Computer Nude (Studies in Perception I), 1967, was in fact the noted Minimalist dancer and choreographer Deborah Hay. Harmon and Knowlton were both engineers at Bell Labs, which was then pioneering techniques for digitizing photographs. They scanned a black-and-white print of Hay’s nude photo and algorithmically transformed it into a bitmapped image made of symbols approximating shades of grey. In addition to furthering Bell’s research into human pattern perception, their stated goals included developing “new computer languages which can easily manipulate graphic data” and exploring “new forms of computer produced art.” Yard’s Bend—which replaces Hay’s reclined, passive pose with her own vertical, active dancing—continues this experimental embrace of new languages and forms, suggesting new paths forward for the burgeoning movement of generative art, as well as for figuration in a digital age."> Computer Nude (Studies in Perception I), 1967, was in fact the noted Minimalist dancer and choreographer Deborah Hay. Harmon and Knowlton were both engineers at Bell Labs, which was then pioneering techniques for digitizing photographs. They scanned a black-and-white print of Hay’s nude photo and algorithmically transformed it into a bitmapped image made of symbols approximating shades of grey. In addition to furthering Bell’s research into human pattern perception, their stated goals included developing “new computer languages which can easily manipulate graphic data” and exploring “new forms of computer produced art.” Yard’s Bend—which replaces Hay’s reclined, passive pose with her own vertical, active dancing—continues this experimental embrace of new languages and forms, suggesting new paths forward for the burgeoning movement of generative art, as well as for figuration in a digital age."> Computer Nude (Studies in Perception I), 1967, was in fact the noted Minimalist dancer and choreographer Deborah Hay. Harmon and Knowlton were both engineers at Bell Labs, which was then pioneering techniques for digitizing photographs. They scanned a black-and-white print of Hay’s nude photo and algorithmically transformed it into a bitmapped image made of symbols approximating shades of grey. In addition to furthering Bell’s research into human pattern perception, their stated goals included developing “new computer languages which can easily manipulate graphic data” and exploring “new forms of computer produced art.” Yard’s Bend—which replaces Hay’s reclined, passive pose with her own vertical, active dancing—continues this experimental embrace of new languages and forms, suggesting new paths forward for the burgeoning movement of generative art, as well as for figuration in a digital age.">