Armed with this knowledge, Molnár went on to create pieces including Interruptions (1969) and Structures of Squares (1974) which were later acquired by the V&A, making her the first female computational artist in the collection. In 1968, she gained access to a university research lab at the Sorbonne where she taught herself the FORTRAN programming language, a type of coding particularly used in scientific and engineering contexts. In work pre-dating the computer, she used analogue algorithms or 'machine imaginaire' to create colourful abstract geometric images by following a set of pre-determined compositional rules. In 1960, she co-founded the Groupe de Recherche d'Art Visuel to investigate collaborative approaches to mechanical and kinetic art alongside artists such as Julio Le Parc. These initial encounters with Op art had a deep influence on the composition and geometric aesthetic of Molnár's work. After moving to Paris in 1947, she met Op artists including Jesus Rafael Soto and Victor Vasarely. Hungarian artist Vera Molnár started her career at the Budapest College of Fine Arts. These collective efforts contributed to shaping today's technologies and their aesthetic qualities.
Typically identified as a close collaboration between computer and artist, digital art, in fact, grew out of partnerships between scientific labs and artists eager to gain access to new technological mediums. While artists were keenly interested in innovations such as radars, microwaves and computers, the rich potential of modern technologies as tools in art only began to be explored as access increased in the 1950s and beyond. World conflict too led to the unprecedented movement of people and exchange of ideas and set in motion conditions for what was to become an increasingly globalised society. Movements such as Modernism, Futurism, Abstraction and Op art responded to the rapid evolution of transport and communications systems, and to new scientific discoveries made as a consequence of war. Conceptually, the origins of digital art can be traced back to ideologies present in the avant-garde art movements of the first half of the 20th century.
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