From Fingers to Digits

Index

AAAI. See American Association for AI
AARON
acrobats-and-balls period, 65, 67
early 1990s period, 66
jungle period, 65
program, 36, 48
Adelaide Festival, 302
aesthetic evaluation, 51
AHRC, 23
Akam, Yaacov, 226
Alberro, Alexander, 214, 221
Aldis, Maddy, 246
Alexander, Igor, 29
Algorithmic Poetry, 310, 312
ALICE (ALgorithmically Integrated Composing Environment), 68
Amarel, Saul, 80, 82
ambient art, 17, 251–252
American Association for AI (AAAI), 61, 153
And Herein of the True Functions of the Workman in Art, 19, 104, 157
Apple Macintosh, 218, 350
Aristotle, 9, 37, 242, 312
ARPAnet, 38
Ars Poetica, 312
Art and Technology Committee, 183
art appreciation, 7, 40, 44, 91–95, 97, 99, 101, 103, 105, 129
art-generating program, 36, 45, 92, 141
artificial genomes, 114
artificial intelligence (AI), 3–6, 19, 55–60, 83–88, 104, 107, 124–125, 151, 153
agency, 50
art, 24, 34–35, 68–74, 102, 107, 129, 142–144, 283, 291–292
creativity, 61–64, 77–82, 122–123
embodiment, 49
film, 168
Artificial Intelligence Meets Natural Stupidity, 72, 87
art in software, 15, 215
The Art of Computer Programming, 210, 222
Arts and Humanities Research Council, 45
art theory, 23, 212
Ascott, Roy, 64, 221, 227, 230, 239
cybernetics, 24
networks, 38–41, 49, 54, 185, 211
Ashby, William Ross, 39, 114–115, 123
As We May Think, 39, 55
Atari, 217–218
audience experience, 235, 252, 255, 261
Audiovisions, 244, 249
audiovisual discourse, 243–244, 248
Australasian CRC for Interaction Design, 23
Australian Government’s Research Centres Programme, 23
authorial responsibility, 27, 33, 35, 47, 49–50
auto-destructive, 32, 58
Autogena, Lise, 107
automata theory, 24
autonomy, 5, 19, 27, 35, 37, 50, 55, 104
of the computer, 13, 47–48, 304, 306
Autopoiesis, 39, 52

Babbage, Charles, 77
Bach, Johann Sebastian, 68, 346
BACON program, 79
BACON suite, 64, 80
Baltic, 348–349
Bann, Stephen, 201, 205–206, 246, 248
Barbaud, Pierre, 292–293
Barthes, Roland, 280
Bartlett, Frederic, 69
BASIC, 97, 217–218
BCS. See British Computer Society
Beautiful Phase Violations, 348
Beethoven, Ludwig van, 69–70, 92
Benjamin, Walter, 4, 139
Bense, Max, 25, 143, 292–293
Bernstein, Jeremy, 352
Bertalanffy, Ludvig von, 114, 124, 236, 239
Bertrand-Castel, Louis, 243
Beta_Space, 17, 252, 256
Beyond Modern Sculpture, 55, 306
Beyond the Buzz, 45
Biasi, Alberto, 200
Biccoca, Hanger, 349
Bilda, Zafer, 255, 258–260
Bilda’s Engagement Framework
adaptation, 259
anticipation, 259
deeper understanding, 259–260
learning, 259
Bill, Max, 14, 199–200, 206
biological evolution, 9, 49, 81–82, 100, 109–116
Bird, Jonathan, 28, 54, 59, 116–117, 121, 124–126
Bishop, Bainbridge, 243
Black Elk, 309–312
Black Shoals Stock Market Planetarium, 107
Blow, Joe, 82, 148
Boden, Margaret A., 3, 5, 23, 61, 91, 107, 127, 155, 282, 301
Bollo, Alessandro, 251, 260
Boole, George, 314
Boreham, Dominic, 204
Brecht, George, 315–316
Breton, Andre, 31–32, 55
Briscoe, Chris, 303, 305
British Computer Society (BCS), 143
Bronte, Charlotte, 156
Bronte, Emily, 155–156
Brown, Andrew, 269, 343–346
Brown, Paul, 48, 58–59, 175, 204–205, 209, 270
cellular automata, 35
interview, 301–308
personal signature, 119, 163
Brown, Richard, 28–29, 101, 168
Brown, Spencer, 306
Burnham, Jack, 26, 55, 212–215, 221, 227, 239, 306
Bush, Vannevar, 39

