Mackenzie

Willis
500507771
Alex Bal
RTA 220/ Section 011
Cybernetic Art: Artistic Influences/Movement
February 4th, 2015

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Ralf Baecker is but one of the many New Media artists who are inspired by the movements
of Cybernetic art. Baecker himself has both a degree in Media Art from the Academy of
Media Arts Cologne, as well as a degree in Computer Science from the University of
Colognewhich together create the platform for Cybernetic Art (Baecker, 1). This essay
will explore the background and theory of Cybernetics; the scientific method to create
communication and feedback in hopes to automate mechanical and biological systems
much like a human being (Shanken, 2), Cybernetic art; Art influenced by the concepts of
Cybernetics, and the artists and theorists that created and influenced the movement itself;
such as Nicolas Schffer, Roy Ascott, and Wen-Ying Tsai.

Michael J. Apter describes cybernetics very scientifically by comparing the function
as a number of related tendencies in science and mathematics, to a number of developing
areas and techniques which overlap each other in different ways (Apter, 257) Others
compare cybernetics in a much more spiritual manor; according to many art and science
theorists such a Roy Ascott, Norbert Weiner, and Edward A. Shanken cybernetics is much
like the function and behaviours of the human body. Ascott himself very simply described
cybernetics as the study of control and communication in animal and machinepursu[ing]
a branching path deep into the sciences of information, human behaviour, and
environmental engineering (Roy Ascott, 106). Norbert Weiner defends this definition by
stating that machines, computers, and the human brain are able to draw parallels on how

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they transmit information through the art of cybernetics (Shanken, 2). In basic terms this
indicates that cybernetics allows machine/technology to balance the transmission of
information, allowing humans and machines to be self-sufficient and controlled (Shanken,
3). This is created by cybernetics use of cause and affect through feedback loopsan idea
much enforced by Ascott who believed to have redefined art as a cybernetic system
comprised by a network of feedback (Shanken, 3). A great example of feedback would be in
Ralf Baeckers instillation piece, The Conversation where the movement of 99 solenoids that
made up the body of the piece caused elastic bands, that attach to each of the solenoids, to
contract and relax, creating a balance between the solenoids and in hope of keeping its
original state (Baecker, 1). Although cybernetics could be sought as a strictly technical
force, the findings of Ascott, and Weiner provide contrary evidence stating that cybernetics
is conversation both internally and externally with both man and machine.

Cybernetics without a doubt has influenced the contemporary art movement but

specifically it has captured the artists ability to create not only new art but different kinds
of art (Apter, 262). Post World War Two, artists began to experiment with process, kinetics,
interactivity, audience-participation, duration, and environment; which all form the
building blocks to create a cybernetic art piece (Shanken, 6). Roy Ascott connected the
cybernetic art movement through his ongoing discussion of feedback loops and claimed
that the relationship between cybernetics and art Created an interactive system rather
than residing in a material object(Shanken, 3). This stated that cybernetic art, unlike
traditional art, isnt fixed in motion; it possesses organic ability in which has a constant
input and output with society and the art world itself. Ascott is self-described as being the

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artist for first introducing theory into art education (in Britain) and for having disseminated
the concept of a cybernetic vision in art through various art and scientific journals
(Shanken, 2) It is widely agreed that Ascott was and is one of, if not the most widely known
and studied theorist of the cybernetic art movement; but it would be unfair to say that he
was the prime instigator for the movement. Unavailingly so, the movement did being in
Europe, and trailed off 5-10 years later into the United States (Shanken, 1). It was in all
seriousness, French Artist, Nicolas Schffer that began this movement with his pieces CYSP
0 and CYSP 1 in 1956 in Paris, France. CYSP, the title for his pieces, stands for cybernetic
spatiodynamic (Shanken, 62). It was there in the streets of Paris the first true example of
cybernetic art was presented to the world. The art piece itself reacted to changes in sound,
light, colour and movementthis was a huge milestone for both cybernetics and robotics
(Shanken, 62). This interactive piece possessed incredibly human like abilities through the
internal and external conversation of the sensors that controlled the automated abilities of
the sculpture. It was with artists such as Schffer who thought outside of the box of
traditional art and art aesthetics that created the movement and possibility of cybernetic
art in a quest to express human and human-like behaviour through cybernetic means.

