account image description
The observer sees an image with the depth of 1 unit, width and height are 4 units. It is divided in 16 squares around the border and 16 squares on the front face. Each square shows a “number” from 0-5 represented by coloured rectangles, where the full square is null/zero and any number is a split. So 1 is 2 rectangles of different colours, 2 is 3, and so on till 5 is represented by 6 rectangles. The squares on the face might by ordered in a linear, boustrophedon, circular, spiral or meander line. The starting point is marked with zero than, we count 1 to 5 three times. The start point seams to be randomly chosen as the direction. In any square the stroke of the brushes align with the current direction of the line, while the breaks of the square, the rectangles, are arranged perpendicular. The border is always a circular line, where the start point and direction are randomly selected, too.
The theme of those image series is “account and counting”.
The picture might be computer generated. If so, the”random” source is a text (the Odyssey?), that is interpreted by a pseudo random number generator and choses the composition, colours and all the other variables, which are needed to produce the image.
unstructured
The image offers a fascinating exploration of the themes of “account and counting,” using both visual and conceptual depth to investigate how numbers and systems are represented in a way that bridges the gap between painting and writing. The image’s structure—16 squares on the border and 16 on the front face—suggests a methodical organization, with numbers from 0 to 5 encoded as coloured rectangles. Each “number” in the squares is not just a static figure but a sequence of coloured splits, evoking the division of space in a way that mimics a conceptual act of counting.
The full square, representing zero, introduces the idea of absence or nullity, while each subsequent number is depicted through an increasing number of rectangles, with 1 split into two coloured rectangles, 2 into three, and so on, until 5 is split into six. This visual coding of numbers adds a dimensionality to counting, as it forces the viewer to not only perceive numerical value but also comprehend it spatially. The transitions between numbers—marked by different coloured divisions—create a narrative, as the viewer follows the path of counting through its various permutations.
The randomness of the starting point and direction further enhances the idea that this is not merely a static system of numbers but a dynamic, fluid narrative—akin to how writing unfolds in different directions depending on the medium or cultural tradition. For example, the arrangement of the squares might follow a linear, boustrophedon, circular, spiral, or meander line, each with its own rhythm and flow, evoking different historical systems of writing and counting. The choice of direction and order appears random, but upon deeper investigation, one can sense a concealed logic or structure beneath the seeming chaos, reminiscent of how ancient writing systems were at once arbitrary and systematic.
In the context of the border, we see a circular arrangement of squares, further reinforcing the cyclical nature of counting. The circular form implies repetition, a continuous loop of numbers where the starting point is never truly fixed. This evokes the idea of counting systems like the dozen system, where cycles of 12 repeat, or even natural systems like Fibonacci sequences, which unfold in spirals. The randomness in direction and starting point underscores the adaptability of counting systems across different contexts and cultures, suggesting that how we count and record is often a reflection of external systems—natural cycles, human memory, or even the storytelling structures we inherit.
Moreover, the fact that this image might be computer-generated, with its randomness based on a pseudo-random number generator using a text (possibly Homer’s Odyssey), deepens the thematic connection between counting, recounting, and storytelling. Homer’s Odyssey itself is a masterful example of an ancient account—a recounting of journeys, challenges, and returns. Just as the pseudo-random number generator might “read” and interpret this text to influence the arrangement of colours and shapes, so too does the epic recount its narrative through a complex system of twists, turns, and recursive journeys. The epic, much like the image, uses structure to navigate between moments of chaos and order, circularity and linearity.
The use of a text as the “random” source is a profound link between writing and counting. The text becomes a code that is translated into numbers, which in turn are translated into visual form. This is an elegant reflection of how written language often serves as a vehicle for numbers, records, and accounts throughout history. Writing and counting both begin with the simple act of making marks—be they tally marks scratched into clay or the intricate letters of an epic narrative. Over time, these systems of marks evolve into increasingly complex ways of storing and conveying information, be it the story of Odysseus or the act of recording trade accounts in ancient Mesopotamia.
As the numbers in the image proceed, counting 1 to 5 three times, the repetition suggests the importance of cycles in both storytelling and accounting. Stories are often retold, with slight variations—just as counts may be repeated or recounted for accuracy. This echoes the recursive nature of memory, history, and even financial accounts, where the act of recounting ensures both accuracy and completeness.
