sounds : socks-studio

Despite living in Paris since 2007 and regularly enjoying a walk in the Park de la Villette, we honestly never happened to find a little sound pavillion embedded in one of the thematic gardens of the park. Le Cylindre Sonore, a public art installation by Bernard Leitner, was realized in 1987 and is one of the few built architectural works by the Austrian architect and composer.

Active since the 60′s, Leitner’s work always focused on the relationships between sound and space, or better “sound as building material” as the title of one of his retrospective exhibitions.
Unlike architectural walls, sound is not an elementary medium for the definition of limits, and the separation of the interior from the exterior, yet is not a blurred, totally undefined entity, insofar it is able to create unseeable walls and define invisible spaces.

Partially hidden from the bamboos, Le Cylindre Sonore stands with his concrete double walls in a lower level respect of the bordering alleys, as an excavated hole voluntary delimiting the rest of the park. Once descended with a long staircase, one can experience a contemplative listening in a true resonating chamber, potentiated by three loudspeakers hidden behind eight perforated concrete walls. Water rivets increase the detail and help separating this place from the sides.

Through subtly orchestrated reverberations, high pitched or filled sounds, spaces are constantly recreated. Soft pricklings in a dialogue with the robustness of concrete walls.

Images courtesy Bernhard Leitner and Archdaily.

A breakthrough exhibition curated by Jasia Reichardt at the ICA London (from August 2nd to October 20th, 1968).

“It was the first exhibition to attempt to demonstrate all aspects of computer-aided creative activity: art, music, poetry, dance, sculpture, animation. The principal idea was to examine the role of cybernetics in contemporary arts. The exhibition included robots, poetry, music and painting machines, as well as all sorts of works where chance was an important ingredient. It was an intellectual exercise that became a spectacular exhibition in the summer of 1968.” Read full text from the press release at the bottom of the post.

Thanks, as usual, to Ethel for pointing this.

Here you can find a B/w pdf of the whole book related to the exhibition.

Below: some images from the original exhibition and a selection of the pages of the book. (thanks TinRocket for the scans).

From the book: Cybernetic Serendipity (1968) – The Computer and the Arts
Higher defs here

Read more:
Cybernetic Serendipity Revised, a paper analysing the show in depth.

The page on Medien Kunst Netz, from which the following Press Release comes.

Press Release for the exhibit curated by Jasia Reichardt at the ICA London August 2nd to October 20th, 1968:

«Cybernetics – derives from the Greek «kybernetes» meaning «steersman»; our word «governor» comes from the Latin version of the same word. The term cybernetics was first used by Norbert Wiener around 1948. In 1948 his book «Cybernetics» was subtitled «communication and control in animal and machine.» The term today refers to systems of communication and control in complex electronic devices like computers, which have very definite similarities with the processes of communication and control in the human nervous system. A cybernetic device responds to stimulus from outside and in turn affects external environment, like a thermostat which responds to the coldness of a room by switching on the heating and thereby altering the temperature. This process is called feedback. Exhibits in the show are either produced with a cybernetic device (computer) or are cybernetic devices in themselves. They react to something in the environment, either human or machine, and in response produce either sound, light or movement. Serendipity – was coined by Horace Walpole in 1754. There was a legend about three princes of Serendip (old name for Ceylon) who used to travel throughout the world and whatever was their aim or whatever they looked for, they always found something very much better. Walpole used the term serendipity to describe the faculty of making happy chance discoveries. Through the use of cybernetic devides to make graphics, film and poems, as well as other randomising machines which interactc with the spectator, many happy discoveries were made. Hence the title of this show.» London 1968 Statement by the curator, Jasia Reichardt: «One of the journals dealing with the Computer and the Arts in the mid-sixties, was Computers and the Humanities. In September 1967, Leslie Mezei of the University of Toronto, opened his article on «Computers and the Visual Arts» in the September issue, as follows: «Although there is much interest in applying the computer to various areas of the visual arts, few real accomplishments have been recorded so far. Two of the causes for this lack of progress are technical difficulty of processing two-dimensional images and the complexity and expense of the equipment and the software. Still the current explosive growth in computer graphics and automatic picture processing technology are likely to have dramatic effects in this area in the next few years.» The development of picture processing technology took longer than Mezei had anticipated, partly because both the hardware and the software continued to be expensive. He also pointed out that most of the pictures in existence in 1967 were produced mainly as a hobby and he discussed the work of Michael Noll, Charles Csuri, Jack Citron, Frieder Nake, Georg Nees, and H.P. Paterson. All these names are familiar to us today as the pioneers of computer art history. Mezei himself too was a computer artist and produced series of images using maple leaf design and other national Canadian themes. Most of the computer art in 1967 was made with mechanical computer plotters, on CRT displays with a light pen or from scanned photographs. Mathematical equations that produced curves, lines or dots, and techniques to introduce randomness, all played their part in those early pictures. Art made with these techniques was instantaneously recognisable as having been produced either by mechanical means or with a program. It didn’t actually look as if it had been done by hand. Then, and even now, most art made with the computer carries an indelible computer signature. The possibility of computer poetry and art was first mentioned in 1949. By the beginning of the 1950s it was a topic of conversation at universities and scientific establishments, and by the time computer graphics arrived on the scene, the artists were scientists, engineers, architects. Computer graphics were exhibited for the first time in 1965 in Germany and in America. 1965 was also the year when plans were laid for a show that later came to be called «Cybernetic Serendipity,» and presented at the ICA in London in 1968. It was the first exhibition to attempt to demonstrate all aspects of computer-aided creative activity: art, music, poetry, dance, sculpture, animation. The principal idea was to examine the role of cybernetics in contemporary arts. The exhibition included robots, poetry, music and painting machines, as well as all sorts of works where chance was an important ingredient. It was an intellectual exercise that became a spectacular exhibition in the summer of 1968. Jasia Reichardt London 2005