{"id":245,"date":"2022-01-26T01:19:09","date_gmt":"2022-01-26T06:19:09","guid":{"rendered":"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/?page_id=245"},"modified":"2022-01-26T08:44:43","modified_gmt":"2022-01-26T13:44:43","slug":"roots","status":"publish","type":"page","link":"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/daily-notes\/01-26-beginnings\/roots\/","title":{"rendered":"Roots of Computer Art"},"content":{"rendered":"<p><iframe loading=\"lazy\" title=\"Ivan Sutherland Sketchpad Demo\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/6orsmFndx_o?start=260&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>Ivan Sutherland MIT 1963 (Action starts at 4:20)<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-246\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Slide0003.gif\" alt=\"\" width=\"720\" height=\"540\" \/><\/p>\n<p>Jean Tinguely, Swiss kinetic sculptor known for the self destructing machine (1960).<br \/>\nIn the 1950s, he produced a body of work known as <em>metamatics<\/em>.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-247\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Jean-Tinguely-metamatics2.jpg\" alt=\"\" width=\"802\" height=\"602\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Jean-Tinguely-metamatics2.jpg 802w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Jean-Tinguely-metamatics2-640x480.jpg 640w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Jean-Tinguely-metamatics2-768x576.jpg 768w\" sizes=\"(max-width: 802px) 85vw, 802px\" \/><\/p>\n<p>These were a parody of American \u201caction\u201d painting, such as by Jackson Pollock.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-248\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Jean-Tinguely-metamatics3.jpg\" alt=\"\" width=\"570\" height=\"775\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Jean-Tinguely-metamatics3.jpg 570w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Jean-Tinguely-metamatics3-353x480.jpg 353w\" sizes=\"(max-width: 570px) 85vw, 570px\" \/><\/p>\n<p><iframe loading=\"lazy\" title=\"DEMO: M\u00e9ta-Matic No. 10\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/CIEYlUosKUY?start=240&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" title=\"La machine \u00e0 dessiner.\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/4-NrTsq6bsg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>In the early 1950s, American mathematician and artist Ben Laposky made the first images generated by an electronic computer, photographing the output of an oscilloscope.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-252\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Slide00061.gif\" alt=\"\" width=\"720\" height=\"540\" \/><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-253\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Slide00071.gif\" alt=\"\" width=\"720\" height=\"540\" \/><\/p>\n<p>American animator, Mary Ellen Bute used a similar technique in the early 1950s, to produce abstract animated films which she called \u2018Abstronic\u2019.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-254\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/1-1-640x222-1.jpg\" alt=\"\" width=\"640\" height=\"222\" \/><\/p>\n<p>In the 1950s, British artist Desmond Paul Henry created plotter drawings using decommissioned analog\/mechanical \u201cbombsight computers\u201d which were employed in World War II bombers to calculate the accurate trajectories of bombs and missiles. This strategy was also used by American abstract animator, John Whitney.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-255\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry-machine.jpg\" alt=\"\" width=\"1264\" height=\"1329\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry-machine.jpg 1264w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry-machine-457x480.jpg 457w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry-machine-974x1024.jpg 974w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry-machine-768x807.jpg 768w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry-machine-1200x1262.jpg 1200w\" sizes=\"(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-269\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry5.jpg\" alt=\"\" width=\"459\" height=\"640\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry5.jpg 459w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry5-344x480.jpg 344w\" sizes=\"(max-width: 459px) 85vw, 459px\" \/><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-270\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry6.jpg\" alt=\"\" width=\"480\" height=\"620\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry6.jpg 480w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry6-372x480.jpg 372w\" sizes=\"(max-width: 480px) 85vw, 480px\" \/><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-271\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Desmond-Paul-Henry2.jpg\" alt=\"\" width=\"408\" height=\"480\" \/><\/p>\n<p>These artists seemed to be fascinated by the apparent randomness (unpredictability) of these machines and let them \u201cdo their thing\u201d.