Gemini 1968
A project mounted in
collaboration with engineer Nick Nealson in the
form of scale models of two structures, accompanied by incorporating a
pattern of sensors and outputs (light and movement) - integrated by a
logic circuit.
Photomontage
Drawn installation plan,
ink on tracing paper.
Perspective drawing of
the western structure
Note on the project.
I entered a competition for two architectural sculpture commissions in
the City of London in early 1968 and had a kind of epiphany. The
experience (described in Cornock, 2010) caused me to consider the site
through the eyes of those who spent their lives working in this
business district. The experience was also a strong one.
So, at the age of 29, and with London and Paris exhibitions being
finalised, I abandoned sculpture and devoted my energies to the
development of a radically new kind of artwork - one that would invite
engagement and interaction. These works, which we began in 1970
to refer to as ‘interactive art systems’, were not being made for
members of the art world; they were structures with behaviour that
would invite pedestrians into a form of ‘conversation’. The big
challenge was to make that conversation’ rich enough to sustain the
interest of locals over the working year. (A summary description
is given of five of the systems in Cornock, 2010, and the work is
documented in the Birkbeck study White Heat Cold Logic, and in
Catherine Mason’s book A Computer in the Art Room.
We also mounted symposia and concerts, and began to develop a
theoretical model of this creative conversation. Ref.)
Datapack 1969
Computer-managed
interactive art system realized using both Honywell and GEIS equipment
(with Ernest Edmonds).
Computer
graphics laboratory at Leicester Polytechnic, early 1970, showing SC
receiving telephone inputs from Jennifer Bougourd in London which are
being input to Honeywell DDP516. Standing: Ernest Edmonds.
Example of a Datapack (1970), ink on drumplot
paper, teletype printout, polyethylene bag. Collection of Jennifer
Bougourd.
Interplay,
1969
A
team was formed to
generate and carry out this project for an
environmental and computer-managed scheme for adult creative
participation. Interplay was
exhibited at the British Council in London where it was selected as
Britain's entry to the VI Paris Beinnale at the Musée de l'Art
Moderne. The core members of the team were Stroud Cornock,
Bradley Faine, Nick Nealson, David Wood and Michael Brackenbury.
Structural
model, electronic simulator, printed storyboards.
Simulator (detail of Interplay floor and illumination
from double-skinned expanded dodecahedron panels), vacuum-formed PVC,
rigid foam, bronze mesh.
Structural model by architectural
group within the Interplay
team, led by Michael Brackenbury. Metal, plastic.
Simulator and printed storyboards
presenign Interplay, as
exhibited in Leicester, London and Paris.
Machina Ludens 1971
A second project for an
environmental and computer-managed scheme for adult creative
participation. Structural model, simulator, printed storyboards.
Structural drawing in which the
components above and below floor level have been exploded and those
between floor and ceiling have been truncated.
Labyrinth, 1971
In 1971
the Midland Arts Group
hosted an interactive project for the
Nottingham Festival. Ralph Selby conceived the show in the form
of a maze to occupy the Midland Group Gallery; he formed a group of
artists that included myself. This project, which
was both
sensational and successful. Commissioned for the
Nottingham Festival
and managed by the Midland Arts Group, this was a runaway public
attraction, involving immersion in a mirrored maze on two floors.
Visitors who explored the space using what became known as ‘suss packs’
encountered endlessly multiplying reflections, roving
spheres and the husk of an artist.
Mirrored sphere
components ready for assembly.
Ralph Selby in the
magical and dazzling mirror maze. Flash photography.
Stroud with the
'SusPack': the only illumination within the Labyrinth was from these
packs, whose lamps were controlled by a mercury switch, while an
induction coil picked up one of the sound channels emanating from
vertical poles. The mercury switch was sensitive enough to pick
up the heartbeat of the wearer of the substantial power pack slung
around the shoulders. Flash photography.
Husk - the lifelike husk
of Peter Smailes, which inhabited the maze.
Peter Smailes, a member
of the team, is (somewhat) protected with polythene sheet during the
making of the ‘husk’. Smailes being dressed in his own, polyester
resin-drenched, clothes which, when hardened and cut away from Peter,
formed the ‘husk’.
A 'tank' driving one of
the mirrored spheres.
An array of the ‘tanks’, ready to be placed inside the spheres to drive them around the maze. Mixed materials.
The baffling visual environment, made of PVC and mirrored Mylar film.
Metal master from which deeply embossed white PVC poster was produced.
Visitors queuing at the entrance to the Midland Group Gallery to book entrance to the Labyrinth experience.
Rover, 1971-72
A research project
conceived jointly with Ernest Edmonds as an electromechanical test bed
for studying the psychology of art and interaction. The project
required development funding, but it was to be another 33 years before
the establishment of the Arts and Humanities Research Council.
Efforts were made to engineer Rover using a WWII lathe and other
equipment made available by the Engineering Department of Leicester
Polytechnic (later De Montfort University), with modest funding from
the Arts Council of Great Britain and some interest on the part of the
British Army.
Drawn artwork for
publicity leaflet advertising tour (using military command vehicles to
house Rover test beds and admit members of the public).
Full scale elevation of sphere and drive wheels. Drawing in ink on tracing paper.
Full scale plan of sphere, drive wheels and some of the transverse idler wheels. Ink on tracing paper.
Full scale elevation of sub-assembly. Ink on tracing paper.
Annotated
photograph of a workshop in the Media Handling Area of Leicester
Polytechnic (later De Montfort University) in which engineering parts
were being assembled.
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