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Catherine Mason

@cathcomputerarthistory

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Historian of computer art, author of books on history of digital & computational art. Visiting Research Fellow @gold.computing.

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Please come to our star studded symposium, open to the public all day today 11-6pm.

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I am honored that my image called "The Violist" from 30 years ago (1996) is also in the Anne & Michael Spalter Digital Art Collection. It lives as an artifact in print media made in 2002.

https://spalterdigital.com/
https://spalterdigital.com/artworks/427

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My print called "Sunburst Couple" from 1999 is currently featured on the front page of the Spalter Digital Art Collection. https://spalterdigital.com/

Heartfelt thanks to Anne and Michael Spalter!

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It is indeed an honor to have my upcoming artist’s talk at Goldsmiths University, London (October 6, 2026) mentioned in the News section of the Anne & Michael Spalter Digital Art Collection.

https://spalterdigital.com/news

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I am honored to be presenting a talk about my work at Goldsmiths University, London on October 6, 2026, at 6pm. It is co-sponsored by the Computer Art Society, and hosted by art historian, Catherine Mason.

https://computer-arts-society.com/events/victor-avecedo-catherine-mason-goldsmiths-oct-2026.html

I’m excited and very much looking forward to it. If you happen to be in London that day please attend, if you can.

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I stubbled across a couple of works by the generative art pioneer Vera Molnár in the City of Rennes main art gallery

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“Brought back from the limbo of early media art”, this is how Dr Anna Olszewska (art historian, curator and head of the Re:Senster programme at AGH University of Krakow) describes the condition of Senster. After its original display at the Evoluon in Eindhoven from 1970 to 1974, the work remained out of public view for a long time. Following its reactivation at AGH in 2018 and a recent presentation in Rotterdam in 2023–2024, it is now stored in crates at AGH University of Krakow, where it is being studied within the Re:Senster Lab and prepared for a possible future presentation.

Senster, Edward Ihnatowicz’s large-scale cybernetic sculpture, was developed in the late 1960s and installed in 1970 for Philips’ Evoluon exhibition space; it is often described as one of the first computer-controlled robotic sculptures. In her article A-Life and AI, Catherine Mason (art historian and writer specialising in the history of computer and digital art) places Senster within a broader history of cybernetics, artificial life and machine behaviour, opening connections to artists such as Paul Brown, William Latham, and Christa Sommerer and Laurent Mignonneau. From this perspective, she links the work to questions of emergent behaviour and to ideas of intelligence that are not contained in a single system, but unfold between humans, machines and their environments.

Thank you so much to Anna Olszewska and to Catherine Mason for sharing their thoughts and knowledge on this piece, and for allowing us to publish this short video, which we are very happy about. It opens very interesting questions like: what do we see in a machine when it begins to respond to us, and how has that perception shifted over the past fifty years? We are very much looking forward to the day when Senster can be experienced in person again.

Catherine Mason @cathcomputerarthistory
AGH University of Krakow @agh.krakow
Evoluon @nextnaturemuseum

#senster #resensterlab #lostandfound #mediaarthistory

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Many thanks to Zafer Bilda, creator of Creative Symbiosis for including my systems artworks in his research on artists who work with AI.

www.creative-symbiosis.org

Creative Symbiosis draws on the lived experiences of 35 international artists working with AI across music, visual art, design, film, and performance. Ten themes emerged from our conversations with 35 international artists working with AI. They map the patterns running through how practitioners actually use these systems, where current tools fall short, and what genuine creative partnership with AI could become. Together they form the spine of the forthcoming book.

You can read my interview here:

https://creative-symbiosis.org/interviews/angela-ferraiolo

You'll find a lot of familiar names on the site. I fall between

Alex May @alexmayarts and
Anya Macdougall @pixel.anya

Thanks also to @cathcomputerarthistory

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Today, machines and algorithms in human life are already ready for ascension, yet still remain suspended.
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#AIArt #ContemporaryArt #PostInternetArt #DigitalArt NewMediaArt

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The Universe in a Grain of Sand is now available to book for screenings on Kinema! Have a group that might be interested in the film? A class? A company event? Virtual and in-person, with possible Q&A's. https://kinema.com/films/the-universe-in-a-grain-of-sand-x9zdpx

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Delighted to be featured in Catherine Mason's great "A-Life and AI" article in the new edition of The AI Art magazine, covering the relationship of historical Artificial Life art to current AI Art. Featuring the work of Edward Ihnatowicz, Paul Brown, William Latham, Christa Sommerer & Laurent Mignonneau.
Image: Mutation Y1 on the Blue Plane of Infinity Raytraced (zapxcov). William Latham 1992. Software Mutator and FormGrow in collaboration with Stephen Todd at The IBM UK Scientific Centre in Winchester, UK.
Magazine Cover image by Sougwen Chung.
#art #aiart #HumanAICollaboration #londonexhibitionss #GoldsmithsUniversityofLondon #digitalart #computergraphics #ModernArt #GenerativeAII #londongeometry #computerart #london #brighton #generativeaiart #SIGGRAPH
#3dmodeling #conceptart #vrart #mutation #IBM #artmagazine

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