Epigraph
“Art does not reproduce”: Klee (1968), 182.
Preface
“It’s just great”: Glueck (1966).
“You probably don’t remember me”: O’Conner (1966).
“A bomb dropped here”: Glueck (1966).
Chapter 1
“a good looking bootblack”: Stein (1933), 46.
“We had no other preoccupation”: Parmelin (1969), 106.
“M. Maurice Princet preoccupies himself”: Salmon (1910), 163. See Miller (2001)
“conceived of mathematics like an artist”: Salmon (1919), 485.
in the face of one of the women: Miller (2001), 113.
“terrible picture [that looms] through the chaos”: Burgess (1910), 408.
“a nightmare”; “overwhelming”: Cousins and Seckel (1994), 165–68.
“was set free to produce”: Seelig (1954), 68.
“spellbound”: Solovine (1956), x.
“This group had a considerable”: Einstein to his friend from his patent office days Michele Besso, March 6, 1952, in Speziali (1972), 464–65.
“unbearable”: From an unpublished 1919 essay by Einstein. See Miller (1998), 137. For an up-to-date Einstein biography see Isaacson (2007).
“led to asymmetries that do not”: Einstein (1905b), 370.
“A consequence of the work on electrodynamics”: Einstein, letter written somewhere between June 30 and September 22, 1905, to his friend from his patent office days Conrad Habicht, Einstein (1993), 20–21.
Most physicists were convinced: Miller (1998), 325–26.
“theorizing out of their depth”: Einstein (1923), 484.
“overworked” as God: Richardson (1991), 475.
“The work of art is born”: Kandinsky (1977), 53.
“That it was a haystack”: Lindsay and Vergo (1982), 363.
“spiritual existence”: Kandinsky (1977), 52.
“The harmony of the new art”: Ibid.
“with elements borrowed not from”: Apollinaire (1913), 69.
“We will glorify war”: Lista (1973), 98.
“Cathedrals made of shit”: Richardson (2007), 290.
“profound formal distinction”: Einstein (1905a), 132. By 1905 Einstein had discovered that light was a wave and particle at the same time—the so-called wave/particle duality. See Miller (1998), pp. 126–28.
“Henceforth space by itself”: Minkowski (1908), 75.
From 1921 onward, themes related to Minkowski’s: Hatch (2010).
“There are ‘made’ laws”: Mondrian (1937), 353.
It did affect the final design: Hatch (2010).
“It is necessary to point out”: Mondrian (1937), 351.
“We do not want to clap the atom”: Pauli to Niels Bohr, December 12, 1924, in Hermann, von Meyenn, and Weisskopf (1979), 189.
“a simple farm boy with short”: Born (1975), 212.
“I had the feeling that”: Heisenberg (1971), 61.
“which appeared very difficult to me”: Schrödinger (1926), 735.
“The more I reflect on the physical portion”: Heisenberg to Pauli, June 8, 1926, in Hermann, von Meyenn, and Weisskopf (1979), 328.
“moving around an object”: Gleizes and Metzinger (1980), 68.
“form to thoughts to an audience”: Anderson (1967), 322.
“One event can be the cause of another”: Parkinson (2008), 55.
“Something more real than reality”: Richardson (2007), 349.
“No, it’s sperm”: Ibid., 330.
“Reality is more than the thing”: Ibid., 350.
“Human personalities are not measurable”: Eddington (1968), 33.
“The new geometry of poetic thought”: Parkinson (2008), 180.
“this harrowing and colossal question”: Ibid., 192.
“I think it is probable that negative”: Dirac (1933), 324–25.
“I knew that the theory is correct”: From a conversation Einstein had with a student shortly after receiving news of Eddington’s result, quoted in Holton (1973), 236–37.
“he delights in it because it is beautiful”: Poincaré (1958), 8.
is eye-catching due to Picasso’s violation: Miller (2000), 298–99.
“confront us with suggestive dilemmas”: Parkinson (2008), 61.
“psychologically the modern physicist”: Ibid., 62.
“modern scientific and artistic thought”: Ibid., 61.
“today, reason goes so far as to propose”: Ibid., 66.
“Matta wanted to show the Surrealists up”: Ibid., 153.
“Matta’s first and most important contribution”: Ibid., 154.
“it tries to poeticize science”: Ibid., 160.
“In the Surrealist period I wanted to create”: Ibid., 216.
why the nucleus was stable: Miller (1985) and Miller (2000), 239–43.
derived from our everyday world: Miller (2000), 247–49.
“A half-assedly thought out semi-visual thing”: Gleick (1992), 244.
Chapter 2
“the first art to appear here”: Rosenberg (1959), 137.
a 90 percent failure rate: Hillman (2007), 68.
“never went anywhere”: Julie Martin, author interview, October 31, 2011.
“one glorious act of mechanical suicide”: Klüver (1966), 32.
“I can still smell it”: Klüver (1998), 5.
“During its short life”: Lindgren (1969a), 59.
Expect the unexpected, was the byword: Perhaps what happened to Duchamp’s The Bride Stripped Bare by Her Bachelors came to Tinguely’s mind. Made up of two panes of glass, it was broken en route from its first public exhibition. Duchamp repaired it but left the cracks intact as an indicator of unpredictability. Some say he thought the cracked version to be an improvement.
“Why wasn’t I invited?”: Klüver (1998), 8.
beyond his immediate neighborhood: As told to me by Larry Wright, an assistant and good friend of Rauschenberg.
“a ghost bouquet of promises”: Rose (1987), 67.
“collage of ever-changing bits of music”: Klüver and Martin (1991), 85.
“is the least individually beguiling”: Pippard (1965), 57.
“Rauschenberg arrived and we worked frenetically”: Klüver and Martin (1991), 86.
“as much a part of the work of art”: Klüver (1966), 37.
“by the artist is not only unavoidable”: Ibid.
“felt it was a positive use of time”: Julie Martin, author interview, October 31, 2011.
“new and maybe inhuman objective”: Klüver (1966), 37.
“Technology is the extension of our nervous system”: Ibid., 38.
“I’m not so much interested in helping artists”: Lingren (1969a), 68.
“The artist’s work is like that of a scientist”: Klüver (1966), 38.
“my studio is a sort of laboratory”: Laporte (1975), 38.
“Many people wanted E.A.T. to be about”: Hertz (1995).
“What do an artist and a scientist”: Julie Martin, author interview.
“When I heard last May”: Leonard J. Robinson, in transcript of E.A.T.’s first open meeting at the Central Plaza Hotel, November 30, 1966, quoted in Loewen (1975), 54.
“I watched Billy having fun”: Herb Schneider, interview with Charisse Bardio and Catherine Morris. Unpublished. I thank Jasia Reichardt for access.
swinging Greenwich Village art scene: At this time Klüver and Rauschenberg were also involved in a proposed Festival of Art and Technology in Stockholm. They suggested bringing over artists and engineers from Bell Labs because they had already taken part in preliminary meetings. The Swedish organizers insisted on using only their own engineers. Further friction was avoided when the Swedish program folded in summer 1966.
well outside company time: Cynthia Pannucci, author interview, January 11, 2012.
“At first artists were in control”: Herb Schneider, interview with Charisse Bardio and Catherine Morris.
“knocked the critics off their rockers”: Hillman (2007), 180.
“their unhappy wives”: Ibid., 68.
“just said what he wanted”: Julie Martin, author interview.
“Good luck”: Written September 16, 1966. Hillman (2007), 69–70.
“engineers express doubt in front of the artists”: Robinson (1967), 16.
“[9 Evenings] received, on the whole”: O’Doherty (2006), 75.
“a new interface between these two areas”: Klüver (1966), 34.
“Sixty people had questions right away”: Julie Martin, author interview.
“collaborative relationship between artists and engineers”: E.A.T. News 1, no. 2 (June 1, 1967).
“politics, and the technical community”: E.A.T. News 1, no. 3 (November 1, 1967).
“should not be without art”: The great German philosopher Immanuel Kant wrote in the Critique of Pure Reason: “Thoughts without content are empty, intuitions without concepts are blind.”
“via a sophomoric prank”: Knowlton (2005), 3.
“of, guess what, a nude!”: Ibid.
“was delighted but worried”: Ibid.
