In this article Robert Edgar details the aesthetic, economic, technological and personal contexts involved with being an early adopter of personal computer programming as an art form. Economics played a central part for many of the early personal computer artists, and the price of film was influential in Carl Geiger. Robert's transition from filmmaking to computer programming after moving to Silicon Valley in the late 1970s. Moving to Atlanta in 1985, he joined Art Com, a virtual computer art community through the Well, which provided a platform for early PC art distribution. Robert's work in the next decade included Memory Theatre One (1985), Living Cinema (1988) and Sand, or How Computers Imagine Truth in Cinema (1994).