Abe, Shuya, 265
Abstract art, 32
Adeane, Robert, 192
Adorno, Theodor W., 163
Aerospace industry, 191, 262–263
AFL-CIO (American Federation of Labor and Congress of Industrial Organizations), 146
Agostini, Philippe, 205
Ai-Da, 302–303
Albers, Josef, 63
Aldrin, Edwin “Buzz,” 202
Alfvén, Hannes, 82
Alloway, Lawrence, 92, 148–149, 250
Amalgamated Lithographers of America, 149
Amaya, Mario, 153
American Foundation on Automation and Unemployment, 140–141, 146
“American Sculpture of the Sixties” (exhibition), 193
American Society for Engineering Education, 63
Antin, David, 253
Appropriate technology movement, 151
Arduino, 297–298
Argon lasers, 218
Armory (69th Regiment, New York), 109–110
Armstrong, Neil, 202
Arnold, Matthew, 56
ARP Instruments, 267
Art
abstract, 32
audio-kinetic, 41
auto-destructive, 260
avant-garde, 100
Big Art, 214–215, 227, 246, 295
computer-generated, 141–143, 176, 265, 302
and computer industry, 283
and corporate R&D, 11
digital/new media, 10, 14, 33, 264
and economic growth, 289
electro-kinetic, 8–9, 33, 35, 50, 220
Art (cont.)
and engineering education, 54, 289
history of, 14
and industry, 4–5, 182–183, 186–187
and innovation, 282
monumental, 49
and science education, 14, 139, 288
social diffusion of, 6
support for, 99–100
and technology, 4–6, 17, 76, 135–136, 202, 279–280, 284, 303
video, 264–265
visual, 63–65
“Art and Science—Will There Be a Difference?” (panel), 201
“Art and Technology” (exhibition), 252–259
Art and Technology, Inc., 267
Art-and-technology movement, 6–10, 12–13, 136, 150. See also Experiments in Art and Technology
aesthetic appraisals of, 259–260
areas of activity, 155
attitudes to, 195
attraction of, 198
critiques of, 248, 260–261, 299–300
decline of, 187
and engineers, 262
and function of technology, 12, 292
geography of, 300–301
as global community, 155
goals, 65
interest in, 154
and militarism, 261–262
new directions, 263–264
and politics, 260–261
rationale, 301–302
and science education, 139
waves of, 248–249, 273–276, 284–286, 290–291, 295, 302–303
Art-as-systems, 172
Art construit, 34
“Arte programmata” (exhibition), 51
“Art in Cinema” (film series), 83
“Art in Motion” (exhibition), 90–91
Artist-in-residence programs, 299
Artist Placement Group, 192–193
Artists
attitudes toward, 289–291
caricature of, 53–54
and critical attention, 12
and engineers, 2–7, 92, 98–100, 105–106, 136–137, 150, 196–197, 301–302
hybrid engineer-artists, 284
and political neutrality, 261
sensibility and identity of, 97–99, 172
and technology, 292
“Art 1963: A New Vocabulary” (exhibition), 92
Artscience, 16
Art Workers Coalition, 248
Art x Science x LA, 303
Ascent of Man, The (television series), 158
Aspen Ideas Festival, 289
AT&T, 85–86, 107–108, 111, 118
Audio-kinetic art, 41
Auto-destructive art, 260
Automated typesetting, 140
Automation, 140–141
Automation House, 141, 143, 146, 248
Automotive Marine Products, 124
Avant-garde art, 100
Baez, Joan, 47
Baker, Ruth, 201
Balloons, high-performance, 233
Bannard, Darby, 172
Barnes, Clive, 129–130
Barr, Alfred, 144
Barrett, Syd, 52
Bauhaus, 4–5
Becker, Howard, 13
Bell, Daniel, 11
Bell, Larry, 191
Bell Telephone Laboratories (Bell Labs), 33, 84–85, 104. See also Nokia Bell Labs
