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digital image genealogy a visual trip 1850-2015


just images no words many paths one way digital image

wo rds1880-2000


Book cover, back, dustjacket and flyleafs image is taken from CORY ARCANGEL’s “Super Mario Clouds” (2003), a hacked videogame code artwork. The hackering code is as you can read it in blue over de artwork index (in black).


RUFUS J. ANSON, “Daguerrotypist with Camera” (ca.1850) daguerreotype, sixth plate, hand coloured, 2 7/8 ×2 nbasic_stack = 256 1/2 inches, Philadelphia Museum of Art addr = 0 songloadloop = 2 LOUIS-JACQUES-MANDÉ DAGUERRE “Atelier”(1837), daguerreotype, Société française de photographie, Paris DELAYSCROLL =3 BRUNO BRAQUEHAIS, “Portrait of an unidentified nude franch woman”, (ca.1855), daguerreotype NTShow = 4 ADOLPHE NEYT, “Photomicrograph of a Flea”, (1865), Albumben silver print, George Eastman House,SCROLL Rochester, =5 New York UNKNOWN AUTHOR, “Orion, IC 434, Nebula sout of Zeta Orionis containing Dark Bay (Barnard 33), exposure 3 .inesprg 2 hrs, 100 inch Hooker reflector” (1920) , 19 x 24,5 cm / 7,5 x 9,7 inch, Gad Collection .ineschr 1 UNKNOWN AUTHOR, “Le Mur du Cygne, Nébuleuse North America (NGC 7000) dans la constellation .inesmir du Cygne, 1 (1910), Gad Collection .inesmap 0 ETIENNE JULES-MAREY, “Horse, only legs” (1890) Chronophotographic photographies converted in film transferred to digital archive, France, silent, b/w, 0’15”, The Metropolitan Museum of Art, New York .org $8000 ETIENNE-JULES MAREY, “Photographs of Smoke in a Wind Tunnel “(1901), Gelatin silver print, Cinémathèque clouds_start: Française, Paris .dw clouds_start_addr clouds_start_addr: ETIENNE-JULES MAREY, “Photographs of Smoke in a Wind Tunnel “(1901), Gelatin silver print, Cinémathèque .incbin “clouds.hex” Française, Paris UNKNOWN AUTHOR, “Publicity Photograph of Man Using Edison Kinetophone”, (ca. 1895), Public Domain start: W.K.L. DIKINSON & WILLIAM HEISE/THOMAS EDISON, “Annabelle Serpentine Dance”(1894), U.S.A., silent, 35mm sei film remastered at 30 frames per second and tranferred to digital file, original b/w, hand coloured, 0’ 16”,The cld Museum of Modern Art, New York GEORGE MELIES, “ A voyage dans le Lune “ (1902), 35mm film transferred to digital file, France, .vblank_clear1 silent, original b/w, hand coloured, 12’52”, Cinémathèque Française, Paris lda $2002 bpl .vblank_clear1 UNKNOWN AUTHOR, “Loïe Fuller” (c.1900), photography, b/w .vblank_clear2 UNKNOWN AUTHOR, “Thomas Wilfred” (c.1930), photography, b/w lda $2002 UNKNOWN AUTHOR, “Mary Hallock-Greenewalt” (c.1920), photography on private notebook, b/w bpl .vblank_clear2 UNKNOWN AUTHOR, “Harold Stringer on the Savoy ABC Cinema Exeter Organ” (c. 1930), photography, b/w .vblank_clear3 lda $2002 Борис Игнатович (ALEXANDER RODCHENKO), Колёса комбайнов (жаток), (1929) bpl .vblank_clear3 Борис Игнатович (ALEXANDER RODCHENKO), Контролёр, фабрика «Динамо», Москва (1930) sei LEWIS HINE, “Mechanic and Turbine, General Electric Company” (1925), photography, gelatine silver print, 105/8 cld x 135/8 in., Howard Greenberg Gallery, New York .vblank_clear4 lda $2002 UNKNOWN AUTHOR, “First home film Camera” (1938), photography, b/w bpl .vblank_clear4 film transferred to digital file, U.S.A., silent, b/w, ROBERT FLOREY, “Skyscreeper Symphonie” (1920-21), 35mm .vblank_clear5 08’53”, © Robert Florey /Film Preservation Associates lda $2002 HENRY CHOMETTE,”Jeux des reflets et de la Vitesse” (1925), 35mm film transferred to digital bpl file,.vblank_clear5 France, silent, b/w, 08’15”, © Henry Chomette /Jean Francois Clair UNKNOWN AUTHOR PROJECTORxxxxxxxxxx

.vblank_clear6 CHEVROLET MOTOR DIVISION (GENERAL MOTORS SALES CORPORATION), “Riding the Film” (1934), Propaganda lda $2002 35mm film transferred to digital file, U.S.A., sound, b/w, 10’40”,© Chevrolet Corp. bpl .vblank_clear6 RICHARD STEINER, “Mechanical Principles” (1930), 35mm film transferred to digital file, U.S.A., sound, b/w, 10’18”, ©Ralph Steiner /Film Preservation Associates lda #$00 UNKNOWN AUTHOR, “Don Juan Premiere at Warner’s Theatre, NY”(1926), photography, b/w ldx #$00 VIKING EGGELING, “Symphonie Diagonale” (1921-24), 16 mm film transferred to digital file, Germany, b/w, silent, .clear_out_ram 8’13”, © Viking Eggeling/RE: Voir Vidéo, Cecile Starr, Paris (4 screenshots) sta $000,x sta $100,x HANS RITCHER, “Rythmus 21” (1921), 16 mm film transferred to digital file, Germany, b/w, silent, 2’30”, © Hans sta $200,x Ritcher/ RE: Voir Vidéo, Cecile Starr, Paris (4 screenshots) sta $300,x WALTHER RUTTMANN, “Luftspiel Opus I” (1921),16 mm film transferred to digital file, Germany, colour, silent, sta $400,x 2’30”, Public Domain (4 screenshots)


