Abstract
The article investigates the context of emergence of the artworks presented at the 9 Evenings: Theatre and Engineering, held in New York in October 1966, analyzing both the New York cultural environment and the process of collaboration between artists and engineers that resulted in the exhibition. In relation to the latter, the work underlines the decisive role of the diagrams developed by Herb Schneider for the productive dialogue between the participants of the event, considered one of the longest and most successful creative collaborations between artists and scientists to date.
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