and computer-generated art, 141–142
and E.A.T., 299
and 9 Evenings, 110–111
and Pepsi Pavilion, 232–233
and telepresence, 118
Bell system, 121
Bennett, Drew, 299
Bense, Max, 175
Benthall, Jonathan, 262
Beranek, Leo L., 167
Berge, Claude, 158
Bertalanffy, Ludwig von, 170
Bethe, Hans, 169
Big Art, 214–215, 227, 246, 295
Big Bang radiation, 86
Big Bang Theory, The (television show), 291
Big Science, 213–214, 227, 231, 240, 244
Biorn, Per, 118, 120, 134, 239, 267
Bloch, Erich, 275
Bochner, Mel, 201
Bohm, David, 163
Book of Kells, 189
Boston Harbor light monument, 173–174
Brautigan, Richard, 174–175
Breer, Robert, 88, 91, 206–211, 231
Floats, 206
“Bridging STEM to STEAM” (workshop), 288
Briggs, Asa, 59
Brogan, Jack, 192
Brown, John Seely, 282
Brown, Trisha, 267
Astral Convertible (with Rauschenberg), 267
Burchard, John E., 64
Burnham, Jack, 170–174, 180, 206, 214, 250, 252–253, 261
Beyond Modern Sculpture, 170, 172
“System Esthetics,” 170
Burning Man festival, 283
Byars, James Lee, 194
Cage, John, 96–97, 104, 108–109, 115, 118, 124, 141, 144
Variations V, 97
Variations VII, 118–120
The Four Seasons, 91
California Institute of Technology (Caltech), 21, 25, 185–186, 199
Carpenter Center (Harvard), 168
Centerbeam (CAVS project), 276
Center for Advanced Visual Studies. See Massachusetts Institute of Technology
Center for Computer Research in Music and Acoustics (Stanford), 283
Center for Media Study (SUNY Buffalo), 264
Center for Music Experiment (UC San Diego), 264
Center for Research in Computing and the Arts (UC San Diego), 264
Chandler, John, 220
Chandler, Marilyn B. “Missy,” 193, 226
Chandler, Otis, 193
Chesterton, G. K., 64
Children and Communication project, 269
Vehicle, 117–118
Chowning, John, 283
Christie’s, 302
Chromola, 267
Chrysler Airflow, 206
Citizenfour (documentary), 293
Coler, Myron, 163
Collaborations, artist-engineer, 6–8, 13, 51, 90
decline in, 263
exclusion of women, 259
products of, 302
“Collaborative Projects between Art and Engineering Students” (panel), 148–149
Color organ, 267
Communities, technological, 5–6
Computer-generated art, 141–143, 176, 265, 302
Computer-generated music, 86, 176
“Computer Generated Pictures” (exhibition), 142–143
Computers, digital, 141–142, 172–173, 175–176, 260, 283
Conant, James, 61–62
Concrete poetry, 51
Conrad, Tony, 264
Constructivism, 4
Contemporary Jewish Museum, San Francisco, 297–298
Coons, Steven, 276
Copley, Alfred L., 158, 161–162
Cotton, Paul, 253
Council for Conscious Existence, 247–248
Cousteau, Jacques, 83
Creativity, 75
Crichton, Michael, 281
Cronkite, Walter, 70
Cross, Lowell, 236
Cultural revolution, 147–151
Cunningham, Merce, 96–97
“Cybernetic Moon Landing Celebration,” 201–202
Cybernetics, 49, 155, 171, 174–175
“Cybernetic Serendipity: The Computer and the Arts” (exhibition), 175–178
“Cyclotron as Seen by . . . , The” (cartoon series), 227
Darcourt, Liljan, 23–27
Davis, Channa, 194
Davis, Douglas M., 149–150
Davis, Gene, 98
Death of the Red Planet (film), 272
Defense Advanced Research Projects Agency (DARPA), 277
de Ménil, Dominique and John, 107
Denes, Agnes, 252
Denney, Alice, 93
Detroit Industry Murals, 4
Didion, Joan, 249
