Fragments of Lost Flight

This work was developed by Isley & Smith (aka boredomresearch) for the Intuition and Ingenuity National group touring exhibition in 2012 that explores the enduring influence of Alan Turing – the father of modern computing - on art and contemporary culture. Other artists in this exhibition include Roman Verostko, Patrick Tresset, Paul Brown, Ernest Edmonds, Gordana Novakovic, Greg Garvey, Anna Dumitriu and Alex May

Geometries of the Sublime

Geometries of the Sublime artists have characterized the second half of the 20th century and experimented with digital technology, art and science – searching through chaos for perfect forms and the sublime

Hollins Columns (1967 Nov 14)

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Drawing machines, bathing machines, motorbikes, the stars…: where are the masterpieces?

The term ‘digital drawing’ may imply a special kind of drawing, set against a natural approach. Previous generations also had to adjust to the new technologies of the time. Some resisted, some went ahead. New methods present difficulties as well as opportunities. The how-to-draw books of the 1900’s show not just one ‘traditional’ approach, but a wide range, and a healthy debate. For the past two centuries such books have here and there discussed both drawing machines, and the connected question of how to draw machines. One way or another the world of drawing will absorb the impact of computers, and it won’t be just as an isolated genre of slightly weird drawing. So it is wrong to exclude ‘digital’ drawing from surveys, to think of this category as distinct from mainstream drawing. Museums have already collected the significant works, and traced the history. The way forward should be to integrate digital tools within the broad spectrum of drawing types. There are no good reasons for not using digital devices, and no good reasons for not using pencils. All the same, I cite three cases where a pencil and paper technique would not be up to the job: football, a drawing jam session, and astronomy

Reenacting Human-Algorithm Relations: Computational Art Between Today and Yesterday

Francesca Franco (Media Art Curator and Historian, UK) and Daniel Temkin (Artist and Writer, New York) discuss their concomitant research. Franco’s interest in the history of early Computational Art and its pioneers (Ernest Edmonds, Manfred Mohr, Vera Molnár, Roman Verostko) blends with Temkin’s practice of visualising the mathematical patterns of computers to enhance our understanding of the role and impact of Computational Art in contemporary art practice. Franco’s exhibition of Algorithmic..

The Magic of Computer Art: A Biographical Account of Bruce Wands

What does it mean to be part of a pioneering group or a group of early adopters? This article examines this question by considering the case of digital art. Through in-depth interviews, I explore Bruce Wands’ role as an early adopter of computer art and I document his extensive role in creating and developing computer art education since the early 1980s, a time when computer art was seen simply as a passing trend. In those early days, computer artists were either artists interested in new technology or computer scientists interested in art. By retelling Wands’ story we can better understand the complex relationships between technologies and cultural values in art education. These interviews provide insight into Wands as an artist, his early life, inspirations, publications, his identity as a musician, and pioneering contributions to digital art. It also importantly explores his role as an educator and examines how art education might adapt to new technologies

Uma máquina, mil desenhos: uma prática de desenho por algoritmos

O desenho gerado por algoritmos ou linhas de código não constitui uma novidade no campo das artes plásticas. No entanto, esta prática permanece singular no domínio do Desenho artístico, na medida em que não contém, em si mesma, atitudes ou modos ditos tradicionais, como é exemplo o esquiço ou o esboço, nem tão pouco uma relação intrínseca entre aquilo que designamos por visão e o registo gráfico das formas, patente no ato tradicional de desenhar. No contexto das práticas artísticas contemporâneas em particular no caso do desenho, o recurso a uma PenPlotter propõe desde logo, uma reflexão sobre a práxis do desenho, que implica uma ruptura epistemológica com as práticas tradicionais do mesmo e lança simultaneamente questões sobre a co-criatividade homem/máquina