This notion of self-responsibility meant that the artist would need a model of practice where there was an interconnection between the audience, the language, the meaning, the intention, and the context and presentation. This meant that the strategies that the artist employed, or should we say, the artwork, was a result of the interconnections between these things. When you think about, it the audience is more important than the artist. It was that realization which I had about 1958 when I was developing my first models of feedback. The artist was in a relationship with someone else, the audience, and it was the audience that created the validation—well it actually created the existence of the work of art.
According to Anthony Hudek, “It is … Control’s function as a self-determining information network, instead of its content, that makes it truly cybernetic”: while being about networks, the magazine also represents a network in itself. Willats’ choice of title, Control, signals this departure from traditional models of editorial authority, seeking instead to develop a conceptual practice determined by the networked relationships of coordinating agents. Artists’ publishing served as a key means of actualizing these ideas. The magazine has always been self-published, self-funded, and free of advertising, while also attaining a broadly international reach.