In the 1960s, a talented batch of young creative disruptors known as the RESISTORS flooded gates. They were often the unsung heroes behind the growing force of computer programming in its infancy. Claude Kagan headed this group, building a culture of collaboration. He motivated a generation of high schoolers to explore the fabulous universe of tech. The RESISTORS used a DEC PDP-8 computer as an “artistic weapon” in their campaigns. This essential piece of hardware allowed them to execute punchcard programs through teletype over telephone lines. As they navigated a rapidly changing technological landscape, their approach to education was rooted in an African American motto: “Each one, teach one.”
Kagan’s leadership allowed the RESISTORS to use the latest technology. They were all gifted a PDP-8, counting on the very generous donation of Digital Equipment Corp., worth $15,000 and up. This access came just as the cohort began to evaporate. Promising new developments were just around the corner. Even with these formidable setbacks, the RESISTORS created a fun, supportive, cooperative creative climate that inspired risk-taking and innovative ideas to grow.
The Technological Environment of RESISTORS
They interfaced with the system through teletype machines, that hooked into the network over regular commercial phone lines. This arrangement didn’t just enable beautiful programming, it gave club members the opportunity to start exploring technology in an experiential way.
Kagan’s decision to allow teens to dial in to his employer’s DEC PDP-8 machine was revolutionary. He understood that firsthand experience with the practical applications in the world of computing was critical to education. New members’ first challenge is learning TRAC (Text Reckoning And Compiling). This beginner-friendly programming language is the perfect tool to help them write their first-ever programs.
“If you want to teach someone how to do something, you had to let them sit at the keyboard.” – Unnamed RESISTOR
Kagan’s own deep knowledge of advanced computer languages like Fortran and BASIC added to the exciting learning environment. As members became more adept at programming, they paid their dues by helping maintain the hackerspace and thus helping cover the space’s electricity bills. This internal ownership and responsibility was critical to the success of this initiative.
Creative Contributions and Collaborations
One of the more ambitious projects created by the RESISTORS was “Conceptual Typewriter,” coded to allow conceptual artist Carl Fernbach-Flarsheim. This project beautifully demonstrated the power of merging art and technology. It demonstrated what’s possible when you let programming be a powerful vehicle for creative expression. Similarly, Agnes Denes, another conceptual artist, collaborated with the group to code a minicomputer for her piece “Trigonal Ballet,” which animated triangles on a screen.
While the RESISTORS were collaborating with in-person artists, they were embedding with computers off-site to tap into more sophisticated programs. One major program they used was Joseph Weizenbaum’s ELIZA chatbot. This exchange highlighted the delegation’s creative spirit. They are always collectively doing everything they can to stretch the limits of the tech world in the world of art.
“The future of mankind was at the computer screen.” – Ted Nelson
The synergy between technology and art was not merely an aesthetic pursuit. It represented a broader vision for how computers could revolutionize communication and creativity. The RESISTORS weren’t just programmers, they were ambassadors to a future cultural landscape defined by how emerging technology could be harnessed to reimagine convention.
The Philosophical Underpinnings of Learning
The RESISTORS’ pedagogical philosophy was shaped by, and predicted on, the foundation of shared knowledge. This approach resonates with Ted Nelson’s perspective on information dissemination:
“Some people are too proud to ask children for information. This is dumb. Information is where you find it.” – Ted Nelson
This was the kind of ethos the RESISTORS embodied, allowing for a culture of sharing and learning that gave every member wings. Their relationships were focused on co-creating, trying new things, and their mutual dedication to learning.
Jean Hunter, an active participant in the cohort, summarized her feelings eloquently. She simultaneously likened the experience of operating a machine to Arb’s concept of social time-sharing. The idea was rooted in the belief that technology can help encourage shared learning experiences and community building instead of separating people through screens.
Despite their fading presence as a group in light of emerging technological advancements, the RESISTORS left an indelible mark on the landscape of computer programming and education. Through their socially-engaged technological and artistic practices, their contributions help fill the spaces between technology, art, and social pedagogy.