sta $500,x OSKAR FISCHINGER, “Wachs Experimente” (1923-27), 16 mm film transferred to digital file, Germany, colour, sta11’12”, $600,x© The Fischinger Trust/ Centre for Visual Music, Los Angeles (4 screenshots) silent, sta $700,x ANTON inx GIULIO BRAGAGLIA, “The Bow” (1911), Gelatin silver print, 6 11/16 x 4 11/16” (17 x 11.9 cm). The Metropolitan Museum of Art. Gilman Collection, Gift of The Howard Gilman Foundation. © 2014 Artists Rights bne (ARS), .clear_out_ram Society New York lda #$00 WERNER GRAEFF, “Filmkomposition 1&2” (1922/1977), 16 mm film transferred to digital file, Germany, colour, silent, ldx3’08”, #$00 © 1977 Stedelijk Museum Amsterdam, Museum of Modern Art, New York & Cinémathèque Paris (4 screenshot) .clear_out_sprites sta $2000,x KURT SCHWERDFEGER, “Reflektorischer Farblichtspiele” (1921-24/1967) 35 mm film transferred to digital file, sta $2100,x Germany, colour, sound, 24’, © 2009 Stiftung Bauhaus Dessau sowie die Künstler und ihre Rechtsnachfolger/ sta $2200,x Absolut Medien, Berlin (4 screenshots) sta $2300,x KURT staKRANZ, $2400,x“Untitled Picture Series (Project for an Abstract Coloured Film)” (1930), ink and gouache on paper, © Kurt Kranz /Museum of Modern Art, New York sta $2500,x sta $2600,x LÁSZLÓ MOHOLY-NAGY, “Sketch of a Musical Score for the Mechanical Eccentric”, (1924-25), coloured printed sta©$2700,x paper László Moholy-Nagy sta $2800,x LÁSZLÓ MOHOLY-NAGY, “Ein Lichtspiel schwarz-weiss-grau” (1930), sta $2900,x 35 mm film transferred to digital file, Germany, silent, b/w, 5’15”, © László Moholy-Nagy /ADAGP, París (4 sta $2a00,x screenshots) sta $2b00,x staRITCHER, $2c00,x “Filmstudie” (1925), 35 mm film transferred to digital file, Germany, b/w, sound, 3’44”, © Hans HANS Ritcher /RE: Voir Vidéo, Cecile Starr, Paris (4 screenshots) sta $2d00,x sta $2e00,x FERNAND LÉGER & DUDLEY MURPHY, “Le Ballet Mecanique (1924), 35 mm film transferred to digital file, France, sta sound, $2f00,x12’46”, © Fernand Léger & Dudley Murphy/ RE: Voir Vidéo, Cecile Starr, Paris (4 screenshots) colour, inx bne .clear_out_sprites MAN RAY, “Le Retour á La Raison” (1923), 35 mm transferred to digital file, France, b/w, silent, 2’, © Man Ray/ RE: Voir Vidéo, Cecile Starr, Paris (4 screenshots) ldx #$FF OSKAR FISCHINGER, “Spirals (Fragments of Experiments)” (ca. 1924-26), 16mm film transferred to digital file, txs Germany, b/w, silent, 2’44”, © The Fischinger Trust/Centre for Visual Music, Los Angeles (4 screenshots) OSKARjsr vwait FISCHINGER, “Kreise”(1933), 35 mm film transferred to digital file, Germany, colour, sound, 2’48”, © The Trust/Centre for Visual Music, Los Angeles (4 screenshots) Fischinger jsr vwait OSKAR FISCHINGER, “Komposition in Blau” (1934), 35 mm Kodak film strip, © The Fischinger Trust/Centre for ;++++++++++++++++++++++++++++++++++++++++++++++++ Visual Music, Los Angeles ;load palette ;++++++++++++++++++++++++++++++++++++++++++++++++ MARCEL DUCHAMP, 6 “Rotoliefs” (1935), Offset printing, series of 500, 20 cm of diameter each, © Marcel Duchamp/Metropolitan Museum of Art, New York lda #$3F LEN LYE, “A Colour Box” (1935), 35 mm film transferred to digital file, United Kingdom, sound, colour, 3’, © Len sta(4$2006 Lye screenshots) lda #$00 sta $2006 RENATO TOPPO, “Clara Rockmore Performing Theremin”, photography, b/w Courtesy of The Nadia Reisenberg / © Renato Toppo /Clara Rockmore Foundation lda #$21 ;background [powder blue] OSKAR FISCHINGER, “An Optical Poem” (1937), 35mm film transfered to digital file, U.S.A., colour, sound, 6’23” © Metro Goldwyn sta $2007 Mayer Studios (16 screenshots) lda #$30 ;cloud inside [white] MARY ELLEN sta $2007 BUTE, “Parabola” (1936), 35 mm film transferred to digital file, U.S.A., sound, b/w, 8’27”, © Mary Universal Newsreel/Anthology Film Archives, New York (4 screenshots) Ellen Bute/ lda #$11 ; highlight [blue] sta $2007 MARY ELLEN BUTE, “Synchromy No 2” (1936), 35 mm film transferred to digital file, U.S.A., sound, b/w, 5’5”, © Mary Ellen lda #$0d ;outline [black] Bute/Anthology Film Archives, New York (4 screenshots) sta $2007 NORMAN MCLAREN, “Dots” (1940), 35 mm film transferred to digital file, Canada, sound, colour, 2’23”, © Norman McLaren/National Film Board of Canada, Montreal (4 screenshots) ;++++++++++++++++++++++++++++++++++++++++++++++++ ;load name tables NORMAN MCLAREN, “Booguie Doodle” (1941), 35 mm film transferred to digital file, Canada, sound, colour, 3’21”, ;++++++++++++++++++++++++++++++++++++++++++++++++ © Norman McLaren/National Film Board of Canada, Montreal (4 screenshots) HARRY SMITH, “Films # 1, 5, 7 & 10: Early Abstractions” (1946-64), 16mm film transferred to digital file, originally silent, lda #0 colour, 18’52” © Harry Smith Archives (8 screenshots) sta songloadloop JAMES & JOHN WHITNEY, “Variations on a Circle” (1942), 16mm film transferred to digital file, mute, colour, 4’20”, © The Estate of James and John Whitney (4 screenshots)