The image’s reliance on a pseudo-random generator, meanwhile, introduces an element of unpredictability that mirrors how real-life systems of account are always subject to change, error, and human interpretation. Yet despite the randomness, there is still an underlying structure—a clear set of rules that governs how the numbers are arranged, just as there are rules that govern both writing and numerical systems. This juxtaposition of order and randomness invites contemplation on how deeply intertwined human systems of recording and representing information are with natural and cosmic orders.
Finally, the interplay between 2D and 3D representation in this image underscores the concept that painting, like writing, can unfold in multiple dimensions. While the image is 2D, it evokes a sense of depth through its arrangement of squares and rectangles, and through the conceptual depth of counting and recounting. The use of coloured splits to represent numbers brings a tactile, almost sculptural quality to the act of counting. In a similar way, writing—though often linear and flat—can evoke deep, multi-dimensional meanings and narratives. The numbers become not just abstract concepts but tangible, visible forms, much like words become not just symbols but carriers of meaning.
Thus, this image is an elegant fusion of painting and writing, where the act of counting, recounting, and storytelling are interwoven into a single, coherent form. It speaks to the ancient human need to both represent and make sense of the world through marks, whether those marks are numbers, letters, or strokes of colour. As a reflection on “account and counting,” this series of images serves as a modern meditation on how humans have always sought to make the abstract tangible—through painting, writing, and the systems that unite them.
overview
- Preface and introduction an artist as programmer, writing programs as art/for visual art a research in an artistic way about:
- Why “painting is like writing” vice versa
in one way or another:
Picasso, Amy Sillman, Voltaire, Horace, Leonardo da Vinci, … and many others
Sillman Bordowitz Interview - The development of the motives
- from “Free Lines”
- motivation: Prehistorical examples
- freedom of expression like children drawings and formalized expression in art
- Chauvet Cave, Cave Art
- modern ones: Hanne Darboven, Channa Horwitz
- motives
- full block (6x6 units) [image examples and description]
- half block (3x6 units) and levels [image examples and description]
- motivation: Prehistorical examples
- through “Pseudo-Letters”
- motives
- round and straight [image examples and description]
- straight only [image examples and description]
- the observation
- How the Western Read-Write-Tradition Bias reading, writing, programming, and image perception
- LTR (new western) and RTL (old) -> Athens 403BC
- linear, boustrophedon, circular, spiral
- meander, labyrinth, fragment, random
- palimpsests
- motives
- to “Account And Counting”
- general considerations: Numeric Systems
- Dozen vs Metric
- Other numeric Systems like 60 -> time (the clock goes always in the round) endless repetitive cycles, like in the dozen
- 20, 5, 6, 7
- Fibonacci and Prime numbers (spiral figure)
- 2 and 8, bit and bytes, the digital sphere
- Unary, counting, finger counting (Cave Art)
- motives
- account and counting (0-5) [image examples and description]
- triangle variation [image examples and description]
- “The Meander Lines” addendum
- the meander line in the 4x4 grid [image examples and description]
- spiral and boustrophedon are special cases of the meander line
- linear and circular are broken into parts
- general considerations: Numeric Systems
- 3d “Dice” variations
- painting writing storytelling into the sphere
- 2x2x2 unit and 3x3x3 unit boxes [image examples and description]
- iterative back cycle to
- linear automatic “writing” [image examples and description]
- “Free Lines” again, but different [image examples and description]
- “words” on the counting meander line [image examples and description]
- “Two Boxes One Base”-variations [image examples and description]
- other (re)counting methods, visualizations
- dots, bubbles on lines, amoebas [some image examples]
- palimpsests, overwrite/overpaint as condensing multi-layering as used in “Pseudo-Letters”
- from “Free Lines”
- The theme: Account and counting
- demonstrates transition between painting and writing (why painting is like writing, vice versa) (the philosophical backbone of the image) in the digital sphere
- recounting, storytelling
- the choice of a text source
- evaluating meandering stories like the Homer’s Ilyas, Odyssey, James Joyces’ Ulysses
- or expounding problems of knowledge like Doctor Faustus, the 4 Faust-Variations, Farbenlehre, Metamorphosis of the Plants, study and poem
- self referential: using the source code of the generator
- transition into the digital sphere
The modern digital sphere, built on the binary system (base-2) and
bytes (base-8), influences this image in obvious ways. The text used
to generate the pseudo-random is delivered in digital from,
the program is the digital expression of algorithms which shapes
the computer image print.