“the name of Bell Labs with it”: Ibid.
“Interesting but no big deal”: Ken Knowlton, author interview, November 4, 2011.
“it was art with a capital A”; “be sure that people know”: Ibid.
“instead of porn”: Ken Knowlton, email to the author, July 17, 2012.
“Billy was forever retelling the story”: Ibid.
“is the topic of the day”: Document in Jasia Reichardt’s archive.
trying to include too many fields: Julie Martin, author interview.
“enthusiasm of one man”: Reichardt (2008), 76.
“edges of things, of how art”: Jasia Reichardt, author interview, August 10, 2011.
“art’s outer periphery”: Reichardt (2008), 72.
“replace man with a work of abstract art”: Quoted at http://olats.org/schoffer/cyspe.htm.
“wanted to be artists too”; “meetings were enthusiastic”: Jasia Reichardt, author interview.
“Look into computers”: Reichardt (2008), 77.
“to the theories of chance”: Ibid.
“involvement with the arts”: Reichardt (1968), 5.
“engineer, mathematician, or architect”: Ibid.
“scientists masquerading as artists”: Willats, interview with Catherine Mason, June 6, 2004, quoted in Mason (2008), 104–5.
“a wider consciousness”: Ibid., 103.
“could encourage exciting innovation”: Edmonds (2008), 348.
“existential romance, glamour and drama”: Ihnatowicz (2008), 111.
“science museum for the year 2000”: MacGregor (2008), 83.
“one day as a landmark”: Gosling (1968).
“lift a finger to entertain them?”: “Fun by Computer,” Evening Standard, August 2, 1968.
“exhibition in the world at the moment”: Shepard (1968).
“power of new technologies”: Mason (2008), 109.
“it is prematurely optimistic”: Reichardt (1968), 5.
found it difficult to obtain funding: See Mason (2008), 106. For a historical revisionist account, see Uselmann (2003).
“Thus people who would never have put pencil”: Reichardt (1968), 5.
“what art is for or about”: Shepard (1968).
“it will not be worth doing”: Melville (1968).
“For computer scientists whose work”: Mason (2008), 100.
“This exhibition is not”; “Many artists today”: Hultén (1968a).
“in planning for such a world”: Hultén (1968b).
“The idea becomes a machine that makes the art”: Lewitt (1967).
“forms of experimental art”: Shanken (2002b), 433.
“intensive artistic experimentation”: Ibid.
Chapter 3
“I can still remember him”: Noll (2011), 4.
“computer art”: Ibid.
“only the art world”: Ibid.
“Béla always felt that his patterns”: Ibid.
Noll exhibited variations: Ibid., 7.
“very first major public showing”: Ibid.
“the artist will simply ‘create’ ”: Preston (1965).
“Some guests were nervous”: Candy and Edmonds (2002), 6.
“artificial art”: Klütsch (2007), 421.
“The drawings were not very exciting”: Bowlin (2007), 4.
“With hindsight, the digital computer”: A. Michael Noll, email to the author, January 30, 2012.
“The generation of random numbers”: Coveyou (1998), 178.
soothing, and abstract: Noll (1966), 8–9.
Both pictures were actually conceived by humans: Ibid., 9.
“artistic merit is not”: Ibid.
It was the brainchild: Mason (2008), 10.
“The Group’s avant-garde artistic”: Ibid., 16.
“influenced by Charles J. Biederman’s”: Mason (2008), 24.
“The world is as it is”: Hamilton (2003), 60–62.
“There is something to gain”: Whyte (1968), 1.
“Popular (designed for a mass audience)”: Hamilton, as quoted in his obituary in the Daily Telegraph, September 13, 2011.
“that it caused an uproar”: Victor Pasmore to Richard Yeomans, October 10, 1983, in Yeomans (1987).
Jokingly he recalls having been: Roy Ascott, author interview, December 6, 2012.
“It can be argued that”: Ascott (2008), 9.
“kinetic art king”: Roy Ascott, author interview.
“Cybernetics was everywhere”: Eléonore Schöffer, author interview, May 21, 2012.
“Eureka experience”: Shanken (2002a).
“is a proper study for the artist”: Ascott (1964), 100–101.
Then they were released into: Pethick (2006), 1.
Yet there was a positive aspect too: Gustave Metzger, Third Manifesto, July 3, 1961. This was meant to advertise his famous performance on the South Bank where he appeared in military attire and attacked an array of nylon sheets with a spray gun filled with acid, destroying them.
greatly inspired by Metzger: Gere (2002), 100.
“cultures being leveled”: Brian Eno, speaking at Art and the Mind festival, Winchester, UK, March 7, 2004. Quoted in Mason (2008), 68.
“Murder of the Art Schools”: Patrick Heron, “The Murder of Art Schools,” Guardian, June 22, 1971.
“creativity is not totally in the hands of the artist”: Ernest Edmonds, author interview, June 21, 2011.
“clear emphasis on composition”: Ibid.
“non-constrained than it appeared to be”: Ibid.
With the rather basic computers: They used a Honeywell 200 which was comparable to the IBM 1401, at least one model behind the IBM 7090, the powerhouse mainframe of the day.
“it may no longer be necessary”: Ibid.
“concept of art can survive artists as we know them”: Ibid., 12.
“We live in an industrialized”: Ihnatowicz (1985).
To back up this approach: Brown (2003), 2.
“Our aim is to get people (the press)”: Gardner (1969).
Senster went way beyond: Philips engineers had also assisted Schöffer in some of his works, providing sophisticated electronic circuitry.
“In the quiet of the early morning”: Zivanovic (2008), 103.
“For me, Ihnatowicz and Cohen”: Brown (2008), 277.
“I met my first computer”; “I was simply grabbed”: Harold Cohen, email to the author, June 6, 2011.
He studied at Manchester College of Art: Paul Brown, author interview, September 20, 2011.
“The audience was enraptured”: Ibid.
“amplification of minute turbulent events”: Ibid.
“into the computational domain”: Ibid.
“Now I could take enormous risks”: Susan Collins, author interview, October 10, 2012.
“computer facility for fine art”: Ibid.
“I had such a clear vision”: Ibid.
“art and technology”: Ibid.
“computer as a control system”: Ernest Edmonds, author interview, June 21, 2011.
“control issues as conceptual”: Ibid.
“a poem is something more”; “essence of software”: Ibid.
“Calder walked into Mondrian’s studio”: Ibid.
To him, the work he created: Ibid.
“If you want to paint”: Ibid.
“Man, you’re a real artist”: Roy Ascott, author interview.
“technology of thought transfer”: Ibid.
“telematic embrace”: Ascott (1990).
“real power of the computer”: Gerfried Stocker, author interview, September 3, 2012.
“consciousness is not generated”: Roy Ascott, author interview, June 12, 2012.
Chapter 4
“They have computer tools already”: Bruce Wands, author interview, November 3, 2011.
“I saw the future”: Ibid.
One of his works: Wands (2006), 21.
“preconceived notions as science being logical”: Bruce Wands, author interview, November 3, 2011.
“To me improvisation”: Bruce Wands, email to the author, February 13, 2013.
“the artist has control over a wide range”: Ibid.
“where high resolution live action”: Ibid.
“primarily intuitive”: Ibid.
“Take Jane Austen”: Ibid.
“Needless to say”: Ken Perlin, author interview, November 1, 2011.
describes him as a genius: Bruce Wands, author interview.
“opted for mathematics because”: Ken Perlin, author interview, November 1, 2011.
“where it’s at”: Ibid.
“Einstein was an artist”: Ibid.
“There is a willed ignorance”; “Great discoveries”: Ibid.
“I’m a researcher”: Ibid.
“For me, science and technology”: Rick Sayre, author interview, January 7, 2013.
“doing shoestring visual effects”: Ibid.
“hive mind”: Ibid.
“rattle off things as aesthetic touch points”: Ibid.
“Pixar can try something”: Ibid.
“I don’t have a precise definition of aesthetics”: Ibid.
“It was the most complex of any skin”: Ibid.
It was the robot: See the Ars Electronica archive site: http://90.146.8.18/en/archives/prix_archive/prix_projekt.asp?iProjectID=2474.
“peripheral areas, particularly underground things”: Rick Sayre, author interview, January 7, 2013.
