OPUS 1966
Eric Andersen
1966
OPUS 1966
Fullscreen
PAUSE
00:00
Eric Andersen (b. 1940) is a Danish artist and pioneering figure of intermedia art associated with Fluxus. His Opus 1966 is an early computer-generated artist's book and conceptual project produced in collaboration with the Danish ...
Read more
OPUS 1966
Eric Andersen
1966
The Danish institute Regnecentralen
Unpaginated [24 pages]
22.5 × 15.5 cm

Eric Andersen (b. 1940) is a Danish artist and pioneering figure of intermedia art associated with Fluxus. His Opus 1966 is an early computer-generated artist's book and conceptual project produced in collaboration with the Danish computing institute Regnecentralen using an RC 4000 computer.


Part of Andersen's long-running Opus series, the work is a proto-form of artificial intelligence and consists of folded sheets printed with a computer-generated table of English words arranged by frequency, followed by a list of potential applications for this data. Combining algorithmic processes, visual poetry, and open-ended instruction, Opus 1966 embodies Andersen's exploration of chance and the translation of Fluxus strategies into computational media.


As Andersen explains in his interview with Hanna B. Hölling in “Activating Fluxus, Expanding Conservation” (2026), he has long preferred the term intermedia to Fluxus, emphasizing the fluidity of works that move across artistic disciplines and are continually transformed through collaboration. Reflecting this approach, he later reimagined Opus 1966 as a performative choral composition with a computer singing songs.

The Danish institute Regnecentralen
Unpaginated [24 pages]
22.5 × 15.5 cm

Eric Andersen (b. 1940) is a Danish artist and pioneering figure of intermedia art associated with Fluxus. His Opus 1966 is an early computer-generated artist's book and conceptual project produced in collaboration with the Danish computing institute Regnecentralen using an RC 4000 computer.

Part of Andersen's long-running Opus series, the work is a proto-form of artificial intelligence and consists of folded sheets printed with a computer-generated table of English words arranged by frequency, followed by a list of potential applications for this data. Combining algorithmic processes, visual poetry, and open-ended instruction, Opus 1966 embodies Andersen's exploration of chance and the translation of Fluxus strategies into computational media.

As Andersen explains in his interview with Hanna B. Hölling in “Activating Fluxus, Expanding Conservation” (2026), he has long preferred the term intermedia to Fluxus, emphasizing the fluidity of works that move across artistic disciplines and are continually transformed through collaboration. Reflecting this approach, he later reimagined Opus 1966 as a performative choral composition with a computer singing songs.

DESCRIPTION

Eric Andersen (b. 1940) is a Danish artist and pioneering figure of intermedia art associated with Fluxus. His Opus 1966 is an early computer-generated artist's book and conceptual project produced in collaboration with the Danish computing institute Regnecentralen using an RC 4000 computer.

Part of Andersen's long-running Opus series, the work is a proto-form of artificial intelligence and consists of folded sheets printed with a computer-generated table of English words arranged by frequency, followed by a list of potential applications for this data. Combining algorithmic processes, visual poetry, and open-ended instruction, Opus 1966 embodies Andersen's exploration of chance and the translation of Fluxus strategies into computational media.

As Andersen explains in his interview with Hanna B. Hölling in “Activating Fluxus, Expanding Conservation” (2026), he has long preferred the term intermedia to Fluxus, emphasizing the fluidity of works that move across artistic disciplines and are continually transformed through collaboration. Reflecting this approach, he later reimagined Opus 1966 as a performative choral composition with a computer singing songs.

The Danish institute Regnecentralen
Unpaginated [24 pages]
22.5 × 15.5 cm

Eric Andersen (b. 1940) is a Danish artist and pioneering figure of intermedia art associated with Fluxus. His Opus 1966 is an early computer-generated artist's book and conceptual project produced in collaboration with the Danish computing institute Regnecentralen using an RC 4000 computer.

Part of Andersen's long-running Opus series, the work is a proto-form of artificial intelligence and consists of folded sheets printed with a computer-generated table of English words arranged by frequency, followed by a list of potential applications for this data. Combining algorithmic processes, visual poetry, and open-ended instruction, Opus 1966 embodies Andersen's exploration of chance and the translation of Fluxus strategies into computational media.

As Andersen explains in his interview with Hanna B. Hölling in “Activating Fluxus, Expanding Conservation” (2026), he has long preferred the term intermedia to Fluxus, emphasizing the fluidity of works that move across artistic disciplines and are continually transformed through collaboration. Reflecting this approach, he later reimagined Opus 1966 as a performative choral composition with a computer singing songs.

MORE BOOKS

Eric Andersen (b. 1940) is a Danish artist and pioneering figure of intermedia art associated with Fluxus. His Opus 1966 is an early computer-generated artist's book and conceptual project produced in collaboration with the Danish computing institute Regnecentralen using an RC 4000 computer.

Part of Andersen's long-running Opus series, the work is a proto-form of artificial intelligence and consists of folded sheets printed with a computer-generated table of English words arranged by frequency, followed by a list of potential applications for this data. Combining algorithmic processes, visual poetry, and open-ended instruction, Opus 1966 embodies Andersen's exploration of chance and the translation of Fluxus strategies into computational media.

As Andersen explains in his interview with Hanna B. Hölling in “Activating Fluxus, Expanding Conservation” (2026), he has long preferred the term intermedia to Fluxus, emphasizing the fluidity of works that move across artistic disciplines and are continually transformed through collaboration. Reflecting this approach, he later reimagined Opus 1966 as a performative choral composition with a computer singing songs.

MORE BOOKS