"Jones explains the situation, as he sees it. 'For artists of my generation, coming on stream in the Sixties, whatever you did you had to reckon with American gestural abstraction. The problem with figurative art at the time was that it had run out of steam, but the polemic was that you couldn't do it any more, which seemed absurd after 4,000 years of people making representations of each other. To me the Pop movement was incontrovertibly a swing of the pendulum back towards representation. The problem wasn't with representation, it was the age–old one – with the language. And the language had run out of steam. Using urban imagery as source material revitalised figurative painting, without a doubt. And recently the main thrust of the avant–garde from Basquiat and Schnabel up to Koons and company has been figuration with a vengeance.'"
(Andrew Lambirth 1 November 2014, The Spectator)
"Jean Tinguely exhibited in a show titled 'Art, Machines and Motion' at the Kaplan Gallery, London, in November 1959. In conjunction with that exhibition, Tinguely held a conference and performance at the Institute of Contemporary Art on November 16 titled 'Static, Static, Static! Be Static!' During the event, 1.5 km of paper drawn by two cyclists on his meta–matic bicycle were spread through the audience while Tinguely read his theory of movement and machines simultaneously heard on radio in Paris."
(Rosemary O'Neill, p.159)
Rosemary O'Neill (2011). Total Art and Fluxus in Nice. "Art and Visual Culture on the French Riviera, 1956–1971: The Ecole De Nice", Ashgate Publishing Limited.
"The Senster, commissioned by the electronics giant, Philips, for their permanent showplace, the Evoluon, in Eindhoven, was a much bigger and more ambitious piece of work than SAM. In addition to responding to people's voices, the Senster also responded to their movements, which it detected by means of radar, and was (as far as I know) the first robotic sculpture to be controlled by a computer. It was unveiled in 1970 and remained on permanent show until 1974 when it was dismantled.
Its size – it was over 15 feet (4 m) long and could reach as high into the air – made the use of aluminium castings inappropriate, so it was welded out of steel tubing, with the castings employed only in the more intricate microphone positioning mechanism. Its behaviour, controlled by a computer, was much more subtle than SAM's but still fairly simple. The microphones would locate the direction of any predominant sound and home in on it, rather like SAM but much more efficiently, and the rest of the structure would follow them in stages if the sound persisted. Sudden movements or loud noises would make it shy away. The complicated acoustics of the hall and the completely unpredictable behaviour of the public made the Senster's movements seem a lot more sophisticated than they actually were. It soon became obvious that it was that behaviour and not anything in its appearance which was responsble for the impact which the Senster undoubtedly had on the audience."