Prosthetic Knowledge Picks: Computational Sculpture Before 3D Printing

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The latest in an ongoing series of themed collections of creative projects assembled by Prosthetic Knowledge. This edition brings together works dealing with early computational sculpture, looking at objects designed and fabricated with the computer. Add your suggested additions in the comments below.

 Isa Genzken holding one of her Hyperbolos in her studio in Düsseldorf, 1982. 

As with all fields of the arts, the role of computing in the field of sculpture and form-fabrication is rapidly growing. 3D printing is the most obvious example, with its now familiar method of taking a 3D design file and producing a physical object to match, line upon line from the supporting surface upwards. Also, with the assistance of programmable electronics, installations of arranged matter can be maneuvered into various forms and performances, receptive to local stimuli or external data, all of which is connected to an out-of-range laptop orchestrating the spectacle. 

For this submission, though, the aim is to explore some of the earliest examples of computing and sculpture, by artists who were in a position to explore the potential in an at-the-time esoteric field. These artists glimpsed the possibilities and problems that emerge when the object becomes a digital entity, long before the rise of 3d printing.

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