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Description
Computer graphics (as a visual style used with music and audiovisual culture) consists of images and motion built entirely through computation—mathematical functions, procedural rules, and code rather than lenses or physical drawing.
Its hallmark is the generation of geometric forms, algorithmic textures, particle systems, fractals, point/line/mesh abstractions, and shader-based effects that evolve over time. In music contexts, these visuals are often synchronized to sound, yielding reactive patterns, beat-synced transformations, and spectrum-driven animations.
History
Early computer art arrived alongside mainframe computing. Plotters, oscilloscopes, and film recorders enabled pioneers such as John Whitney and colleagues at Bell Labs to translate mathematical relationships into moving imagery. The spirit echoed abstract and "absolute" film traditions—pure motion, light, and form without narrative—now realized through algorithms and punch cards.
University labs and graphics research centers refined raster graphics, 3D pipelines, and rendering. Artists like Lillian Schwartz, Charles Csuri, Vera Molnár, Manfred Mohr, Frieder Nake, and Larry Cuba established a language of generative forms: rule-based compositions, algorithmic linework, and parametric motion. As personal computers spread, artists used early desktop tools and programming environments to compose visuals that could be edited or rendered to film and later to video. In parallel, electronic and experimental music communities began projecting computer visuals in concert halls and clubs.
Open-source toolkits (Processing/p5.js), shader programming (GLSL), node-based environments (TouchDesigner, vvvv), and creative coding ecosystems brought live performance to the forefront. Artists and VJs synchronized visuals with electronic music, building audio-reactive pieces for festivals, installations, and club culture. Contemporary practice spans minimal data-visual aesthetics, dense glitch and shader art, and large-scale machine-learning-driven visualizations—frequently presented as immersive, musically synchronized experiences.
