credit Rachel Metz
Longson’s CRS combines milled Plexiglas and enamel paint. The English artist used a computer-directed milling machine to "print" images he created and programmed. From the side, you can see the individual layers of Plexiglas, but looking at an image straight-on creates a 3-D illusion.
credit Rachel Metz
Vogel’s mixed-media sculpture Circular Acceleration #36 is composed of a central speaker surrounded by a metal frame, red LEDs and transistors.
credit Rachel Metz
Like Mohr’s work, this Vera Molnar piece is also an experiment in code-based art. Molnar, a Hungarian, used a computer to make images and then draw them with a pen plotter. The circles on the left side indicate the use of tractor-feed printer paper.
credit Rachel Metz
German artist Manfred Mohr’s Scratch Code Portfolio, for which the bitforms exhibit is named, focuses on artistic representations of algorithmic code he programmed into a computer. This detail offers a good example of his focus on the deconstruction of the cube, which figures into some of his other work.
credit Rachel Metz
American artist Ben Laposky, who died in 2000, created his Electronic Abstraction works by manipulating electrical waves on an oscilloscope – which visualizes such waves – and shooting them with high-speed film. Though abstractions, the images may seem to resemble common images.
credit Rachel Metz
German artist Peter Vogel combined technology, art and audience interaction in the wall sculpture Circular Acceleration #36. Viewers walking in front of the piece will hear an electronic tune begin suddenly – the result of cutting off light to an attached photo sensor.
credit Rachel Metz
Plexiglas layers make up English artist Tony Longson’s Square Tonal Drawing. Images were screen-printed on the clear material.
credit Rachel Metz
Tony Pritchett put together the two-minute-long Flexipede film on London University’s Atlas computer over a three-month period in the late 1960s. An early example of computer animation, Flexipede shows a boxy, many-legged creature eating a runaway body segment, then growing. Punch cards were used for programming and it was produced on 16-mm film. Flexipede is shown at bitforms as transferred to DVD.
credit Rachel Metz
This detail from Mohr’s Scratch Code Portfolio emerges as a simultaneously orderly and nonsensical language. His work is one of the first examples of coded art.