“wretched hive of scum and villainy”: Ibid.
“we met Rick Sayre”: Gargaj (2007).
“a key part in how greenery”; “Fresh blood is a great thing”: Rick Sayre, author interview.
the program in Media Arts: http://web.mit.edu/catalog/degre.archi.media.html.
“place where the future is lived”: http://web.mit.edu/files/overview.pdf.
“I always retained the notion of neoteny”: Joichi Ito, author interview, September 3, 2011.
“because I felt I could”: Ibid.
“Ito, 44, is recognized as one”: http://web.Mit.edu/newsoffice/2011/ito-media-lab-director.html?tmpl+component&print=1.
“He can position the lab at the edge”: Markoff (2011).
“not very collaborative”; “Process, not end result”; “is not a tech shop for artists”: Ibid.
“People spend very little time sitting”; “Shut up and build it”: Ibid.
“problem-seeking, as opposed to”: Neri Oxman, author interview, October 18, 2011.
“aesthetic fascination with”; Ibid.
“era of glamour geeks”: http://www.future-ish.com/2009/05/design-idol-sceleb-neri-oxman.html.
“produces unbelievable patterns”; “tries to spec out algorithms”: Neri Oxman, author interview.
“now, with the Internet”; “I miss the old world”: Ibid.
“Beast lets go of boundaries”: Ibid.
“A da Vinci stage has to be reached”: Ibid.
“iPad fever. You build”; “doesn’t believe that that is”: Ibid.
“translation between disciplines”: Ibid.
“The Media Lab is an idea factory”: Michael Bove, author interview, October 20, 2011.
“What if”: Ibid.
“Look, I don’t know if this is art”: Ibid.
“totally radical way of making large scale”: Paula Dawson, email to the author, September 10, 2013.
“Apart from the fact that Paula is creative”: Michael Bove, email to the author, August 28, 2012.
“it’s all about creativity here”: Joe Paradiso, author interview, October 20, 2011.
“Today art is an offspring of science and technology”: Peter Weibel, author interview, January 25, 2013.
Science was too well established: Ibid.
“ideas about space, time, and relativity”: Ibid.
“in dialogue with scientists”: Ibid.
“spooky actions-at-a-distance”: Einstein to Max Born, March 3, 1947, in Born (1971), 158.
“could be wonderful media art”: Peter Weibel, author interview.
“It exists only thanks to the media”: Peter Weibel, author interview, February 15, 2013.
“Aesthetics is a general medium”; “For me aesthetics has nothing to do with beauty”; “Many of my works are not directly”: Peter Weibel, email to the author, January 29, 2013.
“It is ridiculous that art historians”: Peter Weibel, author interview.
“how photography deeply influenced painting”: Ibid.
“I give art a strong theoretical, political, and social urgency”; “theory-dependent because it wants”: Cook (2000).
“just about anything goes”; “We are interested in using design”: Gaver (2011).
“highly committed to playing”: Quoted in the RCA’s catalogue, available at: http://www.rca.ac.uk/Default.aspx?ContentID=159827&GroupID=161712&CategoryID=36692&Contentwithinthissection&More=1.
“have a high tech savvy”; “They can be pure artists”: Fiona Raby, author interview, November 18, 2011.
“technological dreams”; “mess up all those very nicely”: Ibid.
“I don’t think we ever recovered!”: Fiona Raby, email to the author, February 6, 2013.
“no playfulness in England”: Fiona Raby, author interview.
“Can designers be involved in biology?”: Ibid.
“Beautiful flowers, mind-altering weeds”; “a controlled ecosystem of entertainment”: Benqué (2010).
“They all sit at the same table”: “While the designers may know”: Fiona Raby, author interview.
“that of a provocateur”; “tampers with nature”; “seductiveness of technology”: Alexandra Daisy Ginsberg, author interview, May 15, 2012.
“Private industry will finance”; “art will become independent”; “will be an empire of data”: Peter Weibel, author interview.
“Today art is an offspring of science and technology”: Peter Weibel, author interview.
Chapter 5
“Art does not reproduce”: Klee (1968).
“In a time when so many artists”: Parsons (1998). “Jim Miller” is a pseudonym for Bill James and Lisa Miller.
“a child of the space age”: Paul Friedlander, author interview, March 30, 2012.
“felt squeamish about the label”: Ibid.
“I feel that I have been true to Barbour’s ideas”: Friedlander (2006).
“Only as an artist am I able”: Julian Voss-Andreae, email author interview, August 26, 2011.
“It was then that I realized that I needed”: Ibid.
“probably all intellectually conjured, brain-born art”: Ibid.
“drew without the intellect interfering”: Ibid.
“intrigued by the time when relativity and quantum physics”: Ibid.
“honest and strong dynamic”; “quantum dance”: Julian Voss-Andreae, email author interview, August 26, 2011.
“To me, form and function are always a unit”: Ibid.
“I feel a strong excitement about work”: Ibid.
“Is it possible to create a sonic rainbow?”: Domnitch and Gelfand (2004), 391.
“The Camera Lucida project began”: Ibid., 392.
“came out of a series of very long”: Evelina Domnitch and Dmitry Gelfand, author interview, September 9, 2012.
“they offered no buzz”; “What is light?”: Ibid.
“recorded music or recorded art”; “the narrative is too restrictive”: “live cinema”: Ibid.
“The image was animated”; “art became a means”: Ibid.
“iridescent depth”; Domnitch and Gelfand (2011).
“there was no theoretical model”: Evelina Domnitch, email to the author, September 25, 2012.
went on to propose one: Yasui et al. (2008).
“Raoul claimed that his encounter”: Evelina Domnitch and Dmitry Gelfand, author interview.
“Aesthetics is to be emotionally moved”: Ibid.
“We always hope the unexpected will appear”: Ibid.
“I’m an optimist”; I want to see just over the horizon”: Nathan Cohen, author interview, June 6, 2011.
“I almost became a geologist”: Ibid.
“look for ways to share”: Ibid.
“need to be sensitive”; “ongoing and organic”: Ibid.
“that space which exists between two and three dimensions”: “Where does the picture end”: Ibid.
“part of the real world”: Ibid.
“finding patterns in what we see”: Nathan Cohen, email to the author, March 16, 2013.
“has made possible new ways”: Cohen (2013).
“technology and fine art”: Quoted ibid.
“make a journey toward understanding”: Nathan Cohen, author interview.
“The history of Renaissance art was primed”: Ibid.
“heartbeat of the primordial universe”: Robert Fosbury, voice recording for the author, March 17, 2013.
“Symbolic meaning—it was the”: Ibid.
“observing the night sky”: Antonella Nota, email to the author, March 15, 2013.
allowed her “to reestablish”: Ibid.
“interpret science with design”: Vanessa Harden, author interview, August 3, 2011.
“distant cosmological phenomena”: http://www.vanessaharden.com/Urban-Sputnik.
“was crucial throughout the project”: Andrew Jaffe, email to the author, September 6, 2011.
“enabled/forced me to think”; “I think the effect has been minimal”: Ibid.
“The Entire Universe on a Dimmer Switch”: Spears (2006).
“the act of looking at a reflective object”: http://whitecube.com/artists/josiah_mcelheny/.
“Dark Matter rap”: For the complete lyrics see http://www.astronomy.ohio-state.edu/~dhw/.
“David’s view of cosmology”; “two-way dialogue in which Weinberg”: Josiah McElheny, author interview, November 3, 2011.
“More people saw Island Universe”: http://arxiv.org/pdf/1006.1013v1.pdf.
“big gap in technical level”: David Weinberg, email to the author, September 5, 2011.
helping him to see: Ibid.
Weinberg knew from the start; “This was the deal”; “my colleagues are sometimes miffed”: Ibid.
We called the work Anschaulichkeit: On the Kantian notion of Anschaulichkeit and quantum physics, see Miller (2000).
CERN “always welcomed artists”: Renilde Vanden Broeck, author interview, October 5, 2012.
“not merely art as illustration”: Ken McMullen, author interview, December 7, 2011.
The London Institute suggested: Ibid.
wrote in his diary: Benson (2001a), 12.
“Artists today are beginning to realize”: Benson (2001b).
