Automata in history Gustav Metzger ‘Technological artis kinetic art plus allot of ‘money. Whereas kinetic aft can be produced by the arts in bis studio, technological art ‘depends on direct contact with industry and research laboratories, Itsascendancyiva factot in the disruption of the post-war art boom~ dealers are unable to finance technological fart, they lack the space to exhibit it, and it demands the extensive remodelling and up- dating of galleries. Furthermore, since, ike ‘automata of the past, technological art in- herently tend toveards obsolescence, dealets lose a strong selling line—the appeal to the ‘urge to invert. ‘Making automata and related mechanical art ‘vas formerly an inter-media sctvity-mathe- ‘matiians, scientists, artists, engineers, musi cifns, pris, astronomers, princes, silled ‘men from scientifcinstrument makers to gold- smiths, worked in collaboration. Automata ‘have played a prominent ole in ome societies Clocks and automata in ancient China, Greece, Islam, India, medieval and renais sance Europe, conveyed information about advanced technology. At times workers in this field became wealthy, influential members ‘of society. There have been periods where the technological abilities of a society have not only been reflected in, but advanced by, kinetic art, whereas the gap that existed between kinetic art and science and techno- logy in the nintenth century hat developed tan exponential rate ever since. Thentthnnary Kine a led ina ‘elfimposed insulation from a tradition going back at least ehree thousand years. In part, this was a form of sel protection~kinetc art hhadin the past achieved works that dwarf the scale and mechanical ingenuity of most twentieth-century effort Now that we are in a renistne of kinetic ‘Sacall mnerla re to bibliography. Numerals {aparece eer note art, where we can surpass in dimension, com- plesity, and control, any previous automata, ‘we can afford to face the challenge of previous achievements. A study of automata will clarify a number of technical and aesthetic issues, and, more important in an immediate sense, artists will acquire a greater confidence on re- discovering the important social function of automata in history. « ‘Kinetic art filed to keep in step with an un- precedented technology that went through fundamental transformations every ten yeart ‘ro. The equation of art media with present andl furure—industrial and research tech ques is the aim of technological art. In response to ninetoenth-century mechaniza- tion, England produced a violent reaction, led ‘by Ruskin and Morris; whilst another extreme but postive-response emerged in Ttalian Futurism, Of che several intermediate re- actions that of Moholy-Nagy is the most balanced: “This is our century: machine- technology socialism. Come to terms with i and shoulder the tats ofthe century’ ‘Midway between this period and 1880 ie the Bauhaus, Here the various conficting attic ‘tudes around the machine, scence, and their social interaction, received intelligent, syste- ‘matic, and intense treatment over period of, thirteen years. The artistic and social ideale of ‘Ruskin and Morris are in evidence in the Bauhaus manifesto of 1919 with its Feininger woodeut The Catadral of Solin. Teen's departure, March, 1923, signified the collapse cf one of the factions struggling for control of the Bauhaus policy on mechanization and rapprochement with Capitalism. Itten said *L Jbeeame conscious that our scienti technical civilization had come toa critical point. ‘The slogane ‘Back to Handicraft’ or ‘Unity of Art ‘and Technology’ did not seem to solve the problems’! On the opening day of the Bauhaus Week, August, 1923, the policy exsis ‘was teen to be resolved by Gropius’s address ‘Art and Technics, a New Unity’ We cannot forget that between the embarras- sing, unfounded, zalismas of his 1919 mani- festa, and the Realpolitik of the 1993 position, Gropius not only went through erses of con: science, but also suffered failures of nerve (1) ‘The reputation of Gropius, along with that of ‘other eminent figures in twentieth century ‘design and architecture i due for major rei- sion. It will be seen that, like others, he was ‘committed to asafe career and the pursuit of vast output. The compromises and capitula ‘onssuch aims necesitate have left their mark ‘not only on the individuals concerned, but on the movements with which they were aswoci- ated, ‘The Bauhaus contribution in numerous directions; its publications, its service as a focal