FRANCISZKA &STEFAN THEMERSON, “The Eye and the Ear” (1944), 35mm film transferred to digital file, United ldx #0 Kingdom, b/w, sound, 10’58” © Franciszka &Stefan Themerson/Tate Gallery, London (4 screenshots) ldy #0 AUTHOR UNKNOWN, “ENIAC Room” (1942), photography, b/w lda #2 sta songloadloop AUTHOR UNKNOWN (U.S.A. Air Force), “Nagasaki Bomb” (6th August 1945), photography, b/w load_outcast: AUTHOR UNKNOWN (U.S.A. Air Force), “S.A.G.E. (Semi Automatic Ground Environment) Controllda Room” (ca.1950), clouds_start,y photography, b/w sta addr,x iny AUTHOR UNKNOWN (U.S.A. Air Force), “S.A.G.E. (Semi Automatic Ground Environment) Programming Room” inx (ca.1956), photography, colour dec songloadloop AUTHOR UNKNOWN (U.S.A. Air Force), “S.A.G.E. (Semi Automatic Ground Environment) Light Pen Commanding” bne load_outcast (ca.1956), photography, colour NORMAN MCLAREN & EVELYN LAMBART, “Around is Around” (1951) Stereoscopic dual projector 35 lda mm#$20 film sta $2006 transferred to digital file, colour, sound, 7’38”, © Norman McLaren & Evelyn Lambart /British Film Institute, London (4 screenshots) lda #$00 sta $2006 HY HIRSH, “Come Closer”, 35mm film transferred to digital file, colour, sound, 5’55”, © Hy Hirsh/Light Cone, Paris (4 screenshots) nametables: EQUIPO 57, “Film Experiencia I”, 16mm film transferred to digital file, color, mute, 6’46”, © Equipo 57/ Centro Andaluz de Arte Contemporáneo, Sevilla/ Museo Nacional Centro de Arte Reina Sofía, Madrid (16 screenshots) ldx #$08 ldy #$00 AUTHOR UNKNOWN (probably IBM), “6 Punch Cards” (ca.1955-60), printed cardboard, 7 3⁄8 by 3 1⁄4 inches load_clouds: AUTHOR UNKNOWN, “IBM (International Business Machines Corporation) 1620 System Promotional Photography” lda [addr],y (1959), photography, colour sta $2007 AUTHOR UNKNOWN, “IBM (International Business Machines Corporation) 360 System Promotional Photography” iny (1964), photography, colour bne load_clouds txs IBM (International Business Machines Corporation), “Ramac” (1956), advertisment 35mm film transferred to ldx #$01 digital file, U.S.A., b/w, silent, 3’56, © IBM (4 screenshots) inc addr,x IBM (International Business Machines Corporation), “IBM 5653” (1956), advertisment 35mm film transferred to tsx digital file, U.S.A., b/w, silent, 3’56, © IBM (4 screenshots) dex bne load_clouds HERBERT FRANKE, “Ohne Titel (Lichtformen)”(1952), ferrotype, 24x28cm, b/w, Artist’s Collection, © Herbert Franke lda #$00 HERBERT FRANKE, “Lichtform”(1952), ferrotype, b/w, Artist’s Collection, © Herbert Franke sta $2006 sta $2006 ;Reset PPU HERBERT FRANKE & ANDREAS HUBNER, “Lichtforms” (1953), ferrotype, b/w, Artist’s Collection, © Herbert sta $2005 Franke & Andreas Hubner sta $2005 ;Reset Scroll HERBERT FRANKE & ANDREAS HUBNER, “Lichtforms” (1953), ferrotype, b/w, Artist’s Collection, © Herbert Franke & Andreas Hubner ;++++++++++++++++++++++++++++++++++++++++++++++++ ;init graphic settings HERBERT FRANKE & ANDREAS HUBNER, “Lichtforms” (1953-5), ferrotype, b/w, Artist’s Collection, © Herbert ;++++++++++++++++++++++++++++++++++++++++++++++++ Franke & Andreas Hubner BEN LAPOSKY, “Oscillon 27” (1952), C-type photographic print, © Ben Laposky/ Sanford Museumlda #%10011100 sta $2000 BEN LAPOSKY, “Oscillon 40” (1952), C-type photographic print, © Ben Laposky/ Victoria & Albert lda Museum, London #%00001010 $2001 BEN LAPOSKY, “Oscillon 52” (ca. 1955), C-type photographic print, © Ben Laposky/ Anne & Michael Spaltersta Collection JIM DAVIS “Evolution” (1954),16 mm film transferred to digital file, U.S.A., colour, sound, 8’29”, ©Jim Davis /Re: ;++++++++++++++++++++++++++++++++++++++++++++++++ Voir Video (4 screenshots) ;set variables ;++++++++++++++++++++++++++++++++++++++++++++++++ RUSHELL KIRSCH, “Walden”(1957), scanned image on paper, U.S.A, b/w, 5x5 cm, b/n © Rushel Kirsch/National Institute of Standards and Technology/SEAC lda #1 DESMON PAUL HENRY, “Untitled by Drawing Machine” (1962), ink on paper, © Desmon Paul Henry sta DELAYSCROLL DESMON PAUL HENRY, “Untitled by Drawing Machine” (1963), ink on paper, © Desmon Paul Henry lda #0 sta NTShow THEO LUTZ, “Stochastische texte” (1959), computer generated poem, printout/teleprinter, ink on paper © Theo Lutz lda #0 sta SCROLL EDWIN MORGAN, “The Computer’s First Christmas Card” (1968), printout/teleprinter, ink on paper © Edwin Morgan


