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Cybernetic art is contemporary art that builds upon the legacy of Cybernetics, where feedback involved in the work take precedence over traditional aesthetic and material concerns. ==History== Nicolas Schöffer's ''CYSP I'' (1956) was perhaps the first artwork to explicitly employ cybernetic principles (CYSP is an acronym that joins the first two letters of the words "CYbernetic" and "SPatiodynamic").〔(【引用サイトリンク】url=http://www.olats.org/schoffer/cyspe.htm )〕 The artist Roy Ascott elaborated an extensive theory of cybernetic art in "Behaviourist Art and the Cybernetic Vision" (Cybernetica, Journal of the International Association for Cybernetics (Namur), Volume IX, No.4, 1966; Volume X No.1, 1967) and in "The Cybernetic Stance: My Process and Purpose" (Leonardo Vol 1, No 2, 1968). Art historian Edward A. Shanken has written about the history of art and cybernetics in essays including "(Cybernetics and Art: Cultural Convergence in the 1960s )" and "From Cybernetics to Telematics: The Art, Pedagogy, and Theory of Roy Ascott"(2003), which traces the trajectory of Ascott's work from cybernetic art to telematic art (art using computer networking as its medium, a precursor to net.art.) Audio feedback and the use of tape loops, sound synthesis and computer generated compositions reflected a cybernetic awareness of information, systems and cycles. Such techniques became widespread in the 1960s in the music industry. The visual effects of electronic feedback became a focus of artistic research in the late 1960s, when video equipment first reached the consumer market. Steina and Woody Vasulka, for example, used "all manner and combination of audio and video signals to generate electronic feedback in their respective of corresponding media."〔Edward A. Shanken, "From Cybernetics to Telematics: The Art, Pedagogy, and Theory of Roy Ascott," in Roy Ascott (2003, 2007), ''Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness'', University of California, ISBN 0-520-22294-6.〕 With related work by Edward Ihnatowicz, Wen-Ying Tsai and cybernetician Gordon Pask and the animist kinetics of Robert Breer and Jean Tinguely, the 1960s produced a strain of cyborg art that was very much concerned with the shared circuits within and between the living and the technological. A line of cyborg art theory also emerged during the late 1960s. Writers like Jonathan Benthall and Gene Youngblood drew on cybernetics and cybernetic. The most substantial contributors here were the British artist and theorist Roy Ascott with his essay "Behaviourist Art and the Cybernetic Vision" in the journal Cybernetica (1976), and the American critic and theorist Jack Burnham. In "Beyond Modern Sculpture" from 1968 he builds cybernetic art into an extensive theory that centers on art's drive to imitate and ultimately reproduce life.〔Mitchell Whitelaw (2004), ''Metacreation: Art and Artificial Life'', MIT Press, ISBN 0-262-23234-0 p.17-18.〕 Leading art theorists and historians in this field include Christiane Paul, Frank Popper, Christine Buci-Glucksmann, Dominique Moulon, Robert C. Morgan, Roy Ascott, Margot Lovejoy, Edmond Couchot, Fred Forest and Edward A. Shanken. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「cybernetic art」の詳細全文を読む スポンサード リンク
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