When the machine made art: the troubled history of computer art, by Grant D. Taylor

2015 ◽  
Vol 9 (1-2) ◽  
pp. 44-47
Author(s):  
Gary Greenfield
Keyword(s):  
Computer Art ◽  
History Of

From analogue to digital: preserving early computer-generated art in the V&A’s collections

2010 ◽  
Vol 35 (3) ◽  
pp. 10-16
Author(s):  
Douglas Dodds
Keyword(s):  
Computer Art ◽  
Art Collections ◽  
Art And Design ◽  
Early Computer ◽  
Digital Material ◽  
History Of ◽  
Analogue To Digital ◽  
Victoria And Albert Museum

The Victoria and Albert Museum holds the UK’s emerging national collection of early computer-generated art and design. Many of the earliest works only survive on paper, but the V&A also holds some born-digital material. The Museum is currently involved in a project to digitise the computer art collections and to make the information available online. Artworks, books and ephemera from the Patric Prince Collection and the archives of the Computer Arts Society are included in a V&A display on the history of computer-generated art, entitled Digital pioneers. In addition, the project is contributing to the development of the Museum’s procedures for dealing with time-based media.

scholarly journals Geography and Teaching of Programming

Geografie ◽  
1989 ◽  
Vol 94 (1) ◽  
pp. 47-53
Author(s):  
Václav Bezvoda
Keyword(s):  
Social Sciences ◽  
Mathematical Programming ◽  
Natural Sciences ◽  
Computer Art ◽  
Universities And Colleges ◽  
History Of

The urgent need of computers in natural and social sciences will strongly influence the modification of the curricula at our universities and colleges. On the basis of an analysis of the history of application of computers at the Faculty of Natural Sciences of the Charles University, Prague and the situation in teaching mathematical programming and computer art, the paper formulates one of the most probable variants of teaching the above-mentioned subjects in geographical sciences. A special attention is paid to the role of microcomputers as the basic yet still problematic device in the computer art.

A Diffusion Model for Computer Art in Education

2002 ◽  
Vol 31 (1) ◽  
pp. 5-18 ◽  
Author(s):  
Al Degennaro ◽  
Brenda L. Mak
Keyword(s):  
Diffusion Process ◽  
Art Education ◽  
Diffusion Model ◽  
Fine Art ◽  
Computer Art ◽  
Software Usability ◽  
History Of

Computer art has a long history of controversy. The diffusion of the technology within the community of fine art and art education has been slow. There are questions in regard to the effectiveness of using the computer as an art medium and as an instrument of instruction for students. We study how the diffusion model proposed by Rogers and Shoemaker can be applied to examine the attributes of computer art that affect its diffusion process. Results indicate that the adoption of computer art can be improved by enhancing software usability and computer art aesthetics. Implications for strategies to overcome conservatism in the adoption of computer art are discussed.

Early Digital Computer Art at Bell Telephone Laboratories, Incorporated

Leonardo ◽  
2016 ◽  
Vol 49 (1) ◽  
pp. 55-65 ◽  
Author(s):  
A. Michael Noll
Keyword(s):  
Digital Computer ◽  
Significant Contribution ◽  
Two Dimensions ◽  
Digital Art ◽  
Computer Art ◽  
Interactive System ◽  
Music Software ◽  
History Of ◽  
Visual Domain ◽  
Aesthetic Preferences

This article is a history of the digital computer art and animation developed and created at Bell Telephone Laboratories, Incorporated, 1962–1968. Still and animated images in two dimensions and in stereographic pairs were created and used in investigations of aesthetic preferences, in film titles, in choreography, and in experimental artistic movies. Interactive digital computer music software was extended to the visual domain, including a real-time interactive system. Some of the artworks generated were exhibited publicly in various art venues. This article emphasizes work in digital programming. This pioneering work at Bell Labs was a significant contribution to digital art.

