ABSTRACT
This chapter outlines the dispersal of ideas from Groundcourse and other art schools into counterculture, as well as considering more broadly the rich and vital relationship between experimental art school pedagogy and multimedia in the music scene of the late 1960s. It draws out the enduring relevance of Roy Ascott’s cybernetic ideology and its long-term influence upon his students, as well as recovering some of the ephemeral and experimental collaborations that took place in Britain in the late 1960s. In the ultimate creative feedback loop, creativity flowed between art forms, enhanced by the possibilities presented by new technologies, including the synthesizer. The techniques that Jack Bracelin employed in his light shows were very similar to Boyle’s, in that he used a mix of organic and chemical viscous liquids sandwiched between glass slides, which he would squeeze with long-nosed pliers in time to the beat of the music.
