digital synthetic image genealogy a visual trip 1830-2015
a book edited by Abraham San Pedro
wo rds1880-2000
just images no words many paths one way digital image
wo rds1880-2000
Book front cover, back cover, dustjacket and unneeded flyleafs image is a screenshot of CORY ARCANGEL’s “Super Mario Clouds” (2003), a hacked videogame code. The hackering code is as you can read it in blue font over de artwork index list (in black font).
nbasic_stack = 256“Daguerrotypist with Camera” (ca.1850) daguerreotype, sixth plate, hand coloured, 2 7/8 × 2 RUFUS J. ANSON, 1/2 Philadelphia Museum of Art addrinches, =0 songloadloop =2 LOUIS-JACQUES-MANDÉ DAGUERRE “Atelier”(1837), daguerreotype, Société française de photographie, Paris DELAYSCROLL =3 BRUNO BRAQUEHAIS, “Portrait of an unidentified nude franch woman”, (ca.1855), daguerreotype NTShow = 4 ADOLPHE NEYT, “Photomicrograph of a Flea”, (1865), Albumben silver print, George Eastman House, Rochester, SCROLL New York= 5 SANTIAGO RAMÓN Y CAJAL, “Self-portrait”, photography, b/w (1885) SANTIAGO .inesprg 2 Y CAJAL, “Neuronn net with Golgi method”, photography, bw (1914)) RAMÓN .ineschr 1 UNKNOWN AUTHOR, “Orion, IC 434, Nebula sout of Zeta Orionis containing Dark Bay (Barnard 33), exposure 3 .inesmir 1 hrs, 100 inch Hooker reflector” (1920) , 19 x 24,5 cm / 7,5 x 9,7 inch, Gad Collection .inesmap 0 UNKNOWN AUTHOR, “Le Mur du Cygne, Nébuleuse North America (NGC 7000) dans la constellation du Cygne, (1910), Gad $8000 Collection .org ETIENNE JULES-MAREY, “Horse, only legs” (1890) Chronophotographic photographies converted in film clouds_start: transferred to digital archive, France, silent, b/w, 0’15”, The Metropolitan Museum of Art, New York .dw clouds_start_addr ETIENNE-JULES MAREY, “Photographs of Smoke in a Wind Tunnel “(1901), Gelatin silver print, Cinémathèque clouds_start_addr: Française, Paris .incbin “clouds.hex” ETIENNE-JULES MAREY, “Photographs of Smoke in a Wind Tunnel “(1901), Gelatin silver print, Cinémathèque Française, Paris start: UNKNOWN AUTHOR, “Publicity Photograph of Man Using Edison Kinetophone”, (ca. 1895), Public Domain sei W.K.L. DIKINSON & WILLIAM HEISE/THOMAS EDISON, “Annabelle Serpentine Dance”(1894), U.S.A., silent, cld 35mm film remastered at 30 frames per second and tranferred to digital file, original b/w, hand coloured, 0’ 16”,The Museum of Modern Art, New York .vblank_clear1 GEORGE MELIES, “ A voyage dans le Lune “ (1902), 35mm film transferred to digital file, France, silent, original b/w, hand ldacoloured, $2002 12’52”, Cinémathèque Française, Paris bpl .vblank_clear1 UNKNOWN AUTHOR, “Loïe Fuller” (c.1900), photography, b/w .vblank_clear2 UNKNOWN AUTHOR, “Thomas Wilfred” (c.1930), photography, b/w lda $2002 UNKNOWN AUTHOR, “Mary Hallock-Greenewalt” (c.1920), photography on private notebook, b/w bpl .vblank_clear2 UNKNOWN AUTHOR, “Harold Stringer on the Savoy ABC Cinema Exeter Organ” (c. 1930), photography, b/w .vblank_clear3 Борис Игнатович lda $2002 (ALEXANDER RODCHENKO), Колёса комбайнов (жаток), (1929) UNKNOWN bpl .vblank_clear3 AUTHOR, “Empire State Building Workers” (1930), photography, b/w Борис Игнатович (ALEXANDER RODCHENKO), “Shuhorshaya Bashnya”, (1924),fotografía, b/w sei cld LEWIS HINE, “Mechanic and Turbine, General Electric Company” (1925), photography, gelatine silver print, 105/8 x 135/8 in., Howard Greenberg Gallery, New York .vblank_clear4 UNKNOWN lda $2002 AUTHOR, “First home film Camera” (1938), photography, b/w bpl .vblank_clear4 ROBERT FLOREY, “Skyscreeper Symphonie” (1920-21), 35mm film transferred to digital file, U.S.A., silent, b/w, 08’53”, © Robert Florey /Film Preservation Associates .vblank_clear5 HENRYlda $2002 CHOMETTE,”Jeux des reflets et de la Vitesse” (1925), 35mm film transferred to digital file, France, 08’15”, © Henry Chomette /Jean Francois Clair silent, b/w, bpl .vblank_clear5 CHEVROLET .vblank_clear6MOTOR DIVISION (GENERAL MOTORS SALES CORPORATION), “Riding the Film” (1934), Propaganda 35mm film transferred to digital file, U.S.A., sound, b/w, 10’40”,© Chevrolet Corp. lda $2002 RICHARD bplSTEINER, .vblank_clear6 “Mechanical Principles” (1930), 35mm film transferred to digital file, U.S.A., sound, b/w, 10’18”, ©Ralph Steiner /Film Preservation Associates UNKNOWN AUTHOR, “Don Juan Premiere at Warner’s Theatre, Brooklin, NY”(1926), photography, b/w lda #$00 ldx #$00 VIKING EGGELING, “Symphonie Diagonale” (1921-24), 16 mm film transferred to digital file, Germany, b/w, .clear_out_ram silent, 8’13”, © Viking Eggeling/RE: Voir Vidéo, Cecile Starr, Paris (4 screenshots) sta $000,x HANS staRITCHER, $100,x “Rythmus 21” (1921), 16 mm film transferred to digital file, Germany, b/w, silent, 2’30”, © Hans Ritcher/ RE: Voir Vidéo, Cecile Starr, Paris (4 screenshots) sta $200,x sta $300,x WALTHER RUTTMANN, “Luftspiel Opus I” (1921),16 mm film transferred to digital file, Germany, colour, silent, staPublic $400,x 2’30”, Domain (4 screenshots) sta $500,x sta $600,x