point for a variety’ of international developments, its establishment of a vocaba- lary of kinetic and op-art, cannot be over- cetimated, It failed in its aim of social change through art and technology, because that combination is insufficient forthe task. By supplying “good: design’ it helped cement Capitalism, and enabled manufacturers and ‘etailers to increase their profits. Itencouraged the rise of designers as well as the (at fist ancillary and later dominant) stylists and ‘media manipulators, and, by developing ad- vertsing techniques, handed the established systems the instruments of mass-persuason. In the course of the past wenty yearsin whieh ants have strained to get nearer t0 science and technology, there has occurred & signifi cant shift among some scientists. The scensts backlash has its origin in the revulsion and guilt felt by leading physicists over the detona- tion ofthe atomic bombs over Japan. Having ‘encouraged their construction, they now helped to establish and finance groupe like The Atomic Scientists of Chicago (2). Since 1945, ‘thousands of books, articles and speeches have ‘been publithed. by scientists and other specialits warning of the imminent collapee of civilization unlest radical changes are rmade.? Research programmes into agsres nd destruction in man have been estab- lished in universities. Within the scionti's backlash there is a divection which seeks to ‘effect fandamental changes in science and ‘technology. Our science is only one of namer- ‘ous ways of manipulating matter; its develop- ‘ment has been flawed by close atvociations with represive and exploitative priesthood: and ruling classes. The ideal isto tap energy as directly as posible, with a minimum of plant, waste of raw material, and damage to ‘man and any form of nature. This approach to the future of technology isin line with an ancient dream known at paradise-life in a temperate climate, with a minimum of shelter fand clothing, food readily available, and work non-arduous. Instances of thie kind of technology are the use of water and airy salar ‘energy, and vibration within matter. owear wows has recently publibed is book ‘asmand lis Wea det and crea worng ‘See tay of Lonard da Vine. ee porte run the Teancrition Cet, the an, St which promote Afcan care. He has pub- ev coum ese ln a0 on ‘fate a Homngy Cage of Arg and eocttr lmaey sara mere wk withthe Cane fr Seen Br Scene in Are Cotas nana i asian ettr of Sis Fate ‘Conrbatn tothe Art Book Supplement are ited in ‘he SupplementIk i when we correlate the attacks on capitalism and mechanization inthe waftings ‘of Ruskin, Morris, and Moholy-Nagy, with the scents backlash, that we reach the centre ofthe criss in technological at. Iti 2 moral crisis and hinges onthe artis’ socal responsi- Dility, ‘There i a tendency for the artist to submit to and to be overwhelmed by the tremendous opportunity, challenge, excite. ment, and power of the new media. There cits a great danger that the artist will be eaten up by big business and manipulated by technology. That would be ctasopic. Far more than the universities, big business is dependent on government contract fr its survival. This applies especially to the aircraft Industry, the space programme, and other industries directly or indirectly concerned with ‘defence’. Here advanced techniques are ted, and itis these that particularly attract the ‘artists, ‘These industries, and many scientife establishments, would collapse if ‘governments were to withdraw funds for ‘predominantly-war-oriented projects. The artists and the art and technology organiza- tions must face these facts; and they must ‘oppose thesystem. Theartist who seks to nte- irate with technology without realizing what {i involved is behaving immaturely and dangerously. ‘Ata time when there isa widespread concer bout computers, the advertising and presen: tation ofthe I.C.A.'s ‘Cybernetic Serendipity exhibition as a ‘technological fun-fair’ is © perfectly adequate demonstration of the re Actionary potential of ar ond tecilogy. Ne tend of information on computers composing haikw-no hint that computers dominatemodert ‘war; that they are becoming the most total: tarian tools ever used on society (8). We are faced by this prespect-whilst more and more scientists are investigating the threats thas science and technology pos for society, attise are being led into a technological Kindergarten the idea being that th artist can amuse him self and some ofthe populace with the gadget ry of modern life (4). "The confit of artist and machine is entering fan extremely critical phase. For the artis formed on the Ruskin/Morris axis, our tech nology i adit. Very often, 2 defeated sub ject comes at close as posible to that fore ‘that has defeated him He does soto exchang energies, discover the cause, probe the victor ‘weak spots-prepare for a new combat. This i only one—extreme-aspect of the present ar and technology link, but itis not possible ‘understand arts’ obsexiveinvolvementwith ‘out facing such facts of behaviour (5). (Can society afford to let artists have acoess technology can it afd nt to? (6). Society i ‘desperately in need ofinformation aboutitse needs to retain links with the past, demand the dissppearance of the barriers betwee: science and thearts. Technology isireversibt transforming many facets of existence, and th ‘extension of our minimal knowledge of whe cecal i, what eis doing—end wil db—to people, nial nature a whol far more Sia than ity automat replication; if society were gemnely concerned to avert sel destruction, it would spend the greatest part, ofits wealth on finding out why it is heading for destraction, and on mearirs to avert that fate. By giving ante nretited acon #0 science and technology, ecey wll nei, tunes spbeest we can eal eoitder 6 rnajor ares . I th fe ort there i an exapasis on public art, faritasy, and Utopian ideas. Artists want tormake large and eetly environments where ‘rope ean go through regenerative, of mind tnd seme-dorentating experience. Artis remaking spectacles midway between theatre and Soncrt ball. There is a uve cowards lagescale actives like town and regional planning, art projects on the moon Sndin outer space, on and under the sea, and in der, There an interest in bislogial techniques and miniatriation "#1 “The interest some artis ad in the twenties in designing for indwtry an raking produc: tion had worked tne out (aoe surprsng fn clnolexcence directed economies), uta gral inate to contribute to productive activity beyond the eration of artworks pesstone outlet could be inthe development of nw form of technology. The artist can pays part inreearch nd developmentin wo capaies ssa sialant and a inventor 1 Like industrial production, research snd development take pace in a highly compart- rented manner. ‘The art, primarily, and ‘vith the maximum posible Reed; follow Ing his om interest nd work, can serve as 8 unique bridge benreen department and de partment industry, and within a univers, From one research Iboratory to another, He canactasa bearer af dea, information, inte Sons, and techniques and materia; his presence can serve asa stimulant and ita, "i questions and ieas wil end to dsorient, undemineandre-out cabled ritalzed, vvayn of thinking and doing. 2. Only aris ‘vith certain pte will zaviate towards technology. The history of Kinetic art shows Chat arn have occasionally been aociated ‘wth the mest advanced technology oftheir Sime, and besides, the history of art consis of 2 cottinuos invention of canoept, form, and technique, Because hit abies and ‘goals ‘lifer om other people the arti is bound to 50 intone directions, and is ikely to hit on ‘ideas that have been missed by specialists. Tnevitabl (and righty) ars wil explorethe entire vast range of thoreeal, estheti,and ‘echnia pnts of art linkedwithcience tnd technology this bound t lead into one of the most erative, original, phases in art. Nistory. A study of Fistory (Amr, Merico, ce) suggest that grt at may rent from & ‘otal integration with the mnadestrotive drives in our societies, Can we afford art, based on mich foundations? To igh the social system whist aio demand- inguaindered acces to expensive techniques materials sourcesofinformation, and echnical and physical assistance, i too dificult @ task for individual ars, but clletody such a programme is elizable; thats why political ndmoralisuesnced en cometothefoeground in art and technology organizations. Such organizations whose programmes do 1 elude @ concern with fundamental sodal change are already outdated, and may ul mately be discredited. ‘The waves of protest in the States against manufacturers of war materials should lead TELAT. torefe to collaborate with ims pro- ducing tapalm and bombs for Viet. (Of course, practically any technically advanced industry in the big nations contsibuts dicey or indirectly to war preparations-ere isthe ‘ental and inet lesa of teclnological anes “The mest promising and important develop- tient now is that many people are preparing