Computer art
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.
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.
[9] A third exhibition was put up in November 1965 at Galerie Wendelin Niedlich in Stuttgart, Germany, showing works by Frieder Nake and Georg Nees.
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, and Charles Csuri.
[11] 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".
[13] Xerox Corporation's Palo Alto Research Center (PARC) designed the first Graphical User Interface (GUI) in the 1970s.
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.
In the 1970s, the dot matrix printer (which uses a print head hitting an ink ribbon somewhat like a typewriter) was used to reproduce varied fonts and arbitrary graphics.
Raster Image Processing (RIP) is typically built into the printer or supplied as a software package for the computer; it is required to achieve the highest quality output.
[10] Adobe Systems, founded in 1982, developed the PostScript language and digital fonts, making drawing, painting, and image manipulation software popular.
Raymond Auger's Painting Machine, made in 1962, was one of the first robotic painters [17] as was AARON, an artificial intelligence/artist developed by Harold Cohen beginning in the late 1960s.
