Abstract

To date, most work on computers in art has focused on the Algorists (1960s–) and on later cyber arts (1990s–). The use of microcomputers is an underexplored area, with the 1980s constituting a particular gap in the knowledge. This article considers the case of Polish-Australian artist, Stan Ostoja-Kotkowski (b. 1922, d. 1994), who after early exposure to computers at the Bell Labs (1967), returned to microcomputers late in his life. He was not a programmer yet used micros in his practice from the early 1980s, first a BBC in his BP Christmas Star commission, and later a 32-bit Archimedes. This he used from 1989 until his death to produce still images with a fractal generator and the ‘paintbox’ program, “Photodesk”. Drawing on archival research and interviews, we focus on three examples of how Ostoja deployed his micro, highlighting the convergence of art, maths, electronics, and a ‘hands-on’ tinkering ethic in his practice. We argue that when considering the history of creative microcomputing, it is imperative to go beyond the field of art itself. In this case, electronics and the hobbyist computing scenes provide crucial contexts.

Highlights

  • If the Algorists were the first generation of artists working with computers, artists working with microcomputers would be the second, with a third generation associated with the era of multimedia and cyber-arts, from the early 1990s

  • Most work on computers in art has focused on the first generation and their use of mainframe and mini computers (Brown et al 2008; Beddard and Dodds 2009) and on later cyber arts (Zurbrugg 1994)

  • The use of microcomputers is an underexplored area, with the 1980s constituting a particular gap in the knowledge

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Summary

Introduction

If the Algorists were the first generation of artists working with computers, artists working with microcomputers would be the second, with a third generation associated with the era of multimedia and cyber-arts, from the early 1990s. 7), sound and image shows, electronics, and television This is not a Jenkins-like of experimental practice across such diverse media as theatre, laser art (an example of which is seen in convergence of technology (Jenkins 2006), but there are continuities between Ostoja’s early and later. This is not a Jenkins-like convergence of art practice in that he often seems to have combined a range of influences across his lifetime.

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Context and Background
Brief Survey of Ostoja’s Work
Ostoja’s Micro-Computer Works
Christmas Stars on St Kilda Rd
Photograph
10. Screenshot
Mandelbrot Works
Landscapes with CGI
Concluding Thoughts
Full Text
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