Sten Kallin

Sten Kallin was born in Sweden in 1928. He studied mathematics and physics at Uppsala University and later worked as a computer engineer with IBM Sweden in the 1960s, where he specialized in visualization and computing applications outside traditional commercial use. At a time when computers were large, inaccessible, and rarely screen-based, he acted as a bridge between emerging digital technology and fields ranging from textile design to art and zoology. His work with the IBM 1130 computer and 1627 drum plotter became the technical foundation for his collaborations.

Kallin collaborated with textile designer Astrid Sampe to explore how weaving patterns could be modeled through computing, creating visualizations that paralleled the structure of woven textiles. With artists Sture and Charlotte Johannesson, he helped develop early software capable of translating imagery between tapestry and digital graphics, producing some of the first Scandinavian works that fused computing with visual art. He also worked with zoologist Mats Amundin, using computer graphics to simulate animal vocalizations and behavior. These collaborations demonstrated Kallin’s belief that computers could serve as instruments of visualization, opening new possibilities for both design and science. His programming expertise allowed artists to move beyond the limitations of manual drafting and into algorithmic processes, while scientists could use his systems to model complex forms and patterns. Across these projects, Kallin’s focus on visualization shaped the experimental use of computing as an artistic and scientific tool, extending its role far beyond conventional business applications.

Kallin’s collaborations mark him as a central figure in Sweden’s early computer art movement. His contributions were presented in the 1970s at exhibitions of experimental computer graphics, including tendencies 5 in Zagreb, which brought together international pioneers of computer-based image-making. His technical partnership with Sture and Charlotte Johannesson became particularly significant, as their studio, often regarded as Sweden’s first digital art workshop, was built on the tools and methods he helped to create. His work has since been documented in historical surveys and revisited in exhibitions such as Pressure/Imprint at Malmö Konsthall and bit international at ZKM Karlsruhe, both of which highlighted his role in the early history of digital art. At a time when artists depended on access to rare and costly mainframe systems, Kallin provided the technical expertise that made new forms of digital experimentation possible. Kallin passed away in 1998.