I approach the computer from the perspective of a 
painter and printmaker.  From l971 onward, working at Stanford 
University's Artificial Intelligence Laboratory with a 
DEC PDPl0 computer and later at home
with a Tandy TRS80 microcomputer,
I've tried to incorporate computer work into my lyrical style
rather than to utilize the computer's geometric or random number potential.
Portrait images are entered via computer-directed video
camera.  The people are portrayed in their everyday high tech 
work settings, surrounded by computers and robots.
The input in each case is one of my mezzotint, a meticulous l8th century etching technique currently regaining currency
among printmakers.  The images are codified by an edge-finding
program, then
transformed by changing number coordinates, and later serialized.
Editing and layout are done at the display screen.  The 
output, hundreds of short line segments, is produced as
line drawings by a computer-operated electrostatic printer.
Fonts chosen from computer type setting libraries present
original poems as an integral part of the design.
Opaque copy is transformed into positive film copy 
which is exposed as line on a photo sensitive zinc etching plate.  
After photo development these lines are bitten in the same
manner as a needled etched line.  The plate is enriched by
traditional etching techniques and printed by an intaglio press 
on fine rag paper.  Computer environments have their special ambiance 
of human personalities, hardware, software, and something else in the air:
perhaps these etchings will convey that essence to the viewer.