Digital computers, 141–142, 172–173, 175–176, 260, 283
Digital technology, 274
Draper, Charles Stark, 171
Dryer, Ivan, 271–273
Duchamp, Marcel, 5, 34, 87, 91–92, 109, 139, 153, 159, 188
The Bride Stripped Bare by Her Bachelors, Even, 5
In Advance of the Broken Arm, 139
Nude Descending a Staircase, 109
Duckworth, Marjorie, 28
Dudley, Homer, 117
Dupuy, Jean, 182
Eames, Charles, 169
“Earthrise” photograph, 201
Eastman Kodak, 204
Eco, Umberto, 51
Education, 62. See also Engineering education
funding for, 286
humanities/liberal arts, 65, 287, 289–290
media arts and technology, 284
STEM, 286–288
visual arts, 63–65
Einstein, Albert, 290
Electra Lumidyne International, 41
Electrical engineers, 60–62, 68–69
Electroencephalograph (EEG), 112
Electro-kinetic art, 220
Electro-kinetic paintings, 8–9, 35, 50
Electro-paintings, 33
Emery, Suzie, 303
Engineer, The (Time-Life book), 66–67, 72
Engineering education, 54–55, 60
changes in, 274–275
and economic competitiveness, 275
enrollments surge, 288
and hiring decline, 263
and humanities, 62–64
STEAM, 288–292
STEM, 286–288
and visual arts, 63–65
Engineers
and art-and-technology movement, 262
and artists, 2–7, 92, 98–100, 105–106, 136–137, 150, 196–197, 301–302
attitudes to, 58, 60, 63, 67, 71, 75, 291
caricature of, 53–54
and creativity, 75
as E.A.T. members, 136–137, 144, 148
hybrid engineer-artists, 284
as “invisible technicians,” 12–13
knowledge obsolescence, 68–69
and military systems, 70
and modern technology, 11
recruiting ads for, 73–75
and scientists, 16, 59–60, 70–71
sensibility of, 67–68
as silent actors, 15
and teamwork, 71–73
and technicians, 71
and two cultures problem, 61
university-based, 71
women as, 69–70
Epstein, Jeffrey, 299–300
Eversley, Frederick, 194
Experiments in Art and Technology (E.A.T.), 9, 15, 80, 131–151, 281, 296
and aesthetic judgments, 87, 139
and Automation House, 141, 143, 146, 248
coming-out party, 144–147
competition for collaborative works, 180–182
and cultural revolution, 147–151
E.A.T. (Nokia), 299
engineers as members, 136–137, 144, 148
funding, 136, 143–144, 150, 155
and IBM, 143
and industry, 141, 143–147, 183
and LACMA Art and Technology Program, 196–197
media coverage, 149–150
pairing database, 150
and Pepsi Pavilion, 186–187, 203–212, 214, 227–246, 260–261
and political statements, 134
and printers’ union, 149
Projects Outside Art, 267–269
and social change, 150–151
technology lectures, 149
as transducer, 135
“Explorations” (exhibition), 250
Expo ’58, 205
Expo ’70, 197, 229, 246. See also Pepsi Pavilion
US Pavilion, 197–198, 203–205, 215, 218–219, 225–226
Facebook, 299
Fahlström, Öyvind, 82, 104, 107, 109–110, 120–121
Kisses Sweeter than Wine, 120
Fantasia (film), 49
FBI (Federal Bureau of Investigation), 19, 21, 23, 27–29
Ferus Gallery, 188
Feynman, Richard, 186, 193–194, 197, 220, 222, 259
Filipowski, Richard, 168
Finish Fetish, 188–189
Fischinger, Oskar, 49
Five Choreographers in Three Dance Concerts, 104
Flavin, Dan, 261
Florman, Samuel, 66
Flynn, Ralph, 134
Ford, Gerald, 262
Ford Foundation, 168
Forkner, John, 137–138, 215, 220–225, 243–244, 266–267, 297
Forti, Simone, 105, 110, 112, 115, 124, 127, 146
Foster, Richard, 83
Freeman, John Craig, 297
Freeman, Stanton, 210
