Regularity

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[Suggest making a possible “Doppelganger” section of the chapter and include the Truchet variation here]

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While the 10 PRINT program came out of the computer culture and not the art world, it has an uncanny visual resemblance to prior works of twentieth century art. The earliest related work we've tracked down is by Paul Klee, a Bauhaus professor and eminent artist. In his influential short book Pedagogical Sketchbook, Klee discusses… In ?? he implemented these ideas ??

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While the 10 PRINT program came out of the computer culture and not the art world, it has an uncanny visual resemblance to prior works of twentieth century art. The earliest related work we've tracked down is by Paul Klee, a Bauhaus professor and highly influential artist of his time (1879–1940). In his concise Pedagogical Sketchbook, Klee discusses… In ?? he implemented these ideas in Variations (Progressive Motif), painted in 1927. He divided the 40cm square canvas into a grid of 9 units. Each unit contains pattern of parallel lines, with some exceptions, that run vertical, horizontal, or diagonal. The painting has a very hand-drawn quality with wavy lines and the density of each pattern of lines is irregular. Despite it's intended imperfections, ???

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In 1968, the American conceptual artist Sol LeWitt starting making drawing directly on walls, rather than on paper or canvas that would be placed on the wall. In this return to the scale of frescos, his drawings within grids integrated into architecture to transform the space. His Wall Drawing 291 from 1976 is a striking work, with a strong similarity to 10 PRINT. Instead of the binary decision within 10 PRINT, LeWitt's drawing allows for horizontal and vertical lines, to create four choices for each grid element. Also like 10 PRINT, LeWitt's work is encoded as an algorithm. Unlike 10 PRINT, the instructions are in English, rather than BASIC:

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In France, a group of likeminded artists within and around GRAV (Groupe de Recherche d'Art Visuel) were exploring variations within grids. Francois Molnar and Vera Molnar worked on a series of images in 1959 which presented a visual system strikingly similar to 10 PRINT. In 1959, their in his essay ??, published in ??. [MORE]

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Across the Atlantic in the 1960s the American artist Sol LeWitt embarked on decades of work exploring grids and regular structures. In 1968, LeWitt starting making drawings directly on walls, rather than on paper or canvas that would be placed on the wall. In this return to the scale of frescos, his drawings within grids integrated into architecture to transform the space. His Wall Drawing 291 from 1976 is a striking work, with a strong similarity to 10 PRINT. Instead of the binary decision within 10 PRINT, LeWitt's drawing allows for horizontal and vertical lines, to create four choices for each grid element. Also like 10 PRINT, LeWitt's work is encoded as an algorithm. Unlike 10 PRINT, the instructions are in English, rather than BASIC:

291. A 12” (30cm) grid covering a black wall. Within each 12” (30cm) square,

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This grid-based wall drawing wasn't an isolated work within LeWitt's output. He created dozens of similar drawings, each with slightly different rules and allowing for varied lines including arcs and dotted lines.

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Francois Molnar, a member of GRAV and the husband of artists Vera Molnar (see p. ?? Note: we need to insert her within the Random chapter) presented a visual system strikingly similar to 10 PRINT in his essay ??, published in ??. [MORE]

Despite their visual similarity, all of the works discussed are fundamentally different from 10 PRINT because they are static. In the next section, we'll introduce another additional precedent for 10 PRINT related to its temporal and generative properties.

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@@ Line 62: / Line 62: @@
 [Suggest making a possible “Doppelganger” section of the chapter and include the Truchet variation here]
-While the 10 PRINT program came out of the computer culture and not the art world,  it has an uncanny visual resemblance to prior works of twentieth century art. The earliest related work we've tracked down is by Paul Klee, a Bauhaus professor and eminent artist. In his influential short book Pedagogical Sketchbook, Klee discusses… In ?? he implemented these ideas ??
+While the 10 PRINT program came out of the computer culture and not the art world,  it has an uncanny visual resemblance to prior works of twentieth century art. The earliest related work we've tracked down is by Paul Klee, a Bauhaus professor and highly influential artist of his time (1879–1940). In his concise Pedagogical Sketchbook, Klee discusses… In ?? he implemented these ideas in Variations (Progressive Motif), painted in 1927. He divided the 40cm square canvas into a grid of 9 units. Each unit contains pattern of parallel lines, with some exceptions, that run vertical, horizontal, or diagonal. The painting has a very hand-drawn quality with wavy lines and the density of each pattern of lines is irregular. Despite it's intended imperfections, ???
-In 1968, the American conceptual artist Sol LeWitt starting making drawing directly on walls, rather than on paper or canvas that would be placed on the wall. In this return to the scale of frescos, his drawings within grids integrated into architecture to transform the space. His Wall Drawing 291 from 1976 is a striking work, with a strong similarity to 10 PRINT. Instead of the binary decision within 10 PRINT, LeWitt's drawing allows for horizontal and vertical lines, to create four choices for each grid element. Also like 10 PRINT, LeWitt's work is encoded as an algorithm. Unlike 10 PRINT, the instructions are in English, rather than BASIC:
+In France, a group of likeminded artists within and around GRAV (Groupe de Recherche d'Art Visuel) were exploring variations within grids. Francois Molnar and Vera Molnar worked on a series of images in 1959 which presented a visual system strikingly similar to 10 PRINT. In 1959, their   in his essay ??, published in ??. [MORE]
+Across the Atlantic in the 1960s the American artist Sol LeWitt embarked on decades of work exploring grids and regular structures. In 1968, LeWitt starting making drawings directly on walls, rather than on paper or canvas that would be placed on the wall. In this return to the scale of frescos, his drawings within grids integrated into architecture to transform the space. His Wall Drawing 291 from 1976 is a striking work, with a strong similarity to 10 PRINT. Instead of the binary decision within 10 PRINT, LeWitt's drawing allows for horizontal and vertical lines, to create four choices for each grid element. Also like 10 PRINT, LeWitt's work is encoded as an algorithm. Unlike 10 PRINT, the instructions are in English, rather than BASIC:
 . A 12” (30cm) grid covering a black wall. Within each 12” (30cm) square,
@@ Line 72: / Line 74: @@
 This grid-based wall drawing wasn't an isolated work within LeWitt's output. He created dozens of similar drawings, each with slightly different rules and allowing for varied lines including arcs and dotted lines.
-Francois Molnar, a member of GRAV and the husband of artists Vera Molnar (see p. ?? Note: we need to insert her within the Random chapter) presented a visual system strikingly similar to 10 PRINT in his essay ??, published in ??. [MORE]
 Despite their visual similarity, all of the works discussed are fundamentally different from 10 PRINT because they are static. In the next section, we'll introduce another additional precedent for 10 PRINT related to its temporal and generative properties.