In the late 1960s, you know, one of the original computer nerd squads, a bunch of teenage computer whizzes from Princeton, New Jersey banded together. Instead, they created a one-of-a-kind artists collective, the RESISTORS. CAA Board of Directors Members – Chuck Ehrlich, Gail Warner, Daryl Bailey & Barry Klein. Their differences melted away as they bonded over a mutual love of all things tech and creative. In late 1966, Ehrlich and a dedicated group of self-proclaimed “brainy social outcasts” started on an intrepid venture. So, they looked for the place where they could dive into their combined passions. As it turned out, the coalition found one of its most surprising allies in Claude Kagan. To that end, he graciously opened the doors of his barn to further their work.
The RESISTORS’ project space soon developed into an early computing technology incubator, attracting a steady flow of hackers and entrepreneurs. They borrowed an acoustic coupler—a precursor to the modern computer modem—to connect to a nearby payphone, allowing them to communicate and share ideas in ways that were previously inaccessible. As important as Kagan’s physical space was, the mentorship he provided was even more indispensable. At the same time, the young people started shouldering the upkeep of the barn and electricity bills.
Nat enlisted in the movement Octet after visiting an open house at the Princeton Junior Museum in February 1968. That’s when their creative dreams really blossomed! This was quite a turning point for the RESISTORS. They did so by expanding their membership and, more importantly, their influence within the growing local community.
The Art of Computing
Operating on a DEC PDP-8 machine, the RESISTO RS ran their experimental programs. They programmed the machine via teletype over phone lines in a programming language called TRAC (Text Reckoning And Compiling) which had been developed by computer scientist Calvin Mooers in 1959. This new platform opened the door to explore a myriad of artistic projects that fused technology and creativity.
One of their most well-known pieces was “Trigonal Ballet,” a computer program that created graceful, dancing triangles on the screen. This innovative piece exemplified the intersection of art and technology, showcasing how computing could be used to create visual art. An equally important project was “Conceptual Typewriter,” created for conceptual artist Carl Fernbach-Flarsheim. The RESISTORS created a close reading of the I Ching as part of their programming process. This decision is a demonstration of their ambition to illuminate more unusual approaches in their artistic practice.
The RESISTORS also collaborated with Ted Nelson and programmer Ned Woodman on a piece titled “Labyrinth,” which Nelson described as “the first public demonstration of a hypertext system.” Taken together, this work unveiled the possibilities that could exist through digital interconnectivity and vastness. This concept eventually became key in the creation of the internet we know today.
“Some people are too proud to ask children for information. This is dumb. Information is where you find it.” – Ted Nelson
Exploring New Frontiers
The RESISTORS were enthusiastic about the hands-on, interactive activities. They looked at what conceptual artists can teach other people about emerging computing technologies and how they should be used. Their mission focused on ideas like “real-time computing” and “interactivity,” which felt radical and revolutionary for the time period. Through inserting and engaging these ideas into private gallery spaces, they pushed back against more traditional definitions of art and who an audience should be.
Their exploration did not go unnoticed. Even as they continued to push the limits, they earned the respect of artists and technologists alike who recognized the value in their experimental and forward-thinking ways. It was the group’s commitment to experimentation that piqued the curiosity of their peer cohort. Along the way, it garnered praise from important voices in the art world.
John R. Levine reflects on this era with nostalgia, stating, “We were so nerdy that it didn’t occur to us that girls [would] be any different in terms of what they could do.” This perspective highlights both the innocence and ambition of youth during a transformative period in technology and art.
“The future of mankind was at the computer screen,” – Ted Nelson
The Impact and Legacy
The RESISTORS’ artistic contributions to early computer art have left an indelible mark on both the tech and art communities. Their trailblazing spirit ignited the same passion in others. More than that, it opened the door for future generations to walk through and discover the thrilling intersection of technology and creativity.
As they engaged with complex ideas and advanced techniques, they created a body of work “interconnected in such a complex way that it could not conveniently be presented or represented on paper,” as noted by Ted Nelson. This claim marks the beginning of their innovative philosophy toward the craft as well as the field of technology.