The Senster [1] [2] [3] [4] was a work of robotic art created by Edward Ihnatowicz. [5] It was commissioned by Philips to be exhibited in the Evoluon, in Eindhoven, the Netherlands and was on display from 1970 to 1974, when it was dismantled.
It was the first work of robotic sculpture to be controlled by a digital computer. [6] [7] [8] It was about 8 feet (2.5m) high "at the shoulder" and about 15 feet (4 m) long, constructed of welded steel tubing and actuated by hydraulic rams. There were four microphones and two Doppler radar sensors mounted on its "head", which were used to sense the sound and movement of the people around it. A computer system (Philips P9201 - a clone of the more common Honeywell 416) controlled the robot and implemented a behavioural system so that the Senster was attracted to sound and low level movement, but repelled by loud sounds and violent movements. The complicated acoustics of the hall and the completely unpredictable behaviour of the public made the Senster's movements seem a lot more sophisticated than the software would suggest.
After it was decommissioned, the steel structure was on display outside the firm that originally had built it on Colijnsplaat (the Netherlands). In 2017 the frame was purchased by the AGH University of Science and Technology in Krakow. After a lengthy restoration the Senster was reactivated as part of the 100th inauguration of the Academic Year. [9]
Digital art refers to any artistic work or practice that uses digital technology as part of the creative or presentation process. It can also refer to computational art that uses and engages with digital media. Since the 1960s, various names have been used to describe digital art, including computer art, electronic art, multimedia art, and new media art.
Interactive art is a form of art that involves the spectator in a way that allows the art to achieve its purpose. Some interactive art installations achieve this by letting the observer walk through, over or around them; others ask the artist or the spectators to become part of the artwork in some way.
Computer art is art in which computers play a role in the production or display of the artwork. Such art can be an image, sound, animation, video, CD-ROM, DVD-ROM, video game, website, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers has been blurred. For instance, an artist may combine traditional painting with algorithm art and other digital techniques. As a result, defining computer art by its end product can thus be difficult. Computer art is bound to change over time since changes in technology and software directly affect what is possible.
Electronic art is a form of art that makes use of electronic media. More broadly, it refers to technology and/or electronic media. It is related to information art, new media art, video art, digital art, interactive art, internet art, and electronic music. It is considered an outgrowth of conceptual art and systems art.
Bruce Lacey was a British artist, performer and eccentric. After completing his national service in the Navy he became established on the avant garde scene with his performance art and mechanical constructs. He has been closely associated with The Alberts performance group and The Goon Show. He made the props and had an acting part in Richard Lester's The Running Jumping & Standing Still Film.
Robotic art is any artwork that employs some form of robotic or automated technology. There are many branches of robotic art, one of which is robotic installation art, a type of installation art that is programmed to respond to viewer interactions, by means of computers, sensors and actuators. The future behavior of such installations can therefore be altered by input from either the artist or the participant, which differentiates these artworks from other types of kinetic art.
Nicolas Schöffer was a Hungarian-born French cybernetic artist. Schöffer was born in Kalocsa, Hungary and lived in France from 1936 until his death in Montmartre, Paris in 1992.
The Computer Arts Society (CAS) was founded in 1968, in order to encourage the creative use of computers in the arts.
Edward Ihnatowicz was a Polish cybernetic art sculptor active in the late 1960s and early 1970s. His sculptures explored the interaction between his robotic works and the audience.
Desmond Paul Henry (1921–2004) was a Manchester University Lecturer and Reader in Philosophy (1949–82). He was one of the first British artists to experiment with machine-generated visual effects at the time of the emerging global computer art movement of the 1960s. During this period, Henry constructed a succession of three electro-mechanical drawing machines from modified bombsight analogue computers which were employed in World War II bombers to calculate the accurate release of bombs onto their targets. Henry's machine-generated effects resemble complex versions of the abstract, curvilinear graphics which accompany Microsoft's Windows Media Player. Henry's machine-generated effects may therefore also be said to represent early examples of computer graphics: "the making of line drawings with the aid of computers and drawing machines".
Golan Levin is an American new media artist, composer, performer and engineer interested in developing artifacts and events which explore supple new modes of reactive expression.
Systems art is art influenced by cybernetics and systems theory, reflecting on natural systems, social systems, and the social signs of the art world itself.
Cybernetic Serendipity was an exhibition of cybernetic art curated by Jasia Reichardt, shown at the Institute of Contemporary Arts, London, England, from 2 August to 20 October 1968, and then toured across the United States. Two stops in the United States were the Corcoran Annex, Washington, D.C., from 16 July to 31 August 1969, and the newly opened Exploratorium in San Francisco, from 1 November to 18 December 1969.
Jasia Reichardt is a British art critic, curator, art gallery director, teacher and prolific writer, specialist in the emergence of computer art. In 1968 she was curator of the landmark Cybernetic Serendipity exhibition at London's Institute of Contemporary Arts. She is generally known for her work on experimental art. After the deaths of Franciszka and Stefan Themerson she catalogued their archive and looks after their legacy.
Cybernetics is the transdisciplinary study of circular processes such as feedback systems where outputs are also inputs. It is concerned with general principles that are relevant across multiple contexts, including in ecological, technological, biological, cognitive and social systems and also in practical activities such as designing, learning, and managing.
Keith Albarn was an English artist. He was the father of musician Damon Albarn and artist Jessica Albarn.
Nouvelle Tendance was an art movement founded in Yugoslavia in 1961. The "theoretician" of the group was Croatian art critic Matko Meštrović. The other original founders of Nouvelle Tendance were Brazilian painter Almir Mavignier, and Božo Bek, the Croatian director of the Museum of Contemporary Art, Zagreb.
Wen-Ying Tsai was a Chinese-American pioneer cybernetic sculptor and kinetic artist best known for creating sculptures using electric motors, stainless steel rods, stroboscopic light, and audio feedback control. As one of the first Chinese-born artists to achieve international recognition in the 1960s, Tsai was an inspiration to generations of Chinese artists around the world.
Cybernetic art is contemporary art that builds upon the legacy of cybernetics, where feedback involved in the work takes precedence over traditional aesthetic and material concerns. The relationship between cybernetics and art can be summarised in three ways: cybernetics can be used to study art, to create works of art or may itself be regarded as an art form in its own right.
White Heat Cold Logic (2008), edited by Paul Brown, Charlie Gere, Nicholas Lambert, and Catherine Mason, is a book about the history of British computer art during 1960–1980.