Frequency modulation synthesis, 283
Friedlander, Gordon D., 259
Fuller, Buckminster, 108, 167, 169, 205
Funding
and E.A.T., 136, 143–144, 150, 155
for education, 286
government and industry, 280
university research, 275
Futurism, 4
Gaberbocchus Press, 175
Gadney, Reginald, 51–52
Galbraith, John Kenneth, 99, 170, 182
Garmire, Elsa M., 198–203, 207, 232, 234, 271–272
“Ruminations of an Engineer,” 202
General Dynamics, 70
General Electric, 41
General Telephone and Electronics, 73
Gerrard, John, 296
Getty Foundation, 303
Gibson, James J., 164
Gig economy, 287
Ginsberg, Allen, 127
Glaser, Donald, 213
Glenn, John, 140
Goddard, Robert, 20
Gombrich, Ernst, 164
Great Northeast Blackout, 77–78
Great Recession, 286–288
Greenberg, Clement, 189
Greenberg, Daniel, 75
Griffith Observatory, 271
Grooms, Red, 243
Gropius, Walter, 4–5
Groupe de Recherche d’Art Visuel (GRAV), 50–51
Gruen, John, 122
Gruppo T, 51
Guggenheim, Daniel, 21
Guggenheim Museum (New York), 25
Guth, Hella, 48
Gutman, Walter K., 107, 132, 144
Haacke, Hans, 137, 173, 261, 293
Haldemann, Paul, 216
Haley, Andrew, 40–41
Happenings, 78
Harrison, Newton, 215
Harvard University, 168
Grass Field, 111–114
Hay, Deborah, 104–105, 120, 126, 142, 144
Solo, 120
Heilos, Larry, 115
Heterodyne, 80
Hewlett, William, 216
Hewlett-Packard, 69, 216–218, 220
High-energy particle accelerator, 227
Hinkley, Caroline, 201–202
Hirsch, Peter, 117
Hodges, Harold, 88, 94–96, 105, 121
Hughes, Allen, 97
Hultén, Pontus, 82, 88, 90–91, 123, 178–182, 211, 269
Humanists, 2–3
and STEAM, 291–292
Humanities
Huxley, Thomas H., 56
“Hybrid practices,” 3
Hyman, Harris, 182
Industry
and art, 4–5, 182–183, 186–187
and university research funding, 275
Inness, George, 4
Innovation, 282
Institute for Contemporary Arts (London), 175
Institute for Electrical and Electronics Engineers (IEEE), 136
Instrumentation Laboratory, 171
International Academy of Astronautics, 40
“International Exhibition of Modern Art,” 109
International Sculpture Symposium, 192
Internet
advent of, 274
surveillance, 293
Interval Research, 282–284
Ito, Joi, 299–300
“It’s a Small World” (exposition), 205
Japan, 275
Javits, Marian and Jacob, 143–144, 146–147, 193
Jeffries, Carson, 236
Jet-assisted takeoff (JATO) rocket engines, 25
Jobs, Steve, 288
Field Painting, 96
Zone, 96
Johnson, Lyndon B., 169
Johnston, Jill, 130–131
Judson Dance Theatre, 96
Julesz, Béla, 142
Kanarek, Mimi, 114
Kaprow, Allan, 78, 98–100, 162, 212
Kelly, Kevin, 283
Kendall, Donald M., 244
Kennedy, Robert F., 153
Kepes, Gyorgy, 9, 37, 63–64, 154–155, 158, 163, 165–174, 178, 201, 220, 247, 249–250, 276–277
The New Landscape in Art and Science, 64
Kheel, Theodore W., 140–141, 144, 146, 180, 245
Back Seat Dodge ’38, 191
The Friendly Grey Computer, 4
King, Martin Luther, Jr., 153
Kissinger, Henry, 277
Klein, Yves, 159
Klüver, Johan Wilhelm, 81
Klüver, Johan Wilhelm “Billy,” 16, 76, 78–100, 155, 169, 178, 180, 182, 198, 261
“The Artist and Industry” (lecture), 182–183
on artist-engineer collaborations, 125, 146, 197
as art promoter, 90–93
death, 269–270
and Duchamp, 92
and E.A.T., 9, 15, 80, 87, 131–151, 193, 196, 203, 206–212, 214, 248, 267–269, 281
Klüver, Johan Wilhelm “Billy” (cont.)
