ACM SIGGRAPH 86 ART SHOW

ART SHOW CHAIR CONFERENCE CO-CHAIRS Patric Prince Ellen Gore California State University, Los Angeles ISSCO Raymond L. Elliott Los Alamos National Laboratory ART SHOW COMMITTEE Maxine D. Brown Maxine Brown Associates SPACE COMMITTEE Donna J. Cox Darcy Gerbarg University of Illinois School of Visual Arts Paul Allen Newell Barbara Mones Abel Image Research Montgomery College Sylvie Rueff John. C. Olvera Jet Propulsion Laboratory North Texas State University Gary Walker Jet Propulsion Laboratory PROFESSIONAL ASSISTANCE Gayle Westrate Independent Deborah Sokolove Colman

PHOTOGRAPHS Monochrome Color

ESSAYS Herbert W. Franke John Whitney Ken Knowlton Frank Dietrich Patric Prince

LISTS OF WORKS Tho-dimensional/Three-dimensional Works Installations Animations

FRONT COVER CREDIT ISBN 800-24 7-7004 © 1986 ACM SIGGRAPH © 1985 David Em, Zotz

I 1986 ACM SIGGRAPH ART SHOW: A RETROSPECTIVE Since the mid-Sixties, computer art has been seen in museums and galleries world-wide, with several recent major exhibitions. However, the pieces shown were usually the artists' newer works. It is appropriate and pertinent at this year's exhibition to show computer-aided art in the context of that which went before. The 1986 art show traces the development of computer art over the past twenty-five years through the work of artists who have been involved with it from its inception. The 1986 art show is the fifth exhibition of fine art that ACM SIGGRAPH has sponsored in conjunction with its annual SIGGRAPH conference. Patric D. Prince

ACKNOWLEDGMENTS I thank Louise Ledeen for her support and advice, the Art Show committee for their billions and billions of donated hours, and the nucleus of dedicated volunteers who have worked diligently to produce this art show.

ARTWORKS AND ANIMATION MATERIALSHA VE BEEN LOANED BY THE ARTISTS AND Dr. Prof. Herbert W. Franke, Puppling, West Germany John Landsdown, Computer Arts Society, London, England Greg Mcfarlane, Evans and Sutherland, Inc., Salt Lake City, Utah Oliver Strimpel, Computer Museum, Boston, Massachusetts

POST-PRODUCTION FACILITIES PROVIDED BY McDonnell-Douglas, Douglas Aircraft Company, Motion Picture/Video Production Division, Nathan Simmons

COMPUTERS AND SUPPORT PROVIDED BY Apollo Computers, Chelmsford, Massachusetts AT&T, EPIC Center, Indianapolis, Indiana Chuck Kozak, Aurora Systems, San Francisco, California Commodore-Amiga, Los Gatos, California Electronic Arts, San Mateo, California Island Graphics, Sausalito, California Kurta Corporation, Phoenix, Arizona Lufthansa Airlines, West Germany Newtek, To peka, Kansas Silicon Graphics, Mountain View, California

TECHNICAL ASSISTANCE Neal Handly Robert E. Holzman

2 Ben Laposky Osei/Ion40 1952 Photograph of analog screen 11 x 14"

Bob Goldstein Race Car for MAGI film circa 1968 Polaroid photograph 3.25 x 4.25"

William Fetter H325691962 Photograph of plotter drawing 8.5 x 11"

3 Frieder Nake Random Polygon 1963 Photograph of plotter drawing 8 x 6"

Frieder Nake Hommage to Paul Klee 1965 Serigraph 20 x 20"

4 Georg Nees Gravel Stones 1966 Serigraph 39 x 28"

A. Michael Noll Ninety computer-generated sinusoids with linearly increasing period 1965 Photograph of plotter drawing 8.5 x 11"

5 Klaus Basset Symmetrische Durchdringung gerader und ungerader Reihen 1963 Drawing 6 x 6"

Klaus Basset Osliper Fiicher 1981 Alphanumberic print 12 x 12"

Klaus Basset Layers and Steps I 1985 Alphanumeric print 12 x 12"

6 Charles Csuri Hummingbirds 1966 Photograph of plotter drawing 8.5 x 11"

Charles Csurzi Charles Csuri Leonardo Man 1966 Sine Curve Man 1966 Photograph of plotter drawing 8. 5 x 11" Photograph of plotter drawing 8.5 x 11"

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Eudice Feder Separation 1980 Plotter drawing 16 x 23"

9 Joseph Heller EternalBraid 1983 Plotter drawing 40 x 28"

Masao Komura, Kunio Yamanaka Returnto a Square (b) 1968 Serigraph 20 x 17''

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Manfred Mohr Manfred Mohr P-2612 Inversion Logique 1969 P-155 Cubic Limit 1974-6 Plotter drawing 22 x 18.5" Serigraph 27.5 x 27.5"

Manfred Mohr Manfred Mohr P-306 DivisibilityI 1980-3 P-370-P Divisibility II 1985 Acrylic on canvas and wood 40 x 44" Plotter drawing 24 x 24"

11 Hideki Mitsui CG 1972-1 1972 Photograph of plotter drawing 10 x 12"

Stan Vanderbeek Disappearing Man 1979 Plotter drawing 60 x 29.5"

Edward E. Zajac Still from Simulation of a Two-Gyro Gravity-Gradient Attitude Control System 1961 16mm film 3314 minutes

12 Edward Zajec, Matjaz Hmeljak The Cube: Theme and Variations TVC 3271 1971 Plotter drawing 12 x 12"

Edward Zajac, Matjaz Hmeljak The Cube: Theme and Variations .. . ."­ ..." TVC 59888 1973 -· Plotter drawing 15 x 15" -� '.r-·�···=� F ·-· -··-�.. :...... -.--- . -. - - ... . ����:� __� ..___ ::-�".. . :::::=...... ===-·--·-:: =..-

...... -...... Edward Zajac, Matjaz Hmaljak Logic Moments in Color LMC 30020861976 Alphanumeric print 14.5 x 16"

13 Herbert Franke Grafik1 1956 Serigraph 17 x 11 "

Herbert Franke Serie 1961/62 e'd 'a' 1961-2 Serigraph 27.5 x 20"

Herbert Franke, Peter Henne Serie Algebraische Kurven ed'a 1969 Serigraph 28 x 20"

14 Herbert Franke Farbraster42 1975 Inkjet print 16.5 x 14"

Herbert Franke, Horst Helbig MathematischeLandschaft 1984 Cibachrome of raster image 20 x 20"

15 Colette Bangert, Charles Bangert Large Landscape: Ochre & Black 1970 Plotter drawing 32 x 23"

c. 6 8 --, Colette Bangert, Charles Bangert Circe's Window 1985 Plotter drawing 8.5 x 11" ,.,_,o, .�-a

16 Tony Longson Group Theory Grid 1968 Plexiglass 24 x 24 x 4"

Tony Longson Square Tonal Drawing #2 1980 Plexiglass 30 x 30 x 4"

17 Robert Mallary Quad III 1968 Laminated veneer 86 x 16 x 16"

Robert Mallary Collage 1985 Cibachrome of raster image 8.5 x 10.5''

18 Aaron Marcus Lightbuttons: Rising Suns 1967 Photograph of vector image 30 x 30"

Aaron Marcus Radioactive Jukebox 1972-4 Serigraph 18 x 15"

19 Vera Molnar Interruptions -20 1969 Plotter drawing 17.5 x 13.5"

Vera Molnar Hypertransformations 1973-6 Serigraph 25.5 x 19.5"

20 Jozef Jankovic, lmrich Bertok Computer; My Daughter and I 1980 Serigraph 25.5 x 19.5"

Duane Palyka Self-Portrait 1975 Photograph of raster image 16 x 20"

21 Lillian Schwartz, Kenneth Knowlton Still from Pixillation 1970 16mm film4 minutes

Lillian Schwartz Big MOMA 1984 Lithograph 8 x 4'

Lillian Schwartz Symbolic Homage to Picasso 1986 Cibachrome of raster image 4 x 4'

22 Carlos Arguello Mary 1985 Photograph of raster image

Terry Blum EllipseSeries # 1 1985 Photograph of raster image

23 Paul Brown Sculpture Simulation 1983 Photograph of raster image

Susan Brown Stretch 1985 Plotter drawing 28 x 30"

24 Nancy Burson, Richard Carling, David Kramlich The Dead 1984 Composite silver print

Rob Fisher, Ray Masters Skyharp(detail) 1986 Stainless steel, aluminum 16 x 16 x 6'

25 David Em Redbal 1980 Cibachrome of raster image 6 x 8'

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Jurgen Lit Fischer Obertone-spektral 1984 Serigraph 40 x 40"

26 Darcy Gerbarg DVISeries 1 #1 1979 Etching JO x 12"

Darcy Gerbarg Plain 1985 Acrylic on canvas 63 x 87"

27 Jeremy Gardiner Self-portrait 1985 Acrylic on canvas 60 x 60"

Laurence M. Gartel Deciphering Archetypes of Human Form 1985 Polaroid collage 37 x 33"

28 Bruce Hamilton, Susan Hamilton Tetrad 1984 Wood 16 x 27 x 23"

Josepha Haveman Stillife8 1985 Inkjet print 10 x 12"

29 Richard Helmick Glades 1983 Screenprint 22 x 30"

Herve Huitric, Monique Nahas Hommage ii Georgette Lafeuille 1985 Photograph of raster image