PHILCO, “Predicta Zenith Tv” (1959), cable, plastic, glass, wood, fabric, steel, 17 x 12 inches ;++++++++++++++++++++++++++++++++++++++++++++++++ ;loop CBS forever.... (Columbia Broadcasting System), “First Kennedy-Nixon Debate, 26 September” (1960), Tv Broadcast ;++++++++++++++++++++++++++++++++++++++++++++++++ screening, U.S.A, b/w, sound, 59’ © CBS ( 2 screenshots) PHILIPPE HALSMAN, “Making of (Chaos and Creation, SALVADOR DALÍ, 1960, 17’)” USA. New York. (1960), main: photography, b/w © Philippe Halsman/Magnum Photos, New York jmp main HALSMAN, “Making of (Chaos and Creation, SALVADOR DALÍ, 1960, 17’)” USA. New York. (1960), PHILIPPE photography, b/w © Philippe Halsman/Magnum Photos, New York ;++++++++++++++++++++++++++++++++++++++++++++++++ PHILIPPE HALSMAN, “Making of “(Chaos and Creation, SALVADOR DALÍ, 1960, 17’)” USA. New York. (1960), ;vblankzzzzzz photography, b/w © Philippe Halsman/Magnum Photos, New York ;++++++++++++++++++++++++++++++++++++++++++++++++ AUTHOR UNKNOWN, “Nam June Paik at ETC, New York”, photograhy, b/w vwait: lda $2002 SAUL BASS, “Dr. NO Titles” (1962), 35mm film transferred to digital file, U.S.A., colour, sound, 2’47” © Saul Bass/ Eon Productions/United Artists (4 screenshots) bpl vwait vwait2: BEN PALMER, NORMAN TAYLOR & BERNARD LODGE “Doctorlda $2002 Who Main Titles” (1963), Betamax tape transferred to digital file, United Kingdom, b/w, sound, 2’38” © bmi vwait2 BBC Archives, London (4 screenshots) rts SAUL BASS & JOHN WHITNEY, “Charade Main Titles” (1963) 35mm film transferred to digital file, U.S.A. , sound colour, 2’08”© Saul Bass/John Whitney/Universal Pictures (2 screenshots) ;++++++++++++++++++++++++++++++++++++++++++++++++ ;NMI Routine!!!! important!!!!! JORDAN BELSON,Very “Allures” (1961), 35 mm film transferred to digital file, U.S.A., colour, sound, 7’39”, © Jordan ;++++++++++++++++++++++++++++++++++++++++++++++++ Belson/ Centre for Visual Music, Los Angeles (screenhot) JOHN nmi: WHITNEY, “Catalog”, 35mm film transferred to Laserdisc and to digital file, U.S.A., colour, sound, 7’28”, © The Estate of James and John Whitney (4 screenshots) AUTHOR dec DELAYSCROLL UNKNOWN, “Workers of Bell Laboratories Assembling the Telstar Communications Satellite” (1962), bne .end_no_scroll photography, b/w, © Bell Labs CBS, “Telstar Brings World Closer” (1962), Tv broadcast film, b/w, sound, 2’12” © CBS (screenshot) lda #$20 sta DELAYSCROLL NASA, “Mariner 4 Firts Image of Mars Crater, 14th of July” (1964), photography, b/w © NASA/JPL-Caltech lda #$ff 4 Image of Mars” (1965), photography, b/w © NASA/JPL-Caltech NASA, “Mariner cmp $24 ;scroll JAMES WHITNEY, beq .NT_adj“Lapis” (1966), 35mm film transferred to digital file, U.S.A., colour, sound, 9’18”, © The Estate of James and John jmp .end Whitney (screenshot) COMPUTERS AND AUTOMATION MAGAZINE, August 1964, January 1963, August 1967, August 1969, private .NT_adj: collection, Madrid lda #$00 AUTHOR UNKNOWN (IBM) “7090 Data System with girl” (c.1967), photography, b/w cmp NTShow beq .Show_Zero KARL OTTO GÖTZ, “Density 10:2:2:1” (1962), 8mm documentary film transfered to digital file, Germany, b/w, mute, 12’33”, © Karl Otto Götz/Z.K.M. (Zentrum für Kunst und Medien Technologie), Karlsruhe (4 screenshots) lda #%10011100 staZAJEC/BELL $2000 EDWARD LABS,”Simulation of a two-giro Gravity Attitude Control System” (1963), computer animated transferred to digital file, U.S A., b/w, sound, 3’40” © AT&T /Bell Labs/Edward Zajec (4 screenshots) ldafilm #%00001010 sta $2001 MICHAEL NOLL/ BELL LABS, “3D Stereoscopic Movies Hypercube: Rotating Four Dimensional Hyperobjet) (1965), computer lda #$00 animated movie, 16 mm film transferred to digital file, U.S A., b/w, mute, 1’48”,© AT&T/ Bell Labs/Michael Noll (4 screenshots) sta NTShow AUTHOR UNKNOWN (IBM) “Zuse Graphomat Z 64” (c.1972), photography, b/w jmp .end MICHAEL NOLL/ BELL LABS, “Gaussian Qadratic” (1963), computer generated image, ink on paper, b/w, © AT&T/ .Show_Zero: Bell Labs/Michael Noll lda #%10011101 MICHAEL sta NOLL/ $2000 BELL LABS, “Computer Composition with Lines” (1964), computer generated image, ink on paper, b/w, © AT&T/ Bell Labs/Michael Noll lda #%00001010 sta FRANKE/SIEMENS $2001 HERBERT SYSTEMS “ Untitled”, plotter on paper, b/w, © Frieder Nake/ The Anne and Michael Spalter Digital Art Collection lda #$01 HERBERT SYSTEMS “ Untitled”, plotter on paper, b/w, © Frieder Nake/ The Anne and Michael sta FRANKE/SIEMENS NTShow Spalter Digital Art Collection


COMPUTER TECHNIQUE GROUP (MASAO KOHMURA & KOUJI FUJINO), “Running Cola is Africa” (1967), computer generated image, lithograph on paper, b/w, 49.1cmx72.6 cm, © Computer Technique Group/Victoria&Albert end: Museum, London COMPUTER TECHNIQUE GROUP (MASAO KOHMURA & KOUJI FUJINO), “Return to Square” (1968), inccomputer $24 ;scroll generated image, printer’s ink, paper, screenprint, b/w, 50.5cmx50.5 cm, © Computer Technique Group/ lda $24 ;scroll Victoria&Albert Museum, London sta $2005 LEON HARMON & KENNETH KNOWLTON, “Studies in Perception I” (1967), computer generated image,lda ink#$00 on sta $2005 paper, b/w, 32.5x55.6 cm, © Leon Harmon & Kenneth Knowlton/Victoria&Albert Museum, London CHARLES CSURI, “Sine Curve Old Man” (1967), computer generated image, ink on paper, 104x104 cm, © .end_no_scroll: CsuriVision ltd. CHARLES CSURI, “Sine Curve Man” (1967), computer generated image, ink on paper, 104x104 cm, © CsuriVision rti ltd. WILLIAM FETTER/BOEING INDUSTRIES, “Boeing Man” (1967), computer generated image, ink on paper, irq: © William Fetter/Boeing Studio HIROSHI KAWANO, “Mondrian Series”(1965), computer aided image, oil on canvas

