2.17.1 To institutionalise anything in this area is dangerous and self-destructive. It's just a matter of solving problems, and you can do that forever. (Kluver, 1995, http://www.conceptlab.com/interviews/)

2.17.2 Billy Kluver, a Bell Systems Electronic engineer, first collaborated with artists in 1960 when helping artist Jean Tinguely create the machine that destroyed itself in the Garden of MOMA New York. After that event he was besieged by artists such as Rauchenberg, Warhol and Jasper Johns who were inspired by the possibilities of merging engineering with art. A year earlier, in 1959, Tinguely began producing meta-matics, or drawing machines, which later would become more spectacular and self-annihilating.

2.17.3 Working with artists such as Robert Rauchenberg, Andy Warhol, and Robert Whitman, Billy Kluver found himself at the forefront of the Art and Technology movement of the late 1960's. In 1966, together with Robert Rauchenberg, he formed a group called Experiments in Art and Technology (E.A.T). This group was conceptualised as a link for artists and engineers to collaborate on creative projects. Whitman and Rauchenberg put together a notion that there should be an equal collaboration between artists and engineers and that this would result in work that neither could individually foresee. The first project they organised together was Nine Evenings in 1966 at the 69th Regiment Armoury in New York, out of which EAT came. It was an enormous event, with 10,000 spectators and scores of artists who made it happen.

2.17.4 Unfortunately Kluver insists that E.A.T was not about art and science but only about art and technology: "Art and science really have nothing to do with each other. Science is science and art is art. Technology is the material and the physical." This conclusion does not allow for the stable structure of the triangle to emerge and fails to consider that technology necessarily emerges out of theoretical findings or the application of scientific findings on the industrial level. Fuller has made this point clear not only by creating models that prove this, but by demonstrating his creative process that served to change CP Snow's mind about the Two Cultures. By extending the possibility out to the Third, he entered into the triangle and thus stabilised the possibility of something else emerging. Malina realised this as well by naming his journal after Leonardo, an artist, scientist, and engineer, and proclaiming that [top]