OSKAR FISCHINGER, “Wachs Experimente” (1923-27), 16 mm film transferred to digital file, Germany, colour, sta11’12”, $500,x© The Fischinger Trust/ Centre for Visual Music, Los Angeles (4 screenshots) silent, sta $600,x ANTON GIULIO BRAGAGLIA, “The Bow” (1911), Gelatin silver print, 6 11/16 x 4 11/16” (17 x 11.9 cm). The sta $700,x Metropolitan Museum of Art. Gilman Collection, Gift of The Howard Gilman Foundation. © 2014 Artists Rights inx Society (ARS), New York bne .clear_out_ram WERNER GRAEFF, “Filmkomposition 1&2” (1922/1977), 16 mm film transferred to digital file, Germany, colour, lda3’08”, #$00 © 1977 Stedelijk Museum Amsterdam, Museum of Modern Art, New York & Cinémathèque Paris silent, (4 screenshot) ldx #$00 .clear_out_sprites KURT SCHWERDFEGER, “Reflektorischer Farblichtspiele” (1921-24/1967) 35 mm film transferred to digital file, sta $2000,x Germany, colour, sound, 24’, © 2009 Stiftung Bauhaus Dessau sowie die Künstler und ihre Rechtsnachfolger/ sta $2100,x Absolut Medien, Berlin (4 screenshots) sta $2200,x KURT staKRANZ, $2300,x“Untitled Picture Series (Project for an Abstract Coloured Film)” (1930), ink and gouache on paper, © Kurt Kranz /Museum of Modern Art, New York sta $2400,x sta $2500,x LÁSZLÓ MOHOLY-NAGY, “Sketch of a Musical Score for the Mechanical Eccentric”, (1924-25), coloured printed sta©$2600,x paper László Moholy-Nagy sta $2700,x LÁSZLÓ MOHOLY-NAGY, “Ein Lichtspiel schwarz-weiss-grau” (1930), sta $2800,x 35 mm film transferred to digital file, Germany, silent, b/w, 5’15”, © László Moholy-Nagy /ADAGP, París (4 sta $2900,x screenshots) sta $2a00,x staRITCHER, $2b00,x “Filmstudie” (1925), 35 mm film transferred to digital file, Germany, b/w, sound, 3’44”, © Hans HANS sta $2c00,x Ritcher /RE: Voir Vidéo, Cecile Starr, Paris (4 screenshots) sta $2d00,x FERNAND LÉGER & DUDLEY MURPHY, “Le Ballet Mecanique (1924), 35 mm film transferred to digital sta $2e00,x file, France, colour, sound, 12’46”, © Fernand Léger & Dudley Murphy/ RE: Voir Vidéo, Cecile Starr, Paris (4 sta $2f00,x screenshots) inx bne .clear_out_sprites MAN RAY, “Le Retour á La Raison” (1923), 35 mm transferred to digital file, France, b/w, silent, 2’, © Man Ray/ RE: Voir Vidéo, Cecile Starr, Paris (4 screenshots) ldx #$FF ARSENY AVRAAMOV, “Ornamental Patterns Sound Animation”, ink on paper, © Arseny Avraamov txs OSKAR FISCHINGER, “Kreise”(1933), 35 mm film transferred to digital file, Germany, colour, sound, 2’48”, © jsr vwaitTrust/Centre for Visual Music, Los Angeles (4 screenshots) The Fischinger jsr vwait OSKAR FISCHINGER, “Komposition in Blau” (1934), 35 mm Kodak film strip, © The Fischinger Trust/Centre for Visual Music, Los Angeles ;++++++++++++++++++++++++++++++++++++++++++++++++ ;load palette MARCEL DUCHAMP, 6 “Rotoliefs” (1935), Offset printing, series of 500, 20 cm of diameter each, © Marcel ;++++++++++++++++++++++++++++++++++++++++++++++++ Duchamp/Metropolitan Museum of Art, New York LEN “A Colour Box” (1935), 35 mm film transferred to digital file, United Kingdom, sound, colour, 3’, © Len lda LYE, #$3F Lye (4 screenshots) sta $2006 lda #$00 RENATO TOPPO, “Clara Rockmore Performing Theremin”, photography, b/w Courtesy of The Nadia Reisenberg / $2006 ©sta Renato Toppo /Clara Rockmore Foundation OSKAR FISCHINGER, “An Optical Poem” (1937), 35mm film transfered to digital file, U.S.A., colour, sound, 6’23” lda #$21 ;background [powder blue] © Metro Goldwyn Mayer Studios (16 screenshots) sta $2007 lda #$30 ;cloud inside [white] MARY ELLEN BUTE, “Parabola” (1936), 35 mm film transferred to digital file, U.S.A., sound, b/w, 8’27”, © Mary sta $2007 Ellen Bute/ Universal Newsreel/Anthology Film Archives, New York (4 screenshots) lda #$11 ; highlight [blue] MARY ELLEN BUTE, “Synchromy No 2” (1936), 35 mm film transferred to digital file, U.S.A., sound, b/w, 5’5”, © sta $2007 Mary Ellen Bute/Anthology Film Archives, New York (4 screenshots) lda #$0d ;outline [black] staMCLAREN, $2007 NORMAN “Dots” (1940), 35 mm film transferred to digital file, Canada, sound, colour, 2’23”, © Norman McLaren/National Film Board of Canada, Montreal (4 screenshots) ;++++++++++++++++++++++++++++++++++++++++++++++++ NORMAN “Booguie Doodle” (1941), 35 mm film transferred to digital file, Canada, sound, colour, ;load nameMCLAREN, tables 3’21”, © Norman McLaren/National Film Board of Canada, Montreal (4 screenshots) ;++++++++++++++++++++++++++++++++++++++++++++++++ HARRY SMITH, “Films # 1, 5, 7 & 10: Early Abstractions” (1946-64), 16mm film transferred to digital file, originally silent, colour, 18’52” © Harry Smith Archives (8 screenshots) lda #0 JAMES & JOHN WHITNEY, “Variations on a Circle” (1942), 16mm film transferred to digital file, mute, colour, sta songloadloop 4’20”, © The Estate of James and John Whitney (4 screenshots)
FRANCISZKA &STEFAN THEMERSON, “The Eye and the Ear” (1944), 35mm film transferred to digital file, ldx #0 United Kingdom, ldy #0 b/w, sound, 10’58” © Franciszka &Stefan Themerson/Tate Gallery, London (4 screenshots) AUTHOR UNKNOWN, “ENIAC Room” (1942), photography, b/w lda #2 AUTHOR UNKNOWN (U.S.A. Air Force), “Nagasaki Bomb” (6th August 1945), photography, b/w sta songloadloop load_outcast: AUTHOR UNKNOWN (U.S.A. Air Force), “S.A.G.E. (Semi Automatic Ground Environment) Control Room” lda clouds_start,y (ca.1950), photography, b/w sta addr,x iny AUTHOR UNKNOWN (U.S.A. Air Force), “S.A.G.E. (Semi Automatic Ground Environment) Programming Room” (ca.1956), photography, colour inx dec songloadloop AUTHOR UNKNOWN (U.S.A. Air Force), “S.A.G.E. (Semi Automatic Ground Environment) Light Pen Commanding” bne load_outcast (ca.1956), photography, colour lda #$20 & EVELYN LAMBART, “Around is Around” (1951) Stereoscopic dual projector 35 mm film NORMAN MCLAREN transferred digital file, colour, sound, 7’38”, © Norman McLaren & Evelyn Lambart /British Film