“The laws of physics are not going to go away”: CERN press office, available at: press.web.cern.ch/press-releases/2000/06/signatures-invisible.
“Signatures of the Invisible is a groundbreaking initiative”: Maiani (2001), 3.
“There is fusion”: Grandjean (2000).
“Not a straightforward illustrative”: McMullen (2001), 4.
“a kind of archetype”: Deacon (2001), 22.
“The mathematical, the simple, and the complex”: Sand (2001), 32.
“There can never be”: March-Russell (2001), 6.
“crumple theory”: Sexton (2001), 11.
“what we see is somebody”: Ken McMullen, author interview.
“so that anyone can get the drift”: Ibid.
“What would C. P. Snow make of all this?”: Pile (2001).
“A conversation with a theoretical physicist”: Campbell-Johnston (2001), 21.
“For me it was a no-brainer:” See http://cdsweb.cern.ch/record/1204806.
“great arts for great science” Koeli (2012), available at: arts.web.cern.ch.
“inspiration partner”; “speed dating”: Ariane Koek, author interview, October 4, 2011.
“don’t get too close”: Ibid.
“in collaboration with the local police”: Julius von Bismarck, author interview, September 1, 2012.
“inspiration partner”; “I was more interested”; “international galleries are interested already”: Ibid.
Then they all had to critique: See cdsweb.cern.ch/record/1481328.
“What do I want to do?”; “von Bismarck brings humor”: Ibid.
A number of physicists: See, too, Butterworth (2012).
“After three months of brain work”: Ibid.
“It’s all about credentials”; “Get a great artist”; “Use the data”; “That’ll be astounding”: Joe Paradiso, author interview.
“plenty of space for installations”: Luis Álvarez-Gaumé, author interview, October 7, 2011.
“hopefully they will leave something behind”; “artists with abstract ideas”: Ibid.
“the fusion of mathematics and reality”; “a comatose god running its own universe”: Keith Tyson, quoted at: http://onestoparts.com/review-keith-tyson-panta-rhei-pace-london.
“world as information”: Keith Tyson, author interview, May 2, 2012.
“Stuff happens at the edge of a cloud”; “dichotomy between science and art”; exclusive categories: Ibid.
“like good artists, good scientists”: Ibid.
“It, like, knocked me out”; “artistic encouragement was in the genes”: Steve Miller, author interview, November 20, 2012.
“The habitual gestures”: Quoted in Heiferman (2007), 54.
“totally enchanted with that epoch”: Steve Miller, author interview.
“how it happened in Cubism”; “changes in technology”; “Man, I wanted”; “reinvent new genres”: Ibid.
“use science to look at pathology”: Ibid.
“somebody else’s piece of paint”: Heiferman (2007), 54.
“a blob of paint”: Steve Miller, author interview.
“Technology allows you to penetrate”: Ibid.
“beauty of these images is that they are”:”Hiroshima or bloody fetuses”: Heiferman (2007), 55.
“It was a new way to take on”: Katz (1999).
“new technologies to reinvent”: Steve Miller, author interview.
“All of a sudden”; “We really have windows”: Katz (1999).
whereas today all artists”: Steve Miller, author interview.
“brought into radiological labs all sorts of things”: Ibid.
“They invited me to do whatever”: Ibid.
“Steve showed up at the site”: Steve Adler, email to the author, December 9, 2012.
“investigation of matter”; “how to tell the story”: Steve Miller, author interview.
“time line of human development, from mud pies”: Ibid.
“Silk-screened on canvas, Dr. MacKinnon’s”: Hargrave (2007).
“If you read this review through the lens”: Steve Miller, email to the author, December 14, 2012.
“an affirmation of life”: McQuaid (2007).
“beauty is, for many, a forbidden word”; “it’s the result of a process”: Heiferman (2007), 58.
“scientists cooperate with me”; “cross-pollination that can loosen everybody up”: Steve Miller, author interview.
scientists “appreciate art but”: Ibid.
“to present complicated information to an audience”: Ibid.
“Steve’s influence on my work at that time”: Steve Adler, email to the author, December 9, 2012.
“been aware of the creative intellect”: “that both art and science play equal roles”: Ibid.
with the Industrial Revolution; “I see my motivation”: Ibid.
“Expertise demands discipline”; “There is so much to learn”: Steve Miller, author interview.
“own laboratory in the garden”: Antony Gormley, email author interview, April 12, 2012.
“three-dimensional drawing in space”: Quoted at http://www.antonygormley.com/sculpture/item-view/id/252.
“little conference”: Antony Gormley, email author interview.
“I would be very honored to be able to donate”: Ibid.
“an attempt to materialize the place at the other side”: http://arts.web.cern.ch/works/feeling-material-xxxiv.
“led to a reassessment of the standard view”: Antony Gormley, email author interview.
the highest density cloud: Antony Gormley, email to the author, August 21, 2013.
Gormley’s objects relate to topology: http://www.antonygormley.com/resources/essay-item/id/122.
“Collaboration is alive and well”; Antony Gormley, email author interview.
“I don’t think the two cultures”; Ibid.
“in particular Roger Penrose”; “Art does a similar thing”: Ibid.
“Art does not reproduce”: Klee (1968) 182.
“I hope that scientists”: Rolf-Dieter Heuer, author interview, October 5, 2011.
“questions are so deep”; “difficulty to act as an individual”: Ibid.
“The solitary worker”: Ibid.
“functionality rather than beauty”; “but this goes along with”: Ibid.
“If it functions well”: Ibid.
Chapter 6
“world’s greatest art scandal”: Taylor (2010).
preeminent Pollock scholar: O’Connor (1967).
“similar to Pollock’s work”: Richard Taylor, author interview, September 13, 2011.
“Suddenly the secrets of Jackson Pollock”: Taylor (2002), 118.
“keep the viewer alert”; “I think that one”: Taylor et al. (2011), 11.
“There was a reviewer”: Rouché (1950).
“A striking visual similarity”: Taylor (2005), 2.
Researchers have found that : See Taylor et al. (2011).
“To fake a Pollock”: Richard Taylor, author interview.
“Perhaps it may even”: Taylor (2002), 121.
“gift + purchase”: Abbott (2006), 648.
“I was completely blown away”; “there are too many things”: Kennedy (2005).
“restraint of trade”: Peers (2005).
“rethink its involvement”: Kennedy (2005).
“If Ellen Landau’s opinion”: Ibid.
“Unlike the authors of the Pollock”: Ibid.
Three had appeared on Alex Matter’s: Kennedy (2006a).
“made me sign”: Richard Taylor, email to the author, September 19, 2012.
Anticipating accusations of bribery: Kennedy (2006a).
“the unprecented nature”: Taylor (2010), 2.
In fact, by commissioning him: Richard Taylor, email to the author, September 20, 2012.
“Thus the PKF”: Richard Taylor, email to the author, September 19, 2012.
which published them: Kennedy (2006a). A more detailed report appeared in Abbott (2006).
“impeded scholarly debate”: Kennedy (2006a).
“very new and contested”; “a full-scale catalogue”: Ibid.
“reinforced his initial doubts”: Ibid.
One Pollock scholar claimed: Kennedy (2006a).
“But this was not an ideal world”: Richard Taylor, email to the author, September 19, 2012.
“you’ve just lost them”: Taylor (2010), 3.
paintings were not fractal: Kennedy (2006b).
“Oh my God”; “mathematics had an incredible”: Richard Taylor, author interview.
“Jones-Smith, along with”: Jones-Smith and Mathur (2006).
“I am pleased they have”: Griffith (2006).
If Jones-Smith and Mathur’s: see Taylor, Micolich, and Jonas (2006).
“have done is a simple trick”: Rehmeyer (2007), 124.
“This is like taking”: Richard Taylor, email to the author, September 27, 2012.
“Nature liked controversy”: Richard Taylor, email to the author, September 28, 2012.
Aware of the controversy: Peers (2005).
“began aggressively pursuing”: Steven Litt, email to the author, September 26, 2012.
“Orion uses microscopy”: http://www.orionanalytical.com/.
Matter admitted that the paintings: Litt (2007a).
“Robi paints”: See Cernuschi and Landau (2007), 3, for a photograph of the wrapping.
There were a lot of: Landau (2007), 27, 84.
