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relationships between technology and creativity.” In 1968, “there was enough
financial support for it to go ahead,” and her exhibition, now called
Cybernetic
Serendipity
, opened at the ICA on 2 August and closed on 20 October 1968
(Reichardt 1968a, 3, 5).
38
The exhibition was divided into three parts (Reich-
ardt 1968b, 5):
1. Computer-generated graphics, computer-animated films, computer-composed
and -played music, and computer poems and texts
2. Cybernetic devices as works of art, cybernetic environments, remote-
controlled robots and painting machines
3. Machines demonstrating the uses of computers and an environment dealing
with the history of cybernetics
As one can gather from this list and from figure 7.15, “cybernetic” in
Cybernetic
Serendipity
should be interpreted broadly, to include almost all possible inter-
sections between computers and the arts, including, for example, computer
graphics, one of Reichardt's special interests (Reichardt 1968b). But two of our
Figure 7.15.
Norman toyton, cartoon of computer confessional. source: J. reichardt
(ed.)
Cybernetic Serendipity: The Computer and the Arts
(london: w. & J. mackay,
1968), 8.