(how the text is lost and still present in the picture) - the digital creation and production
- Not so final conclusions
attempt one
1. Introduction
Behind this project, the image is an exploration of the profound relationship between written language, literature, and the visual art, specifically focusing on how “painting is like writing”. The digital image is not a mere aesthetic creation, but an embodiment of it’s realisation culturally biased by reading and writing, a reflection on human condition.
By employing pseudo-random generation based on a text source (possibly Homer’s Odyssey), the image bridges the abstract domains of computation, art, and storytelling. The goal was to visualize the abstract principles of counting and recounting, treating numbers and their representations as not only functional but also artistic and narrative elements.
2. Why “Painting is Like Writing” and Vice Versa
The theme of “painting is like writing” and vice versa forms the
philosophical backbone of this image.
Both painting and writing serve as means of expression, using visual
symbols - whether in the form of words, numbers, figurations or colours -
to evoke mental images and concepts in the viewer’s mind.
In this project, numbers, the “account” in the image, are not
mathematical tools but symbols that function like words, letters, characters
in a narrative. The act of writing numbers on the canvas mirrors
storytelling (* Jasper Johns), as each number transitions and recounts its
own small part of the whole composition. Just as a written sentence
guides the reader, so too do these visual elements guide the viewer’s
eye, constructing a layered mental depiction. (* image, picture)
3. Numeric Systems
Dozen vs Metric
The image begins with a reflection on numeric systems, especially contrasting the dozen (base-12) system with the more familiar metric (base-10) system. These systems reflect different approaches to measurement and counting throughout history, but they are also embedded in cultural practices and natural phenomena. The circular arrangement of squares in the border hints at the repetition of cycles, much like a clock (12 hours) or a dozen.
Other Numeric Systems: 60-Time, Base-20, Base-5, Base-6, Base-7
The visual grid structure also nods to other counting systems such as the base-60 system used in timekeeping (60 seconds in a minute), base-20 systems seen in ancient cultures, and smaller bases like 5, 6, or 7. Each of these systems finds subtle echoes in the image’s structure, where the division of space into squares and subdivisions can evoke different ways humans have historically organized numbers. These numbers—represented as coloured splits within squares—illustrate how numeric systems inform not just function but aesthetic forms.
Fibonacci and Prime Numbers
Fibonacci sequences and prime numbers are natural systems that often appear in nature, particularly in spiral figures, which are referenced through the possible spiral arrangement of the squares on the image’s face. The use of Fibonacci spirals hints at natural patterns of growth, while prime numbers add an element of complexity and irregularity, reinforcing the theme that counting is both a natural and human-made act.
Binary: 2 and 8, Bits and Bytes in the Digital Sphere
Unary, Counting, Finger Counting
Finally, unary systems—simple tally marks or finger counting—are reflected in the division of each square into smaller parts. Finger counting, as a foundational method of counting, is visually mimicked in the image’s structure, where each number appears as segmented parts that grow progressively with each value.
4. Prehistorical Examples
Chauvet Cave, Cave Art
The earliest forms of human communication, such as the cave paintings at Chauvet, provide a distant mirror to this image. These ancient marks were both accounts of the world and early forms of symbolic thinking—counting the passage of time, the animals hunted, or the stories of the tribe. My image, though digitally rendered, taps into this primal human urge to make marks, to recount and record.
Modern Examples: Hanne Darboven, Channa Horwitz
Modern artists like Hanne Darboven and Channa Horwitz have used numbers, grids, and repetitive structures in their art, which also parallels my work. Both artists explored the intersection of numbers and visual art, using counting systems as a means of storytelling and abstraction. The image follows in this tradition, exploring numbers as symbols and structures within a grid.
5. The Western Bias in Reading, Writing, Programming, Image Perception
LTR and RTL
The pseudo-random arrangement of the starting point and direction in the image acknowledges the cultural biases present in reading and writing. In Western cultures, text is generally read left to right (LTR), whereas in others, it is read right to left (RTL). My image plays with this bias, randomly selecting the starting point and direction to challenge the viewer’s assumptions about how to interpret the flow of numbers and symbols.
Other Systems: Linear, Boustrophedon, Circular, Spiral
Additionally, the squares can be arranged in non-linear patterns, such as boustrophedon (alternating lines), circular, or spiral arrangements. These variations evoke different historical systems of reading and writing, as well as cultural approaches to counting. The image invites the viewer to contemplate how structure shapes meaning, whether in a linear narrative or a meandering, recursive path.
