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E.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | group photo
E.A.T. – Experiments in Art and Technology, «Pepsi Pavilion for the Expo '70», 1970
group photo | Photography | Photograph: Harry Shunk | ©
This photograph is taken on March 15, the opening day of Expo 70, as everyone climbed onto the entrance tunnel for a group portrait. 1. Franny Breer 2. David Tudor 3. Julie Martin 4. Calvin Tomkins 5. Jackie Serwer 6. Robert Whitman (partially obscured) 7. Ardison Phillips 8. Fujilko Nakaya 9. Frosty Myers 10. Dore Weiner 11. Sachiko Tamai 12. John Ryde 13. Carla Harrison 14. Gordon Garmire 15. Robert Breer 16. Lori Van't Slot 17. Harry Harper 18. Billy Klüver 19. Remy Charlip 20. Babara Rose 21. Lowell Van't Slot 22. Howard Chesney 23. Fred Waldhauer 24. Eric Saarinen 25. Larry Owens 26. Peter Poole 27. John Pearce 28. Maja Klüver 29. Olga Klüver 30. Tom Mee 31. Elsa Garmire 32. Sig Stenlund About three million people visited the Pavilion during the course of Expo ‘70. Ardison Phillips calculated that the average visitor spent 23 minutes in the Pavilion, longer than any other pavilion. As a matter of fact, we once saw a Japanese family sitting on the astroturf peacefully having their lunch.


 
E.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | Cross Section of the PavilionE.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | Pavilion exterior viewE.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | Clam RoomE.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | Pavilion exterior view (detail)E.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | Pavilon (view from the back)E.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | Spherical MirrorE.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | group photoE.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | pavilion by nightE.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | Performance with a flagE.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | spherical mirror upside downE.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | exterior view 2 (detail)E.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | exterior view (detail)E.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | Laser PerformanceE.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | Spherical Mirror (model)E.A.T. – Experiments in Art and Technology «Pepsi Pavilion for the Expo '70» | Pepsi Pavillon für die Expo ’70
Osaka | Japan | spherical, 90-foot diameter, 210-degree mirrored dome, geodesic shell, surround-sound system, handsets, 800-pound kinetic sculptures, 4 towers with powerful xenon lights | Participants: John Pearce (Architektur), Bob Whitman (mirror dome), David Tudor (sound systems), Tony Martin (lighting system), Robert Whitman (design), Lowell Cross (laser light system), Fujiko Nakaya (water vapor cloud sculpture), Frosty Myers (Light Frame sculpture)
 

 E.A.T. – Experiments in Art and Technology
«Pepsi Pavilion for the Expo '70»

«The ‹Pepsi Pavilion› was first an experiment in collaboration and interaction between the artists and the engineers, exploring systems of feedback between aesthetic and technical choices, and the humanization of technological systems. Klüver‘s ambition was to create a laboratory environment, encouraging ‹live programming› that offered opportunity for experimentation, rather than resort to fixed or ‹dead programming› as he called it, typical of most exposition pavilions. [...] The Pavilion‘s interior dome–immersing viewers in three-dimensional real images generated by mirror reflections, as well as spatialized electronic music–invited the spectator to individually and collectively participate in the experience rather than view the work as a fixed narrative of pre-programmed events. The Pavilion gave visitors the liberty of shaping their own reality from the materials, processes, and structures set in motion by its creators.»

(Randall Packer, «The Pepsi Pavilion: Laboratory for Social Experimentation», in: Jeffrey Shaw/Peter Weibel (eds), Future Cinema. The cinematic Imaginary after Film, exhib. cat., The MIT Press, Cambridge (Mass.), London, 2003, p. 145.)