CA-art examples, 34
CACHe. See Computer Arts, Contexts, Histories, etc.
Cage, John, 23, 226, 228, 299
Candy, Linda, 17–19, 26, 55–59, 83–84, 105, 151, 179, 223, 227, 239
evaluation, 23, 254–261
Cardiomorphologies, 252, 261
Cariani, Peter, 81
Carnegie Mellon group, 79
Carroll/Fletcher, 189–190
CAS. See Computer Arts Society
Castelli, Leo, 193
Castner, Frederick, 243
cellular automata, 24, 35, 102, 107, 120, 231, 357
CG-art, definition of, 33–34
CG-artists’ skills, 95–100
Chamberlain, John, 315
Chance, Order, Change, 31
Chance and Order, 31
CHI. See Computer-Human Interaction
Chopin style, 69
choreography, 339, 342
Christov-Bakargiev, Carolyn, 183
chromatic music, 248
Church-Turing thesis, 33
CI-art, definition of, 40–41
Clark, Andy, 52
Clark, Sean, 15–16, 42
Claude Monet’s water lily series, 37
Closed system, 224
Cohen, Harold, 6–7, 18, 58, 83, 104, 125, 152, 187, 216, 265, 269
AARON, 64–67, 96, 140, 167, 205, 305–306
AI, 24, 48, 107
interviews, 266, 282–292
Collingwood, Robin, 7, 10–11, 19, 93–94, 127–153, 176
ColorField painters, 42, 54, 146
colorist, 35, 68, 140
colour organ/color organ, 243, 249
Communications Game, 38
computational art, 25, 29, 238, 270
computer art
and art world, 183–186
and Gothic art, 155
definition of, 29
taxonomy of, 27–32
computer arts (C-art)
3-D printing (3DP-art), 27, 46
artwork on the Internet (Net-art), 27, 45
computer-assisted art (CA-art), 27
computer-generated art (CG-art), 27, 45
computer-generated virtual world (VR-art), 27, 46
digital art (D-art), 27, 45
electronic art (Ele-art), 27, 45
evolutionary art (Evo-art), 27, 45
generative art (G-art), 27, 45
interactive art (CI-art), 27, 46
interactive art (I-art), 27, 46
live coding art (LC-art), 27, 46
robotic art (R-art), 27, 45
Computer Arts, Contexts, Histories, etc. (CACHe), 303, 307–308
Computer Arts Society (CAS), 63, 171, 186, 194, 302, 308, 330
computer code, 3, 15, 17, 188, 197, 241, 265, 267–268, 339
computer-generated (art)work, 187
computer graphics, 59, 89, 104, 119, 126, 153, 217–218, 271–277
art, 25, 187, 280, 317–318
CG70, 201
humor, 170
popular culture, 23
Computer-Human Interaction (CHI), 15–16, 19, 254, 261
A Computer in the Art Room: The Origins of British Computer Arts, 19, 58, 207, 307
computer programming, 3, 15–16, 171, 200–206, 209–212, 219, 222, 265–268, 283, 337
computer systems, 9, 17, 209, 251, 304, 343
computer virus, 185
conceptual art, 18, 57, 97, 104, 151–152, 163, 221–222
Collingwood, 128–129
counting as art, 10
practice of, 275, 280
software, 214–215
concrete poetry, 280–281
Constructed Abstract Art in England, 201, 207
Constructivism, 9, 14, 198, 201, 207, 214, 221–222, 305
Control Magazine, 227, 240
Cope, David, 6, 35, 68, 129, 139
Copley, Peter, 71
Cornock, Stroud, 15, 19, 46, 56, 98, 104, 206, 224, 239
*Datapack, 230
Leicester Polytechnic, 201–202
Correspondence 1, 246–247
Costello, Brigid, 46, 56, 257–261
Costello’s pleasure framework
camaraderie, 258
captivation, 258
competition, 258
creation, 257
danger, 258
difficulty, 258
discovery, 258
exploration, 257
fantasy, 258
sensation, 258
simulation, 258
subversion, 258
sympathy, 258
Courbet, Gustave, 11
Cramer, Florian, 210–211, 221
creative skills, 91, 93, 95, 97–99, 101, 103, 105
Cronly-Dillon, John R., 115, 125
Cybernetic Landscapes, 275–276
cybernetics, 24, 54, 221, 239
Cybernetic Serendipity, 98, 119–120, 165, 186, 200
exhibits, 228–229
origin, 143
Studio International, 87, 104, 126, 179, 207, 240
Cybernetic Spatiodynamic 1 (CYSP 1), 228, 304
CYSP 1. See Cybernetic Spatiodynamic 1
Czarnecki, Gina, 225, 239