“Hang in there”: Litt (2007b).
“these are Pollocks”: Ellen Landau, email to Albert Albano, February 22, 2006, in Litt (2007b).
“going to lead to the fact that the works”: Mark Borghi, email to Albert Albano, February 22, 2006, in Litt (2007b).
“a strategy for a graceful”: Ibid.
In an email to Landau: Litt (2007b).
“Despite the paint analysis”: Ibid.
“troubled by both Martin’s”; “learned that fractal analysis is invalid”; “personal and artistic”: Ibid.
“dubious and unproven as a way”: Jeremy Epstein, in Peers (2005).
lawsuit was “very negotiable”: Litt (2008).
He told the Cleveland Plain Dealer that he would release: Litt (2007a).
The disputed paintings were exhibited: http://www.bc.edu/bc_org/avp/cas/artmuseum/exhibitions/archive/pollock-matters/index.html.
“still other avenues of exploration”; “Robi paints”: Litt (2007a).
“neither she nor her sister recalled paints”: Harvard University Art Museums (2007), 9.
“is not as hard and fast”: Cernuschi and Landau (2007), 6.
Landau also mentioned a fingerprint”: Ibid.
This had been mentioned in an article: Biro (2007), 157.
“As a scientist and a scholar”: Litt (2008).
“which has not been published”: Newman (2008), 129.
“demonstrably flawed”: Landau (2007), 5.
“I think they took a fairly simplistic”: Minkel (2007).
Taylor explains that their color separation: Richard Taylor, email to the author, September 27, 2012.
“rightly embarrassed”: Ibid.
“no reliable way to distinguish”: Minkel (2007).
“The entire art world was present”: F. V. O’Connor, email to the author, September 27, 2012.
“graciously declined”: Flescher (2008), 8.
“These pictures are not a new bunch”: Karmel (2008), 17.
“does not mean that Pollock created the painting”: Newman (2008), 23.
boards were manufactured in the 1970s: Martin (2008), 32.
“are patently inconsistent with the claimed”: Ibid., 35.
“red herring”: “Q & A,” 37.
“fractal analysis technique”: Richard Taylor, email to the author, September 27, 2012.
“can still see the expression on the face”: F. V. O’Connor, email to the author, September 27, 2012.
“patently wrong”; “fine art and other cultural property”: Litt (2007b).
results were “irrefutable”; “utmost seriousness”: Ibid.
“ranges from unlikely”: Ibid.
“underscore the central importance”; “extremely improbable”: Ibid.
Landau removed the paragraph: Litt (2010).
Perhaps Pollock stared at them: Taylor et al. (2011), 2.
“identifying the artist’s ‘hand’ ”: Richard Taylor, email to the author, September 24, 2006.
“throw a narrow beam of light”: Taylor (2002), 121.
Chapter 7
“We are witnessing the birth”: De Menezes (2007), 215.
“art is too important to be left”: Carnie (2002).
“Each work is approached differently”: Marron (2011).
“My artistic production gets inspiration”: Angheleddu (2011).
“a major component in scientific discovery”: Dowson (2011).
“Our work tries to retrace lines”: Yonetani and Yonetani (2011).
“how to define one’s personality”: Aldworth (2010).
“scan might look like it could show”: Aldworth (2011).
“Where am I”; “You will look into my brain”: Ibid.
it “invites analogies”: Kemp (2010).
“ephemeral, oscillating brain activity”: Morton Kringelbach, email to the author, August 28, 2011.
“avoids either the sensationalism of gore”: Miller (2011).
“I’m fascinated by the mystery of our status as biological beings”: Ibid.
“semi-living sculptures”: Ibid., 233.
“Wet biology art practices are engaged”: Catts and Zurr (2007), 232.
“what it is to be human, a quest in which”: Oron Catts, author interview, June 30, 2011.
“The function of art”; “areas of incompatibility”: Ibid.
“what connects artists and scientists”: Stelarc, author interview, June 22, 2011.
“In the 21st century we have become captivated” Sellars (2011).
“what it means to be a body”: Stelarc, author interview.
“be no more biological death”: Ibid.
“This exhibit is an adventure”: Carter (2011)
“Wherever science is leading us”: Reisz (2011).
“intriguing, because at first glance”: Sowels (2011).
“Scientists are leading the way”: Lewis (2011).
I chaired three debates: See http://www.artandscience.org.uk/debates/.
“Miller spoke about an emerging third avenue of art”; “Perhaps as scientists increasingly collaborate”: O’Callaghan (2011).
nom de guerre: ORLAN (2004), 9.
“Very boring”: ORLAN, author interview, February 21, 2012.
“I am both man and woman”: ORLAN (2004), 9.
“I must have control over”: ORLAN, author interview.
“beef implants,” bones from a cow: Ibid.
“Cells expand in time and space”: Ibid.
“This particular work is caught”: ORLAN (2008), 89.
“biotechnology is taken out of the laboratory”: Ibid.
“transgenic art”: Kac (2007), 163.
“Kac’s point of view was that he saw”: Roy Ascott, author interview, June 12, 2012.
“to enact critical views”: Kac (2007), 164.
“My methodologies in creating”: “With them I learned”: Marta de Menezes, email author interview, August 10, 2012.
“I always refer to my work”: Ibid.
“Art uses every other discipline”: Suzanne Anker, author interview, November 2, 2011.
“Chromosomes can’t tell me who I am”: Ibid.
“how parts fit together”: Ibid.
“It was the first time I saw the philosophical”: Ibid.
“too hard to be an artist in New York City”: Ibid.
“think about manipulating nature”: Ibid.
“anything to do with the natural world”: “bioart or science is an umbrella term”; “That’s because artists believe”: Ibid.
“My interest is not in being a rookie scientist”: Ibid.
“Things that are going on in labs”: Martineau (2012).
“present the technology with problems it can’t do”: Suzanne Anker, author interview.
“can bring other things to”; “can come into a lab”: Ibid.
“artist might think up”; “the scientists changed their tune”: Ibid.
“Going back into one’s ghetto”: Ibid.
“Much of my early work”: Grande (2007).
“While Haeckel drew”: Brandon Ballengée, author interview, November 7, 2011.
“are a ‘sentinel’ species”: Grande (2007).
“Beuysian idea”: Brandon Ballengée, author interview.
“relates to ecological problems not necessarily”: Ibid.
“eco-artists [can] transform the society”: Grande (2007).
don’t consider his work genuine art; “Frogs sell better in Europe”: Brandon Ballengée, author interview.
“‘eco-artists’ whose art may be unrecognizable as art”: Triscott and Pope (2010), 7.
“If only the government”: Sato and Kazan (2008).
“They called the cops”: Joe Davis, author interview, September 1, 2012.
“DNA can encode any information”: Sato and Kazan (2008).
The sounds were transmitted for several minutes: Ibid.
metallizing non-recombinant bacteria: Joe Davis, email to the author, August 5, 2013.
“often I speak a language that nobody”; “Artists should create things”: Joe Davis, author interview.
“The concept of a garden”: Jun Takita, author interview, August 18, 2011.
“Most of all, the little fireflies”: Takita (2008), 141.
“because without science there is no way”: Jun Takita, author interview.
“artistic action” is necessary: Takita (2008), 141.
“a direct extension of the body”: Ibid.
“against the conventions”; “in which light creates a strange relief”: Ibid.
“this is the expression of man’s”: Quoted at http://juntakita-artworks.blogspot.co.uk/.
“beauty in proportion”; “how to do the work”; “Process rather than result”: Jun Takita, author interview.
“We are interested in blurring the boundaries”: Marion Laval-Jeantet and Benôit Mangin, author interview, September 3, 2011.
“I had the feeling of being”: Quoted at http://www.designboom.com/weblog/cat/10/view/16123/art-oriente-objet-may-the-horse-live-in-me.html.
experiment cannot happen twice; “explores the new hybrid organisms”: Jens Hauser, email to the author, November 3, 2012.
“no scientists work alone”: Marion Laval-Jeantet and Benôit Mangin, author interview.
“Why restrict one’s mind?”: Ibid.
“We know that’s bullshit”: Ibid.
“Space for freedom is shrinking”; “like the idea that it’s never ending”: Ibid.