30 Alyce Kaprow Fazes 1983 Photograph 16 x 20"

Barbara Nessim Diana 11986 Printer and mixed media 11 x 8.5"

31 John Pearson Remembrances #5 1986 Acrylic on shaped canvas 74 x 93"

Gregg Smith, Kathy Neely Delano 1985 Inkjet print 12 x 16"

32 Mark Wilson Untitled 1975 Acrylic on linen 72 x 72"

Mark Wilson Long Skew B 1985 Plotter drawing 20 x 96"

33 COMPUTER GRAPHICS AS ARTISTIC EXPRESSION Herbert W. Franke (translated from the German)

Computer graphics has been in existence for more than From the view of artistic trends, these works are formally re­ twenty years. From the beginning, people experimented on lated to constructivism, especially concerning the precision of ways to use the new medium - in addition to scientific, tech­ presentation and the limitation to simple form elements, nical and commercial application - for artistic goals. which were then still necessary. While representatives of clas­ Around 1965, Germans Frieder Nake and Georg Nees and sical constructivism had to make do with a ruler and com­ the American, A. Michael Noll, strove for that goal; they pass, thus being limited to straight lines and circles, it is easy were followed by individuals such as Kenneth Knowlton, the for the computer user to insert precise and complicated team of Charles Csuri and James Shaffer in America, and the curves. This is possible either by the process of interpolation Japanese Computer-Technique Group. All of them were rep­ or by the program evaluating mathematical formulas resented in the large exhibition "Cybernetic Serendipity" in and transforming the resulting numbers into 1968 in London. graphic presentation. In the following years, in addition to mathematicians and Another expansion of form and style, accessible with pro­ programmers, more and more professional artists adopted gramming languages, concerns the transfer from order to the methods of computer graphics. This became an interna­ chaos. With the help of a random number generator, one can tional activity, but was little known to the general public. get essentially orderless rows of numbers which can be used The situation changed a few years ago, not so much because as reference numbers for graphics presentations. The use of of a breakthrough in the field of art, but as a result of the the chance effect, common in the early days of computer production of spectacular computer-produced special effects graphics, also found expression in manually produced con­ for science fiction films and advertising commercials. structivist works, such as those by Herman de Vries. Some As a technical method, computer graphics no more is in­ constructivists, like Peter Struycken, Zdenek Sykora and volved with art than pencil and color. It becomes interesting Gerhard von Graevenitz, used the computer to realize their only after it is applied to creative goals, and even then it picture ideas. needs the creative human being to achieve high quality, aes­ Different effectswere achieved by using methods of image thetic results. In view of the short time that computer graph­ processing, that is, the graphic processing of data. Originally ics tools have been at our disposal, each computer graphics this technology was used by scientists to enhance pictures ob­ work of art should be looked upon as an experiment to test tained photographically. With digital electronics, a considera­ the medium for its suitability as a means of artistic expres­ ble widening of this field of activity was possible, such as sion. We have here the unique case of an art "in statu nas­ being able to correct distortions of pictures or eliminate cendi," the extraordinarily interesting initial state of an art "noise." Distinguished from computer graphics, image proc­ which eludes all classical fields of observation, to be observed essing works with pictures of real objects and scenes, which in its emergence. This is a special opportunity which, are thus open to artistic treatment. Again, already written strangely enough, scarcely has been exploited up to now computer programs are available to artists, who use them to by relevant scientists. distort pictures rather than to improve them. This can lead to One noteworthy observation in the evolution of computer art attractive graphic effects. is its development from playful experiments to commerciali­ The beginnings of image processing go back to the time of zation. Another is the formation of different styles and crite­ printers and plotters, but the real impetus is connected with ria of valuation, a phase not yet concluded so far. This article television. This technical innovation, with the appearance of will concentrate on yet another aspect of this discipline - the the picture tube as a presentation tool for computer graphics, interaction between technical instrumentation and initiates a significantchange. With color screen limits of artistic expression. more than one hundred million hues, the number of availa­ In the fifties, the mechanical "plotter" was the only drawing ble colors is greater than the number of colors the human eye apparatus in use. According to a program, the plotter con­ can distinguish. trolled the movement of ink, pen and pencil, over flat paper Contrary to the plotter presentations, the construction of or paper stretched over a roll. This method limited artistic which often took more than an hour, a picture is now created experiments with computer graphics to line drawings, initial within fractions of a second. This permits interactive work production of block diagrams, wiring diagrams, maps, etc. - there is essentially no waiting time - and the producer Software, as well as hardware, affected these artistic experi­ immediately can see the results of his graphics applications ments in design. The first programming languages were par­ and improve upon them until the effects are optimal. This ticularly well-suited to describe mathematical and logical also eases the capture of movements over time. With bigger associations. The firstcomputer artists used these existing systems, sequences of thirty pictures per second can be cre­ routines, so it is not surprising that many of the things pro­ ated in real time. For the first time, the visual artist has a duced then originated from the rich store of forms in tech­ means to create graphics sequences freely. nique and science.

34 Whereas the limited possibilities of the plotter favored a And yet, it would be a mistake to deny this medium's artistic trend toward mathematical constructive presentations, the potential. The development of programs has proven to be the monitor picture gives the artist relative freedom. Today, necessary basis without which no artistic achievement in this computer graphics is not bound to a certain style but de­ fieldis possible. It is the realm of photorealism, the style pends on the views of the artist. If he wants to use the dominant in art circles some time ago, which demanded the so-called paint systems, which allow for simulation of hand­ rendering of scenes from everyday life as realistically as a drawn objects, he achieves a flexibilityhardly imagined be­ photograph. Although the results of this style are not distin­ fore: he can mix and change paints at will, turn parts of the guishable from painted works, there still is a considerable picture, move, manipulate or erase; he can withdraw objects difference. In the application of 3-D routines, the artist is and enlarge details which are then zoomed back into the pic­ concerned with more than the surface of things - quite an­ ture, etc. Pictures produced in this way do not differ signi­ other approach from the reproduction of perspective projec­ ficantly from those achieved with conventional methods. tion. It is evident that we have here a real expansion in Some artists have discovered the wider possibilities in style presentation, as the objects presented in this way can be ob­ and expression that can be realized with computer graphics, served from all sides, as well as through time. If we deal with unknown in classical painting. Mathematical formulas, used moving things, e.g. an animal, then the dialogue between the since the early days of computer graphics, have been applied artist and his object goes further still. He may think about more rigorously to current work. A significant difference the interplay of skeleton and muscles, the degrees of freedom results. With conservative working methods you go point-by­ of movement, and finally, create a film of the creature in mo­ point, meaning that in a picture, the exact spot you touch is tion. Here again, the effect alone is not sufficient to make the changed. Computer graphics also permits changing the pic­ presentation into a work of art, but the availability of the ture in its entirety. method presents an enormous challenge to the artist who now has means of expression hitherto unavailable to him. In this field of mathematical techniques belong transforma­ tions. When applied to images, these transformations yield The experiences with the first picture sequences created this manifold changes. In simple cases, a transformation can way show that realism is relatively uninteresting. As has been cause an exchange of colors, a physical structure, or the ac­ confirmedin other fields of art, an exact copy of reality is centuation of contours. With more complicated transforma­ not what counts. An entirely new dimension opens for the tions, new picture structures can emerge that do not resemble artist when he moves from realism to surrealism, just as with the original. A picture can be formed by applying different image processing, which serves not only to "improve" pic­ transformations, or by modifying form and color manually. tures, but also to make them abstract and interesting. For the A mathematical law says that, in this way, any picture may first time, he has the possibility of building scenes of his fan­ emerge. Both methods are also complementary. tasy in three-dimensional form, to give shape to worlds that do not exist in reality and, perhaps, cannot exist. An even more remarkable computer technique available to artists is the ability to create three-dimensional perspective The hardware and software needed to create real and surreal presentations. Just as line-drawings of plans and maps in­ pictures are still extremely expensive and limited in number. fluenced computer art in the beginning, today's computer­ For the artist who wants to use these systems, it is difficult to aided design applications are influencing 3-D art. In place of findand gain access. But at those rare happenings where physical models of machine parts or buildings, there are pic­ highly developed technique and artistic talent come together, tures that can be observed from all sides; a change of the there originate examples of surreal forms with the potential viewing angle can be achieved from the control panel. A 3-D to initiate a new epoch. representation of the object is stored in the computer. Soft­ Among the few pioneers of this trend are David Em, an ware computes the desired views and displays them American, and Yoichiro Kawaguchi from Japan. Today, on the screen. their art might still appear exclusive, just because the method With the help of special programs, 3-D objects and scenes applied is at the disposal of only a few. But we can see al­ can be made to look real. Once the user specifies the number ready that hardware and software for computer graphics pre­ and locations of light sources, software removes hidden lines sentations are developing and spreading quickly. What is still and hidden surfaces, and adds shadowing and highlights ac­ a pioneer achievement may, in ten or twenty years, belong to cording to the laws of optics. Last, computer graphics pro­ the ordinary fieldsof artistic activity. grammers developed algorithms for realistic generation of mountains, clouds, water, living beings, etc. Some of the effects areso astonishing that they are taken for works of art in themselves. At previous exhibitions of the annual SIGGRAPH conference, artistic works were displayed along­ side images showcasing technical achievements and creative programming.