DAM Gallery, 193, 195
Danto, Arthur, 128, 151
D’Arezzo, Guido, 68
Darwinian evolution, 110
Datapack/*Datapack, 230
Davies, Char, 252, 261
Davis, Miles, 347
Dawkins, Richard, 37
DC_Release, 247
degeneration, 32
de Maria, Walter, 10, 134
Demoiselles d’Avignon, 123
Denes, Peter, 273
Derivation of the Laws, 314
Descartes, Rene, 37
Devcic, Robert, 188–189, 195
Dibbets, Jan, 31
Dibbets’s oscillating sticks, 39
Digital Decomposition, 331
digital media, 188, 195, 248, 330, 337
Dodds, Douglas, 186–188, 194–195
Donovan, Andrew, 183, 195
Douglas Lenat’s program, 77
DRAWBOT Project, 304
Dreyfus, Herbert, 64
Dreyfus, Hubert, 52
Duchamp, Marcel, 23, 40, 49, 56, 149–152, 159, 225–226, 239
Dumitriu, Anna, 336
duplicability, 138–139
Duprat, Hubert, 32, 147
dynamic equilibrium, 311

EARLY BIRD, program by Hodgson, 81
Eco, Umberto, 226–227, 239, 279
Eden and Future Garden, 175
Edmonds, Ernest, 38, 42, 46–47, 58, 64, 120, 142, 151, 175, 178
Beta_Space, 102–105
Cornock and Edmonds, 15, 19, 55–56, 98, 104, 202, 206, 224, 230, 239
Creativity & Cognition, 82
Nineteen, 98
play, 170
randomness, 165–166
Em, David, 188
embodiment, 24, 49, 51, 114, 119, 212, 255
EMI. See Experiments in Musical Intelligence
Emily Howell, 69
Emmy
basic method’s description, 70
music, 69
program, 129, 149
Emmy, program by Cope, 71, 129, 139
emotion, 131–132, 135, 143, 147
Eno, Brian, 25, 268
Environments, Situations & Spaces, 316
épater le bourgeois, 137
Epigenetic Painting: Software as Genotype, 313
Eroica symphony, 92
Escher, Maurits, 129
EURISKO, 78, 86
Evans, Thomas, 72
Evo-art, definition of, 36–37
Evolving Gravity, 272, 275
Evo-values, 122
Experimental Department, Slade School of Fine Art, 202
Experiments in Musical Intelligence (EMI), 68, 70
Eyecon software, 341
Eye Music, 248

Fanelli, Sara, 187
Feigenbaum, Edward, 64
Félibien, André, 243
Fell, Mark, 219, 246–247, 268–270, 348
Fels, Sidney, 234
Film as Subversive Art, 334
Fishwick, 215, 221
fitness function, 36, 48
Flavin, Dan, 183
Fletcher, Steve, 190–195
The Flock, 39, 52
Flowers in Blue Vase, 44
Floyd, Pink, 301
Fodor, Jerry, 73
FORTRAN, 217, 222, 271, 292, 295, 304, 310, 317, 319–320
Fountain, 37, 159
Fourier, Charles, 158
Franco, Francesca, 185–187, 195
Frankenstein, 155
Freeman, Julie, 268, 270, 321–322
From Typeface to Interface, 275
Fry, Roger, 19, 130, 159, 178