Institute, stato$2006 London (4lda screenshots) #$00 sta $2006 HY HIRSH, “Come Closer”, 35mm film transferred to digital file, colour, sound, 5’55”, © Hy Hirsh/Light Cone, Paris (4 screenshots) nametables: EQUIPO 57, “Film Experiencia I”, 16mm film transferred to digital file, color, mute, 6’46”, © Equipo 57/ Centro Andaluz de Arte Contemporáneo, Sevilla/ Museo Nacional Centro de Arte Reina Sofía, Madrid (16 screenshots) ldx #$08 ldy #$00 PETER KUBELA, “Arnulf Rainer Score Paterns” (1960), ink on paper, colour, © Peter Kubela load_clouds: AUTHOR UNKNOWN (probably IBM), “6 Punch Cards” (ca.1955-60), printed cardboard, 7 3⁄8 by 3 1⁄4 inches lda [addr],y AUTHOR UNKNOWN, “IBM (International Business Machines Corporation) 1620 System Promotional sta $2007 Photography” (1959), photography, colour iny AUTHOR UNKNOWN, “IBM (International Business Machines Corporation) 360 System Promotional bne load_clouds Photography” (1964), photography, colour txs (International ldx #$01 Business Machines Corporation), “Ramac” (1956), advertisment 35mm film transferred to IBM digital file,inc U.S.A., b/w, silent, 3’56, © IBM (4 screenshots) addr,x tsx IBM (International Business Machines Corporation), “IBM 5653” (1956), advertisment 35mm film transferred to dex digital file, U.S.A., b/w, silent, 3’56, © IBM (4 screenshots) bne load_clouds HERBERT FRANKE, “Ohne Titel (Lichtformen)”(1952), ferrotype, 24x28cm, b/w, Artist’s Collection, © Herbert Franke lda #$00 HERBERT FRANKE, “Lichtform”(1952), ferrotype, b/w, Artist’s Collection, © Herbert Franke sta $2006 sta $2006 ;Reset PPU HERBERT FRANKE & ANDREAS HUBNER, “Lichtforms” (1953), ferrotype, b/w, Artist’s Collection, © Herbert sta & $2005 Franke Andreas Hubner sta $2005 ;Reset Scroll HERBERT FRANKE & ANDREAS HUBNER, “Lichtforms” (1953), ferrotype, b/w, Artist’s Collection, © Herbert Franke & Andreas Hubner ;++++++++++++++++++++++++++++++++++++++++++++++++ HERBERT FRANKE & ANDREAS HUBNER, “Lichtforms” (1953-5), ferrotype, b/w, Artist’s Collection, © Herbert ;init graphic settings Franke & Andreas Hubner ;++++++++++++++++++++++++++++++++++++++++++++++++ BEN LAPOSKY, “Oscillon 27” (1952), C-type photographic print, © Ben Laposky/ Sanford Museum lda #%10011100 BEN LAPOSKY, “Oscillon 40” (1952), C-type photographic print, © Ben Laposky/ Victoria & Albert Museum, sta $2000 London lda #%00001010 BEN staLAPOSKY, $2001 “Oscillon 52” (ca. 1955), C-type photographic print, © Ben Laposky/ Anne & Michael Spalter Collection ;++++++++++++++++++++++++++++++++++++++++++++++++ JIM DAVIS “Evolution” (1954),16 mm film transferred to digital file, U.S.A., colour, sound, 8’29”, ©Jim Davis / Re:;set Voir Video (4 screenshots) variables ;++++++++++++++++++++++++++++++++++++++++++++++++ RUSHELL KIRSCH, “Walden”(1957), scanned image on paper, U.S.A, b/w, 5x5 cm, b/n © Rushel Kirsch/National Institute of Standards and Technology/SEAC lda #1 DESMON PAUL HENRY, “Untitled by Drawing Machine” (1962), ink on paper, © Desmon Paul Henry sta DELAYSCROLL lda #0 PAUL HENRY, “Untitled by Drawing Machine” (1963), ink on paper, © Desmon Paul Henry DESMON sta NTShow THEO “Stochastische texte” (1959), computer generated poem, printout/teleprinter, ink on paper © Theo lda LUTZ, #0 Lutz sta SCROLL
;++++++++++++++++++++++++++++++++++++++++++++++++ PHILCO, “Predicta Zenith Tv” (1959), cable, plastic, glass, wood, fabric, steel, 17 x 12 inches ;loop forever.... CBS (Columbia Broadcasting System), “First Kennedy-Nixon Debate, 26 September” (1960), Tv Broadcast ;++++++++++++++++++++++++++++++++++++++++++++++++ screening, U.S.A, b/w, sound, 59’ © CBS ( 2 screenshots) main: PHILIPPE HALSMAN, “Making of (“Chaos and Creation”, SALVADOR DALÍ, 1960, 17’)” USA. New York. (1960), photography, b/w © Philippe Halsman/Magnum Photos, New York jmp main PHILIPPE HALSMAN, “Making of (Chaos and Creation, SALVADOR DALÍ, 1960, 17’)” USA. New York. (1960), ;++++++++++++++++++++++++++++++++++++++++++++++++ photography, ;vblankzzzzzzb/w © Philippe Halsman/Magnum Photos, New York ;++++++++++++++++++++++++++++++++++++++++++++++++ PHILIPPE HALSMAN, “Making of “(Chaos and Creation, SALVADOR DALÍ, 1960, 17’)” USA. New York. (1960), photography, b/w © Philippe Halsman/Magnum Photos, New York vwait: lda $2002 AUTHOR UNKNOWN, “Nam June Paik at ETC, New York”, photograhy, b/w bpl vwait vwait2: SAUL BASS, “Dr. NO Titles” (1962), 35mm film transferred to digital file, U.S.A., colour, sound, 2’47” © Saul Bass/ lda $2002 Eon Productions/United Artists (4 screenshots) bmi vwait2 BEN NORMAN TAYLOR & BERNARD LODGE rts PALMER, “Doctor Who Main Titles” (1963), Betamax tape transferred to digital file, United Kingdom, b/w, sound, 2’38” © BBC Archives, London (4 screenshots) ;++++++++++++++++++++++++++++++++++++++++++++++++ SAUL BASS & JOHN WHITNEY, “Charade Main Titles” (1963) 35mm film transferred to digital file, U.S.A. , sound ;NMI Routine!!!! Very important!!!!! colour, 2’08”© Saul Bass/John Whitney/Universal Pictures (2 screenshots) ;++++++++++++++++++++++++++++++++++++++++++++++++ JORDAN BELSON, “Allures” (1961), 35 mm film transferred to digital file, U.S.A., colour, sound, 7’39”, © Jordan Belson/ Centre for Visual Music, Los Angeles (screenhot) nmi: JOHN WHITNEY, “Catalog”, 35mm film transferred to Laserdisc and to digital file, U.S.A., colour, sound, 7’28”, © decof DELAYSCROLL The Estate James and John Whitney (4 screenshots) bne .end_no_scroll