Hi Tech, Low Tech: Technology in Art and Curating

Cybernetic Serendipity (ICA, 1968) was one of the most important exhibitions of the 60s - kept open longer due to popular demand. That year, Jack Burnham's book Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This Century, proposed a bold teleology of sculpture leading towards the cybernetic. So what happened to the robotic exhibition and computer generated art work?

As proficiency with technology grew and computers became commonplace, the technological art exhibition seemed to become an anachronism. The only acceptable cyborg was the homemade kind produced by artists such as Bruce Lacey. Contemporary use of technology in art has become located in its own sphere of artistic practice, with galleries and groups dedicated to new media and new technologies with a special emphasis on the 'hope' of a super-connected New Babylon.

Why is there such a divisive split between art exhibitions and media art exhibitions? Should curators be more embracing of technologies? Is there good reason to be mistrustful of the use of technology in art and exhibition making?

Speakers on this panel include Jasia Reichardt, writer and curator of Cybernetic Serendipity, Richard Grayson, artist, writer ad Curator of Sydney Biennale 2002, Dianne Harris, Art Director of Kinetica Museum, and Paul Granjon, an artist interested in the co-evolution of humans and robots.

The discussion is chaired by Dr Charlie Gere, Reader in New Media Research and Director of the Institute for Cultural Research at Lancaster University.

In association with the London Consortium and London Centre for Arts and Cultural Enterprise