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→Richard Paul Lohse: Lines of Development 1943-1984 (selection)
==Richard Paul Lohse: Lines of Development 1943-1984 (selection)==
''Richard Paul Lohse: Lines of Development 1943-1984 (selection)''.
=Week 6 - Cybernetic Art and Architecture=
==Roy Ascott - The Cybernetic Stance 1968==
operating on two levels:
*”on the social level, elaborating plans for a Cybernetic Art Matrix”
*”on the intimate level making individual art works”
Both processes are concerned with creating triggers-initiating creative behaviour in the observer/participant.
triggers
practice/process not finished work:
<blockquote><poem>the artist's interest lies more in the process of working than in the finished art work,
“...his audience expects, not a fixed attitude or viewpoint to the work, but a field of uncertainty and ambiguity in which they can, endlessly, take part.</poem> p 106.</blockquote>
“I like the idea that the term performance references doing, masquerade, duration, and ritual. That it connects to history. That it connects to the heightened experience of the proscenium stage as well as veering off into the moment, action and event of everyday. I think if I were to call what I do anything else, I'd call it a practice; like I'm always preparing for something because I have to. In order to better myself or some thing or some other; or solve some problem; also that the goal of my repetition is always in the future (multiple goals; multiple timelines), always deferred by the reality of imperfection. I like the idea that practice aims to make, by implication, something perfect; though also by implication, this drive contains its own impossibility, which is good and perhaps allows us to do other things that really matter, like petting the cat or having a conversation with your Uncle Levert. Practice runs like the water.”
behavior, not essence
“The role of life is to insert some indetermination into matter” Bergson.
“A shift of human interest is from the thing, the object, the
product to the process, the system, the event in which the product is obtained.”
dialog vs. performance
A function of the output variable (social/individual response)
is to act as an input variable in my working process
and in the art-work/experience, so introducing
continually more and more variety into the system. p 108.
CP1 - board and ruler example. A problem, process is invisible, isn’t it? p 109-10.
CAM - ...self-creating artform, in which human beings are their own media...
==Gordon Pask - The Architectural Relevance of Cybernetics ==
But cybernetics and architecture really enjoy a much more
intimate relationship; they share a common philosophy of architecture in the sense that Stafford Beer has shown it to be the philosophy of operational research.
architects design systems. required to design buildings. p 2.
nowadays there is a del!lalld for system orientated thinking whereas, in the past, there was only a more or Jess esoteric desire for it.
Frank Gehry and CAD assisted crumpled paper facade design.
The high point of functionalism is the concept of a house as a 'machine for living in'.
But the bias is towards a machine that acts as a cool serving the inhabitant. This notion will,
I belieYc, be relined imo the concept of an environment Jl'itb which the inhabiranc cooperates and iu which he can externl!lizc his mental processes, i.e. mutualism will be cmph::~sizcd as compared wirh mere
functional ism.
time scales. minute hour. day, week. (flexible office procedure). months years, urban planning.
But notice the trick the designer is controlling the construction of
control systems and consequently design is control ofcontrol, i.e. the designer docs much the same job as his system, but be operates lit a higher level in the organization::~! hierarchy.
==bibs==
*The Cleaving of House and Home: A Lacanian Analysis of Architectural Aesthetics. Sarah E. Thorne, The University of Western Ontario http://ir.lib.uwo.ca/etd/1014/
