COMPUTER ART. REICHARDT, JASIA; curator. Cybernetic Serendipity: The computer and the Arts. (portfolio and catalogue). London: Motif Editions, 1968. 7 'lithographs' (color inkjet prints), (755 x 502 mm. or the reverse); and colophon page which is smaller. Housed in the original shipping box along with a copy of the exhibition catalog. The prints are as follows: 1. Computer Technique Group (CTG), Return to Square. 2. Charles Csuri & James Shaffer, Random War. 3. William Fetter, Human Figure. 4. Kerry Strand, The Snail. 5. Donald K. Robbins, 3D Checkerboard. 6. Maughan Sterling Mason, Asymmetry. 7. Computer Technique Group (CTG), Untitled. FIRST AND ONLY EDITION of the portfolio. Published in the high summer of 1968, the Cybernetic Serendipity portfolio stands as a foundational monument to the birth of digital and generative art. While the landmark exhibition at the ICA captured the public imagination with interactive cybernetic sculptures and computer-generated music, this accompanying lithographic portfolio-produced by the visionary Motif Editions-served to preserve and codify the visual vanguard of the movement. From August 2 to October 20, 1968, Cybernetic Serendipity: The Computer and the Arts was exhibited at the Institute of Contemporary Arts in London, curated by British art critic, editor, and Assistant Director of the Institute of Contemporary Arts Jasia Reichardt, at the suggestion of Max Bense. This was the first widely attended international exhibition of computer art, and the first exhibition to attempt to demonstrate all aspects of computer-aided creative activity: art, music, poetry, dance, sculpture, animation. The portfolio elegantly marries structural mathematics, mainframe engineering, and artistic intent. Among the definitive works included is the iconic Return to Square by Tokyo's Computer Technique Group (CTG), which presents an early, haunting algorithmic metamorphosis of a human profile dissolving into a geometric abstraction. Charles Csuri's Random War utilizes early random-number software to comment on the clinical abstraction of automated conflict, while William Fetter's Human Figure (generated at Boeing via an IBM 7094 mainframe) represents a seminal genesis point for computer-aided design (CAD) and 3D modeling. For the catalogue of the show Reichardt edited a special issue of Studio International magazine, consisting of 100 pages with 300 images, publication of which coincided with the exhibition in 1968. The color frontispiece reproduced a color computer graphic by the American John C. Mott-Smith 'made by time-lapse photography successively exposed through coloured filters, of an oscilloscope connected to a computer' (quoted from the exhibition catalog, p. 5). The cover of the special issue was designed by the Polish-British painter, illustrator, film-maker, and stage designer Franciszka Themerson, incorporating computer graphics from the exhibition. Reichardt, J. (Ed.). Cybernetic serendipity: The computer and the arts (Studio International Special Issue). Studio International Foundation, London, 1968 p. 5. For further information on this lot please visit Bonhams.com For further information about this lot please visit the lot listing