Gage, John, 178, 243, 248
Galápagos, 232
Galileo’s law, 79
Gardner, Howard, 174, 178, 216
Gartland-Jones, Andrew, 71
GAs mimic, 110
General Problem Solver programs, 31
general systems theory, 24, 114, 124, 236, 239
generative aesthetics, 25
generative art, 3, 5, 14, 55, 124, 203, 248
composing or programing, 209–210, 214–217
defining, 23–26, 30–34, 40, 46, 146
in use, 238, 301, 310, 344, 354, 356
Generative Computergraphik, 25, 58
Genetic Images and Galapagos, 36
Gere, Charlie, 205, 307
Giuliani, Mayor Rudolph, 137
Goethe, Johann von, 156
GOFAI. See good old-fashioned AI
Gogh, Vincent van, 44, 146
Goldberg, Ken, 37
Goldsworthy, Andy, 32, 118
Goodman, Nelson, 51, 57, 214–215, 221
good old-fashioned AI (GOFAI), 35, 62–64, 69, 73, 80, 102
Gordon Pask and His Maverick Machines, 28
Gough, Maria, 198, 214
Grau, Oliver, 42
GRAV. See Groupe de Recherche d’Art Visuel
Greenberg, Clement, 146
Grice, Malcolm Le, 248–249
Grieve, Alastair, 201
Gropius, Walter, 175
Groupe de Recherche d’Art Visuel (GRAV), 227, 239
Guernica, 11, 123
Gwilt, Ian, 45
Gympie Regional Gallery, 344

Haacke, Hans, 31, 215, 221
Hacking Choreograph, 337
Harrison, Michael, 117, 125, 149, 152, 244, 248
Harvey, Inman, 112
Harvey’s robot’s environment, 117
Haugeland, John, 35, 63
Haydn’s dice music, 41
HCI. See Human-Computer Interaction
Hendel, Robert, 65
Hendrix, Jimi, 355
Hill, Anthony, 58, 201
Hiller, Lejaren, 62
Hind, Elissa, 337
Hirst, Damian, 329
Hockney, David, 30, 95, 142, 152
Hodgson, Paul, 81
Hofstadter, Douglas, 35, 48, 53, 57, 69–70, 73–76, 80, 82, 85, 129
The Holy Virgin Mary, 136
Homo sapiens, 114, 117
HTML Monkeys, 337
Huebler, Douglas, 32
Hughes, Malcolm, 201–204, 305
Human-Computer Interaction (HCI), 41, 254–255
human-human communication, 41
Hume, David, 117
Husbands, Phil, 304

Iamascope, 234–235, 239
I-art, definition of, 39
ICA. See Institute of Contemporary Arts
Ihnatowicz, Edward, 13, 27, 59, 163, 179, 228–229, 305
Information Arts, 59, 231, 240
information technology (IT), 97, 213
Informedia, 230
Institute for Research and Coordination in Acoustics/Music (IRCAM), 63, 344–345
Institute of Contemporary Arts (ICA), 302
intelligibility
through description, 99–103
through programming, 97–98
interaction engagement, 252
interactive art, 4–5, 16–19, 104, 223–238, 239–240, 251–257, 260
*Datapack, 230
definition, 26–27, 33–36, 39–40, 55–58
Senster, 230
Interactive Objects and Art in Public Spaces, 231
Interactive Plant Growing, 232
interchange, 237
International Joint Conference on Artificial Intelligence (IJCAI), 82–83, 86, 88
intrinsic aesthetic interest, 96
IRCAM. See Institute for Research and Coordination in Acoustics/Music
Isaacson, Leonard, 62–63, 68

Jackson, Martha, 316
jagged philosophical rocks, 52
Jameson, Dorothea D., 243
JAPE, 77, 88
JavaScript, 322, 339
jazz drummer, 118
Jewansky, 243
The Jewish Bride, 44
Johnson, Bryan, 31
Johnson-Laird, Philip N., 70, 86
Johnston, Andrew, 227
Jones, Colin, 201, 204
Journal of Visible Language, 274
Joy, Steve, 316
Julez, Béla, 267
Just a Bit of Spin, 257