education, 81–83
Engineering in Art book proposal, 103–104
family and early life, 81
fundraising efforts, 107
“The Garden Party,” 90
and Garmire, 201
“The Great Northeastern Power Failure,” 78
as heterodyne, 80
and Homage to New York, 88–90, 93–94, 292
“Interface: Artist/Engineer,” 138–139
Kiki’s Paris (with Martin), 269
and Malina, 159–163
The Motion of Electrons in Electric and Magnetic Fields, 82
and 9 Evenings: Theatre and Engineering, 101–103, 110–127
in Paris, 82–83
and Pepsi Pavilion, 227, 229–230, 232–246, 260
and Rainer, 96
and Rauschenberg, 91–92, 94–96, 125–126, 133, 136, 140–141, 143–144, 147, 149, 180, 209, 267, 301
on social change, 151
Stockholm festival, 104, 107–109
and two cultures problem, 87
Knowlton, Kenneth C., 142, 144, 149
Koons, Jeff, 14
Rabbit, 14
Kosugi, Takehisa, 243
Kowalski, Piotr, 192
Kozloff, Max, 261
Krebs, Rockne, 207, 215–220, 244, 253
Day Passage, 216
The Green Hypotenuse, 220
Sculpture Minus Object, 216
Kron, Joan, 91
“Kunst-Licht-Kunst” (exhibition), 52
Kusic, 41
Labels, 16
Langevin, James, 289
Lasergrams, 203
Laserium, 272–273
Lasers, 199, 207–208, 215–218, 271–273
Latham, John, 192
Lazier, John, 218
Leavis, Frank Raymond (F. R.), 58
Lebel, Robert, 92
Leonardo, 9, 20, 52, 154–165, 214, 265–266, 300
Leonardo Art Science Evening Rendezvous (LASER), 300
Leslie, Alfred, 84
Lettvin, Jerome, 169
Lévi-Strauss, Claude, 15
Lewis, Warren K., 63
Lichtenstein, Roy, 188, 196, 215, 302
Licklider, Joseph C. R., 172
Life Science Library, 66
Light and Space artists, 188, 191–192
Lincoln, Abraham, 290
Lincoln Laboratory, 171–172
Loeb, Clare, 219–220
Los Angeles, 187–192
Los Angeles Council of Women Artists (LACWA), 259
Los Angeles County Museum of Art (LACMA), 186–188, 194–195, 259
Art + Technology Lab, 295–297
Art and Technology Program, 186–187, 192–198, 215, 226, 246, 249, 253–257, 261, 296–297
Lufkin, James, 61
Lumidyne system, 35–39
“Lumière et Mouvement” (exhibition), 147–148
Lundborg, Greta, 81
Lustig, Alvin, 27
Lyrical abstraction, 30–31
“Machine Art” (exhibition), 178
“Machine as Seen at the End of the Mechanical Age, The” (exhibition), 178–183, 211
Make magazine, 287
Maker Media, 287
Malina, Frank J., 8–9, 16, 19–52, 54, 82, 148, 153, 155, 175, 186, 188, 248
on art and creativity, 23, 25–27, 30, 32, 37–38, 51, 160
Away from the Earth, 52
“Can an Economic System Based on the Profit Motive Be Ethical?,” 22
Changing Times, 39
childhood and education, 21–22
commercial interests, 41
as Communist Party member, 22–23
and Darcourt, 23–27
death, 265
Deep Shadows, 32
and Duckworth, 28
as editor, 162
electro-/electro-kinetic paintings, 33, 35
Entrechats II, 176
experimentation, 33
first solo show, 31
interests, 23
Jazz, 35
and Kepes, 165–167
and Klüver, 159–163
Leonardo, 9, 20, 52, 154–165, 214, 265–266, 300
and Lustig, 27
and Maxwell, 156–158, 161, 164
and Michotte, 41–43
moiré works, 31–33
and “Le Mouvement,” 34–35
Moving Field of Lines, 32
in New York, 40
patent applications, 39–40
reflectodyne system, 41
on science and art, 160–161
on scientific research, 46
and Snow, 55–56
social life, 47–48
string and wire art, 31
US exhibitions, 52
Marinetti, Filippo Tommaso, 4
Martel, Ralph, 182
Martin, Anthony, 236
Kiki’s Paris (with Klüver), 269
Masey, Jack, 197–198, 203–204, 208, 226