Chapter 8
“What does it mean if you really”: Bernhard Leitner, author interview, June 23, 2012.
“reigning aesthetic of pulverization”: Ross (2009), 429.
“re-envisioned sound itself”: Blume (2008), 15.
“This subconscious detachment”; “a spark-like confluence of thought”: Bernhard Leitner, author interview.
“I could not have developed my work”; “I needed a city that is really pulsating”; “where most things happened”: Ibid.
“theoretical investigations”; “sound as architectural material”; “no one talked about sound”: Ibid.
“empirical studies”: Blume (2008), 15.
“corporeality of listening”: Bernhard Leitner, author interview.
“I hear with my knee”: Ibid.
“In the sound chair”: Ibid.
“a kind of holistic thinking”; “It was a medical research project”: Blume (2008), 19.
“medical research following an empirical”: Bernhard Leitner, author interview.
“The art market”; “White Cube and sound art just don’t work”: Ibid.
“We, O+A, listen to everything”; “hallelujah” moment: O+A (2009), 63.
“jaw-droppingly profound”: Ibid, 64.
was completely transformed: Ibid.
“We were a big hit”: Sam Auinger, author interview, September 4, 2011.
“how music changes have a lot”: Ibid.
“besides the most famous Mr. Bach”: Ibid.
“Morton Feldman”; “could organize time in a way”: Ibid.
“everything perfect, not one note too much”: Ibid.
the “church becomes a sound box”: Ibid.
“amazing”; “unbelievably distorted barrage”; “brain and the precondition”: Ibid.
“to go deeper into sound”: Ibid.
sonic commons: O+A (2009), 67.
“unite people to listen”: Sam Auinger, author interview.
“Is it possible to hear Bonn’s history”: Ibid.
“Spaces are reanimated through the energy of sound”: Ibid.
“personal perceptions and struggle with form”; “time and quality of research”: Ibid.
“knows where to begin”: Ibid.
“Completely uninspiring”; they should be able to arrange the room: Ibid.
“It’s a question of aesthetics”: Ibid.
“We can close our eyes”: David Toop, author interview, July 13, 2012.
“three most influential British”: Lamb (2012).
“catastrophic”; “desire to cross boundaries”; Music turned out to be “the right”: David Toop, author interview.
“But actually it was the flute”: Ibid.
“any device can makes sound”: Ibid.
“In 1971, there was no such thing”: Ibid.
“no coherent language for texture”: Ibid.
“based on straight physics”: Ibid.
“to work as simply as possible”; “works with the computer and bamboo”; “a polarity of means”: Ibid.
“Working with a computer, I can create”; Ibid.
“Technology is extremely important”; “There are many wonderful examples”; “sound making”: Ibid.
“goes back to the sixties, to Stockhausen”; “in live performances”; Ibid.
“putting sounds under a microscope”: Toop (2011).
“We are all David Toop now”: Reynolds (2012).
“Toop’s writing always meant for me”: Cascella (2012).
“you’d be most likely to find on Bjork’s”: Lamb (2012).
“relentless cycle of compromises”: Gross (1997).
“Intuitional”; “Intuition is when you’re not thinking”; “I am always thinking about aesthetics”: David Toop, author interview.
“I have a split personality”: Ibid.
“The analytical faculty”: Ibid.
“methods of working have changed”: Ibid.
“I don’t use any notation in the conventional sense”: David Toop, email to the author, December 23, 2012.
“directed improvisation”: David Toop, author interview.
“today demands proof”; “what a human being can produce spontaneously”; “a tendency to apply logic”: Ibid.
Nature’s own music: Jo Thomas, author interview, September 2, 2012.
“ambient sounds such as the synchrotron machinery”: Ibid.
“I was obsessed with the ways”; “not really interested in playing tunes”; “incredible sound studios”: Ibid.
“how sound moved”: Ibid.
“any music by anyone”: Ibid.
“sees sound”; “paint and draw music”: Ibid.
malfunctions in the machinery: Ibid.
“We always thought incredibly big”; “This is a universe and this is”: Ibid.
“nice union of ideas”; “very creative when they worked with me”; “interested in an exchange”; “A work has a belief in itself”; “transfer of knowledge”: Ibid.
“Always a bit of a surprise”: Paul Prudence, author interview, September 11, 2011.
“I learned animation packages”; “tension between how much randomness”: Ibid.
“This creates an element of tension”; “I can control the amount”: Ibid.
“old conventional ideas of story”: Ibid.
“Quite belittling”: Ibid.
“a bit of a conundrum”; “Was it important to know”: Ibid.
“We are all David Toop”: Ibid.
“I don’t interact with scientists”: Ibid.
He has even lectured: Prudence (2012).
“Media art, that’s the catchall term”; “I’m not a category person”: Paul Prudence, author interview.
“Even the art/sci thing confuses me”: Ibid.
“Aesthetics is complex”; “It’s not just about new media”: Ibid.
“aesthetic sensibility”; “It’s some sort of formal way of putting together”; “It doesn’t come out of nothing”: Ibid.
“If I had all day every day”: Tod Machover, author interview, October 20, 2011.
“It ideally balanced complexity”: Machover (2012), 400.
“a virtuoso at computer manipulation of sound”; “of extroverted eclecticism”: Rothstein (1991).
“morph the cello sound”: Troxell (2011), 7–8.
“a repertoire of colors”: Machover (2005), 7.
“If you’re immune to raw awesomeness”: Troxell (2011), 3.
“Visual art is easier to grasp”: Tod Machover, author interview.
“Tod Machover is one of the strangest composers alive today”: Troxell (2011), 2–3.
“music and medicine as a sort of prescription”; “Music can tell you something”: Tod Machover, author interview.
“I love this, I love that”; “There are so many ideas”; “A new language is needed”: Ibid.
“Nothing interested me more than music”: Robert Rowe, author interview, November 30, 2012.
“an excellent way to learn”: Ibid.
“computer didn’t know what it was doing”: Ibid.
“in a very demanding environment”; “make the computer musically aware”: Ibid.
“my long-time interest”: Ibid.
“Indeed it does”; “It’s hard-core computer science”: Ibid.
“The computer is (at least in my music)”: Robert Rowe, email to the author, December 27, 2012.
“Are there fundamental rhythmic”: Robert Rowe, author interview.
The neuroscientist’s input includes: Ibid.
“But you have to start somewhere”: Ibid.
“It was a valiant attempt”; “is to reduce the distance”: Ibid. See also Wilson (2010).
“more and more people are thinking computationally”; “truly creative thinking”; Robert Rowe, author interview.
“Music is and will always remain”: Robert Rowe, NYU faculty profiles, available at: http://steinhardt.nyu.edu/profiles/faculty/robert_rowe.
“wanted to see what they are”: Tristan Perich, author interview, November 30, 2012.
“It is possible to create”: Ibid.
“With electronic sound”: Ibid.
“Just two notes oscillating”; “phasing process. Things go in and out”: Ibid.
“You can see the aesthetic”: Ibid.
“Simple stuff is the most pristinely”: Ibid.
“Electronic music seemed”: Ibid.
“There’s a difference between process”: Hallett (2009).
“with music in mind”: Tristan Perich, author interview.
Chapter 9
“It may be the best”: Tufte (1983), 40.
“landscape of data”: Mike Phillips, author interview, May 14, 2012.
A Mote it is: Hamlet, Shakespeare, Act 1, Scene 1, line 112.
“makes it a powerful”: Ibid.
“Then the computer came along”: Mike Phillips, author interview.
“heroes of mine”; “digital art today makes the mistake”: Ibid.
“I sometimes dreamed in BASIC”: Ibid.
a title he had to negotiate for fiercely: Ibid.
“in the computing department I talked art”: Ibid.
“Not conclusive”: Ibid.
“There are not enough collaborations”; “a lot of collaborations have not”: “Speed dating”; “doesn’t root properly”: Ibid.
always tried to steer clear: Ibid.
“But at a certain age”; “They engaged with it”: Ibid.
“Whenever I fly over data fields”: Ibid.
“When scientists have data”; “But not artists”: William Latham, author interview, August 7, 2012.