35 TV NEEDS MTV LIKE MTV NEEDS COMPUTERS patternpotentials for music-with-art John Whitney

J. S. Bach's last unfinished work, THE ART OF THE Eventually, it came to my deeper understanding that a FUGUE, is a magnificent network of simple theme and vari­ differentialarithmetic of resonance actually embodies the ations that are interwoven, transposed, inverted, and retro­ architecture of music. This arithmetic productively com­ gressed. Some believe that Bach's counterpoint, which plements a graphic differentialgeometry . Visual patterns, de­ consists of a complementarity of voice-parts, exhibits an rived from simple periodic geometry, produce order/disorder affinity withalgorithmic computer-program instructions and resonances in actions which complement the consonances procedures.* I agree, and I believe that a video counterpoint and the dissonances, the tensional dynamics and the univer­ offersa special complementarity between its own musical and sal emotive power of musical rhythm and harmony. These its visual voice-parts. were summary conclusions I was able to draw from my study Will computers allow a new art on TV as pure and popular and films [1,2]. as Bach's music? With suitable talent in place, I believe so. Thus I was able to accept as an operable fact that the basic, Formal principles can be composed into algorithmic soft­ quantifiable units of construction for this computer art are: ware. But more to the point of this essay, composers can (a) the pixel points of color, and (b) the pure audio sine invent algorithms with which to process both musical and wave. These two root components enable one to compose pe­ graphic rules and aesthetics. In short, there are new pattern riodic and polyphonic artworks in graphics and audio, as if potentials for music-with-art. these elements were building blocks with which to construct a Color and music have more potential for fusion than imagi­ generative graphics and a new musical scale. These elements native composers, poets and artists believed possible. From provided a complementarity between sight and sound, and Aristotle to Scriabin and Wassily Kandinsky, visionaries re­ they suggested the foundation for an aural-visual art. peatedly invoked the mind's poetic image of intertwining We may compare the implications of two terms often associ­ color with music. Inadvertently, this dream devolved into a ated with computer music: synthesis and genesis. My studies kind of collective vision which, after these many centuries, is suggested that composing music by computer should stress near to actual realization, hence the spread of TV's present algorithmic or generative processes of genesis. Basic ele­ "stylish" pop MTV. ments, pixel and sine wave, can be generated from "ground Yet, MTV needs substantiality to realize that ancient collec­ up," so to speak, into visual patterns as well as melodic pat­ tive vision. Computers can contribute substance by expand­ terns of specific timbres, all by algorithmic rules invented by ing music's art of time. The computer's clock allows the composer. This proved to be a departure from most im­ compositions in time which can be as sensitive as real-time provisatorial composing procedures of synthesis, for exam­ performance. In fact, we've acquired high-resolution numeri­ ple, often accomplished on real-time keyboard synthesizers. cal control of time itself. Solid-state instant replay, expanded It seems to me that much creative effort is misguided because memory plus greater speed and bandwidth sharpen the crea­ of an insensitivity to this major issue of synthesis vs. genesis. tive potentials. Graphic geometry, infused with the vitality of The arbitrary wave-form envelopes of all tone synthesizers, color and motion, gains the full emotive power of music. keyboard improvisation, and even of present day Expert Sys­ Systems architecture of this decade has produced music and tems applications to music synthesis, create a world which is graphic generating capabilities all in one computer instru­ just that: synthetic. ment. This has become the artist's first universal machine. Our experience will finally teach us that a computer instru­ Founded on a universal-machine concept, my own study of ment offers a genuine potential for audio-visual art that is color-in-motion began in 1965 as a search for aesthetic roots not synthetic and not a synthesis or an imitation of the crea­ while developing software and interim instrumentation. This tions asociated with either the gallery or concert hall. Com­ exploration of computational "digital harmony" gradually puter art belongs elsewhere in a different cultural community. substantiated the point of my reasoning. Differentialfunc­ Te levision needs music-television just as much as MTV needs tions within various geometric algorithms generated order­ good computer-graphics and computer-music. Here, we disorder graphics (harmony). Mathematical expressions, might employ Expert Systems more wisely than merely to im­ plotted frame for frame on film or video, produced subtle itate a grand piano. clues that helped me to clarify this hypothesis, with each new film.

36 The very concept of genesis prompted my ideas about pat­ Out of the strength of our convictions regarding this instru­ ternpotentials for music with art. Filmmaking demonstrated ment, we conceived an indelible dream of auralvisuality to me that all twelve-tone methods and traditions, requiring within a brand new artform. Thereafter, reflectively, for fixedtunings, notation and instruments, could be replaced by years I envied Domenico Scarlatti and Antonio Solar, who, acoustic algorithms in association with graphic algorithms. by royal or Papal largess, were provided the instrument and Here was new methodology for digital harmony. I had un­ the patronage with which to compose hundreds of simple es­ covered the harmonic basis for composing music in interac­ says exploring a keyboard artform that was mostly of their tive interplay with color design and action. Located outside own invention. Would that brother James and I had had instrumental/vocal traditions yet retaining a valid harmonic such a "gift" of instrumentation. And yet, it's here! foundation, digital harmony may (or may not) be a new and *The manuscript of the ART OF THE FUGUEmight be described different approach for an evolving species of as an algorithm used to translate the notes into real tones every time composer /artist. instrumentalists elect to perform Bach's musical composition. My guess is: a powerful appeal lies within the natural inter­ REFERENCES: I. Whitney, John, Digital Harmony, McGraw Hill, New York, 1980. lace and active coordination of eye to ear, and ear to eye, at the integrated level of digital aural-visual harmony. But who's 2. Whitney, John, John Whitney - VisualPathfinders Series, Pioneer La­ serDisc Corporation, Tokyo, 1984. to foresee the expressive power of these relationships until they're brought to life in many, many successful works of art? Some have doubts about the power of harmonic pat­ tern, but we must not forget what is already well known. Ex­ amine the twenty or so fugues in Bach's last work to see how harmonic pattern, constructed from a mere twelve tones, probes the depths of human feeling. A computer's expanded, heterosensuous opportunities for art were never before understood; without digital systems, they weren' t even subject to exploration. Now, overnight, the methodology is at hand. Long ago the refinement of the Ba­ roque family of musical instruments opened floodgates, per­ mitting certain music that has been popular now for some three hundred years. Just so, we may expect that the perfec­ tion of realtime audio-graphic computer instrumentation (in­ cluding a feasible interface with TV) promises an avalanche of popular work among those patternpotentials for music­ with-art. Art's relation to its instrumentation is the ongoing subject of interest; my own experience shall provide this concluding anecdote: It was with a homemade device, a simple sinusoidal pendu­ lum array and optical-printer instrument, that my brother and I composed our first international success in the rarified avant-garde of '40's-style MTV. This early triumph implanted in our minds an urgent lifelong drive to gain access to a per­ fected facility that would provide music and graphic capabili­ ties unified within one instrument. This was at least thirty years before computer technology would make that instru­ ment a reality.

37 WHY IT ISN'T ART YET Kenneth Knowlton

For twenty plus years, I have participated in "computer art" 5. Typical person-machine interfaces are grotesquely con­ as a developer/experimenter /inventor of languages/inter­ straining channels of expression (imagine playing a violin faces/techniques, as a collaborator/teacher/writer, and as a through a keyboard or painting a picture by means of a "computer artist." As a result of all this, I finally feel like an robot). And to the degree that the interfaces permit hu­ established practitioner in an enterprise that doesn't (at least man expression, few people have spent anywhere near the not yet) exist. Here's why: amount of time developing facility-with-tools that artists normally do with brushes, or that pianists do with 1. A work of art must answer at least some of these ques­ tions: For what technical or emotional problem is this an keyboards, etc. answer or a demonstration of a search? Of what mono­ Conclusion: We are not yet beyond the gee-whiz stage of logue is this a continuation, of what dialogue a contribu­ cuteness, of stunts, and of novelty for its own sake. In order tion? What does this work state, demonstrate, or ask? for the artist to get into serious art, he/she must have a more From what personal attitude and/or social culture does it nearly complete command of the tools, including the under­ come? By what syntax am I to parse it, by what semantics standing and ability to build, redefine and/or augment them. does it mean something? Similarly, because of the awkwardness of interfaces, the art­ 2. Though not every work of traditional art is laden with ist should have control over the mapping of human actions deep human emotion, every traditional medium makes into directives to the underlying operations. These are not possible an occasional expression of, for example, anxiety, new ideas - in a computer environment such features and remorse, tenderness, or nostalgia. In contrast to this, the behavior are understood implicitly and expected. How to do most evocative quality of computer art to date seems, to the same for artists is not quite so clear because artists have me, to be antiseptic otherworldliness. somewhat different temperaments, methods and purposes. 3. Any given graphics system has a rather strong flavorbe­ At this point, it does not make much sense to me to be trying cause of what's permitted or excluded, and what's easy vs. to produce better computer art. The more appropriate chal­ hard. Even though many systems could be adapted to a lenge is to create better environments for the development of specificperson or to a particular artistic intent (because art-making tools. you "only" need to change the software), this typically isn't done because the artist doesn't know how or doesn't have the appropriate help or resources. A tool that is potentially very flexibleis usually used in terribly unimaginative ways. 4. Art/technology collaborations seldom result in art, but rather in experimental designs, demonstrations, and in the education of the principals. There are exceptions to this statement (e.g., "words-and-music") in areas where the participants rather thoroughly understand, respect, and utilize each other's sp�cial roles and talents. But an artistic statement is not easily produced by a committee. It is hard enough for a right brain to express itself through its left neighbor - much harder through someone else's. Further­ more, the production of art involves simultaneous com­ mand of the processes - of all types and on all levels - that are involved, including a full intellectual and intuitive grasp of alternatives. The worth or excellence of a work of art comes largely from the vastness of the realm of pos­ sibilities that were (even unconsciously) discarded in the process of choosing a sequence/combination/method that is special.

