4th May An excursion to Algorithmische Revolution at ZKM.

During the 1960s to 80s the computer was always showing its presence in computer graphics. For example in the works of Herbert Franke a new kind of algorithmic beauty was uncovered, the movie TRON introduced a new way of generating images to a large audience, SIGGRAPH was an important event solely dedicated to computer graphics that received enormous attention, fractals appeared on year calendars and the edgy model of a 3D teapot served as a promise and proof that the computer would once be able to create photorealistic images.

In the mid 1990s, computers became too fast to be visible. The term "computer graphics" lost its meaning, parallel to the rise of definitions for more specialized crafts and professions: online graphics, image processing, 3D modeling, compositing and character design, etc.

"Computer graphics" is not an entity by itself anymore, but a collection of very precise applications which are serving different and very clear purposes, like:

- Image processing is saving money on photographers, locations and studio equipment.
- Web graphics save bandwidth.
- Game graphics have to save the world.

And what is more: it doesn't seem to make sense to talk about the identity of computer graphics, but about the influence of different software packages. New features in Illustrator started last year a trend of 60s style character illustration, Maya created a standard on how digital animation films look, etc.

This semester we will research highlights and downfalls of computer graphics; analyze works of pioneers, gurus, new comers and amateurs. We will look for innovations, symbols, standards, clichees; the influence of digital aesthetics on the creation of purely analogue images. And last but not least we will look for alternative identities for computer graphics.

Students are asked to reset their graphical working styles and rethink their development in the frame of advancing technology. In the end of the semester the group will present an exhibition of student works: digital or analog installations, performances, web projects, oil on canvas.

Recommended reading

I. E. Sutherland
Sketchpad: A man-machine graphical communication system, 1963, Spartan Books

J. D. Foley, A. van Dam, S. K. Feiner, and J. F. Hughes
Computer Graphics: Principles and Practice, Addison-Wesley, 1997

K. Guminski
Kunst am Computer, Reimer Verlag, Berlin 2002

H. W. Franke
Animation Mit Mathematica, 2002, Springer-Verlag Telos

H. M. Piehler
Die Anfänge der Computerkunst, dot-Verlog (Dr. Dotzler), Frankfurt am Main 2003

Wayne Carlson
A Critical History of Computer Graphics and Animation
mind out! "slightly Ohio State - centric"


Joe Bueckman, Summer Games in Beads, 2003


Jury Grimov, New logo for Bolshoj Theater, 2005


Cockpit of A340, 2004