Event 1: Cybernetics and Art

Cybernetics and Art

The 1st event I attended was the “COLOR LIGHT MOTION” event, featuring Ryszard Kluszczyński.

Ryszard W. Kluszczynski is a professor of the Academy of Fine Arts at the University of Lodz, Poland, and their Chair of the Department of New Media and Digital Culture. Throughout the event Kluszczyński discusses the cybernetic and digital media community, as well as some valid concerns about art in cyberculture. 

My experience at the event was extremely insightful! For my project, since I have considered using the topic of AI technology and its impact on artists, the discussion of cybernetic issues provided me with the limitations as well as strengths of using cybernetic systems. 


Cybernetics is the understanding of how things and systems communicate and are controlled. In the context of cybernetics within art, many artists are inspired by the aesthetic of cybernetic data and theories, while others use cybernetic systems to create art such as AI algorithms.


Reichardt, Jasia. “Cybernetic Serendipity” 1968, socks-studio.com/2011/12/08/cybernetic-serendipity-1968-the-computer-and-the-arts/


Although the use of cyberculture in art is generally seen as a revolutionary advancement for artists, the limitations are important to consider. For example, using artificial intelligence in artistic fields has ethical concerns as well as technical limitations. As AI technology is not perfect, the opportunity for copyright and privacy violations of other artists when using AI algorithms for creative purposes are common. Additionally, an artist, who is typically not trained in programming or computer science, may struggle integrating cybernetic systems into their work, limiting the accessibility of these systems.


Furthermore, Kluszczyński highlights Wen-Ying Tsai, an american artist and techno-scientist, who was a forerunner in cybernetic art. “Scientific innovations when properly oriented to serve humanity… can be an effective means of delivering us from our present environmental chaos into a world of dynamic ecological equilibrium-a new promised land for all richness in lives and vitalities” (Wen-Ying Tsai, 1993) Tsai stresses the importance of scientific innovations within cyberculture to be fixed to be accessible and to efficiently serve specific humanity needs.


In conclusion, Ryszard Kluszczyński’s event provided valuable insights into where cybernetics and art work together.


Sources
Davis, Douglas. “The Work of Art in the Age of Digital Reproduction (An Evolving Thesis: 1991-1995).” Leonardo, vol. 28, no. 5, 1995, pp. 381–86. JSTOR, https://doi.org/10.2307/1576221.

“Influence of the Industrial Revolution on Art.” st-Art, 20 May 2021, https://st-artamsterdam.com/industrial-revolution-the-influence-on-art/. Accessed 28 April 2024

Pias, Claus, and Peter Krapp. “‘Hollerith “Feathered Crystal”’: Art, Science, and Computing in the Era of Cybernetics.” Grey Room, no. 29, 2007, pp. 110–33. JSTOR, http://www.jstor.org/stable/20442778. Accessed 28 Apr. 2024.

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