Massachusetts Institute of Technology (MIT), 63–64, 138, 276–282. See also Lincoln Laboratory
Architecture Machine Group, 277, 280
Center for Advanced Visual Studies (CAVS), 9, 154–155, 165–174, 178, 247–248, 276, 278–281
government and industry funding, 280
Media Laboratory, 248, 277–281, 284, 299–300
Mathews, Max, 86, 104, 131–132, 149, 267
Max’s Kansas City, 207–208
Maxwell, Robert, 156–158, 161, 164, 265–266
McCaw, Marion, 39
McDermott, David, 232
McGee, Jim, 105
McLaren, Norman, 48
McLuhan, Marshall, 264
Media technologies, 279–280, 284
Mee, Tom, 230
Mefferd, Boyd, 215
Mellis, David, 297–299
Metzger, Gustav, 260
Michotte, Albert, 41–43
Militarism, 261–262
MIT. See Massachusetts Institute of Technology
Mitchell, Charlie, 218
Moiré effects, 31
Monumental art, 49
Moog, Robert, 97
Morris, Robert, 146–147
Morse, Joan “Tiger,” 126
Motorola, 73
“Mouvement, Le” (exhibition), 34, 82, 206
Movie map, 277
Mumma, Gordon, 239
Murdoch, Iris, 163
Museum of Modern Art (MoMA), 178, 302
Musk, Elon, 291
Myers, Forrest “Frosty,” 207–211, 228, 231
Myra Breckinridge (film), 232
Nakaya, Ukichiro, 229
NASA (National Aeronautics and Space Administration), 25, 201
Jet Propulsion Laboratory, 25
National Academy of Engineering, 70
National Academy of Sciences, 290
National Air and Space Museum, 20
National Defense Education Act, 59
National Endowment for the Arts, 99, 150
National Science Foundation, 289
Needham, Joseph, 159
Negroponte, John, 277
Negroponte, Nicholas, 248, 251–252, 274, 276–282, 300
Network traffic, 1
Newark riots (1967), 151
“New Art” (exhibition), 198, 226
New Combine, 150
“New Experiments in Art and Technology” (exhibition), 297–299
New media art, 10, 14, 33, 264
“New Painting of Common Objects” (exhibition), 188
New York art scene, 30
9 Evenings: Theatre and Engineering, 101–103, 110–127
and Rauschenberg, 114–115, 125–126, 131
reactions to, 129–132
technical capital, 133
10th evening, 132–133
Theatre Electronic Environmental Modulator (TEEM), 121–123
Nokia Bell Labs, 299
Noll, A. Michael, 86, 141–142, 259
Nonfigurative art, 32
Nordenström, Hans, 91
Nove Tendencije movement, 155
Nuclear technology, 83
O’Doherty, Brian, 133, 160–161
O’Grady, Gerald, 264
Oldenburg, Claes, 92, 195, 201, 206, 215, 226, 253
Operation Igloo White, 114–115
Oppenheimer, Frank, 159
Oulipo, 158
Owens, Larry, 239
Oxman, Neri, 300
Packard, David, 216
Paglen, Trevor, 292–293
Autonomy Cube, 293
Orbital Reflector, 293–295
Untitled (Reaper Drone), 292–293
Paik, Nam June, 87, 97, 154, 265, 274, 297
Palo Alto Research Center (PARC), 282
Parker, Charlie, 116
Park Place group, 207
Parsons, Jack, 25
Particle accelerator, 227
Pasadena Art Museum, 188
Passive Geodetic Earth Orbiting Satellite (PAGEOS), 233
Patch boards, 124
Paxton, Steve, 104–105, 114, 126, 202
Physical Things, 126
Pearce, John, 208–209, 228, 233–234
Pei, I. M., 248
Pelton, Dale, 271
Pentagon Papers, 261
Penzias, Arno Allan, 86
Pepsi Pavilion (Expo ’70), 225
and Bell Labs, 232–233
and E.A.T., 186–187, 203–212, 214, 227–246, 260–261
fog sculpture, 229–231
mirror project, 231–235
Philco Aeronutronic, 138
Phillips, Ardison, 232
Phillips company, 205–206
Photocells, 97
Photocopying, 265
Photography, 3–4
Physicists, 60
Pierce, John R., 85–87, 90, 104–105, 108, 111, 118, 136, 144, 146, 267
Pink Floyd, 52
Poincaré, Henri, 23
Pollock, Jackson, 98
