PAGE 57 Bulletin of the Computer Arts Society Summer 2004 Special CACHe Issue Contents Editorial Editorial 1 Welcome to issue 57 of PAGE. The last time I edited a copy was over 20 years ago. Back then the text came on phototypeset galleys of bromide paper and had to be cut Features out (with a real scalpel) and pasted down (with real cow gum) onto layout card. Much care needed to be taken The CACHe Project: to ensure everything aligned to the horizontal, Line art- Aims and Outcomes, Dr. Nick Lambert 2 work was drawn using a technical pen and the positions Routes Towards British Computer Arts: of photographs were indicated with grey rectangles to be Educational Institutions, Catherine Mason 5 stripped in later by the neg compositor. Colour was for- bidden - much too expensive! Computers, Poetry and the Nature of Art Robin Shirley 9 A few years later the Apple Mac arrived on the scene and the world changed forever. Today I’m sitting in front The Computer Arts: Origins and Contexts of my inexpensive iMac and Adobe’s InDesign software Paul Brown 11 enables me to lay out this copy of PAGE in a fraction of the time and with much greater flexibility than was ever possible back then. Reviews My nostalgia conveniently brings me to the subject of Harold Cohen at TATE Modern this special issue of PAGE. It’s a product of the CACHe Catherine Mason 14 project at Birkbeck College. This AHRB-funded research program is preserving and contextualising the early days Robin Oppenheimer on Lightshows of the computer arts and one of its outcomes was the Nick Lambert 14 recent re-formation of the Computer Arts Society and the British New Media at TATE Modern re-establishment of PAGE. Charlie Gere 15 I’m grateful to my colleagues on the CACHe project for It’s Cool to be Real! their support and assistance in preparing this copy of Paul Brown 15 PAGE and especially for their provision of much of the content. Also a big thanks to Robin Shirley for permis- sion to reproduce his presentation given in 1973 at the CAS event Interact at that years Edinburgh Festival. And Contributions to Alan Sutcliffe - PAGE Editor - for inviting us to put this Dance Notation for Animation special issue together. Stan Hayward 16 There’s also a things “To Do (Samsara)” section though, The National Fine Art Education Digital Collection given the three month frequency of PAGE, we will try and Stroud Cornock 16 keep a more up-to-date listing of events and opportuni- ties of interest on the new CAS website. This should be online soon! To DO (Samsara) 16 Paul Brown 19 Visiting Research Fellow From the Desk of the Chair Birkbeck College 19 About the Computer Arts Society May 2004 THE BACK PAGE 20 CACHe is: http://www.bbk.ac.uk/hafvm/cache/ page 1 PAGE 57 his PhD under Lansdown at Middlesex and was keen The CACHe Project: its aims and outcomes to see the pioneer’s work preserved. Paul began to frame an application to the AHRB – the Arts and Humani- Dr. Nick Lambert ties Research Board, which was moderated by Charlie and George. The AHRB awarded us a record grant of £250,000, the largest so far awarded to a single project. The CACHe project was begun to discover the extent of And it was granted on the first application, something nei- the pioneering effort, collate the most important works ther Paul nor Charlie expected! (centred on the CAS collection at SSL) and create a his- tory based on its findings. CACHe is investigating the early days of the computer arts in the UK from their origins in the 1960s to the 1980s, CACHe is an acronym for “Computer Arts, Concepts, His- when the first personal computers began to be used. The tories, etc.” Apart from the obvious computer memory project intends to archive, document and contextualise links, a cache can also be a hoard or collection of pre- the computer arts. Its principal goals are to recover this cious objects, usually concealed from view. All these history and confirm its cultural and aesthetic legitimacy. ideas inform what the CACHe Project is and what we do, because in a sense we are providing a memory for Com- CACHe aims to: puter Arts based on the concealed objects we have dis- • Recover the work of leading pioneers in the field of covered in the course of our research. But I’m jumping digital-based art in Britain ahead of myself here, so let me first explain why we came to be. • Identify artists, works, events and publications CACHe was first mooted because one of Britain’s leading • Document the contributions of artists, researchers, pioneers in computer art and graphics, John Lansdown authors, academics, institutions and publications the former dean of Middlesex University’s Faculty of Art and Design, sadly passed away in 1999. Lansdown had • Collect material to create a permanent national collec- been such a driving force behind the use of computers tion based on a number of archives, including that of in the arts that he spanned many fields, notably architec- the late John Lansdown, co-founder of the Computer ture, graphics and dance. Arts Society and a pivotal figure in this field during the 1960s-1980s In this field, as in many other areas which are seen as fringe art activities, people have an annoying tendency to • Construct a critical and historical context for the com- throw out key artifacts just because they are cluttering up puter arts the house or because their makers are now defunct. For- Enable access to this research through an online data- tunately, Lansdown left a significant archive to Middlesex base, books, videos/DVDs and other materials University at his death. However, much of his work and his art-related collections were not included in this archive CACHe’s work includes tracing and contacting people but remained with George Mallen at Systems Simu- associated with the field during this period, or their fam- lation. Here they formed part of the holdings of the ilies. In all cases, we are trying to build up a com- Computer Arts Soci- prehensive picture of the ety, founded jointly by digital arts in the 1960s and Lansdown, Mallen and 1970s in the UK and cross- of course Alan Sut- reference them to interna- cliffe in 1969, which tional developments. Our provided a meeting main outcomes are a place and focus for the scholarly book with many growing field of com- contributors, all either in the puter art in its field at the time or later crit- formative years. This ics; a popular book being archive contained the written by Paul Brown; a work of many artists, national archive to be writers and contribu- established from the collec- tors to CAS besides tions we’ve accumulated; Lansdown, and was and the possibility of an thus a unique record exhibition beyond 2007/8. of the interlinked per- It should be noted that at sonalities, ideas and the beginning, we though technologies that gave we had a nicely delimited rise to British compu- area to explore. We knew ter art. roughly the extent of the By early 2000, Paul Brown, himself a noted computer CAS archive at SSL and the Lansdown collection at artist and educator based in Australia, was searching for Middx; we also knew there was a further collection of a permanent home for this joint archive. Paul hoped to Lansdown’s papers and works in his old basement and save Lansdown’s archive and the CAS records in some we assumed there would be a scattering of personal institutional setting where they could be properly inves- papers with computer artists. But as our research pro- tigated and written up. He held meetings with the Arts gressed, we started to uncover – and receive! – vast Council, Science Museum, Museum of Photography and amounts of material that found its way out of people’s George Mallen. In late 2001, it was proposed that the lofts and cellars into our overflowing shelves. As each project should be based at Birkbeck College under the new collection came to light, so a much more complex aegis of Dr Charlie Gere, who runs a flourishing Digital picture of early British computer art emerged. Art History course there. Coincidentally, Gere had done page 2 PAGE 57 Some of it appeared in the earlier editions of the Com- puter Arts Society magazine PAGE, which we have dig- either by resurrecting the hardware or emulating it on itised, and other parts emerged quite unexpectedly to something more modern. Now consider how to approach complicate the nice neat picture we had initially assumed. a piece of art whose physical form may seem straight- A range of artists, designers and computer graphics pio- forward enough – a plotter output, say, or a sheaf of neers presented themselves. Most poignantly of all, the sprocket paper with lines of computer poetry. These phys- relatives of deceased artists who had lovingly preserved ical remnants we scan and present as graphics. But what their collections in the hope that someone might find them about the program that generated and delivered these useful began to come forward. Thus far we have discov- images or words? It is an absolutely essential part of the ered over a dozen major archives and numerous small art, indeed its fundamental basis and raison d’etre, in a personal collections, all tied together by an expanding sense, but without the computer that ran it (and often with- web of personalities and shared interests.