The Electric “Now Indigo Blue”: Synthetic Color and Video Synthesis Circa 1969

Leonardo ◽  
2013 ◽  
Vol 46 (4) ◽  
pp. 360-366 ◽  
Author(s):  
Carolyn Kane
Keyword(s):  
Electronic Computer ◽  
Early History ◽  
Computer Art ◽  
Unique Color ◽  
Electrical Engineers ◽  
History Of ◽  
Indigo Blue ◽  
The Mind

Circa 1969, a few talented electrical engineers and pioneering video artists built video synthesizers capable of generating luminous and abstract psychedelic colors that many believed to be cosmic and revolutionary, and in many ways they were. Drawing on archival materials from Boston's WGBH archives and New York's Electronics Arts Intermix, this paper analyzes this early history in the work of electronics engineer Eric Siegel and Nam June Paik's and Shuya Abe's Paik/Abe Video Synthesizer, built at WGBH in 1969. The images produced from these devices were, as Siegel puts it, akin to a “psychic healing medium” used to create “mass cosmic consciousness, awakening higher levels of the mind, [and] bringing awareness of the soul.” While such radical and cosmic unions have ultimately failed, these unique color technologies nonetheless laid the foundation for colorism in the history of electronic computer art.

scholarly journals The Emergence and Growth of Evolutionary Art - 1980–1993

Leonardo ◽  
2013 ◽  
Vol 46 (4) ◽  
pp. 367-375 ◽  
Author(s):  
Nicholas Lambert ◽  
William Latham ◽  
Frederic Fol Leymarie
Keyword(s):  
Fractal Geometry ◽  
Natural World ◽  
Mandelbrot Set ◽  
Computer Art ◽  
Clear Cut ◽  
Science Book ◽  
Initial Work ◽  
History Of ◽  
Evolutionary Art ◽  
Do So

One of the most interesting-if frustrating-aspects of charting the history of computer art is trying to understand the intersections of specific technologies and artistic experimentation. It is rarely as clear-cut as a simple linear influence of one to the other, partly because artists are able to envision all kinds of possibilities that technology might enable them to realize in some kind of form, but as they do so, the technology is itself shaped, especially in terms of how it is perceived by others. Do artists find a way to give technologies an aesthetic outlet, or do some technologies possess-or facilitate-a characteristic aesthetic that finds its expression through specific artists? Certainly, in the history of computer art it would seem that particular aesthetics, technologies, and artists are closely intertwined in certain periods. This intertwining of art, technology, and ideas stolen from the natural world has never been so arguably merged as the period in the history of computer art from 1980 to 1993. We take as the defining start of this period the initial work of Mandelbrot on fractals that became known as the Mandelbrot set and led to his famous illustrated art-science book The Fractal Geometry of Nature. In 1993, this first highly creative period in evolutionary computer art came to an end with major publications by pioneers Karl Sims, Stephen Todd, and William Latham.

Infinity and Accident: Strategies of Enfoldment in Islamic Art and Computer Art

Leonardo ◽  
2006 ◽  
Vol 39 (1) ◽  
pp. 37-43 ◽  
Author(s):  
Laura U. Marks
Keyword(s):  
Computer Art ◽  
Islamic Art ◽  
Islamic Philosophy ◽  
Historical Monuments ◽  
History Of ◽  
The Common ◽  
Formal Properties

Computer art and Islamic art, the two largest bodies of aniconic art, share a surprising number of formal properties, two of which are explored here. The common properties of computer art and classical Islamic art can be understood in light of moments in the history of Islamic philosophy. In these two cases, Islamic Neoplatonism and Mu'tazili atomism are shown to parallel, respectively, the logic of relations between one and infinity, and the basic pixel structure, that inform some historical monuments of Islamic art as well as some contemporary works of computer art. It is suggested that these parallels are in part a result of Islamic influences on Western modernism and thus that the genealogy of computer art includes classical Islamic art and the philosophies that informed it.

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