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AUTHOR UNKNOWN, “Hiroshi Kawano with Computer Output” (ca. 1965), photography, b/w ;++++++++++++++++++++++++++++++++++++++++++++++++ ;Load Data Filez STAN VANDERBEEK & KENNETH KNOWLTON/BELL LABS, “Poemfield No1 (Blue version)” (1965-67), computer ;++++++++++++++++++++++++++++++++++++++++++++++++ generated 16mm film transferred to digital file, U.S.A., colour, mute, 5’12”, © Stan VanderBeek/Kenneth Knowlton/ Bell Labs/AT&T (30 screenshots) .bank 3 JOHN WHITNEY & JACK CITRON/IBM, “ Permutations” (1968), computer generated 16mm film transferred to .org $fffa digital file, U.S.A., colour, sound, 7’58”, ©The Estate of James and John .dwWhitney/IBM nmi (4 screenshots) ;//NMI .dwfile, start ;//Reset JORDAN BELSON, “Shamadi” (1967), 35mm film transfered to digital U.S.A., colour, sound, 5’10”, © Jordan .dw irq ;//BRK Belson/ Centre for Visual Music, Los Angeles (4 screenshots ) .bank 4 PATRICK O’NEIL, “7362” (1965), 16mm film transfered to digital file, U.S.A., color, sound, 9’42”, © Patrick O’Neil/ $0000 .org National Film Preservation Foundation, San Francisco (4 screenshots) ;//end of file STANLEY KUBRICK/TOM HOWARD, “2001: A Space Odissey” (1968) ;gotta be bytes long .incbin “mario.chr” Warner 35mm film transferred to digital file, U.S. A., colour, sound, 160’, © Stanley Kubrick/Time (88192 screenshots) FRANK MALINA, “Lumidyne System with 3 Components” (1965), photography, colour © Frank Malina © Cory Arcangel, 2002 ;************************************** GYÖRGY KEPES, “A Bostoni Kikötő Komplex Ökológiai Fénykörnyezetének Terve”, (1964 – 1965), photography, ****************** b/w © György Kepes ; JULIO LE PARC, “Continuel lumière cylindre” (1962), installation, 205.0×205.0×37.0 cm © ;Julio LeMario Parc /Nara Super Clouds Roesler, Miami ; ; BEIGE 2002/3 Cory Arcangel UNKNOWN AUTOR, “The Baby Maker” ( National General,1970) film ad wich presents Single Wing Turquoise Birg Light Show Group performing live above the Fox Venice; Theatre, (1969), photography, colour © Single Wing ; http://www.post-data.org/beige/ Turquoise Wing Light Show/National General Films (movie still) ; http://www.beigerecords.com/cory/ MARK BOYLE & FAMILY,”Beyond Image” (1967) 35mm film transferred to digital file, U.S.A., colour, sound (Music ; http://del.icio.us/cory_arcangel/ by SoftMachine),13’48” © Mark Boyle (screenshot) ; ; “you mess with the best, you die like the rest” THE JOSHUA LIGHT SHOW.“Liquid Loops” (1968), documentary film from live perfomance, 35mm film transferred Anon to digital file, U. S.A., colour, mute, 10’11’,(16 screenshots) ; “punks jump up to get beat down” - Brand Nubian CHARLES DOCKUM, “Mobicolor Demostration Live Perfomance” (1969), 16mm film transferred to digital file, ; colour, mute, 15’42”, © Charles Dockum/Centre for Visual Music, Los Angeles (4 screenshots) ;************************************** ****************** SONY, “CCIR Battery Operated Portable Video Systema Ad”(1967), printed paper, b/w asm SCOTT BARLETT y TOM DEWITT, “OffOn“ (1967), 16 ) mm (wich film 2 includes Portapack video camera sequences) .inesprg fransfered to digital file, U.S.A., colour, sound, 8’43”, © Scott Barlett/United States National Film Registry.ineschr Library 1 of Congress, Washington .inesmir 1 .inesmap TIME/LIFE /ALFRED EISENSTAEDT, “Hugo Gernsback with Teleyeglasses prototype” (1963), photography, b/w 0 ©Time/Life/ Alfred Eisenstaedt .org $8000 AUTHOR UNKNOWN, (IVAN SUTHERLAND, “3d Glasses and Helmet”, 1970), photography, b/w clouds_start: .dw clouds_start_addr AUTHOR UNKNOWN, “Sensorama Cameraman Working” (1962), photography, b/w


r AUTHOR UNKNOWN , “M. L. HEILING with Sensorama” (1962), photography, b/w clouds_start_addr: PETER COOK/ARCHIGRAM, .incbin “clouds.hex”“Info Gonks” (1968), augmented reallity glasses, glasses, © Peter Cook/Archigram start: PRADA POOLE, “Instant-City-Ibiza” (1972), enviroment installation, plástica, sopes, air machines, Stones, © Prada sei Poole cld KEN ISAACS, “The Knowdlege Box. Exterior” (1962), enviroment installation, paper, cardboard, wood, iron, lights, .vblank_clear1 cables, projectors, chair © Ken Issacs lda $2002 KEN ISAACS, “The Knowdlege Box. Inside” (1962), enviroment installation, paper, cardboard, wood, iron, lights, bpl .vblank_clear1 cables, projectors, chair © Ken Issacs .vblank_clear2 CLARCK RICHERT, “View of Drop City in El Moro, Outside Trinidad( Colorado)”(1962), housing solution, metal lda $2002 domes, tubes, metal, fabric, plastic, land, glass, No copy rights bpl .vblank_clear2 HAUS-RUCKER-CO (LAURIDS ORTNER, GÜNTHER ZAMP KELP, KLAUS PINTER, MANFRED ORTNER), “ Mind .vblank_clear3 Expander”, (1967), installation, wood, plastic, fiber, glass © Haus-Rucker-Co lda $2002 bpl .vblank_clear3 EAT (EXPERIMENTS IN ART AND TECHNOLOGY: Billy Klüver, Fred Waldhauer, Robert Rauschenberg, Robert seiJohn Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Whitman, David Tudor, Bela Julesz, Billy Klüver, Max Mathews, John Pierce, Manfred Schroeder) & HARRY SHUNK and cld SHUNK-KENDER .vblank_clear4 (photographers), “Pepsi Pavilion, Osaka, Japan”(1970)( E.A.T. Mirrorfloor), photography, colour, © J. Paul Getty Trust lda $2002 bpl .vblank_clear4 STAN VANDEERBEEK, “Movie Drome, interior view” (1963), photography, colour NORMAN MCLAREN, “Pas de Deux” (1968), 35mm film transferred to digital file, Canada, b/w, sound, 13’14”, © .vblank_clear5 Norman MacLaren/National Film Board Canada, Montreal (screenshot) lda $2002 bpl .vblank_clear5 NASA, “Moon Landing of the Apollo 11” (1969), Broadcast betamax film transferred to digital HD file, b/w, sound, .vblank_clear6 12’29”, © NASA (6 screenshots) lda $2002 STAN VANDERBEEK, “Filmform#1” (1968), 16mm film transferred to digital file, U.S.A., colour, sound, 10’46”, © bpl .vblank_clear6 Joanna VanDerBeek/RE:Voir Video, Paris (4 screenshots)

