Page 21 - Studio Interantional - May 1967

Far left Computer graphic by Frieder Nake, Stuttgart,
the prize winning entry of the annual computer art
contest organized by Computers and Automation in
1966.
Left Ellipse by L. W. Barnum, made on CalComp 565.
This elliptical figure was made by accident with a
computer-driven graphic plotter during a study of
digitally-generated Lissajous figures.

A fascinating experiment was made by
Michael Noll of the Bell Telephone
Laboratories whereby he analysed a 1917
black-and-white plus-and-minus picture by
Mondrian and produced a number of
random computer graphics using the same
number of horizontal and vertical bars
placed within an identical overall area. He
reported that 59 per cent of the people who
were shown both the Mondrian and one of
the computer versions preferred the latter,
the cathode ray tube can be shifted, rotated, since the computer is best used for rather 28 per cent identified the computer pictures
enlarged, seen in perspective, stored, recalled more schematic and geometric forms, and correctly, and 72 per cent thought that the
and transferred to paper with the patterns and designs which are logically Mondrian was done by computer. The
intermediate stages recorded on film. simple although they may look very experiment is not involved either with proof
Since the process suggests inhibiting intricate. One can programme the computer or theory; it simply provides food for
difficulties to anyone not an electronic to produce patterns based on the golden thought. Noll, who is one of the most prolific
engineer, it may be difficult for an artist to section or any other specific premise, defining exponents of computer graphics and
imagine how he could possibly make use of a set of parameters and leaving the various computer animated films in America, sees
a computer. The solution to the problem lies possibilities within them to chance. In this them as a very initial stage in the possible
in collaboration. There are three stages in way certain limitations are provided within relationship between artist and computer.
the process of producing computer graphics, which the computer can 'improvise' and in Perhaps even less credible than the idea of
or for that matter using the computer the space of twenty minutes race through the computer-generated pictures is the idea of
generally. In the first place the communicator entire visual potential inherent in the computer sculpture. That, too, has been
presents the idea or message to be particular scheme. Programmed to draw achieved. A programme for a three-
communicated to the computer. Secondly, variations with straight lines, it is dimensional sculpture can be fed into a
the communication specialist decides (unless conceivable, though perhaps unlikely, that computer— the three-dimensional projection
there are specific instructions) whether the one of the graphics produced may consist of a two-dimensional design. It can be
problem should be solved graphically, simply of one line placed exactly on top of transferred via punched paper tape to a
verbally, or as a combination of both. another. If there is no formula for milling machine capable of producing the
Thirdly, the computer specialist selects the predicting each number or step in a given physical object in three dimensions.
appropriate computer equipment and sequence, the system by which this type of The computer is only a tool. For the present
interprets the problem into machine computer graphic comes about can be it still seems far removed from those polemics
language, so that the computer can act upon considered random. and preoccupations which concern art.
it. The Korean artist Nam June Paik has Interesting results can be obtained by However, even now, seen with all the
gone so far as to claim that just as collage introducing different random elements into prejudices of tradition and time, one cannot
technique replaced oil paint, so the cathode the programme. One can, for instance, deny that it demonstrates a radical extension
ray tube will replace canvas. So far, however, produce a series of points on a surface which of art media and techniques. The
no artist that I know of has actually can be connected in any way with straight possibilities inherent in the computer as a
produced a single computer graphic. All lines, or one can instruct the computer to creative tool will do little to change those
those made to date have been made by draw solid geometric shapes without idioms of art which rely primarily on the
scientists. specifying in what sequence they are to be dialogue between the artist, his ideas, and
At the moment the range of visual superimposed, leaving the overlapping of the the canvas. They will, however, increase the
possibilities may not seem very extensive, shapes to chance. scope of art and contribute to its diversity.

Henry Martin is an American writer who lives In Italy. Corrections. In the March issue David Sylvester was lege of Art, and taught there until 1957'. He was, of
He contributes articles on the visual arts to a number described as visiting lecturer at Massachusetts Insti- course, elected Fellow of the Royal College in 1955,
of magazines. tute of Technology. He was, in fact, unable totake up and professor of painting in 1957.
the appointment through ill-health.
Robert Kudielka is studying philosophy at the Uni- In the April issue, in a mention of Carel Weight's
versity of Tubingen. He writes for SYN and Das exhibition at Bear Lane Gallery, Oxford, it was stated
Kunstwerk and has published experimental poetry. that Carel Weight 'became a tutor at the Royal Col-