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Experiments in Art and Technology (E.A.T.) was a non-profit and tax-exempt organization established to develop collaborations between artists and engineers. The group operated by facilitating person-to-person contacts between artists and engineers, rather than defining a formal process for cooperation. E.A.T. initiated and carried out projects that expanded the role of the artist in contemporary society and helped eliminate the separation of the individual from technological change.〔Christiane Paul (2003). ''Digital Art'' (World of Art series). London: Thames & Hudson. p. 16〕 ==History of E.A.T.== E.A.T. was officially launched in 1967 by the engineers Billy Klüver and Fred Waldhauer and the artists Robert Rauschenberg and Robert Whitman.〔Kristine Stiles & Peter Selz, ''Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings'' (Second Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, p. 453〕 These men had previously collaborated in 1966 when they together organized ''9 Evenings: Theatre and Engineering'', a series of performance art presentations that united artists and engineers. 10 New York artists worked with 30 engineers and scientists from the world-renowned Bell Telephone Laboratories to create groundbreaking performances that incorporated new technology. Artists involved with ''9 Evenings: Theatre and Engineering'' include: John Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor, and Robert Whitman.〔()〕 Notable engineers involved include: Bela Julesz, Billy Klüver, Max Mathews, John Pierce, Manfred Schroeder, and Fred Waldhauer.〔9 evenings : theatre and engineering. — Edited by Pontus Hultén and Frank Königsberg. — (York ) : ''Experiments in Art and Technology : The Foundation for Contemporary Performance Arts'', (). — () p.〕 Video projection, wireless sound transmission, and Doppler sonar had never been seen in the art of the 1960s. These art performances still resonate today as forerunners of the close and rapidly evolving relationship between artists and technology. The performances were held in New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets as an homage to the original and historical 1913 Armory show.〔()''Vehicle,'' online, retrieved September 25, 2008〕〔() documents, history online, retrieved September 25, 2008〕 Such collaborations broke down barriers between the arts and scientists in the 60s, 70s, and 80s. The pinnacle of E.A.T. activity is generally considered to be the Pepsi Pavilion at Expo '70 at Osaka Japan where E.A.T. artists and engineers collaborated to design and program an immersive dome that included a fog sculpture by Fujiko Nakaya.〔Nechvatal, Joseph. (2012) ''Immersion Into Noise'', p. 191〕 Organized by E.A.T. founders Billy Klüver and Robert Whitman, the project was led by a core design team that also included Robert Breer, Frosty Myers, David Tudor, and a group of over 75 artists and engineers from the US and Japan. The original structure consisted of a Buckminster Fuller-style geodesic dome covered by a water vapor cloud sculpture, designed by Fujiko Nakaya. The architect John Pearce devised a way that a Mylar mirror could be fitted inside the structure. The optical effect in the spherical mirror produced real images resembling that of a hologram. Due to the size of the mirror, a spectator looking at an image could walk around it and see it from all sides. On the terrace surrounding the Pepsi Pavilion were seven of Robert Breer’s "Floats", six-foot high kinetic sculptures that moved around at less than 2 feet per minute, while emitting sounds. When a ""Float"" hit an obstacle or was pushed it would reverse direction. Though the Pavilion is often noted in historical accounts of electronic art, only those who visited the Expo were able to experience firsthand what has come to be known as one of the most monumental immersive art and technology projects of the 20th Century. Twenty-eight regional E.A.T. chapters were established throughout the U.S. in the late 1960s to promote collaborations between artists and engineers and expand the artist’s role in social developments related to new technologies. In 2002 the University of Washington hosted a reunion to celebrate the history of these regional liaisons and consider the legacy of E.A.T. for artists working with new technologies in the 21st century. E.A.T. activity has entered the canons of performance art, experimental noise music and theater, bridging the gap from the eras of Dada, Fluxus and the Happenings/Actions of the 1960s, through the current generation of digital artists for whom multimedia and technology are the norm. The lineage from E.A.T. experimentations in the 1960s which led to media-art explorations of the 1990s and beyond, is the same historical pathway that has led to the ArtScience movement of the 2000s -- the latter an amalgamation of E.A.T., the environmental/ecology movements, and the expanding ontological impact scientific practice has on society. 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「Experiments in Art and Technology」の詳細全文を読む スポンサード リンク
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