From Computers to iPads: A Byte-Size History of Digital Art

Imagine Frida Kahlo and Ada Lovelace in a room together- what would happen if they collaborated together to create art? Go ahead, laugh. Say that nowadays, technology (particularly computer science) and the arts are mostly kept apart. If Frida Kahlo and Ada Lovelace lived today, Kahlo would be the stereotypical art student, most likely sporting a nose piercing and possibly a curly shag, dressed in bold colours and patterns, always sketching down ideas and hanging out with other art students. Lovelace would be, excluding her being a woman, a stereotypical computer science student who wears glasses (Shorthand for smart. Nay, very smart) and in a hoodie and jeans or academia style clothes. Creative expression and erudition are more often considered to be incompatible than complementary characteristics. Yet this combination has been a vital component in digital art’s genetic makeup all along.

Hommage à Paul Klee 13/9/65 Nr. 2, Frieder Nake

In fact, in some ways, you could say the progress of digital art has been irrevocably tied to the computer’s development. The first adopters and pioneers of computer art during the 1950s and 1960s were mathematicians and computer scientists. One such early innovator was Frieder Nake, who was a mathematician and a computer scientist first, artist second. He began his venture into computer art in 1963, and instead of doodling with his Apple Pencil on Procreate, his toolbox consisted of computer algorithms and a mechanical plotter device. His pieces, visual representations of matrices, look into the relationship between math and aesthetics. The Golden Ratio may be special, but it is, after all, a number.

Walk-Through-Raster Vancouver Version, Frieder Nake

The simplicity of Nake’s work was indicative of the computer art style of the time, which relied on geometric forms given that plotters, for instance, were linear and therefore shading was only possible through cross-hatching. This was just fine because the computer was then regarded by computer artists as a tool through which they could carry out their visual experiments objectively. One of Nake’s early screenprints, titled “Hommage à Paul Klee 13/9/65 Nr. 2”, is a complex example of this. As the title suggests, his piece was inspired by Swiss-German artist Paul Klee’s 1929 painting “Highways and Byways”, which is abstract and utilises geometric shapes to indicate perspective. A similar strategy is evident in Nake’s hommage, which was generated through a series of instructions written by the artist but randomised in order to allow the computer to make its own choices. This is now called generative art, which still has a notable presence in the art world, and has recently been tied to research on artificial intelligence.

“Athlete Series.” AARON/Harold Cohen. (1986)

It was digital artist Harold Cohen’s foray into making digital art with artificial intelligence that saw the first use of the term ‘digital art’ two decades later. By this time, traditional artists began to catch on and began to teach themselves how to program, and the typical profile of a regular digital artist changed. Cohen is a good example, he was already a well-established painter when he started to get into coding in 1968. The most well-known result of Cohen’s experimentation is the robotic AI machine AARON, which was designed and written to draw on large sheets of paper placed on the floor while engaging in a similar process a human artist undergoes when creating art. From then on, most of his research focused on closing in on human cognition, and Cohen eventually introduced the machine to colouring and drawing less abstract figures such as plants and animals.