AUTHOR UNKNOWN, “Workers of Bell Laboratories Assembling the Telstar Communications Satellite” (1962), photography, b/w, © Bell Labs lda #$20 sta DELAYSCROLL CBS, “Telstar Brings World Closer” (1962), Tv broadcast film, b/w, sound, 2’12” © CBS (screenshot) AUTHOR UNKNOWN, The 70)= IBM Systems” (ca.1965), photography, b/w lda #$ff cmp $24 4 ;scroll NASA, “Mariner Firts Image of Mars Crater, 14th of July” (1964), photography, b/w © NASA/JPL-Caltech beq .NT_adj NASA, “Mariner 4 Image of Mars” (1965), photography, b/w © NASA/JPL-Caltech jmp .end JAMES WHITNEY, “Lapis” (1966), 35mm film transferred to digital file, U.S.A., colour, sound, 9’18”, © The Estate of James and John Whitney (screenshot) .NT_adj: KARL OTTO GÖTZ, “Density 10:2:2:1” (1962), 8mm documentary film transfered to digital file, Germany, b/w, mute, 12’33”, lda #$00 © Karl Otto Götz/Z.K.M. (Zentrum für Kunst und Medien Technologie), Karlsruhe (4 screenshots) cmp NTShow EDWARD ZAJEC/BELL LABS,”Simulation of a two-giro Gravity Attitude Control System” (1963), computer beq .Show_Zero animated film transferred to digital file, U.S A., b/w, sound, 3’40” © AT&T /Bell Labs/Edward Zajec (4 screenshots) MICHAEL BELL LABS, “3D Stereoscopic Movies Hypercube: Rotating Four Dimensional Hyperobjet) lda NOLL/ #%10011100 (1965), computer animated movie, 16 mm film transferred to digital file, U.S A., b/w, mute, 1’48”,© AT&T/ Bell sta $2000 Labs/Michael Noll (4 screenshots) lda #%00001010 MICHAEL sta NOLL/ $2001 BELL LABS, “Gaussian Qadratic” (1963), computer generated image, ink on paper, b/w, © AT&T/ Bell Labs/Michael Noll MICHAEL ldaNOLL/ #$00 BELL LABS, “Computer Composition with Lines” (1964), computer generated image, ink on paper, b/w, © AT&T/ Bell Labs/Michael Noll sta NTShow HERBERT FRANKE/SIEMENS SYSTEMS “ Untitled”, plotter on paper, b/w, © Frieder Nake/ The Anne and Michael Spalter jmp .end Digital Art Collection HERBERT .Show_Zero:FRANKE/SIEMENS SYSTEMS “ Untitled”, plotter on paper, b/w, © Frieder Nake/ The Anne and Michael Spalter Digital Art Collection lda #%10011101 sta $2000 COMPUTER TECHNIQUE GROUP (MASAO KOHMURA & KOUJI FUJINO), “Running Cola is Africa” (1967), computer image, lithograph on paper, b/w, 49.1cmx72.6 cm, © Computer Technique Group/ ldagenerated #%00001010 Victoria&Albert sta $2001Museum, London COMPUTER TECHNIQUE GROUP (MASAO KOHMURA & KOUJI FUJINO), “Return to Square” (1968), computer lda image, #$01 printer’s ink, paper, screenprint, b/w, 50.5cmx50.5 cm, © Computer Technique Group/ generated sta NTShow Victoria&Albert Museum, London
CHARLES CSURI, “Sine Curve Old Man” (1967), computer generated image, ink on paper, 104x104 cm, © CsuriVision ltd. end: CHARLES CSURI, “Sine Curve Man” (1967), computer generated image, ink on paper, 104x104 cm, © CsuriVision ltd. inc $24 ;scroll WILLIAM FETTER/BOEING INDUSTRIES, “Boeing Man” (1967), computer generated image, ink on paper, © William ldaFetter/Boeing $24 ;scroll Studio sta $2005 lda #$00 HIROSHI KAWANO, “Mondrian Series”(1965), computer aided image, oil on canvas sta $2005 AUTHOR UNKNOWN, “Hiroshi Kawano with Computer Output” (ca. 1965), photography, b/w .end_no_scroll: JASIA REICHHARDT, “Cybernetic Serendipity Catalog”, Insitute of Contemoorary Arts (ICA), London, (1968), 187 pp., b/w/ colour STAN VANDERBEEK & KENNETH KNOWLTON/BELL LABS, “Poemfield No1 (Blue version)” (1965-67), rti computer generated 16mm film transferred to digital file, U.S.A., colour, mute, 5’12”, © Stan VanderBeek/ Kenneth Knowlton/Bell Labs/AT&T (30 screenshots) irq: JOHN WHITNEY & JACK CITRON/IBM, “ Experiments in Motion Graphics” (1968)” 16mm documentary film, rti U.S.A., colour, sound, 11’54” ©The Estate of James and John Whitney/IBM (8 screenshots) STANLEY KUBRICK/TOM HOWARD, “2001: A Space Odissey” (1968) ;++++++++++++++++++++++++++++++++++++++++++++++++ 35mm film transferred to digital file, U.S. A., colour, sound, 160’, © Stanley Kubrick/Time Warner (8 screenshots) ;Load Data Filez ;++++++++++++++++++++++++++++++++++++++++++++++++ FRANK MALINA, “Lumidyne System with 3 Components” (1965), photography, colour © Frank Malina GYÖRGY KEPES, .bank 3 “A Bostoni Kikötő Komplex Ökológiai Fénykörnyezetének Terve”, (1964 – 1965), photography, b/w © György Kepes .org $fffa .dw nmi ;//NMI JULIO LE PARC, “Continuel lumière cylindre” (1962), installation, 205.0×205.0×37.0 cm © Julio Le Parc /Nara Roesler,.dw start ;//Reset Miami .dw irq ;//BRK UNKNOWN AUTOR, “The Baby Maker” (National General,1970) film affiche wich presents Single Wing Turquoise .bank 4 Birg Light Show Group performing live above the Fox Venice Theatre, (1969), photography, colour © Single Wing .org $0000 Turquoise Wing Light Show/National General Films (movie still) ;//end of file STAN VANDERBEEK, “Fluids”(1964), 16mm film transferred to digital file, U.S.A., colour, sound, 4’25”, © Joanna .incbin “mario.chr” Video, ;gotta be 8192 long VanDerBeek/RE:Voir Paris (8bytes screenshots) CHARLES DOCKUM, “Mobicolor Demostration Live Perfomance” (1969), 16mm film transferred to digital file, © Cory Arcangel, 2002 colour, mute, 15’42”, © Charles Dockum/Centre for Visual Music, Los Angeles (4 screenshots) ;**************************************** SONY, “Sony Video Camera Kit VCK.2400, Owner’s Instruction Manual” (1967), ink on paper, b/w (4 pages) **************** SONY, “Sony Portable videocoder Kit DVK 2400 Owner’s Instruction Manual” (1967), ink