Pop culture, 283
Popper, Frank G., 48, 50, 52, 147
Portapak video cameras, 264
Pottasch, Alan, 205, 211, 234, 236, 243–245
Potter, Ralph K., 33
Powers, John G., 143–144
Preusser, Robert, 64
Prin, Alice, 269
Printing shops, 149
Project Echo, 232–233
Pseudoscopic imaging, 222
Pulsa, 173
Radio, 122
Rainer, Yvonne, 96, 104, 120, 261
At My Body’s House, 96
Carriage Discreteness, 120
Rauschenberg, Robert, 8, 80, 88, 101, 104–105, 107–108, 114–115, 131, 159, 169, 196, 201, 253, 260, 267
Astral Convertible (with Brown), 267
Broadcast, 94
and E.A.T., 133–136, 140–144, 147, 149, 196, 211–212, 281, 296
and Klüver, 91–96, 125–126, 133–136, 140–144, 147, 149, 180, 209, 301
Monogram, 91
Museum of Modern Art retrospective, 302
and 9 Evenings: Theatre and Engineering, 114–115, 125–126, 131
Open Score, 114–115
Soundings, 211
Rawson, Eric, 210
Real Great Society, 151
Reflectodyne system, 41
Reichardt, Jasia, 175–178
Reinhardt, Adolph, 99
“Responsive Eye, The” (exhibition), 52, 177
Retroreflectors, 222
Rhode Island School of Design, 288
Riley, Bridget, 142
Rivera, Diego, 4
Robinson, Leonard “Robby,” 106, 110, 112, 126–127, 130, 134
Rockefeller, John D., Sr., 141
Rockefeller Brothers Fund, 150
Rockefeller Foundation, 107
Rocket propulsion, 21–22, 24–25
Rose, Barbara, 94, 100, 189, 225, 236
F-111, 70
Ruby lasers, 199
Ruder and Finn, 125–126
Ruff, Bruce, 218
Rüst, Annina, 296–297
A Piece of the Pie Chart, 296
Sabol, Audrey, 91
Sampling, 15–16
São Paulo Biennial, 249–250
Sarton, George, 28
Satellites, 294
Schapiro, Meyer, 189
Schjeldahl, G. T., 233
Schjeldahl, G. T., Company, 233–234
Schjeldahl, Peter, 233
Schneemann, Carolee, 133–135, 146, 261
Meat Joy, 133–134
Snows, 134–135
Schneider, Herbert A., 102, 104, 106, 111–112, 115, 117, 122–124, 131, 133
Schöffer, Nicolas, 49–50, 148, 176
Cybernetic Tower, 49–50
Schweber, Seymour, 107, 125, 144
Science. See also Engineering education; Engineers
art in science education, 14, 139, 288
Big Science, 213–214, 227, 231, 240, 244
history of, 14
and technology, 16
Scientific humanism, 28
and engineers, 16, 59–60, 70–71
and funding sources, 252
Scott, Gail, 225
Scriabin, Alexander, 266
Scull, Robert and Ethel, 107
Seawright, James, 303
Segal, George, 92
Serra, Richard, 260
Shannon, Claude, 173
Shapin, Steven, 12
Sheeler, Charles, 4
Sheridan, Sonia, 265
Shimazu, Takako, 244
Signal strength, 15
Silicon Valley, 282
Skorton, David J., 290
Smith, Barbara T., 199–200, 202
Coffins, 199
Smith, Cyril C., 167
Spiral Jetty, 295
Snow, Charles Percy (C. P.), 2–3, 17, 47–48, 54–62, 66, 75–76, 87, 159, 163, 168, 283, 290
American response to, 59–61
and Leavis, 58
and Malina, 55–56
“Strangers and Brothers” series, 56
The Two Cultures and the Scientific Revolution, 55, 59, 273
Snowden, Edward, 293
Social practice art, 269
“Software” (exhibition), 250–252
Solanas, Valerie, 153
Solomon, Alan, 93
“Some New Beginnings” (exhibition), 182
Soulages, Pierre, 30
Soviet Union (Union of Soviet Socialist Republics), 59
SpaceX, 296
Spatiodynamics, 49
Spruch, Grace Marmor, 169–170
Sputnik, 59
Stanford University, 283
Stanton, Frank, 147–148
Static, 16
Stauffacher, Frank, 83
STEM education, 286–288
STEM to STEAM/SEAD, 13, 288–292
Stenlund, Sigvard, 233–234
Stereoscope, 222
Stern, Gerd, 207
Steveni, Barbara, 192
Stewart, Martha, 281