Kant, Immanuel, 117, 166
Kantian sublime, 34
Kaprow, Alan, 239, 315
Katzan, Harry, 217, 222
Keitai novels, 28
Kekule, Friedrich von, 118
Kelly, Kevin, 321
Khut, George, 252, 261
Kinetica Art Fair, 192–193, 195
Kinetica Gallery, 53, 336
Kirby, Michael, 227, 239
Klee, Paul, 268, 279
Knuth, Donald, 210, 222
Kostelanetz, Richard, 281
Kovacs, Ernie, 278
Kyoto to Sheffield, 247

The Lake, 324, 326
Lambert, Nicholas, 205, 307
Langley, Patrick, 79
Lansdown, John, 171, 307, 339
La Plissure du Texte, 38, 54
Latham, William, 59, 89, 105, 126, 141, 153, 168, 170, 179
collaboration with Stephen Todd, 71, 81, 99–100
early work, 36–37
evolution, 107, 111–112
weightlessness, 173
layman’s sense, 62
Layzell, Paul, 49, 54, 116–117, 124
The Legible City, 235
Lenat, Douglas, 77–78, 86
Lenz, Melanie, 186–188, 195
Leonardo’s mechanical lion, 37
Letter Spirit matrix, 76
LeWitt, Sol, 32, 129, 214, 268
Lieser, Wolf, 161, 193–195, 231
Life Spacies, 232–233
live coding, 5, 18, 98, 104, 177, 203, 216, 285, 334, 340
Alex McLean, 356–364
Andrew Brown, 343–347
definition, 27, 44, 46
audio-visual correspondences, 241, 245
The Living Room, 9, 42, 121
Lockwood, Philippa, 337
logic programming, 218, 220
Logic Theorist team, 63, 80
Lohse, Richard Paul, 200, 207
Lopes, Dominic, 5
Lovelace, Ada, 80
Lowe, Peter, 201, 204
Lozano-Hemmer, Rafael, 191
L-systems, 24, 35–36, 59

Mackay, Donald, 62
Madonna, 109, 136–137, 157
The Magic Hand of Chance, 310, 314
Magnusson, Thor, 37
Malevich, Kazimir Severinovich, 197–198, 207
Mallen, George, 186
man-machine system, 49
Marcus, Aaron, 267–268, 271–272, 280
Martin, Kenneth, 31, 58, 201
Martin, Mary, 58, 201
Mase, Kenji, 234
Mason, Catherine, 205, 307
The Matrix, 52, 224
Mattes, Franco, 185
Maturana, Humberto R., 236, 239
Max/MSP, 219–220, 246–247, 304, 323, 327, 351, 354
May, Alex, 269, 330–331
McCormack, Jon, 32–34, 56, 58, 84, 104, 107, 124, 152
artworks, 35, 43, 175
precious bubble of fine art, 23–27, 31, 50, 53
McCormack’s bubble, 25–27, 31–32, 50–53
McDermott, Drew, 72, 78
McGill, Donald, 170
McLean, Alex, 98, 340, 356–357
McRobert, Laurie, 252, 261
Media Handling Area, Leicester, 201
medieval cathedrals, 155, 161, 165, 175
Men in Black, 273
Metken, Günter, 226, 239
Metzger, Gustav, 32–33, 58, 147
Michelangelo, 95, 138, 149
Mignonneau, Laurent, 9, 41–42, 121, 232–233, 239–240
Millennium Dome, London, 101, 168, 234
Mills, Ashley, 107
Mimetic Starfish, 29, 101, 104, 168
Mind as Machine: A History of Cognitive Science, 55, 61, 83, 124, 151, 178
Minsky, Marvin, 72
Mitchell, Melanie, 74
Modularity of Mind, 73, 84
Mohr, Manfred
awards, 293
FORTRAN language, 217, 319–320
Max Bense’s information, 292
plotter drawing, 204, 309, 319
Mona Lisa, 91, 138, 147
Mondrian, Piet, 175, 310
Monk, Meredith, 301
Morris, William, 12, 19, 156, 158, 179
Mozart, Wolfgang Amadeus, 14, 30, 70, 139, 147, 313
Musicolour and Colloquy, 27
My Magic Hand of Chance, 314