on paper, b/w (4 pages) ; ; Super Mario Clouds TOM HAART, “Nam June Pain & Shigeko Kubota in their Studio” (1973), photography, b/w, © Tom Haart ; ; BEIGEBARLETT 2002/3 - Cory Arcangel SCOTT y TOM DEWITT, “OffOn“ (1967), 16 ) mm (wich includes Portapack video camera sequences) ; fransfered to digital file, U.S.A., colour, sound, 8’43”, © Scott Barlett/United States National Film Registry film Library of Congress, Washington ; http://www.post-data.org/beige/ ; http://www.beigerecords.com/cory/ NAM JUNE PAIK, “Electronic Opera (as part of the Public Broadcasting Service Tv Show The Medium is the ; http://del.icio.us/cory_arcangel/ Medium ”(1969), Video Betamax transferred to digital file, U.S. A., colour, sound, 4’06”, © Nam June Paik/ Public Breadcasting Service, New York (4 screenshots) ; ; “you mess with the best, you die like the rest” - Anon OTTO PIENE, Ballet”- Brand (1969),Nubian video film,U.S.A, colour, sound,4’ 46” ©Otto Piene ; “punks jump“Electric up to getLight beat down” ; TIME/LIFE /ALFRED EISENSTAEDT, “Hugo Gernsback with Teleyeglasses prototype” (1963), photography, b/w ;**************************************** ©Time/Life/ Alfred Eisenstaedt **************** AUTHOR UNKNOWN, (IVAN SUTHERLAND, “3d Glasses and Helmet”, 1970), photography, b/w asm .inesprg 2 AUTHOR UNKNOWN, “Sensorama Cameraman Working” (1962), photography, b/w .ineschr 1 .inesmir 1 .inesmap 0 KEN ISAACS, “The Knowdlege Box. Exterior” (1962), enviroment installation, paper, cardboard, wood, iron, lights, cables, projectors, chair © Ken Issacs .org $8000 KEN ISAACS, “The Knowdlege Box. Inside” (1962), enviroment installation, paper, cardboard, wood, iron, lights, clouds_start: cables, projectors, chair © Ken Issacs .dw clouds_start_addr CLARCK RICHERT, “View of Drop City in El Moro, Outside Trinidad( Colorado)”(1962), housing solution, metal clouds_start_addr: domes, tubes, fabric, plastic, land, glass, No copy rights .incbinmetal, “clouds.hex”
rAUTHOR UNKNOWN , “M. L. HEILING with Sensorama” (1962), photography, b/w clouds_start_addr: PRADA POOLE,“clouds.hex” “Instant-City-Ibiza” (1972), enviroment installation, plástica, sopes, air machines, stones, .incbin © Prada Poole start: sei PRADA POOLE, “Instant-City-Ibiza” (1972), enviroment installation, plástica, sopes, air machines, stones, cld © Prada Poole .vblank_clear1 PETER COOK/ARCHIGRAM, “Info Gonks” (1968), augmented reallity glasses, glasses, © Peter Cook/Archigram lda $2002 KEN ISAACS, bpl .vblank_clear1 “The Knowdlege Box. Exterior” (1962), enviroment installation, paper, cardboard, wood, iron, lights, cables, projectors, chair, electricity © Ken Issacs .vblank_clear2 KEN ISAACS, “The Knowdlege Box. Inside” (1962), enviroment installation, paper, cardboard, wood, iron, lights, lda $2002 cables, projectors, chair, electricity © Ken Issacs bpl .vblank_clear2 .vblank_clear3 CLARCK RICHERT, “View of Drop City in El Moro, Outside Trinidad (Colorado)”(1962), housing solution, metal domes, lda $2002 tubes, metal, fabric, plastic, land, glass, No copy rights bpl .vblank_clear3 HAUS-RUCKER-CO (LAURIDS ORTNER, GÜNTHER ZAMP KELP, KLAUS PINTER, MANFRED ORTNER), “Gelbes sei Herz and Environment Transformer,” (1968), pneumatic installation, wood, plastic, fiber, glass, ropes, pneumatic cld structures, helmets © Haus-Rucker-Co .vblank_clear4 lda $2002 EAT (EXPERIMENTS IN ART AND TECHNOLOGY: Billy Klüver, Fred Waldhauer, Robert Rauschenberg, Robert bpl .vblank_clear4 Whitman, John Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, David Tudor, Bela Julesz, Billy Klüver, Max Mathews, John Pierce, Manfred Schroeder) & HARRY SHUNK and .vblank_clear5 SHUNK-KENDER (photographers), “Pepsi Pavilion, Osaka, Japan”(1970)( E.A.T. Mirrorfloor), photography, colour, © lda J.$2002 Paul Getty Trust bpl .vblank_clear5 STAN VANDEERBEEK, “Movie Drome, interior view” (1963), photography, colour,© Joanna VanDerBeek .vblank_clear6 MARSHAL lda $2002 MCLUHAN & QUENTIN FIORE, “ The Medium is the Massage. An Inventory of Effects” (1967), Bantan Publishers, New York, (4 opened book photographies) bpl .vblank_clear6 NASA, “Moon Landing of the Apollo 11” (1969), Broadcast betamax film transferred to digital HD file, b/w, sound, lda #$00 12’29”, © NASA (6 screenshots) ldx #$00 STAN VANDERBEEK, “Filmform#1” (1968), 16mm film transferred to digital file, U.S.A., colour, sound, 10’46”, © .clear_out_ram Joanna VanDerBeek/RE:Voir Video, Paris (4 screenshots) sta $000,x STAN “Moirage”(1970), 16mm film transferred to digital file, U.S.A., colour, sound, 9’26”, © staVANDERBEEK, $100,x Joanna VanDerBeek/RE:Voir Video, Paris (4 screenshots) sta $200,x sta $300,x AUTHOR UNKNOWN, “ The IBM 2250 and 1130 Systems at Osaka Expo’70” (1970), phoytography, b/w sta $400,x RADICAL SOFTWARE MAGAZINE, No 4 Summer (1971), No 1(1970), No 2 1970, No 3 (Spring 1971), various sta $500,x dimensions and number of pages each one, coloured printed paper sta $600,x JACK “Software - Information Technology: Its New Meaning for Art”(1970), New York: Jewish staBURNHAM, $700,x Museum, 71 pp, w/w inx bneHORTON .clear_out_ram JOHN CONWAY “The Game of Life” (1970), The Generator project, Plan of Menu 25, detail of S.W. Zone 1, MOMA, New York; lda #$00 JOHN HORTON CONWAY “The Game of Life” (1970) interactive physical model, photography, colour ldx #$00 HERBERT FRANKE , “Rotationen”(1970), projection, undefined time lapse and technique © Herbert Franke .clear_out_sprites (3 screeshots) sta $2000,x LILLIAM SCHWARTZ & KENNETH KNOWLTON/IBM, “Pixillation”(1970), computer generated 16 film transferred sta $2100,x to digital file, U.S.A., ,colour, sound, 4’05”, © Lilliam Schwartz/Kenneth Knowlton (4 screenshots) sta $2200,x sta $2300,x LILLIAM SCHWARTZ & KENNETH KNOWLTON/IBM, “UFO”(1971), computer generated 16 film transferred to stafile, $2400,x digital U.S.A., ,colour, sound, 3’08”, © Lilliam Schwartz/Kenneth Knowlton (4 screenshots) sta $2500,x ED EMSWHILLER, “Scape Mates” (1972), Scanimate generated 16mm film transferred to digital file, U.S.A., sta $2600,x colour, sound, 28’17”, © Ed Emshwiller/Rockefeller Foundation, New York (4 screenshots) sta $2700,x sta $2800,x PETER FOLDES, “Hunger/La faim” (1972), 35mm computer generated film transferred to digital file, Canada, colour, 11’26”, © Peter Foldes/ National Film Board of Canada, Montreal (4 screenshots) sta sound, $2900,x sta $2a00,x AUTHOR UNKNOWN, “Lilliam Schwartz at Bell Labs working with a joystick” (1971), photography, colour, © sta $2b00,x Lilliam Schwartz sta $2c00,x HERBERT FRANKE, “Rotationen” (1970), computer generated film, Germany, © Herbert Franke (3 screenshots) sta $2d00,x ED CATMULL & FRED PARKE, “First Computer Animated Faces” (1972), 16mm documentary film transferred to digital file, U.S.A., b/w, sound, 1’29”, © Ed Catmull/Fred Parke/Halftone Animation (4 screenshots)
ED CATMULL & FRED PARKE, “First Computer Animated Faces” (1972), 16mm documentary film transferred sta $2e00,x to digital file, U.S.A., b/w, sound, 1’29”, © Ed Catmull/Fred Parke/Halftone Animation (4 screenshots) sta $2f00,x inx LEGRICE, “Thrseshold” (1972), 16mm film trasnferred to digital file, United Kingdom, sound, colour, MALCOM 17’, bne © Malcom Le Grice/LUX, London (4 screenshots) .clear_out_sprites PETER WEIBEL, “Tele-aktion n 1: The Endless Sandwich” (1972), 16mm film transferred to digital file, Germany, #$FF1’45” © Peter Weibel b/w,ldx sound, txs GODFREY HOUNSFIELD AND HIS TEAM AT EMI CENTRAL RESEARCH LABORATORIES IN HAYES, WEST LONDON,” The First Clinical Scan (Computed Tomography): Atkinson Morley’s Hospital, 1st October 1971”, jsr vwait digital image on screen, b/w jsr vwait MELVIN L. PRUEITT, “Rectangular Columns Created by Raising Sets of Points to Various Heights” (1976), ;++++++++++++++++++++++++++++++++++++++++++++++++ computer generated image, ink on paper, b/w, © Melvin L. Prueitt ;load palette MELVIN L. PRUEITT, “Patterned Surface of the Array” (1976), computer generated image, ink on paper, b/w, ;++++++++++++++++++++++++++++++++++++++++++++++++ © Melvin L. Prueitt lda #$3F sta $2006 STEINA & WOODY VASULKA, “Noisefields” (1974), videosynthesizer generated Betamax film transferred to digital file, U.S.A., colour, sound, 12” © Steina & Woody Vasulka (2 screenshots) lda #$00 sta $2006 TOSHIO MATSUMOTO, “Enigma” (1978), Scanimate generated 16mm film transferred to digital file, Japan, colour, sound, lda #$21 ;background blue] 3’16”, © Toshio[powder Matsumoto (4 screenshots) sta $2007 STEINA, “Cantaloop” (1974), videosynthesizer generated Betamax film transferred to digital file, U.S.A., colour, lda #$30 ;cloud inside [white] sound, 23’58” © Steina & Woody Vasulka /The Television Laboratorie (4 screenshots) sta $2007 DOUGLAS “ Video against lda DAVIS, #$11 ; highlight [blue] Video “ (1980), Betamax film transferred to digital file, U.S.A., colour, sound, 29’31” © Douglas sta $2007 Davis/The Television Laboratorie (4 screenshots) lda #$0d ;outline [black] PETER CAMPUS, “Three Transitions” (1973), Betamax film transfererd to digital file, U.S.A., colour, sound, 4’57” © Petersta $2007(screenshot) Campus ;++++++++++++++++++++++++++++++++++++++++++++++++ ANT “Media Burn (Car Crash)” (1975), Betamax film transfered to digital file, U.S.A., colour, sound, 9’03” ;load FARM, name tables © Ant Farm /Media Burn Archives, Chicago (4 screenshots) ;++++++++++++++++++++++++++++++++++++++++++++++++ DARA BIRBAUM, “Technology Transformation: Wonderwoman” (1978), Betamax film transferr¬¬¬¬¬¬¬ed to endasm digital file, U.S.A., colour, sound, 5’23” © (2 screenshots) array addr 2
set songloadloop 0 TOSHIO MATSUMOTO, “Mona Lisa” (1973), Scanimate generated 16mm film transfered to digital file, Japan, colour, asm sound, 3’03”, © Toshio Matsumoto (2 screenshots) ldx #0 LARRY CUBA, “3/78” (1978), computer generated 35 mm film transferred to digital file, U.S.A., b/w, sound, 5’32”, (music: ldy #0 Mazui Katsui), © Larry Cuba/Solid State Animation (4 screenshots) GEORGE LUCAS lda #2 /LARRY CUBA, “Star Wars. Episode IV: A New Hope” (Death Star Briefing attack Scene)” (1977), 35 filmsongloadloop transferredd to digital file, colour, sound, 121’,© Lucasfilm Inc. (film still) mm sta load_outcast: RIDLEY SCOTT, “Alien” (1979), 35mm film transferred to digital archive, United Kingdom, colour sound, 117’, © lda clouds_start,y Ridley Scott/20th Century Fox (6 screenshots) sta addr,x NASA, “Saturn” (1979), computer generated image, photography, colour, Public Domain iny inx NASA, “Thesongloadloop Supernova Remmant Nebula” (1985), computer generated image, photography, colour, Public dec Domain bne load_outcast RON HAYS, lda #$20 “Odyssey: Canon” (1979), Scanimate generated 35mm film transferred to digital file, colour, sound, 45’12” © Ron Hays /Music Image (4 screenshots) sta $2006 lda #$00 PHIL