall. There is a move industry in the big nations contributes directly
with 'defence'. Here advanced techniques are towards large-scale activities like town and or indirectly to war preparations—here is the
used, and it is these that particularly attract regional planning, art projects on the moon central and irresoluble dilemma of technological
the artists. These industries, and many and in outer space, on and under the sea, and art.)6 16
scientific establishments, would collapse if in deserts. There is an interest in biological The most promising and important develop-
governments were to withdraw funds for — techniques and miniaturization.3 7 8 13 ment now is that many people are preparing
predominantly—war-oriented projects. The The interest some artists had in the twenties to take power out of the hands of rulers who
artists and the art and technology organiza- in designing for 'industry and raising produc- have proved that they are unable to resolve
tions must face these facts; and they must tion had worked itself out (not surprising in social chaos. The belief that a re-structuring of
oppose the system. The artist who seeks to inte- obsolescence directed economies), but a general knowledge and techniques is the basis for
grate with technology without realizing what impulse to contribute to productive activity survival guides this development. It is here
is involved is behaving immaturely and beyond the creation of art works persists—one that the artist engaged with science and tech-
dangerously. outlet could be in the development of new nology connects with the scientist's backlash to
At a time when there is a widespread concern forms of technology. The artist can play a part make direct contributions to social change;
about computers, the advertising and presen- in research and development in two capacities : the technology of paradise is a step towards the
tation of the I.C.A.'s 'Cybernetic Serendipity' as a stimulant, and as inventor. salvation of the world.
exhibition as a 'technological fun-fair' is a 1. Like industrial production, research and It is also on this plane that links are made with
perfectly adequate demonstration of the re- development take place in a highly compart- artists using other mediums. As social ideals
actionary potential of art and technology. No mented manner. The artist, primarily, and and moral questions again enter art; as a dealer
end of information on computers composing with the maximum possible freedom, follow- — dominated period for whom these terms act
haiku—no hint that computers dominate modern ing his own interests and work, can serve as a as exorcisms is undermined —Paris Milan!
war; that they are becoming the most totali- unique bridge between department and de- Venice Hornsey/Guildford—Ruskin and Morris
tarian tools ever used on society (3). We are partment in industry, and within a university, continue their influence on modern art (7).
faced by this prospect—whilst more and more from one research laboratory to another. He Student Power and Revolt is one of the heal-
scientists are investigating the threats that can act as a bearer of ideas, information, intui- thiest developments in the post-war period.
science and technology pose for society, artists tions, and techniques and materials; his Many students have an acute insight into
are being led into a technological kindergarten, presence can serve as a stimulant and irritant, social reality. They are impelled to act by deep
the idea being that the artist can amuse him- his questions and ideas will tend to disorient, biological tensions, above all the fear that they
self and some of the populace with the gadget- undermine and re-route established, ritualized, will be destroyed before achieving fulfilment
ry of modern life (4). ways of thinking and doing. 2. Only artists (8). World leaders and government spokesmen
The conflict of artist and machine is entering with a certain aptitude will gravitate towards have said too many times that they are unable
an extremely critical phase. For the artist technology. The history of kinetic art shows either to control war, or defend their nations
formed on the Ruskin/Morris axis, our tech- that artists have occasionally been associated from annihilation in a nuclear war. The
nology is a defeat. Very often, a defeated sub- with the most advanced technology of their young, by aiming for control of society, are
ject comes as close as possible to that force time, and besides, the history of art consists of acting in the best interest of all.
that has defeated him. He does so to exchange a continuous invention of concept, form, and
energies, discover the cause, probe the victor's technique. Because his abilities and goals
weak spots—prepare for a new combat. This is differ from other people, the artist is bound to
only one—extreme—aspect of the present art go into new directions, and is likely to hit on NOTES
and technology link, but it is not possible to ideas that have been missed by specialists. 1. The unearthing of the facts behind the
understand artists' obsessive involvement with- Inevitably (and rightly) artists will explore the writing of the 1919 manifesto is one of the
out facing such facts of behaviour (5). entire vast range of theoretical, aesthetic, and prime tasks of Bauhaus scholarship. Otto
Can society afford to let artists have access to technical possibilities of art linked with science Stelzer says that the manifesto was deter-
technology—can it afford not to? (6). Society is and technology; this is bound to lead into one mined by tactical considerations.10 'It was the
desperately in need of information about itself, of the most creative, original, phases in art particular genius of the Bauhaus founder,
needs to retain links with the past, demands history. A study of history (Assyria, Mexico, architect Walter Gropius, that he should win
the disappearance of the barriers between etc.) suggests that great art may result from a the absolute loyalty of men as diverse in
science and the arts. Technology is irreversibly total integration with the mass-destructive talent and temperament as the painters Klee,
transforming many facets of existence, and the drives in our societies. Can we afford art Kandinsky, Feininger and Moholy-Nagy, the
extension of our minimal knowledge of what based on such foundations ? mystical theorist Itten, the pragmatist Meyer