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Editor’s Note

The multidimensional map that links cybernetics, cognitive neuroscience and art commences early on in the history of cybernetics. First, cybernetics relationship to cognitive neuroscience is born out in its standard dictionary definition ” a science dealing with the comparative study of complex electronic calculating machines and the human nervous system in an attempt to explain the nature of the brain” (1) The two early pioneers of cybernetics Norbert Weiner and Warren McCollough were both involved in enlisting cybernetics in formulations of the workings of the processes of neural networks. Neural networks are groups of neurons, the basic cell of the nervous system which are responsible for transmitting its electric signals, which work together. Technologies discovered as a result of research in cybernetics such as feed foward and feed back mechanisms as well as binary digitally configured electronic circuits were adapted by Weiner to understandhow neural networks performed and in the case of McCollough led to the invention of the first reading machines for the blind. The entire story of how cybernetics found its way into the art world is complicated and one that is beyond the scope of this introduction. In short two genealogies, one conscious and one unconscious. were important. Exhibitions connecting art and technology at the Jewish Museum and MOCA-Los Angeles at the end of the sixties and articles and essays by Jack Burnham, who incidentally curated the Jewish Museum exhibition, connected artists of all ilk to cybernetic technologies of the day. Some like Frank Gillette, “Wipe Cycle,1965″ and Dan Graham ” Two Consciousness Projections,1972 ” directly borrowed feed forward and feedback strategies for their work. Even if some artists did not directly use the hardware available at the time they consciously reformatted and imported concepts from their original location in computer software and hardware to create such devices as a painting machine to create works of art in the case of Andy Warhol and into concepts to be later used as art theory as in the case of Sol Lewitt. The case of Lewitt is very interesting in light of the “unconscious roots” of conceptual art and the way that cybernetics and neurobiology intersect to construct the foundation for that work. Beyond the obvious link between the mind and brain, a problem of historic proportion, which I think is inherent in the philosophic roots of conceptual art, for instance its fascination with meaning and semiotics, there is another umbilicus which links thinking machines and aesthetic machines. (2) An evaluation of two quotes one from Weiner and the other from Lewitt I think will quite clearly elucidate this point and will point in the direction of the historic roots of {artbrain.org}.

“That the entire sequence of operations be laid out on the machine itself so that there should be no human intervention from the time the data were entered until the final results should be taken off and that all logical decisions necessary for this should be built into the machine itself.”
Norbert Weiner, Cybernetics (3)

“When an artist uses a conceptual form of art, it means that all the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art” Sol Lewitt, Artforum (4)

artbrain.org emerges within a quite different context from that which defined the sixties and the birth of cyberculture. We are imbedded simultaneously in a kind of institutional climax of information technology as it segues with our daily lives and an explosion of exploration of the brain which this technology allows us to probe. As artists act as mediators between the immaterial forces that impose themselves on our daily lives and the visual culture that becomes their instantiated expression in works of art it is not surprising that they to would seek this territory for inspiration. We see this in the plethora of artworks that either implicitly or explicitly deal with this subject. From artist interested in the iconography of the brain like Katerina Fritch and Charlene Von Heyl, what it looks like, to those who are interested in its process such as Mathew Ritchie and Carl Fudge, visual culture uses its materials to explore the morphologies that are generated. artbrain.org is one such means to that end.

artbrain.org is an opportunity for a unique adventure into the possibilities of an art practice constructed at the margins.

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