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:

中文翻译：

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水下体验的声音结构

1960 年代。这里简要描述了我将想法变为现实所遵循的路径。像许多其他艺术家一样，我拒绝了艺术市场；相反，我专注于重新编写我的书“艺术扩展”[1]。但到了 1969 年，我已经完成了我的潜艇中心的蓝图，它由三个部分组成：一个视听中心、一个理论研究中心和一个实验潜水中心。就像一个控制论系统，这三个部分是紧密相连的。在这个概要中，我关注视听中心的概念，其中包括“声音艺术”。虽然写于近 50 年前，但我 1972 年的书 Planet Meer。Kunst & Umweltforschung Unterwasser 准确地捕捉到了这个概念。它表达了环境创造的声音艺术的早期概念，但它对项目的看法在今天和当时一样重要：