38 VISIONS OF MIND Frank Dietrich

"I was interested in ideas - not merely in visual products. By severing its ties to the social context of religious and polit­ I wanted to put painting once again at the service of the mind. ical rituals, art became the essence of truly personal experi­ Painting should not be exclusively retinal or visual; ence that is condensed into special forms of individual it should have to do with the grey matter, with our urge for understanding" - Marcel Duchamp expression. Because each piece of art is unique as a symbolic manifestation of the spiritual potency and handicraft skills of Computer art is unfolding on the basis of scientificand engi­ its creator, it is considered to be precious both in immaterial neering achievements of pioneering personalities, whose vi­ and marketable terms. This foundation of art was never sion suggested that it should be possible to wrest something questioned until Marcel Duchamp invented his "ready­ other than calculation speed and numeric precision from mades," which were utilitarian, prefabricated mass products those crude and clumsy computers; something that could be that he chose to elevate into the domain of art, simply by de­ turned into meaningful images. They set out to build dedi­ claring them to be art. Duchamp's surprising gesture of plac­ cated machines to interpret an intuitive stroke with a pen or a ing an ordinary, industrially manufactured urinal as a piece snapshot taken through the lens of a camera. They designed of art into the sacred halls of a museum shocked even the lib­ displays that show more colors and change images faster eral consensus of the avant garde. This "readymade" had not than the human eye can distinguish. They devised software to been ennobled by the creative hand and spirit of the artist, generate pictures that appear just like photographs of reality. and to make matters worse, it directly confronted the public All of this has been accomplished within the short timespan with issues that were suppressed because they were consid­ of two or three decades. The history of computer graphics ered obscene. A scandal was inevitable [2] . reads like a tremendous technical success story. Conceptually, the way had been paved by Alan Tu ring's con­ With one innovative stroke Duchamp shattered the endless tributions even before the first computer had actually been cycle of discussions about validity and virtue of this or that built. Turing had reasoned about the ability of a computer to "ism" and radically probed into the very foundation of art. act intelligently. He realized that all a machine needs to per­ His ironic questions remain unresolved but continue to in­ formare read and write operations on sequences of symbols. fluence the contemporary understanding of art. Duchamp's These symbols can represent anything, obviously numbers, "readymade" was the result of his sharp reasoning about the but similarly, letters, or as we commonly know today, colors, impact of industrialization on art. It was fashioned to ridi­ geometries and other visual features. Symbols can be ar­ cule the closed circuits of a narrow-minded art world. The ranged in larger complexes to stand as tokens for aspects of "readymade," with a Godelian "jump-out-of-the-loop," dis­ reality or fictional models. The computer serves as a dynamic carded all prevalent aesthetic criteria for judging art [3]. It symbol processor by altering any given symbol in any order. seems to me that our time is ripe for an equally strong and Turing compared the machine's functions to humans' use of convincing statement that reflects on the dramatic changes in­ language. He argued that both activities share the processing flicted by the computerization of factory, office,home, and of symbols - the only mental phenomenon from which of course, art. In analogy, such an artifact would take the results are directly observable. Thus, he concluded, the com­ very subject it covers into account and proudly proclaim puter can exhibit the same intelligence we attribute to human itself "machinemade." beings. In principle, a general purpose computing machine was conceived. In one of its incarnations, it can act as a uni­ The outstanding and farsighted work of both Turing and Du­ versal image generator [l]. champ delineates the intersection of contemporary art and computer science. At times like these when new territories are Turing's inferences remain hotly disputed, since they bluntly being staked out, proven methods and yesterday's guidelines grant intellectual powers, widely believed to be the exclusive are bound to fail. Not only practicing artists are thrown back possession of humans, to machines. Opponents argue that upon their personal judgment, but critics and audiences alike even if a machine could conduct limited rational reasoning it should seize the opportunity to scrutinize closely and discuss could never exhibit genuine creativity. They definecreativity frankly the repercussions and extensions that computer tech­ as the production of something original, something without nology is bringing to the arts. precedent. Creativity implies the capacity to break those rules The majority of artists use computers today to further culti­ voluntarily that are slavishly executed by logical deduction, vate their expressive vocabulary and to take advantage of the and consequently is considered integral to artistic pursuits. digital dynamics within the production process. In essence, Modern art, in general, disregards existing value systems and they are either replacing traditional tools with sophisticated continually posits completely novel conditions. Academic co­ computer simulations or integrating computer imaging tech­ difications of art have been undermined and extended by an niques by applying them alongside conventional methods. In ongoing succession of new art movements, manifestos, the latter case, multi-media pieces are often collaged out of and methods. differentimage sources and materials. This approach helps to turn the highly malleable but intangible computer image into

39 a durable work of art. Other artists follow routes that experi­ ment more directly with the procedural character of imaging technology. They address topics such as change, chance, and chaos, and visualize them in unusual formats such as combi­ natorial clusters of a complete picture space or multiple ex­ posures of a gradual evolution.

Computer art provides exciting visual "thought experi­ ments," that would not be possible in other domains of human endeavor. A far-out example is the depiction of the internal memory of a computer. Patterns of behavior and or­ ganic growth processes are modeled in challenging and for­ midable attempts. Even Turing's far-reaching philosophical suggestions are being implemented in automatic drawing sys­ tems that simulate visual cognition. Computer environments represent the changing states of mind of an artificial "time entity." Finally, Duchamp's dictum, "It's the onlooker who has the last word," gains fresh meaning vis-a-vis the partici­ patory potential of interactive computer installations that in­ vite the audience to realize a very personal version of one particular piece of computer art. In my own view, good computer art, like any good art, goes far beyond the thin skin of its physical surface . At its best it is smart art that can stimulate via visual symbols a rich vari­ ety of retinal as well as mental activities. These symbolic arti­ facts vividly trigger our perception and lead successively to deeper levels of cognition. Symbols are like shadows cast by the internal state of an organism, shadows that can be regis­ tered meaningfully by the counterpart in a dialogue. How are we to tell whether the originating organism is a human being or a machine? What matters in the end is that only through the eye of the beholder is an image activated and able to serve as the evocative agent that touches mind, heart, and soul. REFERENCES: I. Alan M. Turing , Computing Machinery and Intelligence, in: Douglas R. Hofstadter, Daniel C. Dennett (eds.) The Mind'sI. Fantasies and Reflec­ tions on Self and Soul, Bantam Books, New York 1982, pp. 53-67. 2. Calvin Tomkins, The Bride and the Bachelors. Five Masters of the Avant Garde. Duchamp, Tinguely, Cage, Rauschenberg, Cunningham, Penguin Books, New York 1976, pp 9-68. 3. Douglas R. Hofstadter, Godel, Escher, Bach: An EternalGolden Braid, Vintage Books, New York 1980.

40 COMPUTER AESTHETICS: New Art Experience, or The Seduction of the Masses Patric D. Prince

In the early twentieth century, Modern artists, notably Su­ Artists use the computer as a tool, designing works of art prematists, Cuba-Futurists and Constructivists, rejected which they then execute in other forms, for example, plotter scientific perspective and descriptive art [1]. Although this drawings and paintings. dismissal of the world of appearances in art was never Artists use the complete computer system as a medium in accepted by the general public, Modernism evolved order to paint in light. The translucent quality of colored from that rejection. light as produced on the monitor is unmatched by any Computer art in the 1980s is, in turn, a rejection of Modern­ other artform. ism. The interactivity of computer art is tied to the revolu­ Artists use the computer as subject for their visual research. tionary art of the early twentieth century; computer art in Since art represents the era in which it was produced, some general, however, uses the dynamic dimensions of space re­ artists provide us with a view of the complexities of the In­ jected at that time. formation Age and the impact of computers on our society. Computer artists are replacing Modern Art concepts with The history of computers in art parallels the history of West­ new aesthetic qualities which include not just three but four ern contemporary art. In the Sixties, computer artists pro­ dimensions, the fourth dimension being that of time. The duced Hard Edge and Op-art. In the Seventies, artists aesthetic experience associated with interactive computer art attempted to engage the audience in participation; this has its is one of the most noteworthy discoveries of the "masses ." counterpart in the development of interactive animation. In Computer generated images were embraced by the general the Eighties, artists returned to figurative imagery. It is the public in electronic games early in the 1970s and now return to the descriptive that draws people to computer art. through the use of home computers. When amateur artists Artists and the masses have chosen to use the computer are drawn to the computer to make images, I call the produc­ to create artworks in order to express our age, the tion of their creative efforts "Volksart." I differentiate be­ Information Age. tween the term "folk art," which commonly refers to REFERENCES: primitive art, unassociated with industrialized technology, I. Malevich, Kasimir "Suprematist Manifesto Unovis" (excerpted and trans­ and Volksart, which is the production of artwork by com­ lated), in Programs and Manijestoes on 20th Century Architecture, ed. puter artists without formal training in aesthetics. Ulrich Conrads, MIT, Cambridge Massachusetts 1975, p. 87. Probably because computer art intrigues the masses, it is 2. Kirsh, J. L. "When Will Computer Art be Taken Seriously?," Digitalk, slow to be recognized by the "art world." One hears the com­ Winter 1985, pp. 2-6. ment that computer-aided art has no intrinsic worth, no dis­ 3. Prince, Patric, "Artists and Computers: A Retrospective," IEEE Com­ cernable aesthetic qualities, and is acritical [2]. Aesthetics is puter Graphics and Applications, Vol 6, No. 8, August 1986. usually defined as the study of beauty. Contemporary usage 4. Kerlow, Isaac Victor, "The Computer as an Artistic Tool," Byte, Septem­ of the term aesthetics implies a study of the design elements ber 1984, pp. 189-206. that make up any artistic endeavor, in this case, 5. Lauzzana, Ray, "The Machine as Medium," Computer Graphics, Vol 2, computer art. No. 6, 1979, pp. 37-39. 6. Mezei, Leslie "Computer Art," Arts Canada Vol 25, The design elements that contribute to the aesthetics of com­ August 1968 pp. 13-18. puter art have developed as computer technology expanded and responded to visual needs. There are eight readily recog­ nizable design elements that relate to how computers func­ tion to produce images that make up the computer aesthetic [3]. They are I. Repetition of forms 2. Randomness 3. Variable viewpoints 4. Modeling of the real world 5. Texture mapping 6. Color changes 7. Interactivity 8. The program as a design element

