Sound Structures Experienced Underwater

the 1960s. The path I followed to turn the idea into reality is described briefly here. Like many other artists I had rebuffed the art market; I focused instead on reworking my book Expansion of Art [1]. But by 1969, I had finished a blueprint for my Submarine Center, which was composed of three sections: an audiovisual center, a center for theory and research, and an experimental diving center. Like a cybernetic system, these three parts were closely linked. In this synopsis, I focus on the concept of the audiovisual center, which included “sound art.” Although written almost 50 years ago, my 1972 book Planet Meer. Kunst & Umweltforschung Unterwasser captures the concept precisely. It expresses an early concept of environmentally created sound art, but its view of the project is as relevant today as it was then: