Reviewed by: Hybrid Practices: Art in Collaboration with Science and Technology in the Long 1960s ed. by David Cateforis, Steven Duval, and Shepherd Steiner Elsa De Smet (bio) Hybrid Practices: Art in Collaboration with Science and Technology in the Long 1960s Edited by David Cateforis, Steven Duval, and Shepherd Steiner. Oakland: University of California Press, 2018. Pp. 329. Hybrid Practices, which presents findings from a 2015 international colloquium, calls on scholars and artists to demonstrate the role of hybrid practices between art, science, and technology. It challenges arts and sciences issues by opening up new perspectives on a very symptomatic historical period. This work examines hybrid practices at the time of great 1960s and 1970s technological and scientific advances, namely the early Cold War, when the Western world advocated a certain idea of democracy and promises for the future were based on a positivist vision of scientific and technological progress. It is also the time when avant-garde visual artists in [End Page 264] the United States and Western Europe were challenging pictorial formalism, claiming that art should function as a counterpower or provide an alternative interpretation of the contemporary world. The editors have divided Hybrid Practices into three sections, with eleven essays by art, science, and design historians who thoughtfully explore projects at both the forefront and at the neglected margins of this unprecedented collaboration between the arts and newly emerging scientific and technological fields. The strengths of this collective work are that it is based on concrete case studies yet also suggests compelling conceptual notions. It begins with contributions explaining the historical and contextual relevance of collaborations between artists, engineers, and scientific institutions orchestrated by initiatives such as Experiments in Art and Technology, the Artist Placement Group, and the Arts and Technology program at the Los Angeles County Museum of Art. The book also showcases specific examples: Claes Oldenburg's collaboration with Disney, visual artist Carolee Schneemann's shows, Hans Haacke's photoelectric viewers, Stanley Milgram's psycho-cognitive laboratory using simulated shock generators, John Latham's land-art monuments, and John Cage's experiments. This book attempts to overcome the dichotomy between art and science/technology, using Michel Serres's idea that "all learning consists of a crossbreeding." The authors show that even though artists remained artists and scientists remained scientists, their collaborations produced real moments of cognitive grace. Some of the most interesting sections are about collaborations, for example between artist Robert Irwin and scientist Ed Wortz or engineer Billy Klüver with artist Fujiko Nakaya, who turned to meteorologist Thomas R. Mee to design Expo '70 in Osaka, where millions of people could "appreciate the natural beauty of fog" through artificial and artistic staging. Another good example is physicist Elsa M. Garmine, who invested a great deal in the Experiments in Art and Technology initiative, attempting to use technology "in a non logical, artistic way." These cases show how interdisciplinarity allowed each community to reflect and find its place in a changing world. It might have been relevant to point out the frustrations from less fruitful collaborations, even though these are understandably more difficult to source. While most of the contributions opt for an art history or art sociology perspective, historian W. Patrick McCray highlights the case of Frank Malina, an engineer and artist (the only one wearing both hats) who filed technical patents for aerospace and then for his artworks. This essay relies on the historiography of science and technology, demonstrating that when art, science, and technology intersect, the result should be examined in terms of fallout or spin-off. The book is well edited and allows a relevant understanding of all the case studies. The promise to connect these historical cases with contemporary [End Page 265] hybrid practices does not seem to have been entirely fulfilled, however. Negotiations between the arts, sciences, and technology's objectives therefore need further exploration. Elsa De Smet Elsa De Smet (Ph.D. in art history at La Sorbonne) is an associate researcher at Centre Alexandre Koyré, History of Sciences, Technology, and Knowledge (CNRS, France). She is the author of Voir l'Espace: Astronomie et science Populaire (1840–1969) (Presses Universitaires de Strasbourg, 2018) and the forthcoming Esth...
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