<\/p>\n<p>On the opposite side of the algorithmic spectrum, there is Sol LeWitt, who didn\u2019t use computers but conceived many of his works as a series of instructions. In point of fact, they were indeed intended to be created by machines: art gallery interns.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-272\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_a.jpg\" alt=\"\" width=\"1305\" height=\"1600\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_a.jpg 1305w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_a-392x480.jpg 392w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_a-835x1024.jpg 835w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_a-768x942.jpg 768w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_a-1253x1536.jpg 1253w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_a-1200x1471.jpg 1200w\" sizes=\"(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-274\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_b.jpg\" alt=\"\" width=\"1305\" height=\"1600\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_b.jpg 1305w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_b-392x480.jpg 392w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_b-835x1024.jpg 835w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_b-768x942.jpg 768w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_b-1253x1536.jpg 1253w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_b-1200x1471.jpg 1200w\" sizes=\"(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p>This is the result of the sequence of instructions. What is the status of authorship and ownership when the works are just instructions that anybody can execute?<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-276\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_c.jpg\" alt=\"\" width=\"599\" height=\"1600\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_c.jpg 599w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_c-180x480.jpg 180w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_c-383x1024.jpg 383w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/sol_le_witt_c-575x1536.jpg 575w\" sizes=\"(max-width: 599px) 85vw, 599px\" \/><\/p>\n<p>Sol Lewitt was part of the Conceptualist movement. In the 1960s these artists enjoyed provoking the question as to whether an artwork could take the form of a set of instructions, i.e. if the artwork, technically, had no material existence. Another participant in this (and the related Fluxus movement) was Yoko Ono, who created a book of instructional \u201cpaintings\u201d called Grapefruit.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-277\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/tumblr_mh5h44s4361qe31lco1_r1_500-449x480-1.jpg\" alt=\"\" width=\"449\" height=\"480\" \/><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-278\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/tumblr_mh5h44s4361qe31lco7_500-480x480-1.jpg\" alt=\"\" width=\"480\" height=\"480\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/tumblr_mh5h44s4361qe31lco7_500-480x480-1.jpg 480w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/tumblr_mh5h44s4361qe31lco7_500-480x480-1-150x150.jpg 150w\" sizes=\"(max-width: 480px) 85vw, 480px\" \/><\/p>\n<p>Another form of procedural or rule-based art evolved around this time as well: Optical Art, or \u201cOp-Art\u201d. A leader of this movement was Hungarian artist, Victor Vasarely:<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-280\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/VASARELY-Litho_orange2-481x480-1.jpg\" alt=\"\" width=\"481\" height=\"480\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/VASARELY-Litho_orange2-481x480-1.jpg 481w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/VASARELY-Litho_orange2-481x480-1-150x150.jpg 150w\" sizes=\"(max-width: 481px) 85vw, 481px\" \/><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-281\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/vas-vega-480x480-1.jpg\" alt=\"\" width=\"480\" height=\"480\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/vas-vega-480x480-1.jpg 480w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/vas-vega-480x480-1-150x150.jpg 150w\" sizes=\"(max-width: 480px) 85vw, 480px\" \/><\/p>\n<p>British artist Bridget Riley was another:<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-282\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/riley010-353x480-1.jpg\" alt=\"\" width=\"353\" height=\"480\" \/><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-283\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/5574728315_d3e2b31c9b_b.jpg\" alt=\"\" width=\"1024\" height=\"768\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/5574728315_d3e2b31c9b_b.jpg 1024w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/5574728315_d3e2b31c9b_b-640x480.jpg 640w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/5574728315_d3e2b31c9b_b-768x576.jpg 768w\" sizes=\"(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p>There was a major exhibition of Op-Art, \u201cThe Responsive Eye\u201d at the MoMA in 1965. (The catalogue is really worth a look.) One important aspect of Op-Art was its \u201cinteractive\u201d quality. Often the viewer became very involved in perceiving the work: moving around it, stepping back and forth, and blinking a whole lot.