ROUNDTABLE DISCUSSION:
ORIGINS & IMPACT OF TECHNOLOGY ON ART-MAKING
Friday, March 27, 1998, 1:30-2:45 p.m.

PRESENTERS: CYNTHIA GOODMAN, Multimedia director, producer and curator and Creative Director and Producer, Exhibits and Attractions, Millennium Monument; TERRY PENDER, composer and Technical Director, Columbia University Computer Music Center; and ERIK PIHEL, poet and Author of forthcoming book Media Strains: The History of Poetry and Technology from Homer to Hip Hop By: Kathleen Masterson

This roundtable discussion sought to place the relationship between art and technology in historical context, and in doing so, explored the anxieties and the hopes artists have for new media and their search for a philosophy to encompass both.

Before a standing-room only session, Cynthia Goodman opened with a reminder of just how new our digital art forms are. She showed slides of work by pioneers in the relatively short history of computer art (the first computer art show was in 1965), citing, among others, the work of Ben Laposky (1940’s), Bill Feder (who coined the term computer graphics), and Mike Knowles of Bell Labs, whose excursions to the Museum of Modern Art influenced his design of mathematical models. She suggested that the audience could begin considering the origins of new technology by perusing the exhibition of Leonardo da Vinci models on display in the Palisades Conference Center. Goodman also discussed the computer as a transforming tool in a process (art-making) that is thousands of years old, a tool which, in the space of 30-some-odd years, has radically transformed our everyday lives.

Erik Pihel pointed out that the history under discussion is really one of art versus technology, rather than art and technology; meaning and inspiration (the muse/genius) versus skill and craft (technology). There is still a resistance to technology which, he pointed out, should be contextualized within the history of the book. The first books were papyrus scrolls; “new technology” appeared in the form of the codex, which used bound pages; codex in turn was transformed by the advent of printing press. While we don’t know how technologies will evolve, literary scholars decry the disappearance of the ‘book’ as we know it.

Terry Pender talked about some of the original electronic music studios, including the RCA Studio in Paris, the GDR Studio in Germany and Columbia University’s studio (currently celebrating its 40th anniversary), which contains the world’s first synthesizer alongside state-of-the-art equipment. He noted that the first concert of electronic music was held at the Museum of Modern Art, and discussed the impact of electronics on his own process as a composer, characterizing his relationship with the computer as a generative, playful one. (The computer doesn't get tired or sick and doesn’t mind repeating itself endlessly.) Pender also noted a change in his ability to remain focused, because he doesn’t have to concentrate on notation. He referred to a point made by Philip Glass at Thursday’s kick off reception, namely that music has always been involved in technology. Well-tempered tuning, for instance (in the time of Bach) meant everything was equally out of tune or equally in tune. The conventions of similar impact in this century are in the realm of recording technology. A century ago, a piece of music would be slightly different each time it was played; with our recording technology, both expectations for and standards of performance have changed. What, he asked, is the performance now? The recording in the studio? The digitizing? At what point must one refer to oneself as a programmer rather than a composer?

Audience response repeatedly returned to questions about the implications of using computer technology in arts education and what impact this technology has on the acquisition of basic knowledge; whether skills are becoming obsolete or are simply being replaced. One point of view was that improved (transparent) technology would create a much better climate for art. Pam Hawkins from Alfred University noted that the conference itself is a wonderful vehicle for political action in terms of making Governor Pataki aware of the needs and potential of the community (as defined by ourselves) gathered together for this forum. This suggestion was seconded by many in the room. Further action was urged, including perhaps a meeting this weekend to create an action plan to give to the Governor following the conference.

Barbara Hammer reminded everyone that multimedia technology gives us another layer – to reflect the multiple ways we have of knowing and seeing the world.