#$00 STANlda VANDERBEEK, “Moirage”(1970), 16mm film transferred to digital file, U.S.A., colour, sound, 9’26”, © Joanna ldx #$00 VanDerBeek/RE:Voir Video, Paris (4 screenshots) .clear_out_ram NAM JUNE PAIK, “Electronic Opera (as part of the Public Broadcasting Service Tv Show The Medium is the $000,x sta Medium ”(1969), Video Betamax transfered to digital file, U.S. A., colour, sound, 4’06”, © Nam June Paik/ Public sta $100,x Breadcasting Service, New York (4 screenshots) sta $200,x sta $300,x RADICAL SOFTWARE MAGAZINE, No 4 Summer (1971), No 1(1970), No 2 1970, No 3 (Spring 1971), various sta $400,x dimensions and number of pages each one, coloured printed paper sta $500,x HERBERT FRANKE , “Rotationen”(1970), projection, undefined time lapse and technique © Herbert Franke (3 sta $600,x screeshots) sta $700,x inx C- CSURI, “Sculpture Graphic Three Dimensional surface” (1968), photography, b/w © Ch. Csuri CHARLES bne .clear_out_ram MANFRED MOHR, “P021”(1970), print, © Manfred Mohr/V&A Museum, London lda #$00 MANFRED MOHR, “P197”(1977-79), Screenprint on paper, © Manfred Mohr/V&A Museum, London ldx #$00 .clear_out_sprites JOHN HORTON CONWAY “The Game of Life” (1970), artificial life mathematical evolved game, photography, b/w sta $2000,x LILLIAM SCHWARTZ & KENNETH KNOWLTON/IBM, “Pixillation”(1970), computer generated 16 film transferred sta $2100,x to digital file, U.S.A., ,colour, sound, 4’05”, © Lilliam Schwartz/Kenneth Knowlton (4 screenshots) sta $2200,x sta $2300,x LILLIAM SCHWARTZ & KENNETH KNOWLTON/IBM, “UFO”(1971), computer generated 16 film transferred to stafile, $2400,x digital U.S.A., ,colour, sound, 3’08”, © Lilliam Schwartz/Kenneth Knowlton (4 screenshots) sta $2500,x PETER staFOLDES, $2600,x “Metadata” (1971), 35mm computer generated film transferred to digital file, Canada, colour, sound, © Peter Foldes/ National Film Board of Canada, Montreal (4 screenshots) sta8’43”, $2700,x staFOLDES, $2800,x “Hunger/La faim” (1972), 35mm computer generated film transferred to digital file, Canada, PETER sta $2900,x colour, sound, 11’26”, © Peter Foldes/ National Film Board of Canada, Montreal (4 screenshots) sta $2a00,x ED EMSWHILLER, sta $2b00,x “Scape Mates” (1972), Scanimate generated 16mm film transferred to digital file, U.S.A., colour, sound, © Ed Emshwiller/Rockefeller Foundation, New York (4 screenshots) sta28’17”, $2c00,x sta $2d00,x ED CATMULL & FRED PARKE, “A(First) Computer Animated Hand” (1972), 16mm documentary film transferred to digital file, U.S.A., b/w, sound, 5’45”, © Ed Catmull/Fred Parke/Halftone Animation (4 screenshots)


sta $2e00,x ED CATMULL & FRED PARKE, “First Computer Animated Faces” (1972), 16mm documentary film transferred to sta $2f00,x digital file, U.S.A., b/w, sound, 1’29”, © Ed Catmull/Fred Parke/Halftone Animation (4 screenshots) inx bne .clear_out_sprites HERBERT W. FRANKE “Einstein” (1972), computer picture processing, ink on paper, © Herbert W. Franke

FRED PARKE/UNIVERSITY OF UTAH, “Faces & Body Parts”, documentary 16mm film transfered to digital file, ldx #$FF U.S.A., b/w, sound, 3’41”, © Fred Parke/University of Utah/Pixar (4 screenshots) txs MALCOM LEGRICE, “Thrseshold” (1972), 16mm film trasnferred to digital file, United Kingdom, sound, colour, 17’, jsr vwait © Malcom Le Grice/LUX, London (4 screenshots) jsr vwait PETER WEIBEL, “Tele-aktion n 1: The Endless Sandwich” (1972), 16mm film transfered to digital file, Germany, ;++++++++++++++++++++++++++++++++++++++++++++++++ b/w, sound, 1’45” © Peter Weibel ;load palette ;++++++++++++++++++++++++++++++++++++++++++++++++ GODFREY HOUNSFIELD AND HIS TEAM AT EMI CENTRAL RESEARCH LABORATORIES IN HAYES, WEST lda digital #$3F LONDON,” The First Clinical Scan (Computed Tomography): Atkinson Morley’s Hospital, 1st October 1971”, sta $2006 image on screen, b/w lda #$00 MELVIN L. PRUEITT, “Rectangular Columns Created by Raising Sets of Points to Various Heights” (1976),sta computer $2006 generated image, ink on paper, b/w, © Melvin L. Prueitt lda #$21 ;background [powder blue] sta b/w, $2007 MELVIN L. PRUEITT, “Patterned Surface of the Array” (1976), computer generated image, ink on paper, © lda #$30 ;cloud inside [white] Melvin L. Prueitt sta $2007 LARRY CUBA, “3/78” (1978), computer generated 16mm film sound,[blue] 5’32”, transferred to digital file, ldaU.S.A., #$11 ;b/w, highlight (music: Mazui Katsui), © Larry Cuba/Solid State Animation (screenshot) sta $2007 lda #$0d ;outline [black] LARRY CUBA, “Calculated Movements” (1985), computer generated 16mm film transfered to digital file, U.S.A., b/w, National Endowment for the Arts (2 screenshots) sta $2007 sound, 6’29”, © Larry Cuba/The American Film Institute/The ;++++++++++++++++++++++++++++++++++++++++++++++++ STEINA & WOODY VASULKA, “Noisefields” (1974), videosynthesizer generated Betamax film transferred to digital ;load name tables file, U.S.A., colour, sound, 12” © Steina & Woody Vasulka (2 screenshots) ;++++++++++++++++++++++++++++++++++++++++++++++++ STEINA, “Cantaloop” (1974), videosynthesizer generated Betamax film transferred to digital file, U.S.A.,endasm colour, array addr 2 sound, 23’58” © Steina & Woody Vasulka /The Television Laboratorie (4 screenshots) set songloadloop 0 DOUGLAS DAVIS, “ Video against Video “ (1980), Betamax film transferred to digital file, U.S.A., colour, sound, asm 29’31” © Douglas Davis/The Television Laboratorie (4 screenshots) ldx #0 #0 PETER CAMPUS, “Three Transitions” (1973), Betamax film transfererd to digital file, U.S.A., colour, sound,ldy 4’57” © Peter Campus (screenshot) lda #2 ANT FARM, “Media Burn (Car Crash)” (1975), Betamax film transfered to digital file, U.S.A., colour, 9’03” © stasound, songloadloop Ant Farm /Media Burn Archives, Chicago (4 screenshots) load_outcast: lda clouds_start,y DARA BIRBAUM, “Technology Transformation: Wonderwoman” (1978), Betamax film transferr¬¬¬¬¬¬¬ed to sta addr,x digital file, U.S.A., colour, sound, 5’23” © (2 screenshots) iny TOSHIO MATSUMOTO, “Mona Lisa” (1973), Scanimate generated 16mm film transfered to digital file, Japan, inx colour, sound, 3’03”, © Toshio Matsumoto (2 screenshots) dec songloadloop load_outcast GEORGE LUCAS /LARRY CUBA, “Star Wars. Episode IV: A New Hope” (Death Star Briefing attackbne Scene)” (1977), lda #$20 35 mm film transferredd to digital file, colour, sound, 121’,© Lucasfilm Inc. (screenshot) sta $2006 RIDLEY SCOTT, “Alien” (1979), 35mm film transferred to digital archive, United Kingdom, colour sound, 117’, © lda #$00 Ridley Scott/20th Century Fox (6 screenshots) sta $2006 nametables: RON HAYS, “Odyssey: Canon” (1979), Scanimate generated 35mm film transferred to digital file, colour, sound, 45’12” © Ron Hays /Music Image (4 screenshots) ldx #$08 PHIL MORTON, “Stuck” (1974), videosinthesizer generated Betamax tape transfered to digital file, colour, sound, ldy #$00 8’42”, Distribution Religion/Creative Commons (4 screenshots) load_clouds: DAN SANDIN, TOM DEFANTI & MIMI SHAVITS, “Spiral PTL (Perhaps the Last One)” (1981), videosinthesizer lda [addr],y generated Betamax tape transferred to digital file, colour, sound, 7’13”, © Dan Sandin, TomDeFanti & Mimi sta $2007 Shevits/ Museum of Modern Art, New York (4 screenshots) iny bne load_clouds RON HAYS, “Delta 1” (1979), Scanimate generated 35mm film transferred to digital file, colour, sound, 45’12” © Ron Hays /Music Image (screenshot) txs ldx #$01 RON HAYS, “Let’s Groove (Earth, Wind and Fire Music video)”, Scanimate generated Betamax film transfered to inc addr,x digital file, colour, sound, 3’55” © Ron Hays /Music Image/ Columbia Records (4 screenshots)


