Editing Computer art (section)

== History ==
{{further|Mathematics and art}}

[[File:Wiki.picture by drawing machine 1.jpg|thumb|left|[[Desmond Paul Henry]], picture by Drawing Machine 1, {{circa|1962}}]]

The precursor of computer art dates back to 1956–1958, with the generation of what is probably the first image of a human being on a computer screen, a ([[George Petty]]-inspired)<ref>{{cite web |url=http://dangerousminds.net/comments/the_first_ever_computer_art_was_made_possible_by_the_cold_war_and_it_was_a |title=Boobs not bombs: The first ever computer art was made possible by the Cold War... & it was a girly pic |publisher=Dangerous Minds |date=2013-01-25 |access-date=2013-10-09 |archive-date=2015-09-26 |archive-url=https://web.archive.org/web/20150926034537/http://dangerousminds.net/comments/the_first_ever_computer_art_was_made_possible_by_the_cold_war_and_it_was_a |url-status=live }}</ref> [[pin-up]] girl at a [[Semi-Automatic Ground Environment|SAGE]] air defense installation.<ref>{{cite magazine|url=https://www.theatlantic.com/technology/archive/2013/01/the-never-before-told-story-of-the-worlds-first-computer-art-its-a-sexy-dame/267439/ |title=The Never-Before-Told Story of the World's First Computer Art (It's a Sexy Dame) |author= Benj Edwards |magazine=The Atlantic |date=2013-01-24 |access-date=2013-10-09}}</ref> [[Desmond Paul Henry]] created his first electromechanical Henry Drawing Machine in 1961, using an adapted analogue Bombsight Computer. His drawing machine-generated artwork was shown at the Reid Gallery in London in 1962 after his traditional, non-machine artwork won him the privilege of a one-man exhibition there. It was artist L.S.Lowry who encouraged Henry to include examples of his machine-generated art in the Reid Gallery exhibition. .<ref>{{cite book |author=O'Hanrahan, Elaine |year=2005 |title=Drawing Machines: The machine produced drawings of Dr. D. P. Henry in relation to conceptual and technological developments in machine-generated art (UK 1960–1968). Unpublished MPhil. Thesis. |publisher=John Moores University, Liverpool}}</ref><ref>{{cite web |last1=Beddard |first1=Honor |title=Computer art at the V&A |date=26 May 2011 |url=http://www.vam.ac.uk/content/journals/research-journal/issue-02/computer-art-at-the-v-and-a/ |publisher=Victoria and Albert Museum |access-date=22 September 2015 |archive-date=25 September 2015 |archive-url=https://web.archive.org/web/20150925144211/http://www.vam.ac.uk/content/journals/research-journal/issue-02/computer-art-at-the-v-and-a/ |url-status=live }}</ref>

By the mid-1960s, most individuals involved in the creation of computer art were in fact engineers and scientists because they had access to the only computing resources available at university scientific research labs. Many artists tentatively began to explore the emerging computing technology for use as a creative tool. In the summer of 1962, [[A. Michael Noll]] programmed a digital computer at Bell Telephone Laboratories in Murray Hill, New Jersey to generate visual patterns solely for artistic purposes.<ref>Noll, A. Michael, "The Beginnings of Computer Art in the United States: A Memoir", ''Leonardo'', Vol. 27, No. 1, (1994), pp. 39-44.</ref> His later computer-generated patterns simulated paintings by [[Piet Mondrian]] and [[Bridget Riley]] and became classics.<ref name="design.osu.edu">{{cite journal|url= http://design.osu.edu/carlson/history/PDFs/dietrich-leonardo.pdf|title= Visual Intelligence: The First Decade of Computer Art|access-date= 2008-04-28|author= Dietrich, Frank|year= 1986|pages= 159–169|journal= Leonardo|doi= 10.2307/1578284|jstor= 1578284|archive-url= https://web.archive.org/web/20160322113216/http://design.osu.edu/carlson/history/PDFs/dietrich-leonardo.pdf|archive-date= 2016-03-22|url-status= dead|citeseerx= 10.1.1.473.7750}}</ref> Noll also used the patterns to investigate aesthetic preferences in the mid-1960s.

