Abstract

This article positions Andy Warhol as a model for computational thinking and art-making, linking him to concepts in new media art. Warhol's work is analyzed for its variability in form generation and output, both in painting and on the early Amiga computer. His work becomes a simulation of the abstraction of process and methods of production familiar to us in electronic computational art of today. Rather than seen as banal mass production on the modern assembly line, Warhol's work can be seen as inspiration for new media arts practitioners.

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