Books on computing codes: Todd and Latham (1992).
an extraordinarily ambitious brief: http://www.amazon.co.uk/Evolutionary-Art-Computers-Stephen-Todd/dp/012437185X/ref=sr_1_fkmr0_1?s=books&ie=UTF8&qid=1345968753&sr=1-1-fkmr0.
“mixture of art and science”: William Latham, author interview.
“apparent mismatch between”: Ibid.
“With just a simple set”: Ibid.
“brainstorming, plagiarizing the natural world”: Ibid.
“The artist became like a gardener”: Ibid.
“feel that [Mutator] provides”: Todd and Latham (1992), 105.
“the art world was never”: William Latham, author interview.
“drug-fueled raves”: Ibid.
“symmetry, elegance, and balance”; “tech-inspired art”; “They looked organic”: Ibid.
“peer disdain”; “Scientists don’t want to be seen”: Ibid.
“What I’m trying to do”; “Art is running out of track”; “then art becomes a research project”: Ibid.
“The most stimulating debates”: Ibid.
“75 percent artist, 25 percent scientist”: Ibid.
“It took three years”: Erik Guzman, author interview, December 10, 2012.
“over the hump”; “Got the whole thing done”: Ibid.
“Very few artists understand”: Ibid.
“humans reacting to spaces”; “Anyone who sets”; “he really understood weight”: Ibid.
“digital as material”: Ibid.
“What are you doing with my”: Ibid.
“big enough that people can see it”; “Beyond apps, computers, iPads”: Ibid.
“It’s like the space race”; “I wish I was sharp enough”: Ibid.
“advantage of a culture”: Ibid.
“Chelsea for signals”: Ibid.
“Most galleries go for flat paintings”; “Yeah, make this really cool thing”; Ibid.
“new aesthetic forms”: Jonas Loh, author interview, December 19, 2012.
“made programming very easy”: Ibid.
an “interesting data set that communicates”; Ibid.
“What is produced is art”: Ibid.
“new sort of angle”: Ibid.
“Absolutely!” says Loh: Ibid.
“Communicating data in an interesting”: Ibid.
“artist can only aid scientists”; “scientists find it hard”: “Artists use technologies”: Ibid.
“The border between science and art”; “Blurring the line will lead”: Ibid.
“The amount of data around these days”: Benedikt Gross, author interview, October 10, 2012.
“there were no books on computer design”: Ibid.
he and three colleagues: Gross et al. (2009).
“it would be cool to program”; “A logical next step”; “Programming to create a visual output”: Benedikt Gross, author interview.
“Visualization of data always interested me”: Ibid.
“Visual design started out producing logos”: Ibid.
“As a designer I don’t care”: Ibid.
“Programming is going to be”; “we are in a time like photography”; “no longer a programmer and an artist”; “coding style”: Ibid.
“Art raises the question”; “I think I’m somewhere in between”: Ibid.
“The diversity is huge”; “We play around with technology”: Ibid.
“I believe that computation can reproduce”: Perry (2011).
“A graphics package is like a language”: Perry (2011). The Kandinsky quote is from Kandinsky (1977), 27.
“dove right in”; “There was no before”: Scott Draves, author interview, December 14, 2012.
“at home and alone”: Ibid.
cool but “pretty exotic”; “still didn’t think of himself as an artist”: Ibid.
“creating art of out math”: Perry (2011).
“to reveal the beauty contained in them”: Draves and Draves (2010).
“Holy shit, this is art”; “This was really what I wanted to do”: Scott Draves, author interview.
“much more complicated”: Ibid.
“What is life in the abstract sense?”: Ibid.
“struggling with the definition of information”; “they kept trying to quantify”: Scott Draves, email to the author, December 14, 2012.
“a difference which makes a difference”: Bateson (1972), 459.
“It was a sign to me”: Scott Draves, email to the author, December 14, 2012.
“I want to be surprised by the computer”: Scott Draves, author interview.
“You’re right”; “pick out the best ones”: Ibid.
“I have a love relationship with technology”; “although collaborative”: Ibid.
“there’s something going on”: Ibid.
“in principle computers can think”; “the arc of history”: Ibid.
“This is really getting spooky”: Ibid.
Draves “hates science fiction in which”: Ibid.
he replies, “Both”; “Everybody wants to be cool”: Ibid.
He also recently produced a work he calls 243: See http://scottdraves.com/about.html.
“The art world doesn’t care about technology”: Scott Draves, author interview.
“don’t understand the material and can be fooled”: Scott Draves, author interview.
“Anything that’s digital is copyable”; “Barriers to acceptance are still”: Ibid.
“The electronic world has created its own”; “It’s over, we’ve won”: Scott Draves, email to the author, December 26, 2012.
“we’ll have to wait another twenty years”: Ibid.
“We have to get past irony”: Scott Draves, author interview.
“I create art with data”: Aaron Koblin, author interview, December 19, 2012.
“visually exciting while also related”: Ibid.
“I’m 50 percent artist, 50 percent nerd”: Koblin (2011).
“those systems and [wondered] how”: Aaron Koblin, author interview.
“doing artwork about live data”: Ibid.
“I was excited about visuals”: Ibid.
“didn’t meet sheeplike criteria”: Ibid.
“I try to reembody data into a context”: Ibid.
“If I find something interesting”: Ibid.
“time-based and so opens up”; “allow interfaces enabling you”; “pull out a pattern like the Russell thing”: Ibid.
“cleanly designed”; “telling a story in its form”: Ibid.
“the emotional test”: Ibid.
“is tangible [while] what scientists”: Ibid.
to “think in terms of”; “in the worlds of science and engineering”: Ibid.
“there is the communication problem”: Ibid.
“pushing technology to the limits”: Ibid.
“help esoteric scientific pursuits”; “cutting checks for those working”: Ibid.
“I have been in and out of favor”; “currently galleries have a love of relics”; “It’s more for collectors”: Ibid.
“I’ve been studying art for about”: Ibid.
“A lot of people in the ‘maker culture’ ”; “Any distinction between art and science”: Ibid.
“New terms continuously arise”: Ibid.
“I do see art as experimentation”: Aaron Koblin, email to the author, January 4, 2013.
“At Google, I think we have a healthy mix”: Ibid.
“users create short animations”: See http://www.exquisiteforest.com/concept. The image first appeared in Nature: Boyack et al. (2006).
“The image was constructed”: Paley (2010).
“Today such a representation”; My driving goal”; “how “seductive they are”; “playful meaning”: W. Bradford Paley, author interview, December 12, 2012.
“meaning or sense of the information”: Ibid.
“Photography was very formative”: Ibid.
“visually engaging”: Ibid.
“Studying the Cubists led me to wonder”: Ibid.
“Dad wouldn’t pay for an art history”: Ibid.
“Personally and emotionally, my driving goal”; “select it and draw it out of the world”: Ibid.
“the meaning from information process”: Ibid.
“The layperson could take this”: Ibid.
“I am a designer”: Ibid.
were still too many overlaps: Ibid.
It is “not meant to pull”: Ibid.
“How do you make a mark”: Ibid.
“As a curator”: Ibid.
“If I create something and someone”: Ibid.
curated by Christiane Paul at the Whitney Museum: See http://artport.whitney.org/commissions/codedoc/paley.shtml, and Mirapaul (2002).
a form of creative writing: Mirapaul (2002).
“artifacts out there in the world”: Bradford Paley, author interview.
“Neither. I’m a toolmaker”: Ibid.
Chapter 10
Artsci is “not only sexy”; “Artists are like scavengers”: Gerfried Stocker, author interview. September 3, 2012.
“Today art is an offspring”: Peter Weibel, author interview.
“The exhibition’s overarching theme”: Ouroussoff (2008).
“Artists could not afford not to be”: Ken Arnold, author interview, December 2, 2011.
“physical, visual, material aspects”: Ibid.
“one of the most exciting”: Attenborough (1994).
“Creativity, that crucial element”: Laurence Smaje, author interview, August 9, 2012.
“science was right”: Smaje (1998), 46.
“Another way was pictorial art”: Laurence Smaje, author interview.
“Why not have an exhibition?”: Ibid.
“The sensory organ of the inner”; “Because it works”: Matthew Holley, email to the author, August 28, 2012.
“a genuinely innovative exhibition”: Artists and Illustrators, September 1995.
