Catherine Mason

My new book about the history of art & technology, computer art & generative art is out now! @SpringerNature Featuring George Mallen, pioneer of creative computing since 1964, cybernetics, interactive art & much else 🙏 @StepBD, Nick Lambert & @jpbowen link.springer.com/book/10.1007/9…

This exhibition centres women’s experiences, and explores questions of what we can and cannot know about people in the past, and how to heal trauma; it was a pleasure to write about it for Studio International

@v3ga So nice

New catalogue in the collection. Vera Molnar Caen – Paris 1979 The cover is silkscreen-printed in gold. A few photos of the inside ↓

@quasimondo @HerbertWFranke @CarlCanary Wonderful

New addition to my book collection: catalog from the 1972 exhibition "Grenzgebiete der bildenden Kunst" at Staatsgalerie Stuttgart. It has a lot of the pioneers of generative art, as well as texts by @HerbertWFranke, @CarlCanary and others.

@michaelspalter @eli_schein @annespalter How lovely is this?

Quiet Sunday browsing the incomparable Spalter Digital collection. A few favorites: Ben Laposky - Oscillon 1186 (1960) George Ness - Werkstatt Edition Kroll (1970) Duane Palyka - Strange Bird (1970)

@orlainberlin @postanika youtu.be/qdwZUufK7XQ?si…

@CathComputerArt @postanika Was this recorded? I would like to listen.

💭 Tomorrow, 19 November at 7 PM, I’ll be giving an online talk for the Computer Arts Society titled »Why are there so many great women artists in the Age of AI?« When I came up with the question more than six months ago, I had a very different talk in mind than the one it has become—due to recent events. 🎙️ Moderated by Catherine Mason (@CathComputerArt). Invited by Paul Brown and Geoff Davis (@microartsgroup).

@orlainberlin @postanika Recording now up! youtu.be/qdwZUufK7XQ?si…

@orlainberlin @postanika Yes, will post as soon as it’s edited 🙏

@Noahbolanowski Yes I’d say you’re correct. He went all around the country giving talks and showing work

I believe this is an exhibition for Lloyd Sumner — below is the Sheraton Motor Inn mentioned in the newspaper ad, from the same era.

Six Decades On, Digital Art Still Offers "Something Entirely Different." From The Richmond Times Dispatch, Dec 28, 1969.

@Noahbolanowski Nice!

Trapezes or lines? (1200%) by Vera Molnar, 1987-2014.

Issue 2 of @the_ai_art_mag is out now! I highly recommend this publication: my piece about women pioneers of digital art mentions @Joan99484094 @suegoll Mechthild Schmidt Feist, Ruth Leavitt and more! Thank you Simone and all at the magazine for having me 🙏

I’m showing this poster at the @computerartssoc exhibition "Drivers" at @bcs. Using early machine learning techniques, Ecogame was the first multiplayer digitally driven simulated 'game' in the UK. An historical precedent for using contemporary Al in a more human-centred way.

@Foundation_HWF @RtClick_Save @sashastiles @CaballeroAnaMa @pgervois @sudowrite 😀

Thanks for mentioning@HerbertWFranke. Finally, I found the original quote that Sasha mentioned in the text. "However tempting it may be to employ the computer for the generation of texts, computer poetry is undoubtedly the most difficult task of the computer in art. This is due to the fact that the human language is the most complicated communication system that we know, just as the human brain, which creates and receives language, is the most complex system, with which science has concerned itself until now. We are still far from understanding its function, and the exploration of language is still in its embryonic stage." It is from the first edition of "Computer Graphics - Computer Art" in 1971 (page 50) that will be re-published next year. @CathComputerArt

In one week, MoMA opens an exhibition of work by @sashastiles - congratulations on this massive achievement, Sasha!💚🥂🖤 Read more about Sasha, AI, poetry on the blockchain, and @theVERSEverse, which Sasha co-founded with @caballeroanama, @kaleniwamoto & @speciesofvalue 🧵👇

@TeleCulture Agreed, I use this a lot in my work!

A great find: Jack Burnham's "Beyond modern sculpture; the effects of science and technology on the sculpture of this century," 1968. Read this seminal book in the Internet Archive: archive.org/details/beyond…

@Noahbolanowski I hope he got one!

Early Digital Art Collector Robert Hendel in 1989: "I visualize that in 20 years, I will have in my home flat-panel displays with a lot of computer-generated art built with light, not paint. To me, that seems wonderful." From The Boston Globe, July 1, 1989.

Special offer from @SpringerNature 20% with this code: SPRAUT bit.ly/3xdOE58

My paper for Creativity & Cognition 2025, workshop on Explainable AI xaixarts.github.io/accepted-2025/…

@microartsgroup @postanika @hi_flynn @taex_com @MAE_TAEX Ooo good one!

My new robot AIMA said "Marina, your performances have always emphasized the raw vulnerability of physical presence and the exchange of energy between artist and audience. As artists increasingly create digital avatars that can perform infinitely without bodily limitations or fatigue, what do you believe is preserved or irretrievably lost in this translation from flesh to digital representation? And can the ritual power of performance—which you've explored throughout your career—ever truly manifest in spaces where bodies don't physically converge?"

I’ll be speaking with Marina Abramović about digital art and avatars. Flynn (@hi_flynn) has already given me their question for her. Does anyone else have a question for Marina Abramović?

In London this week? Come and hear a talk I’m giving Wednesday @BartlettArchUCL : ucl.ac.uk/bartlett/event…

Thanks James, so glad you enjoyed! 🙏😊 A Computer in the Art Room: the Origins of British Computer Arts 1950-1980 amzn.eu/d/13zCjjR