Tan Mu’s OXO (2021) revisits a pivotal moment in the history of human-computer interaction, drawing inspiration from OXO, one of the earliest video games, developed by Alexander Shafto Douglas in 1952. This game, a digital simulation of tic-tac-toe, was created on the Electronic Delay Storage Automatic Calculator (EDSAC), one of the first stored-program computers. Tan Mu’s painting captures the aesthetic of the early cathode-ray tube (CRT) displays used in OXO, where game states were visualized through a grid of illuminated dots. The minimalist yet highly structured composition of OXO echoes the rudimentary graphics of the original game while highlighting the fundamental principles of computation, logic, and the visual language of early digital interfaces. Through this work, Tan Mu reflects on the evolution of human-machine communication, tracing its origins from one of the first computer games to contemporary digital interfaces. By reinterpreting OXO as a painted image, she bridges historical technological milestones with artistic expression, emphasizing the persistence of interactive logic and its profound impact on the digital landscape.

Q: Can you talk about the inspiration and background of this work?

Tan Mu: This work is inspired by a pivotal moment in early computing history, particularly the development of OXO. OXO was an early computer game in which players moved a cursor to complete a tic tac toe pattern, winning by aligning three marks in a row. It functioned as one of the earliest experiments in human computer interaction. Instead of a mouse or keyboard, users controlled the cursor through buttons and a rotary dial, inputting commands that the computer processed through logical calculations.

This simple input and feedback system laid the groundwork for modern interactive interfaces. The green dots in the image symbolize the cursor’s position, marking points of user input within the system. Although the interface was extremely minimal, it represented the beginning of a new relationship between humans and machines. For me, this moment marks the birth of interaction as we understand it today.

Q: Why are you interested in the development of early games, and how does this relate to your exploration of technology?

Tan Mu: The evolution of games closely mirrors the evolution of technology itself. From paper and pencil games like tic tac toe, to OXO, and eventually to contemporary virtual reality environments, games have continuously extended human sensory experience. While OXO was limited to simple pixelated imagery on a CRT screen, it established the foundations of visual interaction and real time feedback.

Over the course of roughly seventy years, gaming has transformed from basic graphical systems into immersive, multi sensory environments. Today, games engage vision, sound, movement, and even spatial awareness, blurring the boundary between virtual and physical experience. This progression fascinates me because it reflects how technology reshapes perception. The evolution of gaming is not simply about increased computational power. It is about expanding how humans interact with and experience digital space.

Q: In your Signal exhibition, OXO is displayed alongside No Channel. What is the significance of this pairing?

Tan Mu: In the exhibition, I placed OXO next to No Channel because they share a similar visual structure and scale. Both works use square formats with circular central elements, referencing the visual language of screens and functional interfaces. Although their subject matter differs, they both examine early moments in computing history and the aesthetics of technological systems.

By positioning these works together, I wanted to create a dialogue between interaction and interruption. One represents the emergence of communication between humans and machines, while the other reflects moments of disconnection and signal loss. Together, they highlight both the optimism and fragility embedded in technological development.

Q: How do you understand the relationship between functional design and aesthetics in this work?

Tan Mu: The relationship between function and aesthetics is central to my practice. Early computing interfaces like OXO were designed with strict functional constraints, yet they produced a distinctive visual language. Through experimentation and necessity, these minimal systems eventually shaped the interfaces we now consider intuitive and familiar.

I am drawn to this type of functional aesthetic. Many of my works contain symbols, numbers, or simplified graphic forms that evoke collective memory. These elements feel familiar because they are embedded in our shared technological history. Through painting, I aim to examine how function gives rise to form, and how design decisions rooted in necessity can evolve into powerful visual and cultural symbols.