The American art historian Edward A. Shanken points to the example of Roy Ascott who "powerfully demonstrates the significant intersections between conceptual art and art-and-technology, exploding the conventional autonomy of these art-historical categories." Ascott, the British artist most closely associated with cybernetic art in England, was not included in Cybernetic Serendipity because his use of cybernetics was primarily conceptual and did not explicitly utilize technology. Conversely, although his essay on the application of cybernetics to art and art pedagogy, "The Construction of Change" (1964), was quoted on the dedication page (to Sol LeWitt) of Lucy R. Lippard's seminal "Six Years: The Dematerialization of the Art Object from 1966 to 1972", Ascott's anticipation of and contribution to the formation of conceptual art in Britain has received scant recognition, perhaps (and ironically) because his work was too closely allied with art-and-technology. Another vital intersection was explored in Ascott's use of the thesaurus in 1963 [http://telematic.walkerart.org/timeline/timeline_shanken.html], which drew an explicit parallel between the taxonomic qualities of verbal and visual languages – a concept would be taken up in Joseph Kosuth's "Second Investigation, Proposition 1" (1968) and Mel Ramsden's "Elements of an Incomplete Map" (1968).