Nake, Frieder, 25, 200, 267
natural language processing (NLP), 63
Naumann, Francis M., 226, 239
Nees, Georg, 25
neoclassicism, 156, 162
neo-Guernica, 123
Net-art, definition of, 37–41
Neumann, John von, 25, 213
Newell, Allen, 62
NewFAI community, 64
Newman, Barnett, 315
New Tendencies, 194, 200, 207
Newton, 63, 91, 243, 313
Nine Abstract Artists, 58, 201, 206
Nixon, Richard, 281
Noise Barrier, 275, 278
Noll, Michael, 267, 273–274, 279
nonevolutionary, 108, 119, 121, 141, 172

Obalk, Hector, 226, 239
Ofili, Chris, 136
O’Hear, Anthony, 53, 58, 65, 87, 127, 153, 176–177, 179
On Growth and Form, 201, 207
ontology, 27, 50, 146, 149
open-ended evolution, 80, 114–116
open-endedness, 113–114, 119, 138, 141–142, 149
openness
in art, 117–119
in biology, 113–116
open system, 114, 119, 121–122, 225, 236
Opticks, 243
Originality in Machine Performance, 62
Owen, Robert, 158

Panspermia and Aquazone DeLuxe, 175
Parallel Resonance series, 297
Parker, Charlie, 81, 347
Parker-style jazz, 81
particularism, 129, 132, 139, 143, 146, 148, 150–151
Pask, Gordon, 24, 28, 57, 116, 125, 229
Pasteur, Louis, 118
Patric Prince collection, 186, 194
Peacock, Kenneth, 109, 240, 243, 249
Peasants of Flagey Returning from the Fair, 11
Penny, Simon, 233
perceptual selection, 232
philosophical aesthetics, 5, 9, 46, 127–128
Photo-electric Viewer Programmed Coordinate System, 215
Picasso, Pablo, 11, 110, 167
Pieta, 109, 138
Planetary Network, 185
Polanski, Roman, 155
Pollock, Jackson, 31
Port Hacking, 247n1
Portway, Joshua, 107
Powerhouse Museum, Sydney, 102
Pozzolo, Luca Dal, 251, 260
presentation notation, 214–220
Principles of Art, 19, 128, 152
principles of Gothic Art
changefulness, 164–166
coda, 175
grotesqueness, 168–172
naturalism, 167–168
redundance, 174–175
rigidity, 172–174
savageness, 160–164
probabilistic system, 62
problem-solving, 6, 61–63, 73, 217
procedural programming language, 217–218
process-based art, 25
process notation, 216–220
programmability, 344
programming
as a craft, 211
as art, 211
programming language, 18, 44, 203, 219, 268, 343
live coding, 98
pseudocode, 339
See also BASIC; FORTRAN; Max/MSP
Prophet, Jane, 39
Proust’s madeleine, 117
Psalms in Sound and Image, 309
pseudocode, 339–340
psychological mechanisms, 6, 157
Pugin, Augustus, 156
Pulse Room, 191

radical novelty, 8, 107, 109, 111, 113–115, 117, 119, 121, 123, 125
radix malorum, 131
Ramanujan, Srinivasa, 78
RAND harbinger, 62
RAND memo, 61–62
Rauschenberg, Robert, 228
Reichardt, Jasia, 58, 99, 153. See also Cybernetic Serendipity
rejection of C-art, 177
Rembrandt self-portrait, 44
representations, symbolic
generative composition, 216–217
graphical, 219–220l
logic programming, 218–219
procedural, 217–218
Ridley, Aaron, 128
Riley, Bridget, 308
Rimington, Alexander Wallace, 243
Rinaldo, Kenneth, 39
Rochester, Nathaniel, 62
Romantic myths, 6
Rosemary’s Baby, 155
Rosen, Margit, 200
Rotary Glass Plates, 226
Rothko, Mark, 15, 54
Ruskin, John, 7, 11–12, 19, 47, 94–95, 98, 103–104, 155–179
critique, 177
Footsteps, 155