41 ANIMATION Susan Van Baerle, TECHNICAL GALLERY Douglas E. Kingsburg These images demonstrate the development Snoot and Mutt/y 1984 of technical achievement in computer Duane Palyka 3Yz minutes Ohl Ohl More Craziness! 1986 graphics. The technical gallery includes work by: 3 minutes (artist's excerpt from Living Stan Vanderbeek, Kenneth Knowlton Above the Mouse's Ear) Man and His World 1967 Kevin Bjorke I minute Pixar James Blinn The Adventures of Andre and Wally B. 1984 Poem Field#7 1968 Phong Bui-Tuong 2 minutes 4Y, minutes Loren Carpenter Ed Catmull Tony Pritchett Stan Vanderbeek, Richard Weinberg Hank Christiansen The Flexipede1968 Euclidean Illusions 1979 Jim Clarke 2 minutes 9V. minutes Frank Crow A. Erdahl Melvin Prueitt Jane Veeder David Evans Pixel 1984 Montana 1982 William Fetter 4Y, minutes 3V. minutes Henri Gourand Crystal Dove 1985 Chris Wedge Ben Laposky % minute Tuber'sTwo Step1985 Carl Machover IV. minutes Benoit Mandelbrot Ron Resch Nelson Max The Cube'sTr ansformations 1984 Barry Wessler Martin Newell 6Y, minutes SST vs Capitol 1972 A. Michael Noll 3V. minutes Fred Parke Judson Rosebush William Reeves Spacet 1974 James Whitney Gordon Romney 3 minutes Lapis 1962-6 Alvy Ray Smith 83/4 minutes Dan Sandin, Tom DeFanti, Ivan Sutherland Mimi Shevitz Richard Voss John Whitney John Warnock Spiral 5 1981 Permutations 1968 6% minutes Gary Watkins 7Yz minutes Turner Whitted Lillian Schwartz Arabesque 1975 C. Wylie Pictures in a Gallery 1975 6V. minutes Bob Young 7 minutes Edward E. Zajac Turner Whitted MOMA 1984 The Comp/eat Angler 1980 Y, minute I minute Lillian Schwartz, Kenneth Knowlton Dean Winkler, John Sanborn Pixillation1970 Renaissance 1984 4 minutes 5V. minutes Olympiad 1971 3Yz minutes Edward E. Zajac INSIDE BACK COVER CREDIT Simulation of a Two-Gyro Gravity-Gradient 1. Frleder Nake Michael Sciulli, James Arvo, Attitude Control System 1961 Matrizenmultiplikation serie 40 1968 Melissa White 3V. minutes Plotter drawing with felt pen 20 x 20" Quest: A Long Ray'sJourney into Light 1985 David Zeltzer 2. Peter Beyls 3Yz minutes The Skeleton Animation System 1984 Handkoloriete Computerzeichnungen 1984 IV. minutes Hand-colored plotter drawing Seibu Production Network 3. Masao Komura Mandala 1983 Leap! 1973 2V. minutes Offsetlithograph and serigraph 24 x 24"

Richard Shoup 4. Yolchlro Kawaguchi for Xerox Untitled 1986 Superpaint1973-5 Photograph of raster image 4 minutes (excerpt) BACK COVER CREDIT Mark Snitily Peak 1981 I. Tom DeWitt IV, minutes Vassar 1985 Photograph of raster image Vibeke Sorensen ©Tom DeWitt at RPI Image Processing Lab Temple 1975 2. Edward Zajec 4V. minutes Logic Moments in Color LMC 2701041 1976 Solstice 1986 Inlaid paper 17 x 17" 3 minutes 3.Gerald Hushlak, Larry Sinkey The CEO Apologizing to her CRT from a Mount Peter Struycken 1982-86 Shift31 1982 in Marlboro Country I minute (excerpt) Ink on paper 30 x 40" 4. Joan Truckenbrod Toyo Links .... on becoming 1984 Bio-Sensor 1983 Photograph of raster image 5 minutes 5. James Whitney Susan Van Baerle Still from Lapis 1962-6 The Uneven Bars 1983 16mm film BY. minutes I minute 6. Duane Palyka Picasso 2 1979 Photograph of raster image 16 x 20"

48 ANIMATION Digital Productions Pierre Lachapelle, Philippe Bergeron, 2010: Jupiter Sequence 1984 Pierre Robidoux, Daniel Langlois V. minute (excerpt) 1985 Abel Image Research Tony de Peltrie Hitachi 3D Movie 1985 8 minutes Bill Kovacs, art director V. minute (excerpt) Chicago - Skidmore, Owings, and Merrill Doug Lerner 1981 for Lorimar I Universal Molecular Dynamics 1985 2 minutes The Last Starfighter1984 2% minutes 3 minutes (excerpt) Kenny Mirman, Randy Roberts, Doug Lerner, Dan Asimov art directors Sonja Ellingson 1984 TRWSeries 1981-5 Sudanese Mobius Band 2\11 minutes A Brief Visual History of Computer 2 minutes Graphics 1963-72 Randy Roberts, art director 4V. minutes Limelight Productions Brilliance 1985 for Dire Straits I minute David Em Money for Nothing 1985 Egg White and the Seven Pixels 1983 4% minutes Adage Graphics 3% minutes LEM film 1967 Ken Loss-Cutler 1 V. minutes Ed Emshwiller Geometric Perspectives 1985 Thermogenesis 1972 5 minutes Rebecca Allen 3V, minutes (artist's excerpt) Swimmer 1981 Suns/one 1979 Lucasfilm V. minute 3 minutes for Paramount Pictures 1982 1982 Catherine Wheel Skin Matrix S 1984 Star Trek ll: Genesis Sequence 2V. minutes (artist's excerpt) 4V. minutes (artist's excerpt) IV, minutes Steps 1982 2V, minutes (artist's excerpt) Bill Etra, Louise Etra, Lou Katz MAGI Ms. Mujfell1975 Bob Goldstein 3 minutes Demonstration of the MA GI Process for Laurie Anderson, Dean Winkler circa 1968 Sharkey'sDay 1984 Computer Generated Films 4V. minutes Peter Foldes 2 minutes (excerpt) La Faim (Hunger) 1974 11 minutes MAGI/ Synthavision James Blinn V, 1972 The Evolution of Blobby Man 1982 Demo 1 minute Ford Motor Co. 6 minutes Surface Generation by Computer 1965 for Disney Studios for NASA 2'1, minutes Voyager 2 Encounters Jupiter 1978-9 TRON: Light Cycles and Tanks 1982 3V. minutes 4V, minutes Geoffrey Gardner Beethoven'sSixth in C!G 1981 Wild Thing 1982 Loren Carpenter 5Y, minutes V. minute Vol Libre 1980 2 minutes Copper Giloth Benoit Mandelbrot Popcorn 1980 The First Fractal Island 1974 Ed Catmull, Henry Christiansen, V. minute V, minute Jim Clarke, Frank Crow, 1980 Fred Parke, Phong Bui Tuong Skippy Peanut Buller Jars David Margolis, Hiiseyin Koc;ak, 3% minutes Examples of Current Computer Graphics David Laidlaw, Thomas Banchoff Technology circa 1974 Tori in the Hypersphere 1985 5� minutes (excerpt, restored) Ronald Hackathorn, Rick Parent, 3 minutes Al Meyers, Charles Csuri 2 1976 Doris Chase Anima Nelson Max Dance Ten 1977 2% minutes DNA with Ethidium 1978 8 minutes 4V. minutes Ron Hays Canon 1979 Carla'sIsland 1981 Charles Csuri 4V, minutes Hummingbird 1966 6 minutes 1 V. minutes Information International Inc. New York Institute of Technology I Demo 1981 Computer Graphics Laboratory Cranston Csuri Productions 1983 TRW series 1984-5 9V. minutes 3DV 1 minute 10 minutes (includes excerpts from The H. Jurgens, H.·O. Peitgen, M. Priifer, Works) Gears 1986 Vi minute P. H. Richter, D. Saupe Frontiers of Chaos 1985 A. Michael Noll 6 V. minutes (excerpt) A Computer Generated Ballet circa 1964 Cranston I Csuri Productions, 2\11 minutes Ohio State University CGRG Yoichiro Kawaguchi Rotating Four-Dimensional Hyperobject George Playing Pool 1982 1983 � minute Growth I - Mysterious Galaxy circa 1964 6V. minutes I minute (excerpt) Larry Cuba Growth ll- Morphogenesis 1984 Two Space 1979 4V. minutes Arthur Olsen 7\11 minutes Tomato Bushy Stunt Virus1981 Growth Ill- Origin 1985 3% minutes (excerpt) Calculated Movements 1985 4'1, minutes 6\11 minutes Pacific Data Images Manfred Knemeyer, James Shaffer, Tom DeFanti, Mark Gillenson, Charles Csuri T. Bei�r, A. Chin, R. Chuang, R. Cohen, Manfred Knemeyer, Real-time Art System 1969 G. Ent1s, S. Folz, R. Gould, J. Palrang, 1314 minutes (excerpt) C. Rosendahl, D. Venhaus, J. Ward Gerry Moersdorff, Charles Csuri 1983-5 Grass 1971-2 Assorted Animation Pieces 1 minute (excerpt) 4V, minutes Gary Demos Rainbow Pass 1974 4� minutes

