This interactive quality underlying Ascott’s early vision of cybernetic art was founded on the concepts of process, behavior, and system. As he wrote in his 1967 manifesto Behaviourables and Futuribles, 

“When art is a form of behaviour, software predominates over hardware in the creative sphere. Process replaces product in importance, just as system supersedes structure.”

 Moving away from the notion of art as constituted in autonomous objects, Ascott redefined art as a cybernetic system comprised of a network of feedback loops. He conceived of art as but one member in a family of interconnected feedback loops in the 4 cultural sphere, and he thought of culture as itself just one set of processes in a larger network of social relations. In this way, Ascott integrated cybernetics into aesthetics to theorize the relationship between art and society in terms of the interactive flow of information and behavior through a network of interconnected processes and systems.

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