Page 20 - Studio Interantional - May 1967

Computer art

Comment by Jasia Reichardt

`Absolute power will corrupt not only men Computer graphics range from static with images composed of different letters or
but machines.' In an article 'Inventing the compositions to frames of motion pictures, figures printed out on a typewriter which is
future' (Encounter, May 1960), Professor and could be divided into two main automatically operated by the computer. In
Dennis Gabor put forward some of his hopes categories : (1) those which approximate to the second category are computer graphics
and fears about the function of the machine pure design or art; (2) those which are not made on a cathode ray tube with an electron
in the society of the future. His comment made with any aesthetic end in view but beam electrically deflected across the
referred to electronic predictors which, having serve to visualize complex physical phosphorescent screen to produce the desired
built up a reputation for accuracy, become phenomena. picture. A camera photographs the image in
aware of their infallibility—since they are At a conference dealing with computers and various stages, and an electronic console is
learning machines—and begin to use their design held at the University of Waterloo in used to control the picture and to advance
newly discovered power. 1966, two statements were made which the film. Whether the pictures are made for
So far electronic predictors have not become might at first seem unnecessarily boastful and analytical purposes or just for fun, the
a reality. However, in the same article heroic: first, 'the computer simply elevates computer graphic is a visual analogue to a
Professor Gabor made a very relevant the level of possible creative work', second, sequence of calculations fed into the
postulation: 'Will the machine,' he `the computer can handle some elements of computer.
wondered, 'cut out the creative artist ?"I creativity now—by current definitions of The now 'antique' Sketchpad used for
sincerely hope', he continued, 'that creativity'. Both these statements were made numerous experiments of this type at
machines will never replace the creative by scientists, although there exists a Massachusetts Institute of Technology since
artist, but in good conscience I cannot say considerable scepticism among both 1962 was one of the first to produce drawings
that they never could.' scientists and artists about the validity of the on a cathode ray tube demonstrating the
The computer performs various functions various experiments in this area. Others sort of possibilities inherent in the system.
which in the broader sense seem to be acts of claim that the computer provides the first One could draw with a light pen on the
intelligence, i.e. manipulation of symbols, real possibility of collaboration between screen simple patterns consisting of lines and
processing of information, obeying complex artist and scientist, which can only be based curves. The operator could impose certain
rules, even learning by experience. Never- on each other's familiarity with both media. constrictions on the patterns he was making
theless, the computer is not capable of The first commercial computer was by demanding—for instance, by pushing the
making abstractions, and is devoid of the marketed in 1950. Ten years later the Boeing appropriate button—that the lines be
three prime forces behind creativity— airplane company coined the term 'computer parallel, vertical or straight. At that stage the
imagination, intuition, and emotion. Despite graphics'. They used graphics for purely operator could not demand something as
this, the computer has been making an utilitarian purposes—they were employed, complex as a solution to the following
appearance as a budding artist since about for instance, to verify the landing accuracy problem: 'These lines represent a piece of
1960. In 1963 the magazine Computers and of a plane viewed from the pilot's seat and structure of a certain thickness and size and
Automation announced a computer art the runway, and to establish the interaction with certain cross-section characteristics,
contest, and this has been held annually ever of range of movements of the pilot in his made of a particular material and obeying
since. The winning design usually appears on cockpit environment. To this end Boeing specific physical laws—depict this under a
the cover of the magazine's August issue and created a 50-percentile pilot and studied stress of so many pounds per cubic foot.'
the runners up are given coverage inside. him in animation. All drawings and Today the process whereby a design is
The designs vary considerably, although they animation were done by computer. Other adjusted at any stage of its development is
share certain characteristics, i.e. they are experiments included visualizing acoustic already quite familiar. If the operator alters
only in black and white, there is an emphasis graphs in perspective and the production of the design on the cathode ray tube with a
on geometrical shapes, and they are basically very accurate isometric views of airplanes. light pen, the computer converts the altered
linear. As designs, the computer products There are two main methods at present by design into electronic impulses using them to
look bare and minimal and represent little which computer graphics are made. In the modify the pre-existing programme held in
else than the initial stage in what may be a first place there are the ink drawings the computer's memory store. The altered
far more challenging adventure in merging produced by a computer-driven plotter. The design then appears on another cathode ray
(rather than relating) creative activity with plotter, a moving pen, conveys the image tube. This system is widely used by General
technology. direct to paper. Drawings can also be made Motors for car-body design. The image on

Contributors to this issue Robert Hughes writes for the Sunday Times and other Dr Aaron Scharf is head of the department of the
journals and frequently takes part in radio and tele- history of art and complementary studies at St
Jasia Reichardt, assistant director of the Institute of vision programmes. Martin's School of Art. His comprehensive study
Contemporary Arts, Edward Lucie-Smith, poet and provisionally titled The Impact of Photography on Art
critic and Dore Ashton, American writer and critic, Norbert Lynton, head of the school of art history at will be published soon by Penguin Books.
are regular contributors to Studio International. Chelsea College of Art, is art critic of The Guardian
and contributes to Art international, Cimaise, Quadrum Charles S. Spencer writes on art in Britain for the
Jean Clay is art critic of Réalites Nouvelles. and other journals. New York Times and other journals.
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