Professional Documents
Culture Documents
Jasia Reichardt
Access provided at 20 Feb 2020 21:19 GMT from BTCA Universitat de Barcelona
Machines and Art
Jasia Reichardt
Abstract-Since there is no cure for progress, we may assume that machines will play an
increasingly significant role in every area of our lives. Artists have celebrated machines since
they came into existence, first by depicting them and more recently by using them as tools and
assistants. What will happen when machines make their own art? Will we recognise it and will we
accept it?
@ 1987 ISAST
Pergamon Journals Ltd
Printed in Great Britain. LEONARDO, VOI. 20, NO.4, pp. 367-372,1987
0024-094X/87 S3.0WO.00
functions. Pataphysical machines [I]
would be difficult to reconstruct since
nobody knows precisely how they d o
what they do, or what that is anyway. The
comparatively concrete form of machines
in art does not mean that they have been
any more conventional, predictable or
comprehensible. Take, for example,
Francis Picabia’s Amorous Parade (19 17)
or Girl Born without a Mother (c. 1916-
1918). Referring to Picabia, Paul B.
Haviland wrote in 1915:
c
are but for what they can do. That is why
the most impressive, and the most
notorious, prototypical art machine of
Fair. This new kitchen was demonstrated experimental works of art in their own depictinga man and achild at leisure. The
in all its automatic detail to the right. picture is entitled A Quiet Lunch at Home
amazement of one and all, but it was In 1925, the English inventor and (Fig. 1). The man is sitting in a deep
never manufactured. Its true utilitarian writer A.M. Low published a book on the armchair and sucking at a tube which
possibilities were also ultimately limited. future [ 5 ] in which he included a picture issues from a wall. The boy, crouchingon
The kitchen was a machine in its own of a comprehensively furnished room the floor, wears a helmet and watches a
right: like a sculpture by Tinguely, it
represented the fantasy of its makers; but
rather than an object or a sculpture, it was
an environment. Everything in the
kitchen was timesaving and fully auto-
mated. The idea was that the lady of the
house need d o no more than press a few
buttons. There were buttons for selecting
a recipe, for mixing the ingredients, for
cooking them, etc. Prepared food was not
shown, but the sounds issuing from
various parts of the room suggested that
something was happening. The newsreel
commentary about the kitchen made it
clear that no cooking skills were
necessary and that the hostess, who wore
a cocktail dress, had no need ofan apron.
The price of the kitchen included a part-
time salary for an engineer, and maybe
this, finally, was the reason the kitchen
was never built. Interestingly enough,
though there were other comparable
futuristic environments, none included
any art, as if their electronic complexity
was in itself sufficient to stimulate the Fig. 5. Harold Cohen’s program A A R O N is capable of producingseries of varied but related drawings,
mind and to stir the spirit. In the best reminiscent of Cohen’s own paintings of the early 1960s. This drawing was produced in 1983, when
avant-garde tradition, they were new and AARON was 10. (Photo: Becky Cohen)
Work should involve the use of actual robots and machines, or use of robots to produce
visual art, sculpture, or performance art. Scientists and engineers are also invited to
submit articles describing developments in artificial intelligence, robotics, telematics,
control theory, and other technical fields which may be of interest to artists. Art historians
and theoreticians may submit articles tracing the role of the machine in art.
Manuscript proposals should be less than two pages and include up to two illustrations to
give the editors concrete information on the proposed manuscript.
Editorial guidelines may be found on the outside back cover of the journal. Additional
information may be obtained from the main editorial office: Leonardo, 2020 Milvia St.,
Berkeley, CA 94704, U.S.A.
Copies of these articles or any articles published in Leonardo are available at a nominal
cost by writing to ISAST, P.O. Box 421704, San Francisco, CA 94142, U.S.A.