tsx AUTHOR UNKNOWN, “Atari 400” (1979), photography, colour dex AUTHOR UNKNOWN, “Commodore 64” (1982), photography, colour bne load_clouds lda #$00 AUTHOR UNKNOWN, “ZX Spectrum” (1982), photography, colour sta $2006 sta $2006 ;Reset PPU “Pong” (1972), arcade videogame, software and harware, b/w, sound (screenshot of NOLAN BUSHNELL/ATARI, redux version) sta $2005 sta $2005 ;Reset Scroll TOSHIHIRO NISHIKADO/TAITO “Space Invaders” (1978), arcade videogame, software and harware, colour, sound ;++++++++++++++++++++++++++++++++++++++++++++++++ (screenshot of redux version) ;init graphic settings ;++++++++++++++++++++++++++++++++++++++++++++++++ SHIGERU MIYAMOTO & MITSUHARO SATO/ NINTENDO “Super Mario Bros.” (1983), arcade videogame, software and colour, sound (screenshot of redux version) ldaharware, #%10011100 sta $2000 ROBERT ABEL, “ MacDonalds carries un M” (1980), computer generated broadcast tv Betamax advertisement lda transferred #%00001010 film to digital file, colour, sound, 0’35” © Robert Abel (screeshot) sta $2001 ;++++++++++++++++++++++++++++++++++++++++++++++++ ROBERT ABEL, “CBS Election 80” (1980), computer generated broadcast tv Betamax advertisement film transferred to digital file, colour, sound, 0’20” © Robert Abel (screeshot) ;set variables ;++++++++++++++++++++++++++++++++++++++++++++++++ ROBERT ABEL, “Levis Brand Name” (1977), computer generated broadcast tv Betamax advertisement film endasm transferred to digital file, colour, sound, 1’ © Robert Abel (screeshot) set DELAYSCROLL 1 ROBERT set NTShow 0 ABEL, “Pacman/7Up” (1982), computer generated broadcast tv Betamax advertisement film transferred file, colour, 0 sound, 1’ © Robert Abel (screeshot) to digital set SCROLL asm STEVEN LISBERG & ROBERT ABEL,”Tron” (1982), 35mm computer generated film transferred to digital file, ;++++++++++++++++++++++++++++++++++++++++++++++++ U.S.A., colour, sound, 90’ © Steven Lisberg/ Walt Disney Corp. (screenshot) ;loop forever.... ;++++++++++++++++++++++++++++++++++++++++++++++++ RECECCA ALLEN, “Non Stop Music (Music video for KRAFTWERK)” (1986, computer generated Betamax film transferred to digital file (HD), colour, sound, 4’14”, © Rebecca Allen/Kraftwerk/Kling Klang Records/EMI (4 main: screenshots) jmp main ;++++++++++++++++++++++++++++++++++++++++++++++++ ROBERT ABEL, “Brilleance” (1985), computer generated broadcast tv ad, Betamax advertisement film transferred ;vblankzzzzzz to digital file, colour, sound, 1’ © Robert Abel (screeshot) ;++++++++++++++++++++++++++++++++++++++++++++++++ MYRON vwait: KRUEGER, “Videoplace” (1985), interactive digital enviroment installation, panels, projectors, steel, curtains, cables, cpu, movement sensor © Myron Krueger (2 screenshots) lda $2002 JEFFREY bplSHAW, vwait “Legible City” (1988), interactive digital enviroment installation, panels, projectors, bicycle, vwait2: cables, cpu © Jeffrey Shaw (4 screenshots) lda $2002 “Paranoimia (The art of Noise with Max Headroom)” (1986), computer generated music video MATT FORREST, bmi vwait2 Betamax film transferred to digital file, colour, sound, 3’25” © Matt Forrest/The Art of Noise/China Records (4 rts screenshots) ;++++++++++++++++++++++++++++++++++++++++++++++++ ;NMI Routine!!!! Very important!!!!! VICTORIA VESNA, “Bodies© INCorporated” (1996), net art © Victoria Vesna (2 screenshots) ;++++++++++++++++++++++++++++++++++++++++++++++++ MRI nmi:SCAN, “Detection of early Parkinson disease”, digital image, colour, © Getty dec DELAYSCROLL MRI SCAN, “Detection of early Parkinson disease”, digital image, colour, © Getty bne .end_no_scroll lda #$20 JOHN LAESSETER/PIXAR, “Toy Story” (1995), computer generated 35mm film transferred to digital file, U.S.A., colour, sound, sta DELAYSCROLL 81’, © Pixar Studios/Disney lda #$ff GERHARTZ “Das Vorurteil Nr. 2 “ ( 2014), Inkjet auf Leinwand , 100 x 180 cm., © Gerhard Mantz cmp MANTZ, $24 ;scroll POLYGONAL beq .NT_adj MINIATURES, “Sexy Woman in Blue and Orange Swinsuit Bikini Posing 2 3d Model” (2009), computer generated jmpimage, .end colour, © Polygonal Miniatures .NT_adj: POLYGONAL MINIATURES, “Sexy Woman in Blue and Orange Swinsuit Bikini Posing 2 3d Model” (2009), computer lda #$00 generated image, colour, © Polygonal Miniatures cmp NTShow AUTHOR beq .Show_Zero WITH NO NAME, “ Sexy Woman with Black Bikini Posing 3D” (ca. 2017) lda #%10011100 EA SPORTS, sta $2000 “Fifa 16”(2016), XBOX multiplayer videogame, © EA Sports (screenshot) lda #%00001010 DAN HOUSER/ROCKSTAR GAMES, “GTA (Grand Theft Auto)V, Trevor Philips Raping a Pussy” (2013), online sta $2001 multiplayer video game modified and cracked by the users, © Rockstar Games (3 screenshots) lda #$00 DAN HOUSER/ROCKSTAR sta NTShow GAMES, “GTA (Grand Theft Auto)V, BRutallity Compillation” (2013), online multiplayer jmp .end video game modified and cracked by the users, © Rockstar Games (3 screenshots)


