Structure 1

Every possible pairing of these sixteen curves:

Use the additive numeric values from each curve to set the value of a series of horizontal lines from values of white to black.

Implemented by Casey Reas

10 April 2004

Processing v.68

Every possible pairing of these sixteen curves:

Use the additive numeric values from each curve to set the value of a series of horizontal lines from values of white to black.

Implemented by Casey Reas

10 April 2004

Processing v.68

Reas:

Structure 1 uses one of LeWitt's common techniques, pairing a group of variables in every possible configuration. In this structure, the changes occur in time rather than space. Every curve in the diagram to the left is paired with every other curve to determine the values of the horizontal bars. An oscillator moves continually along the x-axis of each curve with the corresponding y-axis values added to define the momentary gray value of each bar.

Tarbell:

I am totally confused by the implementation of this work. When viewed upside-down, the patterns remind me of ocean waves lapping on the shore. I see gentle rhythms, complexity, and a certain unpredictability that makes me want to examine the code more closely.

Hodgin:

Mesmerizing. The juxtaposition of lights and darks combined with the slow cycling makes it quite hard to determine what is after-image and what is actually there.

Ngan:

This is a great concept that creates elegant variations. It's very curious to look at this piece from different distances. From afar, the “wave” movements seem much more intense.

Structure 1 uses one of LeWitt's common techniques, pairing a group of variables in every possible configuration. In this structure, the changes occur in time rather than space. Every curve in the diagram to the left is paired with every other curve to determine the values of the horizontal bars. An oscillator moves continually along the x-axis of each curve with the corresponding y-axis values added to define the momentary gray value of each bar.

Tarbell:

I am totally confused by the implementation of this work. When viewed upside-down, the patterns remind me of ocean waves lapping on the shore. I see gentle rhythms, complexity, and a certain unpredictability that makes me want to examine the code more closely.

Hodgin:

Mesmerizing. The juxtaposition of lights and darks combined with the slow cycling makes it quite hard to determine what is after-image and what is actually there.

Ngan:

This is a great concept that creates elegant variations. It's very curious to look at this piece from different distances. From afar, the “wave” movements seem much more intense.