to take power out ofthe hands of rulers who have proved that they are unable to resolve social chaos. The belie that areatructuringof knowledge and techniques is the basis for survival guides this development. Te is here that the artist engaged with sience and tech- nology connect with theses barlar to rake direct contibutions to social changes the technology of praia fa tep toward the salvation ofthe world. Tein also on this plane that inks are made with’ artists using other mediums, Av social ideals fandmoral questionsagsinenterartjara dealer dominated period for whom these term act 8 cxorcims is undermined-Parir Mil] Vasce Horns Guildford Ruskin and. Moris continue their iiuence on modera art (7) Student Power and Revolt ivoe ofthe heal- thiest developments in the post-war period. Many students have an acute insight into social reality. They are imple at by dex biological tensions, aboveall the fear that they will be destroyed before achieving fulsiment (@). Word eadersand government spokesmen hhave said too many times that they are unable either t6 control war, or defend their nations from anniilatn in a nuclear war. The young, by siming for contol of society, are Actng'in the bes interest of al ores 1. The ing of the facts behind the writing of the 1919 manifesto is one of the prime tadks of Bauhaus scholarship. Otto Stelzer says that the manifesto was deter- ‘mined by tactical consderations}® Tt was the particular genius of the Baubaus founder, architect Walter Gropius, that he should win the absolute loyalty of men as diverse in talent and temperament as the painters Klee, Kandinsky, Feininger and Moboly-Nagy, the ‘mystical theorist Itten, the pragmatist Meyer aii hia essaiand Van der Rohe (6) andthe experimenter Sedlemmen’ avin Muli. Sandy Telegraph London, 229.1962, There is plenty inthe witings of the Bauhaus master (Claude Schnaide book on Meyer, London, 1965, for instance) to jar the carey fonered. nage cf Gropius the benign Basha Vater Here ita sample of te Bauhaus polemic on ‘metianzaiowand Capitalism, fora thew ofa prominent pupil ofthe Bauhaus who ‘Mtnded the metal workshop between 1922 fod 1025 and thus staded under Teen nd Moboly-Nagy: “Our industal products are tetualy noblng but west of labour and tater to promrve © ftom which aca dleuctively and dcteorangly, jut a bd fie and Hlatrated. popes do! Witblm ‘Wagenft,‘Artitie Callaboration in Indu sty, Zitich, 1960. 2."The revluionary significance of this ‘group lic in baving established the principle where cach profesion wars society about howe: dangers of which thas specialed knowledges Tt is evident that ofall artis, thore engaged with science and technology ands tale lead in ts crcl new form of socal agitation * 5, Secret knowledges the key to any tem af total contr. Unt printing was invented, the writen word remsined Igely 2 lass monopoly. Today the language ct higher tmathematics plus computer has restored bth the scree sel the tonpely, wih a conequent resumption of coal Nerbert Wiener, ho hd sport he con struion ofthe two large computers sed the Amesean war eft, hd deci and fens when the war ended’ ‘But, more seriou, the rel danger that cyberetics-thescenceofcontraling forma thn sod commtnication-may brig abou, fd indeed already by that i tals more Tiny and move ey te eanblbhment of faa atoeecy;m Community wholly cone waled by cena government, always thought that this og of te biggest dangers of the subject and fs connected with what the students are on about in Bish Uai- Series” Braet ffom interview “Towards Machine Tatligence’ with Profesor Bran (George, Dicer of Insite of Gyberctio, Branel"Uaiventy. Since Joreal, Londons September, 1968. 4 Whenever you sso-or bear-a satement shout the nally of aden or teshaoagy= mech frye pu 5. The atength of Raskin and Moris es in thee vionaty power. They fan Bc co sequen of solence and technology in te ands of Caplin. When they condemned rechaniaton they wereloking beyond thir centerys when Rost is saddened. by drt from a railway sling te country ies rom the tracks, bie mind is fed oa, the Las “Angels of today. Ina pamphlet dated 1868, ihesums up the poate of mechaneal ‘power supply in onder of preference “There ae thre great clases of mechanical power ‘namely, (2) vital muscular power; (6) natural ‘mechanical power of wind, water, clr: tnd (9. aricialy produced. ‘mechaical power." Note that Ruskin supports electri the basis of our congo years before fhe fit largenale ue of eectre lament lighting (St Petersburg dels), eleven