jmp .end MMBOYS, “Blowjob” (2017), digital 3D cartoon porn film, colour, sound, 7’27”, © MMboys (2 screenshots) .Show_Zero: AUTHOR WITH NO NAME, “ATP Cashier Cam View 20th July image, b/w 2014, 06:26 am” (2014), digital webcam lda #%10011101 2017, 09:11 pm” (2017), digital webcam image, sta $2000 AUTHOR WITH NO NAME, “ATP Cashier Cam View 20th July b/w lda #%00001010 $2001 AUTHOR WITH NO NAME, “Tokyo Club women toilette area” (2018), digital webcam image, colour,sta unknown sound, streaming lda #$01 sta NTShow AUTHOR WITH NO NAME, “Street Cam View 11th September 2018, 05:31:57 am” (2018), digital webcam image, .end: unknown sound, streaming inc $24 ;scroll lda $24 image, ;scroll AUTHOR WITH NO NAME, “Street Cam View 4th December 2017, 09:11:11 pm” (2017), digital webcam unknown sound, streaming sta $2005 lda #$00 AUTHOR WITH NO NAME, “Factory IndoorsView 9th November 2018, 05:40:13 pm” (2018), digital webcam image, sta $2005 colour, unknown sound, streaming .end_no_scroll: rti CHRIS CUNNINGHGAM, “Mental Wealth” (2003), computer generated film transfered to digital file, United Kingdom, colour, sound, 0’41”, © Chris Cunningham/Sony (4 screenshots) irq: CHRIS CUNNINGHGAM/THE DESIGNERS REPUBLIC, Windowlicker (Vynil LP cover)” (1999), 12” aprox.”,© rti Chris Cunningham/The Designers Republic ;++++++++++++++++++++++++++++++++++++++++++++++++ ;Load Data Filez MARK NAPIER, “Pam” (2009), generative artwork, © Mark Napier (2 screenshots) ;++++++++++++++++++++++++++++++++++++++++++++++++ EVA & FRANCO MATES, “ I know that it’s All a Sate of Mind” (2010), Second Life perfomance, © Eva &.bank Franco 3 Mates (4 screenshots) .org $fffa .dw nmi ;//NMI FENG MENGBO, “ Q2008” (2008), computer generated film, China, colour, sound, 14’12”, © Feng Mengbo/ .dw start ;//Reset Saatchy Gallery, New York .dw irq ;//BRK KARL SIMS, “Panspermia” (1990), computer generated film, colour, sound, 2’11”, © Karl Sims (screenshot), .bank © 4 Karl Sims .org $0000 ;//end of file JON McCORMACK, “Turbullence” (1997), computer generated film, colour, sound, 30’, © Jon Mc Cormack/Sony .incbin “mario.chr” ;gotta be 8192 bytes long Music (screenshot) endasm WILLIAM LATHAM, STEPHEN TODD & PETER TODD, “Mutator 2 (Organic 18)” (2015), computer generated film, United Kingdom, colour, sound, 11’30”, (4 screenshots) LOUIS BEC, “Flussers Studies” (2009), 4 computer generated images, colour, © Louis Bec MARC NAPIER, “Schreder”(1999), generative software, © Marc Nappier JOAN LEANDRE, “Retroyou, Fck the Gravity Code, Full Bot” (1999) modified software, © Joan Leandre CASEY REAS, “Signal to Noise -Software 3” (2015), generative software installation, © Casey Reas


Idea, researching, graphic editing and art direction by Abraham San Pedro Published by: A libros, Madrid Layout by: Amaya Lalanda Studio, Madrid Text: VOID English translation: VOID Text editing: VOID American Typewriter Family Font is been used Digitally printed on Eurobulk 120g. paper Printing and binding by: Castuera Artes Gråficas This visual book is under Attribution-No Derivatives 4.0 International (CC BY-ND 4.0) Creative Commons License. You are free to: Share — copy and redistribute the material in any medium or format for any purpose, even commercially. If you remix, transform, or build upon the material, you may not distribute the modified material. You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. This project was born to be a free access publication in a free disposition. This creation is born to be shared, discussed, tested and maybe improved by others.

All images (photographies, movie stills, documents and film screenshots) have been used with respect and carefully, maintaining the original proportions and colours when possible. Also it must be said that all artist and contributors are named and indexed at the end pages of this publication with their own copyright claim. Respect for the artist!!! For this edition For this edition ISBN: D.L.

Abraham San Pedro, 2018 A libros, 2018

William Coolidge, the inventor of the modern X-ray

I do not own the image rights of the included artworks, devices, people and events. Most of them are picked up from the World Wide Web as free access material.


Digital Image Genealogy. A Visual Trip (1830-2015)  

A trip concerning the multiple and diivergent paths that had gave light to the digital image. A journey with no words trough the significant...

Digital Image Genealogy. A Visual Trip (1830-2015)  

A trip concerning the multiple and diivergent paths that had gave light to the digital image. A journey with no words trough the significant...

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