Kinetica is the UK's first museum of kinetic art. It will actively encourage the convergence of art and technology, providing an exhibition space in central London where the most important examples of kinetic, technological and electronic art, both past and present, can be properly stored and displayed.

Frances Dyson (Ph.D.) was a CR+D researcher in residence in 2004. She primarily focused her work on the 9 Evenings: Theatre and Engineering fonds and the collection of documents published by Experiments in Art and Technology (E.A.T.). In this publication, Dyson analyzes the discourse on art and technology and the social utopias surrounding E.A.T. projects between 1966 and 1972. Ms. Dyson also examines the aspect of sound in the performances of John Cage, Alex Hay and David Tudor during 9 Evenings: Theatre and Engineering, held in 1966.
Link

It has been said that, in the performance of Variations VII, John Cage gave up more control than he had ever done in any other composition.

The setting was perfect for Cage. Not only did the 69th Regiment Armory produce a six-second reverberation that ensured the entire space would have a cathedral-like ambience (a physical attribute that Tudor and Cage explored, using the building itself as an instrument) but sound was made present in ways that went far beyond performance or aesthetics. With Cage's piece, the Armory was transformed into a pan-aural centre that took in sounds from all over and processed them. Billy Klüver stated that Cage:

"wanted sounds from all over the city — and, if possible, all over the world. We had 15 telephone lines to restaurants, an aviary, a dog hospital, a street, etc. He also made use of radio receivers covering all the wavelengths. [He] also wanted to pick up sounds from outer space [...] [and] suggested picking up and amplifying the multitude of sounds around us that we cannot normally hear."
Link

This building was designed by an unknown architect in an irrelevant epoch and never belonged to an important person. The complex does not show any original architectural solutions, nor does it conserve any important works of art within. No memory is kept of any significant historical events occurring on this site. No known personality was born, lived or died here, nor is any excellent artist or sublime poet still working here.
Link

New media. Digital art. Interactive installation. No matter what ungainly term you choose, the field of artists whose work falls outside the traditional realms of photography, film, and video is growing. In recognition of that fact, the Museum of Modern Art announced yesterday the creation of a new Department of Media...

Asked to define the kind of work that will fall under his department, Mr. Biesenbach described it as "time-based" work that is meant to be viewed in a gallery."In contrast to [film], you're not sitting and watching from the beginning to the end in a dark room with other people," Mr. Biesenbach said. "It's basically always gallery-based. It can be moving pictures. It can be beautiful sound installations, like the Janet Cardiff piece we had here at MoMA. It can be performance pieces. They're all time-based, and they're all moving in some broad sense."

"Throughout the last decade, it became [clear it was] not only one season, not only two seasons — it became a significant contribution to contemporary art," Mr. Biesenbach said. "There were time-based pieces and moving-images pieces in the galleries, in the big biennales, in the big collection. We are just giving attention to preserving them, conserving them, giving them a chance to be seen in the museum."

Han Haacke: Even though I am sickened by how cultural institutions have become part of the entertainment industry, I am not ready to write them off. I remember that in the sixties and seventies there were complaints that museums were too elitist, that their entrance fees were too high, that they were not accessible to “normal” folks. I have been a tourist in many art venues. Among my fellow tourists there were always some whose behaviour made me believe they were genuinely interested in what they were looking at, that it meant something to them. I believe several of the Documenta commissioners understood that Documenta is an ideological “battle ground”, and it is fair to say that the event has had an important impact on “ordinary” Germans and visitors from abroad. “Arts & Leisure”, as The New York Times calls its Sunday culture pages, is more than muzak. In spite of all our gripes, they remain a forum we should not vacate.
Full interview at http://www.macba.es/uploads/20051209/haacke_eng.pdf
See also http://www.macba.es/controller.php?p_action=show_page&pagina_id=29&inst_id=18736