47 INSTALLATIONS Kirk Hoaglund Melvin Prueitt 13. Untitled (Spheres and Machine Part) 58. The Rising 1985 1984 59. Sparkling Molecule 1985 Lance Williams Serpent 1985 Jim Hoffman John Ridgeway Shore 1986 36. Untitled (Poly-patterned Planet) 1981 2. Untitled (Full Moon) 1984 Photographs of raster images Kevin Hunter Christa Schubert Richard Wright 41. Untitled (Translucency Illusion) 1982 4. Untitled (Plotted Circles) 1984 1,2,3,0; O; 5,2,8,4,2,4,1,4 Photoreproduced collage of plotter drawing 1,2,3,0; O; 3,2,8,4,1,2, 7,4 1986 Tony Johnson Photograph of raster image 6. Bubble Girl 1982 Michael Sciulli, James Arvo 56. Orange 1985 Shigeki Yamamoto Bruce Jones, Mark Sylvester, Luminous Wind 1986 John Grower Patricia Search Inkjet print 76. Wavefront'sExclamation Point 1985 74. Mystrigue 1986 75. Spirit Two 1984 Shinya Yusa Richard Katz Computer Tube 1985 11. In The Beginning 1983 Richard Shoup Computer Bugle 1985 28. Planet Composition Chart 1980 Serigraphs Yoichiro Kawaguchi 29. Orbiter Trajectory Chart 1979 24. Untitled (Splash) 1982 45. Crystal Space 1982 D. Stredney THE UNIVERSAL SPHERES 1986 46. Untitled (Sphere with Reflection) 1982 62. Old Cowboys Never Die 1982 The Universal Spheres reflect technical D. B. Kirk S. Todd advances in computer graphics as expressed 51. Untitled (Primary Light Spheres) 1985 67. Untitled (Modular Structure with in spherical objects. Unless otherwise noted, 79. Untitled (Green Sphere on Water) 1985 Spheres) 1985 all the Spheres are photographic reproductions of raster images. Numbers Ken Knowlton Joanne Tolkoff refer to the order in which images are 3. Untitled (Blue and Green) 1979 7. Cactupus 1985 shown. Chuck Kozak George Tsakas I. Nuke the Cablecars 1982 78. Pool Balls 1986 Al Barr 15. Untitled (Rings of Spheres) 1982 David Laidlaw, Hiiseyin Koc;:ak Richard Voss, Benoit Mandelbrot 53. Untitled (Crystal Tinkertoys) 1982 77. Tubes Within Tubes 1986 33. Fractal Plane/rise According to Benoit Mandelbrot 1982 James F. Blinn D. Leich 22. Blobby DNA Molecules 1981 69. Untitled (Floating Spheres) 1983 P. Watterberg 30. Jo Closest Approach 1979 49. SIGGRAPH '83 (Mandrill Title Slide) 32. VenusSurface Map 1982 David Lister 1983 32. Saturn Rings 1982 47. Bouncing Balls 1983 72. Untitled (Crystal Ball Pyramid Lake) 1985 David E. Breen Dick Lundin 60. Te rrain 1986 68. Untitled (Ant and Crab from Turner Whitted The Works) 1982 52. Untitled (Ray Traced Spheres) 1982 Bruce Brown 12. Re-entry Vehicle Simulation 1979 Mike Marshall Lance Williams 5. Beam and Bubbles 1981 9. Gioconda 1982 Stan Cohen, Todd Rodgers 65. Untitled 1979 JO. Untitled (Spheres) 1984 Nelson Max 66. 20. Two Base Pairs of DNA; Casting Curved Shadows on Curved Surfaces 1979 Michael Collery double exposure 1979 26. Untitled (Textured Shapes) 1982 18. Twenty Base Pairs of DNA; Lance Williams, Alvy Ray Smith No Shadows 1980 64. Untitled 1979 Robert Conley 19. Ball-and-Stick DNA; open form 1981 54. Refractions 1982 artists unknown: Nelson Max, Fred Wooten Frank Crow 16. Antimony Su/fer Iodide Crystal 1979 from Paramount Pictures 44. Untitled (Peppermint wineglass and 34. Genesis Planet 1982 green glass ball) 1982 Nelson Max, John Blanden, John Watchmaker from Information International Inc. Frank Dietrich 21. Untitled (Translucent DNA) 1982 43. Computer 1979 23. Untitled (Blobby) 1984 61. Untitled (Still Life With Orange) 1979 G. Myers 70. Untitled (Interior Scene) 1981 David Difrancisco 27. Shiva First 20 Beam Shot 1979 73. Chrome Hedge 1981 from Information International Inc. for L. Nackman Disney Kathleen M. Dolberg 35. Untitled (Polygon Fantastic Planet) 37. TRON Solar Sailor 1982 8. Shadows (LA UR85-2918) 1985 1982 from Lexidata Corp. David Em Suma Noji 42. Untitled (Translucent Ball Bearing) 1983 39. Crimson King 1979 25. Stone 1985 40. Kapong 1979 Images seen in The Universal Spheres may Arthur Olson, Nelson Max be found in SIGGRAPH slide sets from David Geshwind 17. Tomato Bushy Stunt Virus 1980 previous years. 63. Untitled (Bug Eyes) 1980 Michael Potmesil Roy Hall 14. Untitled (Sphere Towers) 1980 55. Untitled (Still Life with Candy Dish) 38. Untitled (Painted Spheres) 1980 1984 48. Untitled (Recursive Sphere and Cube) 71. The Gallery 1983 1980 50. Untitled (Mandril Sphere) 1980 Hsuen-Chung Ho 57. Untitled (Pink and Green Balls, Chrome Reflections) 1983

46 INSTALLATIONS Ruedy W. Leeman Christa Schubert, Roy Montibon SexualityBody 1985 Untitled (D) 1985 Photograph of raster image Collaged plotter drawing Linda Gottfried Betsy IV 1986 Sharmen Liao Ilene Schuster Betsy V 1986 Untitled 1986 Communication Spheres 1985 Betsy VI 1986 Photograph of raster image Spacescope 1985 Gyro-Glyphics 1985 Photographs of raster images Photographs of raster images Don MacKay Shirt 1-1 1985 Leslie Schutzer Henry Grebe Shirt 1-5 1985 Femme Robuste 1984 Statue of Liberty(3 x 3) 1986 Shirt 1-6 1985 Electrali/y 1985 Photograph of raster image Photographs of raster images Madonnae 1986 Photographs of raster images Eric Haines Gregory MacNicol Homo Ludens 1984 Four Threads 1985 Anne Seidman, William Kolomyjec, Photograph of raster image Photograph of raster image John Donkin Ghoti 1985 Sharon Hendry Ferdinand Maisel Photograph of raster image Artist'sStudio 1985 Reh.in 1985 - 1985 In the Heights Houston, Texas Photograph of raster image Takeshi Shibamoto, Yumi Shibata Portrait of a Spy 1985 Ko6mote 1982 Photographs of raster images Ferdinand Maisel, John Chadwick Photograph of raster image Touchdown 1985 Trish Henry Photographs of raster images Joel A. Slayton Don 1985 JSDD2 1982 Don 2 1985 Steven L. Mayes JS2537 1982 Photographs of raster images Crossroads 1985 Photograph of raster image Photoetching monoprint Colin Hui Dan Spence Ugman 1986 Karen Mcinnis Metal Limpet 1985 Porcelain Do/11986 Cal and Cort Poolside 1985 Photograph of raster image Photographs of raster images Sea Shack 1985 Pep and Muggs 1985 Rene Steichen Colin Hui, Tom Nadas, Alain Fournier, Photographs of raster images Blue Runner 1985 Avi Naiman, John Amanatides Motion 1985 In Drag 1985 Gavin S. P. Miller, Jon Hunwick Photographs of raster images Photograph of raster image Boris the Spider (Hanging by a Thread) 1985 Gwen Sylvan Herve Huitric, Monique Nahas Photograph of raster image Journey 1985 Hommage a Georgette La feuille 1985 Santorini 1985 Nature 1985 John Jay Miller Photographs of raster images Eva 1986 srobb.2 1984 Caprice 1986 qfix.861 1986 Naoko Tosa Photographs of raster images Photographs of raster images VisualBuddha 1985 Photograph of raster image Masa lnakage Mary Lynn Morrow Dream Cloud 1985 Green Chair Parade 1986 Joan Truckenbrod Photograph of raster image Chair Parade in the Church 1986 .... on becoming 1984 Photographs of raster images relativistic observer 1985 Christian Janicot resonance 1985 1985 Dido & Aeneas Charles B. Murphy Photographs of raster images La Table Rouge 1985 Dog Dreams 1985 Photographs of raster images Photograph of raster image Lattice Vibrations 1985 Printed canvas tapestry Lauretta Jones Herbert Paston Drawing Life, Drawing Blood 1985 Domo Sushi 1985 Sotera Tschetter Mixed media collage Photograph of raster image Late Night Stop 1986 Photograph of raster image Alyce Kaprow Edie Paul 1984 1985 Frances Valesco Two_Foto BA Cityman Takes a Walk 1986 Two_Bignums 1984 Photograph of raster image Birdca/1 #3 Photographs of raster images Mixed media print Steve Pietzsch 1985 Tom Vasko Alex Kempkens Rembyte 1985 Haider 1984 Self Portrait 1985 Chess Game 1984 Photographs of raster images Manipulated photograph of raster image W. F.a W. F. b 1984 Michael J. Voelkl W. F.C 1984 Marilynne Ramsey Newland VII 1985 Photographs of raster images Tsunami Waterbed 1983 Printer drawing Inkjet print Mi Kyung Kim Keith Waters Still Life with Cat 1986 Micha Riss Eiffel Tower 1984 Photograph of raster image Vision 1985 Photograph of raster image Plotter drawing Haresh Lalvani Greta Weekley Islamic Pattern Q2.P4.Q8.P3 1982 Elizabeth Rosenzweig 1983 Seven Curved Chords, Version Ill 1985 Islamic Pattern Q9.Q5.P4.Q8.Q2.Rl 1982 Beresheet Plotter drawing Islamic Pattern Syzygy 1984 P3.P4.P2.Q2.Q8.P6.P4.Q5.Q9.Rl2.Q6.Ql.Rl When 1984 Jerry Weil 1982 Photographs of raster images Money for Nothing 1986 Plotter drawings Irony 1986 Christa Schubert Photographs of raster images Xavier Lee Untitled (BJ 1985 Embers (Tribute to Gerima) 1985 Collaged plotter drawing Photograph of raster image