SAGA-evolved forms, 112
Salon des Refuses, 23
SAM, 27, 41, 88, 228–229
Samuel, Arthur, 66
Sandlines and Infinite Permutations, 35
SARA. See Simple Analytic Recombinant Algorithm
Schöffer, Nicolas, 228–229, 240, 304
Sennett, Richard, 211
Senster, 28–29, 37, 41, 163, 173, 179, 229–230
The Separable User Interface, 210, 221
Seven Lamps of Architecture, 177
Shanken, Edward, 213
Shaping Form, 16, 42, 237
Shapiro, Ehud, 218, 222
Shelley, Mary, 155
Sicchio, Kate, 270, 336–337
SIGGRAPH Art exhibition, 185
Silvers Alter, 225, 239
Simon, Herbert, 61–62, 70, 73, 78–89, 122, 125–126, 222, 233
Simple Analytic Recombinant Algorithm (SARA), 68, 187
Sims, Karl, 59, 89, 104, 126, 153, 240
artworks, 175, 321
cellular automata, 231–232
evolution, 36, 48, 81, 100, 107, 111–112, 141
Slovenian pavilion, 186
Smith, Dave, 68
Smith, Davis, 230
sociocultural processes, 32
software art, 25, 185–186, 194–195, 220–221, 313–314, 356–357
Solomon and the Queen of Sheba, 157
Sommerer, Christa, 9, 41–42, 121, 232–233, 239–240
Sorensen, Andrew, 347
Spielberg, Steven, 168
static system, 224
Steele, Jeffrey, 201–202
Sterling, Leon, 218, 222
Stimson, Blake, 214, 221
stimulus, 117–118, 237
The Stones of Venice, 11, 19, 104, 156, 175, 179
Studio International, 87, 104, 126, 179, 207, 240, 265
sublime, the, 130, 156
Surrealism, 31, 55, 163
Sutherland, Ivan, 42
swarm grammar, 57
The Syncretic Sense at Space, 230
Systems, Arts Council exhibition, 201
Systems artists, 14, 204
Systems Group, 14, 201–202, 205–206

Tate Britain, 35, 107, 140, 187, 283, 292
Tate Modern, 187, 330
Tebby, Susan, 204
technological art, 25
TeleGarden, 37–39
telematics, 25, 54, 230
Theremin, 230
Thompson, Adrian, 304
Thompson, D’Arcy, 201, 321
Todd, Stephen, 71, 100
Transformable Relief, 226
Trans Plant, 41–42
Tuning Pask’s Ear, 28, 59
Turbulence, 35
Turing, Alan, 62
Turnbull, Deborah, 183, 195
Turner, Mark, 77
Turner, Scott, 77
Turner, William, 141, 167
Turner Prize, 136

The Unfortunates, 31, 57
Universal Zoologies, 43
Upsidedown Book, 318

V&A. See Victoria and Albert Museum
Väänänen-Vainio-Mattila, 254, 261
Vallée, Jacques, 230
Varela, Francisco, 125, 236, 239
VDU. See visual display unit
Venice Biennale, 185–187, 302
Veronese, Paul, 157
Verostko, Roman, 269, 309, 311, 321
Victoria and Albert Museum (V&A), 185–188, 194–195, 293, 307–308, 330, 336
VIRTUAL BIRD, 81
virtual reality (VR), 27, 41–43, 46, 51–52, 167–169
visual display unit (VDU), 25
Visual Rhetoric in a Pictographic-Ideographic Narrative, 280n3
Visual Syntax, 280
Viva, Musica Elettronica, 301
Vivaldi, Antonio, 68
Vivid Festival, 184
*Datapack, 230
developments, 230
growth of, 231–234
Senster, 230
VR. See Virtual reality

Waismann, Friedrich, 149
Walpole, Horace, 156
Walter, Grey, 39
Warhol, Andy, 315
Watson, Keith, 192–195, 346, 348
Webern, Anton, 301
Webster, Andy, 28
Whitelaw, Mitchell, 107, 233
Wilfred, Thomas, 243
Willats, Stephen, 227–228, 240
Williams, Emmet, 268, 281
Wilson, Stephen, 231
Wuthering Heights, 155–156

An X on America, 280–281
X-Y plotter, 288

Zielinski, Siegfried, 244, 249
Zuse, Konrad, 62, 172