Undoubtedly CYSP 0 and CYSP 1 brought a new realm of instillation, visual, sculpture,

and even performance art to light when in the same year, Schffers masterpiece, CYSP 1
danced in the first Avant-Garde Festival in Marseille, France with Maurice Bjarts Ballet
Company on the Roof of Le Corbusiers Cit Radieuse (Shanken, 62) It was a moment to
remember when such a collective and interactive piece such as that was introduced to
mankind. It is no wonder that even Ralf Baecker continues to follow the cybernetic art

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movement over 50 years after Schffer first presented this piece. Wen-Ying Tsai is another
famous example of an artist who follows the movement. Just over 10 years after Schffer
introduced this new wave of art he created his famous piece Cybernetic Sculpture with the
aid of Frank T. Turner. His piece was nearly 10-feet-tall consisting of long steel rods and
metal plates that would vibrate in relation to the adjacency of the audience, surrounding
sound, or abiding light (Shanken, 103) Due to the interactivity of the piece, viewers are
roused to become one with the artwork itself by develop[ing] a relationship to their own
bodies and larger, more fixed forms and structures that control the movement of the piece
(Shanken, 103). This use viewer interactivity of Tsais specimen can be seen as akin to
Schffers piece in its use of contact and reward in relation to the proximity of the piece,
which also happens to relate back to the theory of cause and affect (feedback loops) and the
ideals and theories of Roy Ascott. The affects and influences began by Nicolas Schffers
ability to change the art world by intertwining scientific, artistic, and spiritual thought into
a physical manor has irreversibly alternated the art world forever. It is without a doubt that
artists like Ralf Baecker, Wen-Ying Tsai, and Nicolas Schffer will continue to broaden the
spectrum and of cybernetic art, and develop the art world even further.

In the findings in regard to research for this paper, it has been discovered that cybernetics
covers a greater range than just science and art aloneit is science and art together that
creates cybernetics. Michael J. Apter agrees by his statement, Cybernetics appears to
generate art even in its pure science aspects. It produces entities which often seem to
possess aesthetic as well as scientific value (Apter, 264). Another great finding was the
ability that cybernetics has to mimic habitual, automotive, and human ability giving

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purpose to technology and opposed to putting purpose to technology. This movement is

without a doubt another great example of the wonders of technology and the technology
society can expect in the future. The cybernetic art movement has broken so many
boundaries in relation to medium and user experience. The new access to medium allows a
more limitless growth by being able to incorporate more human like characteristics as well
as being able to incorporate the internal feeling a viewer derives from art from the external,
touchable, and interactive abilities that cybernetics has. Ralf Baecker and many great artists
of today would not have been able to create their work without the academic and education
supervision of Roy Ascott, and the creative and artistic genius of Nicolas Schffer. Art
historian, David Mellor has wrote in relation to the beginning of the movement, A dream of
technical control of instant information conveyed at unthought-of velocities haunted sixties
culture. The wired, electronic outlines of a cybernetic society became apparent to the visual
imaginationan immediate future (Shanken, 1). This quote sums up a movement with
such light and nostalgia giving you a moment to reminisce about the past, and of the
upcoming future of cybernetic art. It is without doubt that the movement of cybernetic art
will continue to grow onward, inspiring more imagination and combing even more
functional human elements.

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Citations

Aptor, Michael J. "Cybernetic and Art." Leonardo 2.3 (1969): 257-65. Print.

Ascott, Roy. "The Cybernetic Stance: My Process and Purpose." Leonardo 40.2 (1968): 189-
97. Print.

Baecker, Ralf. Ralf Baecker. Web. 1 Feb. 2015. <http://www.rlfbckr.org/>.

Shanken, Edward A. "Cybernetics and Art: Cultural Convergence in the 1960s." (2002): 1-
15. Print.

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Shanken, Edward. Art and Electronic Media. 3rd ed. New York City: Phaidon Limited, 2009.
62,103. Print.