Dvizhenie (Movement) 1962-1972 was the first art group in the Soviet Union who worked with cybernetics. In 1964 the collective had more than 30 participants: fine artists, actors, musicians, atomic- and electrical engineers, physicists and psychologists, poets, mimes, architects and technicians. Their cybernetic art took the form of kinetic light-colour-sound environments with "life-transforming" content. In 1967 their Cyberevents was shown in the engineering block of the Peter and Paul fortress in Leningrad, followed by Little Eagle, a cybernetics pioneer game-amusement camp in Odessa, and Cybertheater. The Artificial Bio-Kinetic Environment from 1969, was a utopian virtual reality project presenting a future city of 35-40 million people. Paradoxically enough, Dvizhenie's members were able to move in the spaces of both the extremely official (propaganda produced for international trade shows, military and space research, design for control rooms at airports and big industries) and un-official (free jazz, long hair, drugs, existentialism and Hemingway) - that the people interested in cybernetics, new technology, design, art, bionic-architecture and future urbanism and city planning frequented. Dvizhenie was the first group in the Soviet Union that succeeded in realizing big exhibitions "without content" from the point of view of Socialist Realist ideology. How did they manage this? This paper will give a historical context for the visual traces and present concrete strategies to realise them.
Comments: The author requests this paper to be considered as part of a panel of three papers, "Technics of Soviet Space", unless the committee wish to accept the paper as an individual submission without the other. The other papers have been submitted separately.Technics of Soviet Space (organizers: Simon Werrett; Margareta Tillberg; Margarete Voehringer)The October Revolution of 1917 inaugurated a new regime which demanded a vital reconfiguration of the arts, science, and media in order to construct the â new manâ of Soviet culture. Critical to this endeavour was the exploration, articulation, and construction of new spaces â a novel environment would conjur novel citizens, composed from new architectures, new boundaries for the disciplines, and new experiences and perceptions of space worked out by Soviet artists, scientists, musicians, technicians, and ideologues. The papers in this panel set out to map some of the key sites and spatial practices of Soviet media, arts, and technosciences in the twentieth century, beginning with a discusssion of the perceptual experiments of revolutionary experimenter Nikolai Ladovskii, and passing to cybernetic renegotiations of the boundaries of official and unofficial culture in the 1960s, and state constructions of festive, communal space in the 1970s. The presenters argue such exp eriments need to be situated in historical context to be properly appreciated, and considering their precedents and impact, assert the significance of the spatial dimensions of media, arts, and science in Soviet culture.
Weimar: Verlag und Datenbank für Geisteswissenschaften, VDG , 2008. 147-165 p.
interdisciplinarity, science and technology studies, art, science, media, Dvizhenie, synthesis, kinetism, gesamtkunstwerk, happening, Fluxus, cyber-art