45 INSTALLATIONS Vibeke Sorensen Christian Cavadia, Abstraction 1975 Jean-Charles Troutot Krinklebox 1984 Hommage a Escher 1983 Denis Bolohan Untitled 1986 Plotter drawing Untitled 1985 Stereoscopic studies Mylar mirrors 500sq. ft. Miguel Chevalier Jacques Stroweis + F . .. a touch of red & pink 1986 Peter Broadwell, Rob Myers, Untangible 1986 Red Lips 1986 Robin Schaufler Mutoscope image following the tracks 1986 Plasm: A Fish Sample 1986 Photographs of raster images Environment with Iris workstation PAINTINGIN LIGHT 1986 following the tracks 1986 D. L. Deas, Jeanne Mara the following works are included in this Altered transparency Let'sjust call it 'Untitled' 1986 installation: Mixed media 60 x 48 x 18.5" Jp Culver Dancer 1986 Tom DeWitt, Alan Jackson Pat Alexander Cancelled Life 1986 Pantomation 1986 Carnival 1985 Photographs of laser images Laser projector 8 x 8 x 20' Photograph of raster image Mary A. Daemen Alejandro Ferdman, Mark Holzbach, Carlos ArgUello Journey 1985 David Chen Mary 1985 Three Graces Plus One 1985 Airborne 1985 Poul+ Mary 1985 Self-portrait III 1985 Hol.ogram 8 x 8" Photographs of raster images Photographs of raster images His Master'sSong 1986 Hologram 8 x 8" Daniela Bak Mark A. Dearing Haricots verts 1986 A Little Bird Told Me 1985 Audrey Fleisher Photograph of raster image The Young Officer 1985 Kimono 1985 Photographs of raster images Mixed media, 41 x 50" Amy Bassin A Battle of Nude Men #2 1985 Ryoichiro Debuchi Jim Gibson Photograph of raster image Biomechanoids #I 1986 Inexplicable Synthetic Persona 1986 Biomechanoids #2 1986 1986 John Ashley Bellamy Photographs of raster images Dangerous Illusions 1985 Voodoo Mojo 1986 Comet Impregnation of the Star Man Amiga microcomputer Image Shattering Re-entry of the Amber Denker Star Man 1985 Blowout 1984 1984 Jo Ann Gillerman, James Gillerman Cosmic Metamorphosis 1985 Isolation/Inspiration Orchid 1986 Photographs of raster images Untitled 1985 Aurora computer graphics system Photographs of raster images Alain Bergeran Copper Giloth Singing 1986 Tom DeWitt The Conversation #1 1986 Photograph of raster image Vassar 1985 Amiga microcomputer and wood Photograph of raster image Peter Beyls Margot Lovejoy Handkoloriete Computerzeichnungen 1984 Frank Dietrich Azimuth XX Series 1986 Hand-colored plotter drawing C-Mix(a) 1984 Projection 12 x 16' C-Mix (b) 1984 Terry Blum Antarctica 1984 Sharon McCormick Folded Structure 1983 Photographs of raster images Time Man 1986 Ellipse Series #I 1985 Hologram Photographs of raster images Frank Dietrich, Greg Turk Softy 1983 Texas I SIGGR APH 1986 Chiara Boeri Photographs of raster images Hologram Love Love Love 1985 Decor pour Don Juan 1985 Matt Elson Barbara Nessim Erotica I 1985 Poster Image 1985 Untitled 1986 1985 Macintosh microcomputer and five Photographs of raster images Helga Smoking Phil in the Desert 1985 printer drawings Jeff Brice Photographs of raster images Burden of Memory 1985 Philip Pearlstein Photograph of raster image Audrey E. Fleisher Philip Pearlstein Draws the Artist's Model Skywarp 1986 Videotape 86min Paul Brown Photograph of raster image Legs and Linoleum 1984 Drawing 1974 Watercolor on paper 30 x 41 Y," Plotter drawing Donald Gambino Sculpture Simulation 1983 Does He, or Doesn't He?1986 Edward R. Pope Photograph of raster image Flexing for Her 1986 Doctor Artist 1985 Photographs of raster images Apple lie microcomputer Luz Bueno China Doll 1983 Rachel Gellman Thomas Porett Woman Running Under the Moon 1983 Dance Variations 3 1985 Victims 1985 Photographs of raster images Composite photograph Macintosh+ microcomputer and printer 1985 drawings Abstract Conversations Nancy Burson, Richard Carling, City/Texture 1985 David Kramlich Photographs of raster images Michael Sciulli, Melissa White, Androgyny 1982 James Arvo et.al. 1985 TheDead 1984 Michael Golden Arcade Composite silver prints Quality Foil I 1985 Dome Temple 1985 1985 1985 Quality Foil 2 Temple_2.land Martha Cansler Quality Foil 3 1985 Rainbow 1985 Paintbox/ADO Demo 1985 Photographs of raster images A Spectrum of Graphic Solutions 1986 Photograph of raster image Apollo computer Deborah M. Gorchos Christian Cavadia, Jean-Pierre Lihou Mr. Lizard Snakeskin Sheds It1985 Bouquet fleche1981 Heat transfer on fabric Plotter drawing