<\/p>\n<p><iframe loading=\"lazy\" title=\"The Responsive Eye, Part 1 Mike Wallace 1965\" width=\"840\" height=\"630\" src=\"https:\/\/www.youtube.com\/embed\/ek_lQJsU41U?start=4&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h3>Historic Computer Art<\/h3>\n<p>While the Conceptual artists (e.g. Lewitt) were thinking about rule-based art, and the Op-Artists were thinking about mathematically-motivated, mind-bending forms, the early computer artists were thinking about both of these things, and how they could use new technologies to create them. It wasn\u2019t long after Ivan Sutherland introduced visually-oriented computing (c. 1963) that artists got involved.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-285\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Georg-Nees-1965-1968.jpg\" alt=\"\" width=\"1095\" height=\"1600\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Georg-Nees-1965-1968.jpg 1095w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Georg-Nees-1965-1968-329x480.jpg 329w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Georg-Nees-1965-1968-701x1024.jpg 701w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Georg-Nees-1965-1968-768x1122.jpg 768w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Georg-Nees-1965-1968-1051x1536.jpg 1051w\" sizes=\"(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p>In the mid-60s, as the first image plotters became available, artists began to obtain access to mainframe computers. Usually their access was limited to late nights and weekends.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-287\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Georg-Nees-Sculpture-1968.jpg\" alt=\"\" width=\"552\" height=\"600\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Georg-Nees-Sculpture-1968.jpg 552w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Georg-Nees-Sculpture-1968-442x480.jpg 442w\" sizes=\"(max-width: 552px) 85vw, 552px\" \/><\/p>\n<p>Nees had to write his own graphics libraries. His works often deals with order vs. disorder. He also made the world\u2019s first computer-generated sculpture in 1968 using a computer aided milling machine.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-240\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar-works-from-the-1960s-70s-interruptions-1-dam-11050-2pUzr-de-2.jpg\" alt=\"\" width=\"815\" height=\"800\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar-works-from-the-1960s-70s-interruptions-1-dam-11050-2pUzr-de-2.jpg 815w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar-works-from-the-1960s-70s-interruptions-1-dam-11050-2pUzr-de-2-489x480.jpg 489w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar-works-from-the-1960s-70s-interruptions-1-dam-11050-2pUzr-de-2-768x754.jpg 768w\" sizes=\"(max-width: 815px) 85vw, 815px\" \/><\/p>\n<p>The computer art movement was international. Vera Moln\u00e1r was a French Hungarian artist.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-288\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar_computer_drawing_tallhalf.png\" alt=\"\" width=\"1934\" height=\"2962\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar_computer_drawing_tallhalf.png 1934w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar_computer_drawing_tallhalf-313x480.png 313w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar_computer_drawing_tallhalf-669x1024.png 669w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar_computer_drawing_tallhalf-768x1176.png 768w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar_computer_drawing_tallhalf-1003x1536.png 1003w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar_computer_drawing_tallhalf-1337x2048.png 1337w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/molnar_computer_drawing_tallhalf-1200x1838.png 1200w\" sizes=\"(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p>Manfred Mohr is a German-American artist, based in NYC, active in computer art since 1968.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-289\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/mohr-640x480-1.jpg\" alt=\"\" width=\"640\" height=\"480\" \/><\/p>\n<p>Manfred Mohr \u2013 Random Walk 1969:<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-290\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Manfred-Mohr-P-18-Random-Walk-plotter-drawing-ink-on-paper-50cm-x-50cm-1969.gif\" alt=\"\" width=\"479\" height=\"500\" \/><\/p>\n<p>Frieder Nake, Nr. 2 (also known as Hommage to Paul Klee), 1965<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-291\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Frieder-Nake-13_9_65-Nr.-2-also-known-as-Hommage-to-Paul-Klee-1965-plotter-drawing-ink-on-paper-40-x-40-cm.jpg\" alt=\"\" width=\"899\" height=\"935\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Frieder-Nake-13_9_65-Nr.