Image links to projects:

http://graphics8.nytimes.com/images/2007/04/20/arts/design/21lewi600.jpg

Drawing Series… by Sol LeWitt (Wall drawings at Dia: Beacon, NY)

Univers Revolved by Ji Lee (Three-dimensional alphabet)

On/Off by Hoax (Series of typographic experiments)

All The Dots, Document 1 by Alex Dipple (Conceptual Art)

Projects 94 by Henrick Olesen (Installation at MoMA, NY)

Letter Flow by Roi Sabarov (Four-dimentional typography)

Takeluma by Peter Cho (Sound symbolic alphabet)

Generative Typografie at UoAS Mainz, Germany

prototyp-0 by Yannick Mathey (Automated type design/ tool)

Process: Typeface by Randall Church (Generative Typography)

Lemniscate by Rosy Gorolova (Typeface)

Processing: Font code2 by Capo Luiz (Computational Typography)

one=1 by onebyone gallery (Installation)

FREE by Sean Martindale (Installation)

The Bubble Project by Ji Lee (Streetart)

http://toxi.co.uk/p5/base26

Because four-letter words have a special status in the English language and culture ‘base26′ was done to give an overview of (almost) all English four-letter words and to visualize their relations to each other.
Each point is a presentation for a four-letter-word with a position based on 4D coordinates for x,y,z and time. The colors indicate types of words and the wireframe surface depicts the frequency of occurence of letter combinations. (toxi.co.uk/p5/base26)

http://farm2.static.flickr.com/1326/1151971874_6d3bb7a0fa.jpg?v=0

The Swiss Leander Herzog created a broad range highly inspiring and visually appealing designs mostly implemented with processing. He also digitally fabricated certain pieces and experimented with a drawing machine. Moreover he applied code to font design akin the banner title for the ‘ars electronica’ in 2007.

http://farm3.static.flickr.com/2032/2302101434_9fb4ef79fb.jpg?v=0

Today Marius Watz exhibited and talked in [DAM]Berlin Gallery.
Marius Watz is known for his work and teaching in generative art. His visual works use drawing machines, software implementations, large-scale projections or plastics. Moreover he curates Generator.x - ‘a conference and exhibition examining the current role of software and generative strategies in art and design.’ This platform is addressed to those using code as a mean of creative expression whereas his blog documents his activities such as the recent Workshop around Computational Typography (which will end on Thursday 27. Nov.) Here he also provides a list of links as references and resources to ease creating computational typography.

http://www.flickr.com/photos/toxi/2635536163/

PostSpectacular realized the Print magazine August 2008 cover by designing and digitally fabricating a typographic sculpture using generative form giving. With this work they also indicated the changing scope of ‘print’. The process is part of the artwork and therefore documented as making-of on http://postspectacular.com/process/20080702_printmagcover

www.maedastudio.com/1996/gggkami/mori6.jpg
Some early work of John Maeda is done by Postscript programming. A series of posters show various examples.

http://bp0.blogger.com/_jQ3w5UYYX5A/RaIP1wox03I/AAAAAAAAAAM/LlqyguU-qRU/s320/RandomFontColorEffects.jpg

Just van Rossum and Erik van Blokland (LettError) built the Typeface Beowolf as their first ‘RandomFont’.
They apply random functions to the letterforms when printing. Thus you get an individual shape for each letter. Computer fonts are rather dynamic programs than static forms. The two designers admit that the random aesthetic here is not that appealing, but the project was “proof that fonts were no longer physical objects but instructions.” (Interviews 1: Print, p.170, Processing. A Programming Handbook for Visual Designers and Artists, 2007 MIT)
http://www.letterror.com/content/nypels/randomfont.html