Stockholm, proposed festival for art and technology, 104, 107–109
Strong, Margaret Rockefeller, 141
Students for a Democratic Society, 140
Studio International, 99
Superconducting Super Collider, 245–246
Surveillance, internet, 293
Sutherland, Ivan, 169
Swedish cinema, 81–82
Systems thinking, 121–122
Takis, Vassilakis, 159
Tatlin, Vladimir, 4
Monument to the Third International, 4
Taylor, Simon Watson, 161
Teamwork, 71–72
Technicians, 71
Technological communities, 5–6
Technology
and art, 4–6, 17, 76, 135–136, 202, 279–280, 284, 303
and art-and-technology movement, 12, 292
attitudes to, 12, 83–84, 139–140, 187, 291
and Cold War, 54
culture of, 2–3
digital, 274
failure of, 148
media, 279–280
and politics, 260
and science, 16
and social change, 151
as subject matter, 4
Teledyne, 253
Telepresence, 118–120
Television, 264–265
Theatre Electronic Environmental Modulator (TEEM), 121–123
Themerson, Stefan and Franciszka, 175
Thermal interrupters, 35
Third culture, 283
Thomas, David, 205–207, 210–211
Tinguely, Jean, 34, 37, 82, 87–90, 93–94, 101, 118, 148, 159, 176, 182, 292
Homage to New York, 87–90, 93–94, 118, 292
Toche, Jean, 252
Tomkins, Calvin, 101, 140, 208, 225, 233, 243–245, 265
Townes, Charles H., 199
Traducers, 131
Tsai, Wen-Ying, 176–178, 180, 250
Cybernetic Sculpture, 177–178
Random Field, 177
Tsutsunaka Plastic Industry Company, 232
Tuchman, Maurice, 9, 186–187, 189–198, 212, 214–216, 222–223, 225–226, 249, 252–262, 296–297
Tudor, David, 104, 109, 115, 117, 122, 130, 207, 236, 239–240
Bandoneon! (A Combine), 115, 126, 130
Turner, Frank T., 180
Roden Crater, 295
Two cultures, 3, 55–58, 66, 75–76, 87, 168, 290. See also Snow, Charles Percy
Tympanum luminorum, 266
Uber, 287
United Nations Educational, Scientific and Cultural Organization (UNESCO), 20, 28
United States Information Agency (USIA), 197, 226
“Unsecured Futures” (exhibition), 302–303
USCO, 207
Utopianism, 7, 10, 87, 152, 174
VanDerBeek, Stan, 97, 149, 169
Van Doren, Mark, 61
Varèse, Edgard, 205
Poème électronique, 205
Vasarely, Victor, 34
Vasulka, Steina and Woody, 264
Verne, Jules, 21
Video art, 264–265
Vietnam War, 261–262
Villmer, Jean, 35
Visual drum, 266
Visual music, 49
Vochrome, 117
von Braun, Wernher, 20
von Kármán, Theodore, 21, 23–25, 40
Voom Voom, 50
WAC Corporal rocket, 25
Waddington, Conrad, 167
Waldhauer, Fred D., 115–117, 131, 133, 143, 207, 232, 239, 267
Walt Disney Corporation, 205
Warhol, Andy, 93, 96, 99, 127, 144, 153, 188, 207, 215, 281, 302
Watson, Thomas, Jr., 143
Webb, James, 235
Weber, Ernst, 68
Weibel, Peter, 264
Weinberg, Alvin, 213–214
Wellcome Trust, 289
Wells Fargo, 287
Wheatstone, Charles, 222
Whinnery, John R., 83
Whitehill, Joseph, 69
Whitman, Robert, 105, 118, 123, 131, 138, 144, 201, 207–208, 211, 215, 220–224, 232, 244, 267, 269
Pond, 210
Two Holes of Water, 123
Wiesner, Jerome, 277
Wiggen, Knut, 104
Wilfred, Thomas, 5, 8, 38–41, 46, 48–49, 162
Aspiration, Opus 145, 39
Clavilux, 5
Vertical Sequence II, Opus 137, 39
Williams, Guy, 195
Wilson, J. Tuzo, 59
Wilson, Joseph, C., 144
Wilson, Robert Woodrow, 86, 169
Wines, James, 100
Wodiczko, Krzysztof, 281
Women
as artists, 265
as engineers, 69–70
exclusion of, 259
Workplace automation, 140
Xenakis, Iannis, 205
Yamaha Corporation, 283
Young, Lucy J. and Niels O., 180
Fakir in 3/4 Time, 180
Youngblood, Gene, 234
ZERO, 51