BETWEEN ZERO AND ONE (1988) by Monika Fleischmann and Wolfgang Strauss (MFWS) exemplifies generative art—an artistic practice where autonomous systems create ever-evolving visual forms through code—by exploring virtual space through systematic computational transformations of 3D geometric models. Initially sparked by an overload in CAD software during the planning of Hewlett-Packard's Berlin headquarters, the artists turned technical limitations into creative potential. Through deliberate manipulation of spatial coordinates and lighting parameters, they developed a method of digital distortion that challenges our perception of virtual space.
The transformation process introduces controlled disruptions into architectural and geometric models, creating a cybernetic interpretation of Brecht's alienation effect. As coordinates shift and forms dissolve, the work reveals the constructed nature of digital space while generating new spatial possibilities between binary states. Each transformation suggests alternative realities within the digital realm, where perfect geometry gives way to calculated imperfection. Recalling Paul Klee's concept of "drawing the line of thought," the geometric abstraction unfolds like a line on a walk, constantly shifting with each recalculation.
This pioneering series from the late 1980s demonstrates how computational methods can serve artistic expression. By systematically deconstructing 3D models through coordinate manipulation, MFWS created a visual language that bridges architectural precision and artistic abstraction. Their approach echoes broader generative art movements, particularly Vera Molnar's systematic reconfigurations of abstract expression, which paved the way for the digital era. The work continues to resonate with contemporary discussions about digital aesthetics, computational art, and the creative potential of systematic transformation.
