Yarn Drawing No. 16 by Sonya Rapoport and Charles Simmonds, 1976.
“Rapoport imposed what she called a “feminist art language code” on salvaged mainframe printouts, stitching them together like pieces of a patchwork quilt with rainbow yarn that she laced through the paper’s pinfeed holes.” >> artinprint
Splendid by Larry Coryell & Philip Catherine, 1978. h/t Takashi Kawano
Vera Molnar, Lignes parallèles (Cycle ‘A la recherche de Paul Klee’), 1971, Centre Pompidou, Paris (photo: Georges Meguerditchian) via writing-machines
The first image shows a ROM-dump of the font in the legendary terminals VT100 and VT220. The second image is a representation of how they appear on screen. The difference is more than just aspect ratio. Look at letters like q and p: pixels are sometimes doubled, sometimes tripled. The fascinating explanation is here.
Self portrait by Janez Loger, 1971.
Works by Andre Krayewski (Andrzej Krajewski), 1970s and 1980s. h/t Marcin Przyłęcki.
Computer – Come and Dance (1977). ASCII art in the disco era. Includes the hit Nobody loves a computer because a computer does not dance. h/t: David Viens.
Notation (?) for Yannis Xenakis’ Le Diatope from 1978 that merges sound, light, color and architecture during live performances. h/t Tim Koch
The three TRS-80 models had no less than 22 different fonts in total (top image), available in Rebecca Bettencourt’s font pack Another Mans Treasure. Shown here are the international fonts from TRS-80 Model 4, and Rebecca’s additions in the last image.
