Regularity
From Maze
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When she wrote about this work in a 1990 essay titled Inconceivable Images, Vera Molnar wrote that she was thinking about this painting as a computer program, because she had access to a machine: | When she wrote about this work in a 1990 essay titled Inconceivable Images, Vera Molnar wrote that she was thinking about this painting as a computer program, because she had access to a machine: | ||
| − | <blockquote>To genuinely systematize my research series I initially used a technique which I called machine imaginaire. I imagined I had a computer. I designed a programme and then, step by step, I realized simple, limited series which were completed within, meaning they did not exclude a single possible combination of form. As soon as possible I replaced the imaginary computer, the make-believe machine by a real one.<blockquote> | + | <blockquote>To genuinely systematize my research series I initially used a technique which I called machine imaginaire. I imagined I had a computer. I designed a programme and then, step by step, I realized simple, limited series which were completed within, meaning they did not exclude a single possible combination of form. As soon as possible I replaced the imaginary computer, the make-believe machine by a real one.</blockquote> |
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: | 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: | ||
