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moved these lines until they were parallel to each other. If a user gave a different command and selected a particular line, Sketchpad moved the lines in such a way so they would parallel to each other and perpendicular to the selected line. Although we have not exhausted the list of new properties that Sutherland built into Sketchpad, it should be clear that this first interactive graphical editor was not only simulating existing media. Appropriately, Sutherland’s 1963 paper on Sketchpad repeatedly emphasizes the new graphical capacities of his system, marveling how it opens new fields of “graphical manipulation that has never been available before.”38 The very title given by Sutherland to his PhD thesis foregrounds the novelty of his work: Sketchpad: A man-machine graphical communication system. Rather than conceiving of Sketchpad as simply another medium, Sutherland presents it as something else—a communication system between two entities: a human and an intelligent machine. Kay and Goldberg later also foregrounded this communication dimension, referring to it as “a two-way conversation” and calling the new “metamedium” “active.”39 (We can also think of Sketchpad as a practical demonstration of the idea of “man-machine symbiosis” by J. C. R. Licklider applied to image making and design.40) My last example comes from the software development that at first sight may appear to contradict my argument: paint software. Surely, the applications which simulate in detail the range of effects made possible with various physical brushes, paint knives, canvases, and papers are driven by the desire to recreate the experience of working within an existing medium rather than the desire to create a new one? Wrong. In 1997 an important computer graphics pioneer Alvy Ray Smith wrote a memo titled Digital Paint Systems: Historical Overview.41 In this text Smith (who himself had a background in art) makes an important distinction between Michigan, May 21–3, 1963, pp. 329–46; in New Media Reader, Noah WardripFruin and Nick Montfort (eds). 38 Ibid., p. 123. 39 Kay and Goldberg, “Personal Dynamic Media,” 394. 40 J. C. R. Licklider, “Man-Machine Symbiosis,” IRE Transactions on Human Factors in Electronics, vol. HFE-1, March 1960, pp. 4–11, in New Media Reader, eds. Noah Wardrip-Fruin and Nick Montfort. 41 Alvy Ray Smith, Digital Paint Systems: Historical Overview (Microsoft Technical Memo 14, May 30, 1997). http://alvyray.com/