コンピュータ・アート展'74 (Computer Art Exhibition '74)

Notes

From the 端山貢明アーカイブ (Hayama Kōmei Archive), item 9875 in the コンピュータアート (computer art) category, registered 2022-10-02: https://d-commons.net/hayama/?c=&p=9875. Published by the 端山貢明アーカイブプロジェクト (Hayama Kōmei Archive Project), directed by 前川道博 (Michihiro Maekawa) of Nagano University, on the D-Commons platform, and licensed CC BY (表示). The source documents come from the 端山文庫, the papers kept in Hayama's laboratory at Tohoku University of Art and Design, digitised by the project with the agreement of his family; his autograph scores were given to the University History Archives of the Tokyo University of the Arts in 2026. The publicity leaflet for the 1974 Computer Art Exhibition, signed by the Computer Art Center and headed "Computer: from machine to medium, from technology to culture". Its aim is to realise, as an information space with the computer at its axis, a new medium better fitted to contemporary society, and so to promote the drift of computer media toward artificial intelligence. It restates and extends the concepts of the 1973 show. The qualitative shift in social structure since the 1960s, it argues, shows in the structure, speed and density of the interfaces through which goods and information move, driven by the computer. Going online achieves simultaneity between separate spaces and easier terminal I/O makes the computer an everyday object; together these turn machine into medium and lift it out of mere technology into a force shaping culture. Hayama calls this the second era of computer art and offers the show as a proposal of new concepts of creative mode and of information transmission in exhibition form, this Cybernetic ARTRIP weighted toward mind, sense, communication and creativity. Its central claim is the one the archive highlights: a new medium constituted in 「受けとり側の主体性」 ("the agency of the receiving side"). The show stresses the mutual constitution of communication and the spontaneity, subjectivity and humanity of the receiver: touching a work should let a person meet what is already inside them. He calls this human development in a wholly new sense, opening to many what had been the preserve of a few artists and a closed circle of enthusiasts, and opening technology beyond industry's apparent monopoly — so rejoining technology and economy to culture. He concedes that present technology cannot yet match our mental activity. The scan is a photocopy of the printed leaflet, reproduced on the back of an Australian Gold Kraft envelope, carrying the same text beside an isometric venue guide showing visitors in 1F and 8F spaces. Contents as the document gives them: コンピュータ：マシンからメディアへ：技術から文化へ (Computer: from machine to medium, from technology to culture — the heading/lead text) · ●第二紀のコンピュータ・アート (The second era of computer art) · ●受けとり側の主体性に於て成立する新しいメジィア (A new medium constituted in the agency of the receiving side) · コンピュータ・アート'74展会場のごあんない (Guide to the venue of the Computer Art '74 exhibition — isometric drawing, 1F and 8F). Two files are held here: the download above is the text version (2 pp.); attached alongside it is the scan of the paper copy from the Hayama Collection (1 pp.), at https://auzflodykqpwhwkadtpq.supabase.co/storage/v1/object/public/library-files/hayama-computer-art-exhibition-74/scan-2.pdf. Noted: No individual is named; the text is signed only 'コンピュータ・アート・センター'. No dates, venue address or opening hours appear on either file. The scan (9875_cp000558_002.pdf) is a photocopy printed over the back of an Australian 'Re-Fastenable 105 gsm GOLD KRAFT' envelope, so parts of the sheet carry unrelated postal text. The venue drawing's labels are mostly too faint to read; only '1F', '1Fホール' and '8F' could be made out, plus a sign reading 'Cybernetic …'. The individual works/zones shown could not be identified. The text PDF has transcription errors: 'メジィア' for メディア, '第二紀' (elsewhere 第二期), 'あたし五概念' for 新しい概念, '又産業経済の独占物' punctuation. Maekawa's 2025 and 2026 slides quote this same passage but head it 'マシンから社会メディアへ' (to SOCIAL media); the leaflet itself reads 'マシンからメディアへ'.