Despite his influence in art, architecture and theater, British cybernetician Gordon Pask is rarely acknowledged in histories of digital culture and virtually unknown in the history of art. Pask is better known as a theoretician than as an artist or designer, although his machines, artwork and theories were closely related. This article investigates the relevance of specific aspects of Pask's theories to his best-known artwork, The Colloquy of Mobiles, to illustrate his characteristic unification of science and art, and theory and material experimentation. Select works of contemporary art are discussed to indicate Pask's significance to contemporary art practices.

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