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Takeluma, by Peter Cho, 2005

Takeluma is an innovative alphabet that displays the rhythms and emphases of human speech. Each letter relates to the visual quality of a consonant or vowel sound. The characters are different from any known alphabet, but each glyph has an analog within the English alphabet. Language flows into a single expressive line. This image represents part of the Neil Armstrong quote, “That’s one small step for man, one giant leap for mankind.”

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Cabspotting, by Stamen design with Scott Snibbe, Amy Balkin, Gabriel Dunne and Ryan Alexander, 2006–8

To track the movement of taxis around the San Francisco Bay Area, Global Positioning System (GPS) devices were attached to the vehicles. Lines are drawn to connect the GPS data points, showing the taxis’ paths as they navigate the city. The city grid and circulation patterns are revealed through line density.

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Mural (detail), by Ken C. Knowlton and Leon Harmon, 1966

A series of photographs were transformed into images composed of engineering symbols. Each point was represented as a grayscale value, then replaced by a graphic symbol.

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Painting #207 - N, by Vasa Mihich, 2004

Mihich is a sculptor and painter, but he started sketching with computers in 1998. He works with fixed algorithms that sometimes introduce the element of chance. This painting was inspired by code repetition processes.

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Daisy Bell, by Jennifer Steinkamp, 2008

This massive undulating wall projection is composed of software models of poisonous flowers. Viewers are often overwhelmed by the detail and scale of repetition made possible through Steinkamp’s software.

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PSC 31, by Mark Wilson, 2003

These images explore repeated geometric forms and transformations. They are an extension of Wilson’s programmed works from the early 1980s.

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Spacewar!, 1962

This early video game simulates a space battle between two ships. Each ship can rotate left and right, thrust, and fire. A star in the center of the screen pulls each ship into its gravitational field. Here, it’s seen running on a DEC PDP-1 computer.

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AARON, by Harold Cohen 1973–present

The AARON software creates original drawings based on the rules encoded in it. Over the last thirty years, the software has advanced from drawing basic geometric forms to human figures, from black-and-white drawings to color prints.

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Print magazine cover, by Karsten Schmidt of PostSpectacular, 2008

A reaction-diffusion system was used to create the cover for the August 2008 issue of Print magazine. A 3-D form was made using code; it was then fabricated using a 3-D printer.

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Sweep, by Erik Natzke, 2008

Natzke creates his images with custom drawing software that allows him to turn parameters on and off while he draws on-screen.

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Untitled V, by James Paterson, 2005 

Paterson’s Objectivity Engine software uses random values to define the color, position, and rotation of his small drawings to make a larger collage. Each time the software is run, a different composition emerges within the space of the parameterized limits.

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Test pattern [no1], by Ryoji Ikeda, 2008 

In this audiovisual installation, the sound from the loud speakers is converted in real-time to a sequence of barcode patterns displayed on the monitors. Ikeda explains: “The velocity of the moving images is ultrafast, some hundreds of frames per second at certain points, providing a performance test for the devices and a response test for visitors’ perceptions.”

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Amodal Suspension, by Rafael Lozano- Hemmer, 2003

Lozano-Hemmer used incoming text messages to control the light display above the Yamaguchi Center for Arts and Media (YCAM) in Japan. The frequencies of letters were translated into flashes of light in the night sky above the museum.

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ElectroPlastique, by Marius Watz, 2009

Inspired by the work of Victor Vasarely, Watz used a regular grid that deforms progressively over time. Changes in the grid appear as ripples of evolving shapes in bright color. Eventually, the grid is ripped apart, leaving the shapes to float freely.

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Skull (i) by Robert Lazzarini, 2000

3-D human skulls was created using computer modeling techniques. First the skull was scanned and distorted, then it was fabricated using resin, bone, and pigment to create an unsettling series of replicas.