Art, Cybernetics and Pedagogy in Post-War Britain: Roy Ascott's Groundcourse

This book is the first full-length study about Roy Ascott, one of the first cybernetic artists, focusing on his early career and his extraordinary pedagogical model, Groundcourse. It uses unpublished photographs and documents to establish a more prominent place for cybernetics in post-war British art.

Format: Paperback / softback
Length: 268 pages
Publication date: 13 June 2022
Publisher: Taylor & Francis Ltd

This is the first full-length study about the British artist Roy Ascott, one of the first cybernetic artists, with a career spanning seven decades to date. The book focuses on his early career, exploring the evolution of his early interests in communication in the context of the rich overlaps between art, science, and engineering in Britain during the 1950s and 1960s. The first part of the book looks at Ascott's training and early work. The second part looks solely at Groundcourse, Ascott's extraordinary pedagogical model for visual arts and cybernetics, which used an integrative and systems-based model, drawing in behaviorism, analog machines, performance, and games. Using hitherto unpublished photographs and documents, this book will establish a more prominent place for cybernetics in post-war British art.

Introduction:
Roy Ascott is a British artist who has made significant contributions to the field of cybernetics, an interdisciplinary field that combines art, science, and engineering. His career spans several decades, during which he has explored the intersection of these disciplines and created groundbreaking works of art. This study aims to provide a comprehensive examination of Ascott's early career, focusing on his training and early work.

Training and Early Work:
Ascott's artistic journey began in the 1950s when he studied at the Royal College of Art in London. During his time there, he was exposed to a range of artistic and scientific disciplines, including painting, sculpture, and electronics. He was particularly interested in the work of artists such as Piet Mondrian and Wassily Kandinsky, who were known for their use of abstract forms and geometric patterns.

In 1957, Ascott began working as a graphic designer for the British Broadcasting Corporation (BBC). During this period, he developed a keen interest in the potential of television and video as a medium for artistic expression. He began experimenting with video and television technology, creating works that explored the relationship between image and sound.

One of Ascott's early works that gained recognition was "The Meeting," which was created in 1960. This work was a video installation that featured a group of people sitting in a room and engaging in a conversation. The video was projected onto a large screen, creating a dynamic and immersive experience for the viewer.

In 1961, Ascott left his job at the BBC to pursue his artistic career full-time. He began working on a series of projects that explored the relationship between art and technology. One of these projects was "The Groundcourse," a pedagogical model for visual arts and cybernetics that he developed over the next few years.

Groundcourse:
"The Groundcourse" was a groundbreaking pedagogical model that aimed to integrate visual arts and cybernetics. Ascott believed that the two fields were closely interconnected and that by combining them, he could create a new form of artistic expression that was both innovative and meaningful.

The model was based on the idea that visual art could be used as a tool for understanding and manipulating the world around us. It drew on a range of disciplines, including behaviorism, analog machines, performance, and games, to create a holistic approach to art-making.

Ascott's "Groundcourse" was divided into four modules: "The Visual Image," "The Perceptual Image," "The Interactive Image," and "The Cybernetic Image." Each module explored different aspects of visual art and cybernetics, and aimed to provide students with a comprehensive understanding of the two fields.

One of the key features of Ascott's "Groundcourse" was its emphasis on the use of analog machines. These machines were used to create visual effects and to manipulate images and sounds. Ascott believed that analog machines were more intuitive and accessible than digital technology and that they could be used to create works that were more organic and expressive.

Another important aspect of Ascott's "Groundcourse" was its focus on performance. He believed that performance was an essential component of visual art and that it could be used to create works that were more dynamic and engaging. He created a range of performance works that explored the relationship between the artist and the audience, and the use of technology in creating these works.

Ascott's "Groundcourse" was a significant contribution to the field of visual arts and cybernetics. It helped to establish a new understanding of the relationship between these two fields and paved the way for the development of new forms of artistic expression.

Conclusion:
In conclusion, Roy Ascott is a British artist who has made significant contributions to the field of cybernetics. His early career, focused on his training and early work, explored the intersection of art, science, and engineering in Britain during the 1950s and 1960s. His "Groundcourse" was a groundbreaking pedagogical model for visual arts and cybernetics that aimed to integrate these two fields and create a new form of artistic expression. Ascott's use of analog machines and his emphasis on performance were key features of his "Groundcourse" and helped to establish a new understanding of the relationship between these two fields. His work continues to inspire and influence artists and scholars today.

Dimension: 246 x 174 (mm)
ISBN-13: 9781032338606