Centerbook: The Center for Advanced Visual Studies and the Evolution of Art-Science-Technology at Mit by Elizabeth GoldringThe first comprehensive history of MITs Center for Advanced Visual Studies (CAVS), told through personal accounts and groundbreaking artwork.
In 1967, in a time of student unrest, the Massachusetts Institute of Technology did the unexpected: it established the first academic center for research and collaboration in art, science, and technology. The Center for Advanced Visual Studies (CAVS) brought artists to the MIT campus with radical expressions of a rapidly evolving technological era.
The brainchild of founding director Gyorgy Kepes, CAVS sought to repair the distance between practitioners of art and engineering within the halls of MIT. The scientist may be an extra brain to the artist, and the engineer may be an extra arm to the artist, whereas the artist can be an extra eye to the scientist and engineer, wrote long-time director Otto Piene in Centerbeam, a 1978 book about CAVS. As a breeder of new art forms and future-oriented artistic education, CAVS became a pioneering model for the art, technology and media labs that proliferated worldwide.
This first comprehensive history of CAVS presents an inside view, told through personal accounts, exhibit documentation, and groundbreaking artwork. The book chronicles, in vivid visual narrative and testimony by those who were there, the birth and flowering of a unique research node dedicated to multiple interactions of art, science, technology and environment.
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It had become obvious by the eighties in Europe, that economics, politics, and art would no longer be built on traditional industries, ideological rhetoric, and aesthetics. New working and production methods required new thought cultures. The Academy of Arts in Budapest was consequently one of the first traditional universities with a department for inter-medial experimentation and learning, built in However, other new establishments in the turn of the last decade of the 20th Century became even more influential. He chose the city of Karlsruhe to deepen the relationship between culture and technology. The French Studio national des arts contemporains Le Fresnoy was built between and Barely 20 years later, he took on the challenge to merge technical communications research and design, now an imperative, with his own critical and creative spirit.
Working closely with Lowry Burgess a space artist , Ernst Caramelle an artist , Scott Fisher a pioneer in the development of virtual reality , Luis Frangella an architect and artist , and Keiko Prince an artist and urban planner , Amacher not only produced and showed new work, but also organized exhibitions, drafted unrealized proposals for urban-scale collaborative projects, and co-taught seminars — e. Maryanne Amacher — was a composer of large-scale fixed-duration sound installations and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. Often considered to be a part of a post-Cagean lineage, her work anticipates some of the most important developments in network culture, media arts, acoustic ecology, and sound studies. Due to the often durational and site-specific nature of her work, many audiences have not been exposed to Amacher and her practice, despite her enduring significance. Seminars and symposiums are limited to a small group of participants to encourage in-depth examinations of material related to specific topics, while listening sessions are open to a more casual audience in order to meet the large public demand for access to the Amacher materials. Ernst Caramelle has worked and exhibited in a variety of media, including video, collage, and large-scale installations, since the s. He attracted a new level of acclaim and critical appreciation with the site-specific installation he created for Art Basel in
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a brief history of the center for advanced visual studies, mit. Mission of CAVS.
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The Center was now outfitted with studios, a darkroom, and workshops. In addition, CAVS frequently attracted research affiliates and graduate students who were assigned to work with the fellows on collaborative ventures. When Otto Piene succeeded Prof. CAVS has a long tradition of organizing public forums for the discussion of issues related to contemporary art and society. Under the direction of Prof. Piene, these public programs included panel discussions as well as performances and environmental artworks. CAVS has always had an educational component and many of its fellows have contributed to MIT as both educators and artists.