years bore the exhibition ofthe fit elect rail Vay Simnens, Bevin), and owen years bor the manfictre of the fie sc, motors (Westinghouse, US.A). Ruskin’ advocacy ital macular power wil seem les Fanny in 2068 won the fabs vast numbers adja to univeral automation, will have reated insoluble problems, Black Power with {rejection of ‘White’ mechanization is ele- vant toa reanesent of Ruskin and Mori 6. “Lett be noted thatthe development of scieneis «contol and communication pro- tes frthe longterm understanding and con- trol of matter-in this proce ity year are as 2 day inthe life ofthe individual. Fo this ‘eas the india cei mst work a8 part of a proces wine time sale 0 long {hat he hime can only contemplate very ited sector oft Wieners statements in complete contradiction with the reality, ably fummarized by Profesor Paall Seas, the ‘American authrity on conservation; “Part ‘ofthe ble es wth society whch ears fit ava supreme valu, under te ion {hat anything that i tecnieally posible therefore, ethically justified.” Daily Telegraph, 512.1968, p. 22. Ara er of solar acivisy leading the dehydration of earth, oa planet will btome uninkabtabe, anditiveminentiy Feazonable to prepare fo thi period milion years aad vo that humanity might tan far to other planets; but wnt ae the comnee- tions ofthis gt lan with the preset rece, toland men onthe moon? (Mr Nion would Go well to regard the space race asm matter not only of wimiic atvanconeat anc retige Hot of sheer survival’ rom Leader, Timperalists in Space Senay Telarph 19 January, 1960), See. Sir Bernard Lovell’ Arise “Phe dangers of polluting the planets, “Te Fine, February 19, 1969, p 8 7. The impulse to break up's dtcased art ‘wordy qpemsored by nationalistic art com Ins, ad extering 0a nineteenthecenry ‘gp cal tt be encourages. Fora general fatement* Documentation on Milan and Venice! Naw Siity and The Lister have aid articles and etorial on Horsey ae Guilford since Jone 1968 eno accent that a quotation from Wiliam Moris takes up one page in ‘Dacamchts prepared by the forty damised teaches of the Guldiord School of Ar. October 30,1968. 8. “Time chore; we must wok rapidly with inthe natural proceso voiton; we MUST accelerate evolution’, From the foreword to the peubcaton of Man, Hie Environment land The Future” by Reber D. Underwood, he ttudent-organizer of fhis Architectural Association Lecture Series, London, Febru- ary-June, 1968. Forty-five »profesors at M.L:T. have ans nounced a oneday ‘research stoppage’ for March 4 in protest agaist government mis- tue of science and technology. They will be Joined by profesors at Cornell and Yale. 4 be. Milan, Vol. 2. No. 3. June, 1968. ‘Bulletin of the Atomic Scientist, Chicago Vol. 3. No. 7. July, 1947, includes poliey statement. 9M. Brodey and others. “Art, Technology and the Architec?. Architectural and Engineering News. Upper Montclair, N.Y. Vol. 10. No.2 February, 1968. “ Alfred Chapuis, Edouard Gélis. ‘Le Monde des Automates’. Paris, 1928. 2 vols. Barry Commoner, “Science and Survival. London, 1966, ‘Fred J. Cook, “The Warfare State’. London, 1968. "Douglas M. Davis, ‘Art and Technology’ ‘The New Combine’, Art in America. New ‘York, January/February, 1968. Marcel Duchamp. “The Bride stipped bare by her bachelors, even’. London, 1962. ‘Franz M. Feldhaus. ‘Die Technik der ‘Ante und des Mittelalters’, Potsdam, 1931 10 Wulf Hlerzogenrath, Ed. "30 years bauhauw’, Catalogue. Royal Academy, London, 1968, p. 36. 4 Johannes Teen, ‘Design and Form’. Lon don, 1964, p. 11 Herman Kahn and Anthony J. Wiener “The Year 2000". London, 1967 13 Gyorgy Kepes, Ed. ‘Vision and Value’ London, 1956. 6 vols, M Lothar Lang. ‘Das Bauhaus 1919-1939", Berlin, 1965, p. 40. 8 Manhall MeLuban, “The Mechanical Bride’. London, 1967 + Gustav Metager. ‘Machine/Auto-Creative) Auto-Destructive Art. ARK, London, No. 32, 1962, 1 William Moris. Collected Works. London, 1910. 24 vole. See vols. 22 and 23, Lewis Mumford. “The Myth of the Ma- chine’. London, 1967, p. I Frank Popper. “The Origins and Develop- ment of Kinetic Art’. London, 1968, John Ruskin. Works. Library Eadliton, ‘London, 1903, 39 vols. Val. 17, p. 543. ¥ Claude Schnaidt “Architecture and Polit cal Commitment’. ULM, No, 1920. Ulm, 1968. Dennis Sharp, Fd. ‘Planning and Archi tecture’. London, 1967. Alan F. Westin, ‘Privacy and Freedom’, New York, 1967. 3 Norbert Wiener. ‘Cybernet 1948, p. 38, 4 Norbert Wiener. ‘Some Moral and Teel nical Consequences of Automation’. Science, ‘Washington, Vol. 135, 6, May, 1960. New York,