The two early exhibitions of computer art were held in 1965: Generative Computergrafik, February 1965, at the Technische Hochschule in Stuttgart, Germany, and Computer-Generated Pictures, April 1965, at the Howard Wise Gallery in New York. The Stuttgart exhibit featured work by [[Georg Nees]]; the New York exhibit featured works by Bela Julesz and A. Michael Noll and was reviewed as art by ''The New York Times''.<ref>Preston, Stuart, "Art ex Machina", ''The New York Times'', Sunday, April 18, 1965, p. X23.</ref> A third exhibition was put up in November 1965 at Galerie Wendelin Niedlich in Stuttgart, Germany, showing works by [[Frieder Nake]] and Georg Nees. Analogue computer art by [[Maughan Mason]] along with digital computer art by Noll were exhibited at the AFIPS Fall Joint Computer Conference in Las Vegas toward the end of 1965.

In 1968, the [[Institute of Contemporary Arts]] (ICA) in London hosted one of the most influential early exhibitions of computer art called [[Cybernetic Serendipity]]. The exhibition, curated by [[Jasia Reichardt]], included many of those often regarded as the first digital artists, [[Nam June Paik]], Frieder Nake, Leslie Mezei, Georg Nees, A. Michael Noll, [[John Whitney (animator)|John Whitney]], and [[Charles Csuri]].<ref name="ReferenceA">Raimes, Jonathan. (2006 ) The Digital Canvas, Abrams. {{ISBN|978-0-8109-9236-8}}</ref> One year later, the [[Computer Arts Society]] was founded, also in London.<ref>Page, No. 1, April 1969, p. 2.</ref>

At the time of the opening of Cybernetic Serendipity, in August 1968, a symposium was held in Zagreb, Yugoslavia, under the title "Computers and visual research".<ref>Christoph Klütsch: [http://www.computerkunst.org/Kluetsch_London_Zagreb.pdf ''The Summer 1968 in London and Zagreb: Starting or End Point for Computer art?''] {{Webarchive|url=https://web.archive.org/web/20150813082626/http://computerkunst.org/Kluetsch_London_Zagreb.pdf |date=2015-08-13 }} (PDF 2,19 MB).</ref> It took up the European artists movement of New Tendencies that had led to three exhibitions (in 1961, 63, and 65) in Zagreb of concrete, kinetic, and constructive art as well as op art and conceptual art. New Tendencies changed its name to "Tendencies" and continued with more symposia, exhibitions, a competition, and an international journal (bit international) until 1973.

[[File:Camping_in_the_valley_(50562785).jpg|thumb|A computer-generated [[fractal landscape]]]]
[[Katherine Nash]] and Richard Williams published ''Computer Program for Artists: ART 1'' in 1970.<ref>{{cite journal|author=Nash, Katherine|author2=Richard H. Williams|title=Computer Program for Artists: ART I|journal=Leonardo |volume= 3|issue=4|date=October 1970|pages=439–442|doi=10.2307/1572264|jstor=1572264|publisher=The MIT Press|s2cid=192985628}}</ref>

[[PARC (company)|Xerox Corporation's Palo Alto Research Center]] (PARC) designed the first [[Graphical User Interface]] (GUI) in the 1970s. The first [[Macintosh computer]] was released in 1984; since then the GUI became popular. Many graphic designers quickly accepted its capacity as a creative tool.

[[Andy Warhol]] created digital art using an [[Amiga]] when the computer was publicly introduced at the [[Lincoln Center]], New York in July 1985. An image of [[Debbie Harry]] was captured in monochrome from a video camera and digitized into a graphics program called ProPaint. Warhol manipulated the image adding colour by using flood fills.<ref>{{cite web |url=https://arstechnica.com/hardware/news/2007/10/amiga-history-4-commodore-years.ars/4 |title=A history of the Amiga, part 4: Enter Commodore |date=October 21, 2007 |last=Reimer |first=Jeremy |work=Ars Technica |access-date=June 10, 2011 |archive-date=November 17, 2011 |archive-url=https://web.archive.org/web/20111117090503/http://arstechnica.com/hardware/news/2007/10/amiga-history-4-commodore-years.ars/4 |url-status=live }}</ref><ref>{{cite AV media|url=https://www.youtube.com/watch?v=3oqUd8utr14|title=YouTube}}{{cbignore}}{{Dead YouTube link|date=February 2022}}</ref>