MORTON, “Stuck” (1974), videosinthesizer generated Betamax tape transfered to digital file, colour, sound, sta $2006 8’42”, Distribution Religion/Creative Commons (4 screenshots) nametables: DAN SANDIN, TOM DEFANTI & MIMI SHAVITS, “Spiral PTL (Perhaps the Last One)” (1981), videosinthesizer generated tape transferred to digital file, colour, sound, 7’13”, © Dan Sandin, TomDeFanti & Mimi ldx Betamax #$08 Shevits/ Museum ldy #$00 of Modern Art, New York (4 screenshots) RON HAYS, “Delta 1” (1979), Scanimate generated 35mm film transferred to digital file, colour, sound, 5’12” © load_clouds: Ron Hays /Music Image (screenshot) lda [addr],y RON HAYS, “Let’s Groove (Earth, Wind and Fire Music video)”, Scanimate generated Betamax film transfered to sta $2007 digital file, colour, sound, 3’55” © Ron Hays /Music Image/ Columbia Records (4 screenshots) iny bne load_clouds RON HAYS, “Delta 2” (1979), Scanimate generated 35mm film transferred to digital file, colour, sound, 8’03” © txs Ron Hays /Music Image (screenshot) ldx #$01 RALPH H.BAUER, inc addr,x“Magnabox Odyssey” (1972), hardware, software, plastic, cables, circuits © Ralph H. Bauer/Magnabox tsx
AUTHOR UNKNOWN, “Couple playing Pong at Home “ (ca.1976), photography, b/w tsx dex UNKNOWN, “Ralph H. Bauer with the Magnabox Odyssey 100 console”(1973), photography, b/w AUTHOR bne load_clouds lda #$00 NOLAN BUSHNELL/ATARI, “Pong” (1972), arcade videogame, software and harware, b/w, sound (screenshot of sta $2006 redux version) sta $2006 ;Reset PPU sta $2005 TOSHIHIRO NISHIKADO/TAITO “Space Invaders” (1978), arcade videogame, software and harware, colour, sta $2005 ;Reset Scrollversion) sound (screenshot of redux ;++++++++++++++++++++++++++++++++++++++++++++++++ ;init graphic settings & MITSUHARO SATO/ NINTENDO “Super Mario Bros.” (1983), arcade videogame, software SHIGERU MIYAMOTO ;++++++++++++++++++++++++++++++++++++++++++++++++ and harware, colour, sound (screenshot of redux version) lda #%10011100 ATARI, “Atari 400” (1979), photography, colour sta $2000 lda #%00001010 COMMODORE INTERNATIONAL LTD., “Commodore 64” (1982), photography, colour sta $2001 ;++++++++++++++++++++++++++++++++++++++++++++++++ AUTHOR UNKNOWN, “ZX Spectrum” (1982), photography, colour ;set variables ;++++++++++++++++++++++++++++++++++++++++++++++++ ROBERT ABEL, “ McDonalds Carries a M” (1980), computer generated broadcast tv Betamax advertisement film endasm transferred to digital file, colour, sound, 0’35” © Robert Abel (screeshot) set DELAYSCROLL 1 ROBERT setABEL, NTShow 0 Election 80” (1980), computer generated broadcast tv Betamax advertisement film “CBS transferred set SCROLL 0 file, colour, sound, 0’20” © Robert Abel (screeshot) to digital asm ROBERT ABEL, “Levis Brand Name” (1977), computer generated broadcast tv Betamax advertisement film ;++++++++++++++++++++++++++++++++++++++++++++++++ transferred to digital file, colour, sound, 1’ © Robert Abel (screeshot) ;loop forever.... ;++++++++++++++++++++++++++++++++++++++++++++++++ ROBERT main: ABEL, “Pacman/7Up” (1982), computer generated broadcast tv Betamax advertisement film transferred to digital file, colour, sound, 1’ © Robert Abel (screeshot) jmp main ;++++++++++++++++++++++++++++++++++++++++++++++++ STEVEN LISBERG & ROBERT ABEL,“Tron” (1982), 35mm computer generated film transferred to digital file, ;vblankzzzzzz U.S.A., colour, sound, 90’ © Steven Lisberg/ Walt Disney Corp. (screenshot) ;++++++++++++++++++++++++++++++++++++++++++++++++ vwait: RECECCA ALLEN, “Non Stop Music (Music video for KRAFTWERK)” (1986, computer generated Betamax film transferred lda $2002 to digital file (HD), colour, sound, 4’14”, © Rebecca Allen/Kraftwerk/Kling Klang Records/EMI (4 screenshots) bpl vwait vwait2: ROBERT ldaABEL, $2002 “Brilleance” (1985), computer generated broadcast tv ad, Betamax advertisement film transferred to digital file (HD), colour, sound, 1’ © Robert Abel (4 screeshots) bmi vwait2 rts MYRON KRUEGER, “Videoplace” (1985), interactive digital enviroment installation, panels, projectors, steel, ;++++++++++++++++++++++++++++++++++++++++++++++++ curtains, cables, cpu, movement sensor © Myron Krueger (2 screenshots) ;NMI Routine!!!! Very important!!!!! ;++++++++++++++++++++++++++++++++++++++++++++++++ JEFFREY SHAW, “Legible City” (1988), interactive digital enviroment installation, panels, projectors, bicycle, nmi: cpu © Jeffrey Shaw (4 screenshots) cables, dec DELAYSCROLL MATT FORREST, bne .end_no_scroll “Paranoimia (The art of Noise with Max Headroom)” (1986), computer generated music video Betamax transferred to digital file (HD), colour, sound, 3’25” © Matt Forrest/The Art of Noise/China Records ldafilm #$20 (4 screenshots) sta DELAYSCROLL lda #$ff VICTORIA “Bodies© INCorporated” (1996), net.art © Victoria Vesna (2 screenshots) cmpVESNA, $24 ;scroll beq .NT_adj JOHN LAESSETER/PIXAR, “Toy Story” (1995), computer generated 35mm film transferred to digital file, U.S.A., jmp .end colour, sound, 81’, © Pixar Studios/Disney .NT_adj: lda #$00 GERHARTZ MANTZ, “Das Vorurteil Nr. 2 “ ( 2014), Inkjet on canvasDíaEstoyMal, 100 x 180 cm., © Gerhard Mantz cmp NTShow beq .Show_Zero lda #%10011100 POLYGONAL MINIATURES, “Sexy Woman in Blue and Orange Swinsuit Bikini Posing 2 3d Model” (2009), image, colour, © Polygonal Miniatures computer stagenerated $2000 lda #%00001010 MINIATURES, “Sexy Woman in Blue and Orange Swinsuit Bikini Posing 2 3d Model” (2009), POLYGONAL sta $2001 computer image, colour, © Polygonal Miniatures ldagenerated #$00 sta NTShow EA SPORTS, “Fifa 16”(2016), XBOX multiplayer videogame, © EA Sports (screenshot) jmp .end
