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# Computer Art: The Search Beyond Manipulation

Grace C. Hertlein

California State University-Chico

Chico, Calif. 95926

"Computer arts are still in the highly experimental stage of emergence."

In present computer art, the naive onlooker could readily misconstrue that mathematical processing of data and manipulation of design represent the total modus operandi of this new form, rather than just the initial phases of exploration. A review of the varied computer arts reveals diverse input of patterns and subsequent manipulation or transformation, creating a series of new, perceptual audio or visual images. There appears a similarity of approaches and some variation of the techniques utilized by practitioners of the cybernetic arts: graphics, sculpture, film, dance, music, textile design, weaving, poetry, and architecture.

There is a tendency to forget that the computer arts are still in the highly experimental stages of emergence, and although some attractive and very pleasing works have been accomplished, this new medium has generally not progressed much beyond its mathematical and scientific origins. At times, in viewing or hearing the output of the computer arts, one would relegate the resultant art form to the category of interesting sound or visual patterns, experimental/initial exercises, or mathematical and scientific visualization, rather than as works of art per se. (This latter statement is equally true of contemporary manual experimental art.) There is, at the present time, a tendency for the computer arts to relate to an elite coterie, made up of scientists and intellectuals, rather than the public at large. However, as this new art medium is given greater space in the mass media, this audience should enlarge greatly, as exposure acquaints the general audience with the potential of this new art form.

This article is reprinted by permission from the Proceedings of the Invitational International Exhibit of Computer Arts, T-5, Zagreb, Yugostavia, June-July 1973. Grace C. Hertlein is Assistant Professor in the Computer Science Department at California State University- Chico, Chico, Calif. 95926. Her computer art has been published for many years in Computers and Automation and currently some of her computer art is being exhibited at an art exhibition in Bordeaux, France.

## Pattern Manipulation

Manipulation of design by the computer may be deliberate, (or at times highly experimental) as change or transformation of the original pattern is achieved via a host of techniques developed within the past twelve years. However, in attempting to see precedent in manipulation of design, one observes ample evidence of a growing interest by artists and critics in combining (manually) mathematics and art. Since the turn of the century, such techniques and philosophy have been practiced and even more verbally expressed by electronic and concrete musicians. Further, the concept of pattern manipulation is as old as man's art, and one finds ample evidence of this concept throughout art history. A few such examples are: Offset X/Y patterns in Persian sculptural reliefs; repetitions of design in serial imagery from early Greek vases; reversals of pattern in the compositions of Bach; mirror images and mathematical progressions of design in the Foundation Course exercises of the Bauhaus School; juxtaposition and superposition of musical patterns throughout musical history; and randomization of musical variations via throwing of dice, as practiced by Mozart. The world was quite ready philosophically and mathematically for further explorations in such transformation of pattern, yet it was not until the speed of the computer afforded this electronic manipulation, that it became feasible to such a degree. (Alteration, change, and transformation of pattern is revealed in other technological systems that may or may not use the computer as an aid in creation: synthesized video, sound, and the film.) In other words, science and technology now afford further exploration of ideas and techniques that have been practiced by experimental artists for years.

The philosophy and practice of twentieth century music shows a very great similarity between the manipulative techniques used by musicians since the early 1900's and the present-day computer procedures. Examination of the philosophy of the Bauhaus and study of the works emanating from this revolutionary school, also reveals great similarities in the approaches to creation, and in the final works of art of this school and present-day computer arts.