"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."
The exhibition "Beauty is the First Test" runs form 27 April - 30 June 2013 at The National Centre for Craft & Design, Navigation Wharf, Carre Street, Sleaford, Lincolnshire NG34, UK.
"The group show explores how mathematical concepts underpin craft techniques, aiming to 'demystify a subject that intimates both adults and children', according to the centre. The exhibition demonstrates how mathematics is the foundation of activities such as knitting, stitching, measuring and cutting that are crucial to crafting and fabrication. Showcasing works in disciplines including textiles and sculpture, the show will feature work from artists including Michael Brennand-Wood, Janice Gunner, Lucy McMullen and Ann Sutton.
Alongside the visual proof that maths can indeed be fun - and pretty - the exhibition also presents case studies of five makers, including Gail Baxter and Margo Selby, exploring how the development of their work was furthered by an understanding and appreciation of mathematics."
(Emily Gosling, 27 March 2013, Design Week)
Fig.1 Janette Matthews, "Optical Ellipse". Fig.2 Ann Sutton, "Four Ways from a Square", 2009.
Exhibition: "Bruno Munari: My Futurist Past", Estorick Collection of Modern Italian Art, 39A Canonbury Square, London, N1 2AN, From 19 September 2012 to 23 December 2012.
Bruno Munari was a "founding member of the Movimento Arte Concreta (M.A.C.) in Milan, which was established towards the end of the 1940s. This acted as a catalyst for new developments in Italian abstraction, and aspired to bring about a 'synthesis of arts' in which traditional painting would be complemented by new tools of communication, demonstrating the possibility of a convergence of art and technology, creativity and functionality. Reflecting his belief that technological advances expanded the artist's expressive vocabulary, by 1950 Munari had begun to experiment with creating works by means of projecting light through compositions made from a wide range of materials such as coloured and transparent plastic, organic elements and Polaroid filters, producing beautiful and intriguing images of vast dimensions."
(Estorick Collection of Modern Italian Art, 2012)
Fig.1 Bruno Munari, Aeroplanes and Archers, 1932, mixed media, 34.8 x 24.8cms Courtesy Massimo & Sonia Cirulli Archive
"On Start the Week, Andrew Marr explores how Britain trains the artists and designers of the future. Christopher Frayling and Sarah Teasley celebrate the 175th anniversary of the Royal College of Art, the world's oldest art and design school. But one of its former teachers, the industrial designer Ron Arad argues for a broader arts education which doesn't split sculpture from painting, architecture from design. And the artist Antony Gormley redefines the limits of sculpture and building."
(Start the Week, 2012, BBC Radio 4)
BBC Radio 4: Start the Week, duration: 43 minutes, first broadcast: Monday 19 November 2012.
"Famous Turkish sculptor İlhan Komanís boat Hulda arrives in İstanbul, its final destination, after its long journey which began in Stockholm. Hulda was both Komanís home and studio during his residence in Stockholm.
The exhibition consists of the photographs and videos from Huldaís journey, 10 original sculptures such as Whirlpool and Dervish by İlhan Koman and a video -dedicated to İlhan Koman- by young artist Candaş Şişman. The photographs and videos are from the cities Hulda visited during its journey -Stockholm, Amsterdam, Bordeaux, Lisbon, Barcelona, Naples, Malta, Thessalonica and İstanbul. The exhibition in Plato Art Space is also the final leg of the activities of Hulda Festival (www.huldafestival.org).
The exhibition is also undertaking the mission of building a bridge between young generation artists and Koman by presenting Candaş Şişmanís work. Şişmanís video Flux is influenced by Komanís sculptures (Pi, Moebius, Whirlpool and Ogre) and is dedicated to İlhan Komanís inspiring art. The video has a sound design which is also inspired by the materials of Komanís sculptures and is produced by Candaş Şişman.
The exhibition is curated by Yıldırım Arıcı and accompanied by a reader (published by Plato College of Higher Education) and it is featuring texts by «etin Kanra, Aykut KŲksal, Abidin Dino, Ferit EdgŁ, Burcu Beşlioğlu and a poem by Oktay Rıfat. "
(Plato Art Space, İstanbul contemporary art)
Fig.1 "Flux", Candaş Şişman, Hulda Festival 21 September 2010 - 23 November 2010 İstanbul, Turkey.