44 TWO DIMENSIONAL/ THREE DIMENSIONAL WORKS

Masao Komura Vera Molnar Gregg Smith, Kathy Neely Leap!1973 Interruptions -20 1969 Colin Wilson - Distorted in Triangles 1985 Offset lithograph and serigraph 24 x 24" Plotter drawing 17.5 x 13.5" Inkjet print 11.5 x 15" Interruptions -72 1969 Delano 1985 Masao Komura, Kunio Yamanaka Plotter drawing 15 x 13.5" Inkjet print 12 x 16" Return to a Square (b) 1968 Serigraph 20 x 17" Hypertransformations 1973-6 Plotter drawings 15 x 13" Vibeke Sorensen Three Ring Circuit 1986 Masao Komura, Kouji Fujino Hypertransformations 1973-6 Electronics and plexiglass 8 x 8 x 4" Running Cola ls Africa! 1968 Serigraph 25.5 x 19.5" Serigraph 40 x 40" Fissions -5 1985 Kerry Strand Serigraph 22 x 22" Crest 1972 Ben F. Laposky Serigraph 16 x 21" Osei/Ion 40 1952 Photograph of analog screen 11 x 14" David Morris Spirit 1986 Stan Vanderbeek Osei/Ion 1049 1960 Aluminum 2 x 3 x 3' Cosmos Series 29.1 I 29.2 1967 Photograph of analog screen 11 x 14" Etchings 24 x 24" each Frieder Nake Love IHate (4) 1974-5 Tony Longson Random Polygon 1963 Etchings 18 x 40" each Group Theory Grid 1968 Photograph of plotter drawing 8 x 6" Plexiglass 24 x 24 x 4" Disappearing Man 1979 Random Polygon, Controlled Randomness Plotter drawing 60 x 29.5" Square To nal Drawing #2 1980 1965 Plexiglass 30 x 30 x 4" Disappearing man 1979 Serigraph 20 x 20" Preliminary sketch 77 x 22" AfterMondrian 1986 Hommage to Paul Klee 1965 Plexiglass 30 x 30 x 4" Serigraph 20 x 20" Mark Wilson Fragmented Anamorph 1986 Random Walk Through Raster, Untitled 1975 Aluminum rod and image 30 x 30 x 10" series 2.1-4 1966 Acrylic on linen 72 x 72" Serigraph 18 x 18" Long Skew B 1985 Robert Mallary Plotter drawing 20 x 96" Quad Ill1968 Matrizenmultiplikation serie 40 1968 Plotter drawing with felt pen 20 x 20" Laminated veneer 86 x 16 x 16" Edward Zajec Collage 1985 Matrizenmultiplikation serie 42 1968 Prosier V. 8. 1 1968-70 Cibachrome of raster image 8.5 x 10.5" Plotter drawing with felt pen 20 x 20" Plotter drawing 18 x 18" A Group of Four 1986 Contribution to Ars ex Machina 1972 Spatial Metaphors 1970-3 Cibachrome of raster image 30 x 12" Serigraph 20 x 15" Serigraph 22.5 x 22.5" Georg Nees Prismiance 1122 1978-81 Robert Mallary, Douglas Cox Plotter drawing 16 x 16" Three Arrays 1978-9 Corridor 1966 Serigraph 39 x 28" Mixed Media, 80 x 60 x 52" Edward Zajec, Matjaz Hmeljak Gravel Stones 1966 The Cube: Theme and Variations Aaron Marcus Serigraph 39 x 28" 1971 Lightbuttons: Rising Suns 1967 TVC 3271 Photograph of vector image 30 x 30" Plotter drawing 12 x 12" Duane M. Palyka TVC 57302 1971 Radioactive Jukebox 1972-4 Computer Art 1967 Plotter drawing 15 x 15" Printer drawing 28 x 20" Serigraph 18 x 15" TVC 59888 1973 Hieroglyphs 1978 Centered Bubbles 1974 Plotter drawing 15 x 15" Photograph of raster image 20 x 16" Plotter drawing 12 x 12" Logic Moments in Color Self-Portrait 1975 LMC 30020861976 Hideki Mitsui Photograph of raster image 16 x 20" Inlaid paper 17 x 17" CG 1972-1 1972 Photograph of plotter drawing 10 x 12" Picasso 2 1979 LMC 30020861976 Photograph of raster image 16 x 20" Alphanumeric print 14.5 x 16" Cosmic Image: Transmigration 1985 Acrylic on canvas 36 x 36" John Pearson LMC 5160680(011) 1976 OH B Proposal #1 1984-5 Alphanumeric print 14.5 x 16" Manfred Mohr Acrylic on board 22 x 36 x 3" LMC 5160680FTT 1976 P-21 Band-Structures 1969 Inlaid paper 17 x 17" Plotter drawing 22 x 22" Fresnel Proposition (five plots) 1986 Plotter drawings 11 x 8.5" each P-26/2 Inversion Logique 1969 Plotter drawing 22 x 18.5" Remembrances #5 1986 Acrylic on shaped canvas 74 x 93" P-52 Quark-Lines 1970 Plotter drawing 22 x 22" Lillian Schwartz P-161 Cubic Limit 1973 Big MOMA 1984 Plotter drawing 38.5 x 153" Lithograph 8 x 4' P-155 Cubic Limit 1974-6 SymbolicHomage to Picasso 1986 Serigraph 27.5 x 27.5" Cibachrome of raster image 4 x 4' P-200/2009 12015 /201612020 Chihaya Shimomura Cubic Limit II (series) 1977-80 Work #4 circa 1979 Plotter drawings 12.25 x 12.25" each Photograph of plotter drawing 8.5 x 11" P-306 Divisibility l 1980-3 Work #10 circa 1979 Acrylic on canvas and wood 40 x 44" Photograph of plotter drawing 8.5 x 11" P-370-P Divisibility ll1985 Work #16 circa 1979 Plotter drawings 24 x 24" Photograph of plotter drawing 6 x 8"

43 TWO DIMENSIONAL/ THREE DIMENSIONAL WORKS

Colette Bangert, Charles Bangert Eudice Feder Julian Guest Large Landscape: Ochre & Black 1970 Permutations 1980 CC/400/P Series (3) 1977 Plotter drawing 32 x 23" Plotter drawing 8.5 x 11" Plotter drawing 11 x 11" each Land/ace 1976 Separation 1980 Acrylic on cotton duck 52 x 52" Plotter drawing 16 x 23" Bruce Hamilton, Susan Hamilton Tetrad 1984 Structure Study II: Yellow, Red, Brown, Divided Sea 1983 Wood 16 x 27 x 23" Black 1977 Plotter drawing 12.5 x 15" Plotter drawing IO x 16" SouthernLights 1985 Josepha Haveman Grass: Series I 1979 Plotter drawing 16 x 23" Stillife 8 1985 Plotter drawing 11 x 13.5" Inkjet print IO x 12" 1985 Jurgen Lit Fischer Circe's Window Obertone-spektral 1984 Martin J. Heller Plotter drawing 8.5 x 11" Serigraph 40 x 40" Eternal Braid 1983 Plotter drawing 40 x 28" Manuel Barbadillo Intervals I Intervalle 1985 Cuadro Numero 192, 168 circa 1969 Serigraph 19 x 19" Richard Helmick Alphanumeric prints, 11 x 15" each Light-Piece I Laser-Peace 1986 Hills 1980 Aneila 1974 -Aneya 1974 -Aneda 1975 Plexiglass 40 x 40 x 0;8" Screenprint 20 x 21" Photographs of studies for paintings, Glades 1983 7 x 7" each Rob Fisher, Ray Masters Screenprint 22 x 30" 1986 Metaplasmos, 6M5 1985 Skyharp Plotter drawing 22 x 9.5" Stainless steel, aluminum 16 x 16 x 6' Janet Hoskins Boomer Bytes 1985 Herbert Franke Fabric 21 x 36" Klaus Basset Grafik I 1956 Symmetrische Durchdringung gerader und Serigraph 11 x 17" ungerader Reihen 1963 Gerald Hushlak Drawing 6 x 6" Grafik6 1956 ChernozenFields Forever 1977 Serigraph 11 x 17" Ink on paper 18 x 18" Gegenliiufiger Rhythmus mil einem Zeichen in 8 verschiedenen Langen 1967 Serie 1956 1956 Rubber Stamping the Lonely Angels of Tempera on paper 5.5 x 19.5" Serigraph 28 x 20" Reality 1982 Ink on paper 30 x 40" Osliper Fiicher 1981 Serie 1956 ed 'a 1956 Serigraph 28 x 20" Alphanumeric print 12 x 12" Gerald Hushlak, Larry Sinkey Layers and Steps I (I of 10) 1984-5 Serie 1961162 e 'd'a' 1961-2 Ain't No Navel Forces in Dis'Dress 1982 Alphanumeric print 12 x 12" Serigraph 27. 5 x 20" Ink on paper 30 x 40" Drakula 1972 Intuitive Ordering of Aqueous Humor Into Klaus Basset, W. Ploch! Serigraph from calendar 21 x 16" a Likeness of Mount Rushmore 1982 Linz (series) 1979 1975 Ink on paper 30 x 40" Alphanumeric prints 12 x 22" Farbraster 42 Inkjet print 16.5 x 14" The CEO Apologizing to her CRT from a Susan Brown Farbraster 75 1975 Mount in Marlboro Country 1982 Stretch 1985 Inkjet print 16.5 x 14" Ink on paper 30 x 40" Plotter drawing 28 x 30" 1985 Herbert Franke, Peter Henne Suguru lshizaki Violin 6 AlgebraischeKurven, ed'a 1969 Organic Image 1986 Plotter drawing 20 x 25" Serigraph 28 x 20" Serigraph 32 x 32" Daniel Cooper 1984 Herbert Franke, Horst Helbig Jozef Jankovic, lmrich Bertok Luma-I Mathematische Landschaft 1984 The Place Above 1979 Serigraph 18 x 26" Cibachrome of raster image 20 x 20" Serigraph 32 x 21.5" Charles Csuri Computer, My Daughter and I 1980 1966 Jeremy Gardiner Serigraph 25.5 x 19" Hummingbird Self-portrait 1985 Photograph of plotter drawing 8.5 x 11" Acrylic on canvas 60 x 60" The Group Exercise 1983 1966 Serigraph 26.5 x 33" Hummingbird Transformations X-Ray 1985 Photograph of plotter drawing 8.5 x 11" Acrylic on canvas 60 x 60" 1966 Alyce Kaprow Leonardo Man Fazes 1983 Photograph of plotter drawing 8.5 x 11" Laurence M. Gartel Photograph 16 x 20" Deciphering Archetypes of Human Form Sine Curve Man 1966 1984 Photograph of plotter drawing 8.5 x 11" 1985 Matthew_J Polaroid collage 37 x 33" Photograph 16 x 20" Marilyn Eitzen Jones Kenneth Knowlton Reflections1985 Darcy Gerbarg 1966 Mixed media on acrylic 3.5 x 3.5' DVI Series I #I 1979 Daybreak Etching IO x 12" Serigraph 16 x 20" David Em Qspace 1982 American Gothic Pair 1984 Redbal 1980 Serigraph 50 x 40" Dominoes 26 x 24 each Cibachrome of raster image 6 x 8' Plain 1985 Statue of Liberty 1986 Sunrise 1985 Acrylic on canvas 63 x 87" Laserprint 20 x 16" Cibachrome of raster image 16 x 20" 1986 Zotz 1985 Sandy Kenneth Knowlton, Leon Harmon Cibachrome of raster image 16 x 20" Acrylic on canvas 63 x 89" Nude (Study in Perception) 1966 Alphanumeric print (original 30 x 144") Chernobyl1986 Cibachrome of raster image 40 x 40"

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