jmp .end DAN HOUSER/ROCKSTAR GAMES, “GTA (Grand Theft Auto)V, Trevor Philips Raping Cunts” (2013), online multiplayer .Show_Zero:video game modified and cracked by the users, © Rockstar Games (3 screenshots) lda #%10011101 DAN HOUSER/ROCKSTAR GAMES, “GTA (Grand Theft Auto)V, Brutallity Compillation” (2013), online sta $2000 multiplayer video game modified and cracked by the users, © Rockstar Games (3 screenshots) lda #%00001010 sta $2001 MMBOYS, “Blowjob” (2017), digital 3D cartoon porn film, colour, sound, 7’27”, © MMboys (2 screenshots) lda #$01 AUTHOR staWITH NTShow NO NAME, “ATP Cashier Cam View 20th July 2014, 06:26 am” (2014), digital webcam image, .end: b/w inc $24 ;scroll AUTHOR ldaWITH $24 ;scroll NO NAME, “ATP Cashier Cam View 20th July 2017, 09:11 pm” (2017), digital webcam image, sta $2005 b/w lda #$00 POLICEMAN UNKNOWN, “Street Cam View, the 8th of July, 2013, 08:51:21 pm” (2013), digital webcam image, sta $2005 unknown sound, streaming and screenshot .end_no_scroll: rti AUTHOR WITH NO NAME, “Street Cam View 11th September 2018, 05:31:57 am” (2018), digital webcam image, unknown sound, streaming and screenshot irq: rti AUTHOR WITH NO NAME, “Tokyo Club women toilette area” (2018), digital webcam image, colour, unknown ;++++++++++++++++++++++++++++++++++++++++++++++++ sound, streaming ans screenshot ;Load Data Filez ;++++++++++++++++++++++++++++++++++++++++++++++++ AUTHOR WITH NO NAME, “Street Cam View 4th December 2017, 09:11:11 pm” (2017), digital webcam image, .bank 3 streaming and screenshot unknown sound, .org $fffa AUTHOR WITH NO NAME, “Factory IndoorsView 9th November 2018, 05:40:13 pm” (2018), digital webcam .dw nmi ;//NMI image, colour, unknown sound, streaming and screenshot .dw start ;//Reset .dw irq ;//BRK CHRIS CUNNINGHGAM, “Mental Wealth” (2003), computer generated film transfered to digital file, United .bank 4 Kingdom, colour, sound, 0’41”, © Chris Cunningham/Sony (4 screenshots) .org $0000 CHRIS CUNNINGHGAM/THE ;//end of file DESIGNERS REPUBLIC, “Windowlicker” (Vynil LP cover)” (1999), 12” aprox.”, © Chris Cunningham/The Designers Republic .incbin “mario.chr” ;gotta be 8192 bytes long endasm MARK NAPIER, “Pam” (2009), generative artwork, © Mark Napier (2 screenshots)
EVA & FRANCO MATES, “ I know that it’s All a Sate of Mind” (2010), Second Life perfomance, net.art, screen caption HD of the perfomance, United Kingdom, colour, sound, 9’33”© Eva & Franco Mates (4 screenshots) FENG MENGBO, “ Q2008” (2008), computer generated film, China, colour, sound, 14’12”, © Feng Mengbo/ Saatchy Gallery, New York KARL SIMS, “Panspermia” (1990), computer generated film, colour, sound, 2’11”, © Karl Sims (screenshot), © Karl Sims JON McCORMACK, “Turbullence” (1997), computer generated film, colour, sound, 30’, © Jon Mc Cormack/ Sony Music (screenshot) WILLIAM LATHAM, STEPHEN TODD & PETER TODD, “Mutator 2 (Organic 18)” (2015), computer generated film, United Kingdom, colour, sound, 11’30”, (4 screenshots) LOUIS BEC, “Flussers Studies” (2009), 4 computer generated images, colour, © Louis Bec MARC NAPIER, “Schreder”(1999), generative software, © Marc Nappier JOAN LEANDRE, “Retroyou, F*ck the Gravity Code, Full Bot” (1999) modified software, © Joan Leandre CASEY REAS, “Signal to Noise -Software 3” (2015), generative software installation, © Casey Reas + CORY ARCANGEL, “Super Mario Clouds Hacked Cartridge” (2002), harware, software, sticker, plastic, metal and circuits © Cory Arcangel (screenshot)
Idea, researching, graphic editing and art direction by Abraham San Pedro Published by: A libros, Madrid Layout by: Amaya Lalanda Studio, Madrid Text: VOID English translation: VOID Text editing: VOID American Typewriter Family Font is been used Digitally printed on Eurobulk 140g. paper Printing and binding by: Castuera Artes Gráficas This visual book is under Attribution-No Derivatives 4.0 International (CC BY-ND 4.0) Creative Commons License. You are free to: Share — copy and redistribute the material in any medium or format for any purpose, even commercially.
You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. This project was born to be a universal access publication in a free disposition. This creation is born to be shared, discussed, tested and maybe improved by others. I do not own the image rights of the included artworks, devices, people and events. Most of them are picked up from the World Wide Web as universal access material. All images (photographies, movie stills, documents and film screenshots) have been used with respect and carefully, maintaining the original proportions and colours when possible. Also it must be said that all artist and contributors are named and indexed at the end pages of this publication with their own copyright claim for each one of the 400 images tan are gere included. Respect for the artist!!! You can enjoy and download the 300 pixels resolution complete colour pdf file of this book by scanning de QR code upside.
For this edition: Abraham San Pedro, 2018 For this edition: A libros, 2018 ISBN: 978-84-09-05868-6
William Coolidge, the inventor of the modern X-ray, here with his “Coolidge Tube” (1913()
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