-2-also-known-as-Hommage-to-Paul-Klee-1965-plotter-drawing-ink-on-paper-40-x-40-cm.jpg 899w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Frieder-Nake-13_9_65-Nr.-2-also-known-as-Hommage-to-Paul-Klee-1965-plotter-drawing-ink-on-paper-40-x-40-cm-462x480.jpg 462w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Frieder-Nake-13_9_65-Nr.-2-also-known-as-Hommage-to-Paul-Klee-1965-plotter-drawing-ink-on-paper-40-x-40-cm-768x799.jpg 768w\" sizes=\"(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p>Herbert W. Franke\u2019s Serie Mondrian (1980), a software created for the Texas Instruments TI 99\/4 home computer. Serie Mondrian produced Mondrian-style images according to user defined parameters.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-292\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Herbert-W.-Franke-Serie-Mondrian2.gif\" alt=\"\" width=\"768\" height=\"512\" \/><\/p>\n<p>Mark Wilson \u2013 STL D30 (1986):<img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-293\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Mark-Wilson-Small-Three-Skew-1983-.jpg\" alt=\"\" width=\"720\" height=\"765\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Mark-Wilson-Small-Three-Skew-1983-.jpg 720w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Mark-Wilson-Small-Three-Skew-1983--452x480.jpg 452w\" sizes=\"(max-width: 720px) 85vw, 720px\" \/><\/p>\n<p>In the 80\u2019 computer generated abstraction grows in complexity. And can be printed in full colors. Many of these artists are still around but in the \u201890s computer art morphed into new media art, and interactivity and social engagement became the main focus for artists working with technology.<\/p>\n<p>Cory Arcangel\u2019s gradient works are a playful post-modern legacy of computer art.<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-294\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Cory_gradient1.jpg\" alt=\"\" width=\"864\" height=\"1320\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Cory_gradient1.jpg 864w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Cory_gradient1-314x480.jpg 314w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Cory_gradient1-670x1024.jpg 670w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/Cory_gradient1-768x1173.jpg 768w\" sizes=\"(max-width: 709px) 85vw, (max-width: 909px) 67vw, (max-width: 1362px) 62vw, 840px\" \/><\/p>\n<p>Cory Arcangel, <em>Photoshop CS: 110 by 72 inches, 300 DPI, RGB, square pixels, default gradient \u201cSpectrum\u201d, mousedown y=1098 x=1749.9, mouse up y=0 x=4160\u00a0<\/em><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-295\" src=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/cory_gradients.jpg\" alt=\"\" width=\"375\" height=\"500\" srcset=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/cory_gradients.jpg 375w, https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-content\/uploads\/2022\/01\/cory_gradients-360x480.jpg 360w\" sizes=\"(max-width: 375px) 85vw, 375px\" \/><\/p>\n<p>The preset gradient as pop culture reference that many recognize: Low end sloppiness vs high end packaging.<\/p>\n<p>Cory Arcangel, <em>Photoshop CS: 110 by 72 inches, 300 DPI, RGB, square pixels, default gradient \u201cSpectrum\u201d, mousedown y=1098 x=1749.9, mouse up y=0 x=4160.<\/em><\/p>\n<h3>2021-22:<\/h3>\n<ul>\n<li>Lingdong Huang, <a href=\"https:\/\/fishdraw.glitch.me\/\"><em>Fishdraw<\/em><\/a><\/li>\n<li>Licia He, <a href=\"https:\/\/www.instagram.com\/blahblahpaperblah\/\">watercolor plotter works<\/a><\/li>\n<li>Toxi, <em><a href=\"https:\/\/www.fxhash.xyz\/generative\/slug\/defrag-1\">DeFrag<\/a><\/em><\/li>\n<li>Robert Hodgin, <em><a href=\"https:\/\/www.fxhash.xyz\/generative\/slug\/growth-v02\">Growth v02<\/a><\/em><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Ivan Sutherland MIT 1963 (Action starts at 4:20) Jean Tinguely, Swiss kinetic sculptor known for the self destructing machine (1960). In the 1950s, he produced a body of work known as metamatics. These were a parody of American \u201caction\u201d painting, such as by Jackson Pollock. In the early 1950s, American mathematician and artist Ben Laposky &hellip; <a href=\"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/daily-notes\/01-26-beginnings\/roots\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Roots of Computer Art&#8221;<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"parent":258,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-json\/wp\/v2\/pages\/245"}],"collection":[{"href":"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-json\/wp\/v2\/comments?post=245"}],"version-history":[{"count":12,"href":"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-json\/wp\/v2\/pages\/245\/revisions"}],"predecessor-version":[{"id":300,"href":"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-json\/wp\/v2\/pages\/245\/revisions\/300"}],"up":[{"embeddable":true,"href":"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-json\/wp\/v2\/pages\/258"}],"wp:attachment":[{"href":"https:\/\/courses.ideate.cmu.edu\/60-212\/s2022\/wp-json\/wp\/v2\/media?parent=245"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}