“an extremely intelligent”: Pertusini (1995), 33.
“scientists can play an important”: Going Public (1996), 13.
“We began to wonder”: Smaje (1998), 47.
They realized that there had to be: The artists were Heather Ackroyd and Dan Harvey and the scientists were Howard Thomas and Helen Ougham.
“We wouldn’t be doing”: http://www.viewingspace.com/genetics_culture/pages_genetics_culture/gc_w02/gc_w02_ackroyd_harvey.htm.
“[Sci-Art] was an idea”: Terry Trickett, email to the author, January 21, 2012.
“Will they come?”: Clare Matterson, email to the author, November 7, 2012.
“artists grappling with big ideas”: Ken Arnold, author interview.
“to look at things”; “a mutually shared”: Ibid.
“types of artists”; “scientists interested in working”: Ibid.
“The process of science, owing to”: Ibid.
“ruined [their] career”: Ibid.
“unorthodox in career structure”: Ibid.
“Collaboration is bloody difficult”; “Never, ever, ever”: Ibid.
Arnold mentions the “myth”: Ibid.
“scientific ideas are everyone’s”; “Artistic ideas are not”: Ibid.
“halfway through”; “gift of knowledge”: Ibid.
“if both parties are clear”; “power of collaboration”; “people who serially do this”: Ibid.
“The Wellcome sits”; “In the permanent site”: Ibid.
“In two clicks we can go”: Ibid.
“the art of my generation”: Gerfried Stocker, author interview.
“a catchall for”; “encompasses everything”; “blurring distinctions”: Ibid.
“role of art”: Ibid.
“Artists can make a living”: Ibid.
because it’s so new: Ibid.
“in the nature of science–media”: Ibid.
This is just surface: Ibid.
“We put our hands behind”; at the surface; “how one should think”: Ibid.
“no one from art history”; “in between [and are] eager”: Ibid.
“new aesthetics of the future”: Ibid.
“has improved drastically”: Ibid.
They are “hybrids”: Ibid.
“a role model for art”; “is a performative museum”: Weibel and Reidel (2010), 6–7.
“Machinery, Materials, and Men”: Peter Weibel, author interview.
“Since the beginning of time”: David Edwards, author interview, August 19, 2011.
“Le Laboratoire is based”: Ibid.
“wonderful naivete”; “all is possible”; “no distinction between art”: Ibid.
“a kind of experimentation”: Ibid.
“As time has gone on”: Ibid.
“too much institutionalization”: Ibid.
“One of the challenges”; “We shouldn’t be too careful”: Ibid.
“process of artscience needs to be better”: Ibid.
“Instantly geeks up”: http://www.wired.com/reviews/2012/12/le-whaf/.
“like little kids”; “artists sometimes ask”: David Edwards, author interview.
“Science Gallery is a platform”: Michael John Gorman, author interview, December 11, 2012.
“The exhibitions are not really”: Ibid.
“got the art/science bug”: Ibid.
“For me the exciting”; “infanticize science”: Ibid.
“bringing [both artists and scientists] out”; “public can come”: Ibid.
“Wellcome likes a bit of competition”: Ibid.
“huge amount of bad stuff”: Ibid.
“Wouldn’t it be interesting”: Ibid.
acting as a “platform”: Ibid.
“We don’t sell work”: Ibid.
“In a weird”; “It’s popular, it’s sexy”: Ibid.
it’s “already happened”: Ibid.
“like amphibians”: Ibid.
“The distance between idea”: Dianne Harris, email to the author, December 20, 2011.
“to tap unseen forces”: Dianne Harris, author interview, December 19, 2011.
“tap into the unseen”: Ibid.
“But some artists just want”: Ibid.
“in a more metaphysical way”: Ibid.
“a quest for knowledge”: Tony Langford, author interview, December 19, 2011.
“less metaphysical”: Dianne Harris, author interview.
“doesn’t necessarily belong”: Ibid.
“work is experiential and performative”: Watson (2010).
“It was not just”: Robert Devcic, author interview, April 3, 2012.
“likes to be involved”: work could “generate discussion”: Ibid.
“people want to know more”: Ibid.
“public feel out of”; “People gravitate to them”: Ibid.
“to understand and assimilate”: Nicola Triscott, author interview, March 14, 2012.
“a way could be found to commission”: Ibid.
“When I began talking”: Ibid.
“lots of goodwill”: Ibid.
“Narrow?”; “Just about everything”: Ibid.
“to open people’s eyes”: Ibid.
“But I realized”: Ibid.
“finding artists by in-depth”: Ibid.
“credit where credit is due”: Ibid.
“extraordinary breakthroughs”; “really brilliant scientists”: Ibid.
“Everywhere is a hotbed”: Ibid.
Chapter 11
“throw some narrow beam”: Taylor (2002), 121.
“in a sense”: Zeki (2009).
“The scientist does not study”: Poincaré (1958), 8.
“asymmetries that are not inherent”: Einstein (1905b).
“Look into computers”: Reichardt (2008), 77.
“aesthetic fascination with forms”: Neri Oxman, author interview.
“tries to spec out”: Ibid.
“minimalism in my means”: Ernest Edmonds, author interview.
“Writing computer programs”: Ibid.
physicist and magician of light: Paul Friedlander, email to the author, September 10, 2011.
“In a time when so many”: Quoted in Parsons (1998).
“simpler is better”: Ken Perlin, author interview.
“goes along with beauty”: Rolf-Dieter Heuer, author interview.
“If it functions well”: Ibid.
“To me, form and function”; “I cannot separate”: Julian Voss-Andreae, email author interview, August 26, 2011.
“I don’t have a precise”: Rick Sayre, author interview.
“new aesthetic forms”: Jonas Loh, author interview.
“I want to give up control”: Scott Draves, author interview.
“symmetry, elegance, and balance”: William Latham, author interview.
“Is it exciting? Does it resonate?”: Aaron Koblin author interview.
“Personally and emotionally”: Bradford Paley, author interview.
“For me aesthetics starts with”; “aesthetics is a general medium”: Peter Weibel, email to the author, January 29, 2013.
“Aesthetics is to be”: Evelina Domnitch and Dmitry Gelfand, author interview.
“aesthetic emerges”; “an aesthetics of the ephemeral”: Ibid.
“Aesthetics is intuition”: David Toop, author interview.
“A work has a belief”; “transfer of knowledge”: Jo Thomas, author interview.
“Aesthetics is complex”; “It’s some sort of formal”: Paul Prudence, author interview.
“Aesthetics feeds into”: Robert Rowe, author interview.
“What else do we need to know”: Ibid.
“I let the music play me”: Bruce Wands, author interview, November 3, 2011.
“algorithms to produce”: Ibid.
“You can see their aesthetic”: Tristan Perich, author interview.
“Simple stuff is the most”; Ibid.
“strategy of seduction”: Oron Catts, author interview.
“how to do the work”: Jun Takita, author interview.
“art of painting new structures”: Apollinaire (1913), 68. See also Miller (2001), 165.
“not to capture appearances“: Ibid.
“new aesthetics of the future”: Gerfried Stocker, author interview.
Chapter 12
“Everything is possible”: Salmon (1922), 45.
“Today art is an offspring”: Peter Weibel, author interview.
“What’s the big deal?”: Ken Perlin, author interview.
“it started here”: Joichi Ito, author interview.
“motion pictures are by definition”; “There are artists right now”; “it’s already happened”: Rick Sayre, author interview.
“the border between science”: Jonas Loh, author interview.
“no longer a programmer”: Benedikt Gross, author interview.
“word is not completely out yet”; “like amphibians”: Michael John Gorman, author interview.
“the questions are so deep”; “All is teamwork”: Rolf-Dieter Heuer, author interview.
“You only have one lifetime”: Stelarc, author interview.
“like paint in a can”: Panel discussion at Art & Science: Merging Art & Science to Make a Revolutionary New Art Movement, July 8, 2011, GV Art, London.
“culture” goes well beyond: Evelina Domnitch and Dmitry Gelfand, author interview.
“There’s something exciting about”: Ken Arnold, author interview.
“At the micro level”; “In the intellectual sphere”; “disagreements can be”: Ibid.
“Sound art has been”; “they’ve begun to get”: Gopnik (2013).