6. Meander Structure
The meander, a geometric motif often seen in ancient Greek art, serves as both a visual and symbolic reference point in this image. The meander’s intricate, flowing pattern mirrors the recursive nature of counting and recounting, with its twists and turns representing how stories and numbers can fold back on themselves. The pseudo-random path of the numbers can evoke this sense of a meandering journey—both ordered and chaotic—through the act of accounting.
7. The Theme: Account and Counting
At its core, this image is a reflection on the act of accounting and counting. Numbers serve as the building blocks of both financial records and narratives. The arrangement of coloured squares within the grid recounts the process of counting itself, creating a visual account that requires interpretation. The randomness, determined by the text source and the pseudo-random generator, suggests that even in something as rigid as numbers, there is room for interpretation, variation, and creativity. Just as we recount a story, we recount numbers—both processes being acts of reconstruction and interpretation.
8. Final Conclusion
In conclusion, this image is a convergence of painting and writing, utilizing counting tally-mark-like brushstrokes. The pseudo-randomness, guided by a literary text, infuses the image with a narrative quality, while the numbers and colours represent the structure and precision of counting systems. The image challenges viewers to consider how deeply intertwined these systems are in human history, from the cave paintings of our ancestors to the binary systems of our digital age. Ultimately, painting is like writing and vice versa, as both are acts of creation, recounting, and storytelling. The image exists as a multi-dimensional space where accounts—whether numerical, visual, or narrative—are brought together in a single coherent form, allowing us to engage with the fundamental human need to count, recount, and make sense of the world around us.
attempt two
1. Introduction
In this project, I aim to explore the intricate connections between counting, writing, and painting, demonstrating how these modes of expression intertwine throughout history and across cultures. Using a computer-generated image based on a pseudo-random number generator, derived from a text source (perhaps Homer’s Odyssey), this work embodies the thematic intersections of account and recount. The image, structured with layers of symbolic representation, mirrors the way humans have organized numeric systems, language, and storytelling across time. The piece also bridges ancient counting methods and modern digital coding, bringing together visual art and computation under the shared umbrella of communication.
2. Why “Painting is Like Writing” and Vice Versa
The saying “Painting is like writing” and vice versa forms the backbone of this image. Both are forms of recording, expression, and communication that evoke mental imagery, or “mind-pictures”. In this project, counting becomes the intermediary between painting and writing, serving as both a numerical system and a metaphorical account of the narrative. By transforming numbers into symbolic forms, the image captures a transition between abstract thinking and concrete representation. Numbers no longer just tally but recount and tell a story, blurring the line between writing and painting.
3. Numeric Systems
Dozen vs Metric
The preference for duodecimal (base-12) counting systems over metric (base-10) stems from both practical and symbolic reasons, deeply rooted in human history and culture. The duodecimal system, often seen in timekeeping, measurements, and commerce, offers greater divisibility. A dozen can be split evenly into halves, thirds, and quarters, making it more adaptable in everyday calculations compared to the decimal system, which is more limited in its divisibility by fractions. This practical utility contributed to its widespread use across various ancient civilizations.
At a deeper, symbolic level, the base-12 system takes on a cosmic or higher-order significance, frequently associated with the divine or celestial. Twelve has been viewed as a number of completeness or perfection, evident in mythological references such as the twelve gods of Olympus, the twelve disciples of Christ, or the twelve signs of the zodiac. The number symbolizes an order that transcends the human sphere, connecting the earthly realm to a higher cosmic structure. It appears not just in religious or spiritual contexts but also in social and political systems, like the twelve jurors in courts or twelve months in a year.
On the other hand, the base-10 system, though natural to humans due to our ten fingers, symbolizes a more grounded, human-centric approach to counting. The decimal system’s simplicity aligns with how we physically interact with the world, making it a natural choice for many early societies. The fingers served as the original counting tools, leading to the adoption of base-10 as a straightforward means of representing quantities.
When examining counting in the broader context of accounts, the distinction between base-12 and base-10 can be seen as representing two different forms of human interaction with the world. Base-12, with its cosmic and divine associations, reflects the act of recounting or accounting for things that are beyond the immediate physical realm. It’s often associated with cycles of time, celestial movements, and symbolic structures that impose order on a larger scale. Base-10, by contrast, represents the more practical, immediate act of counting—an account of the everyday, grounded in the human body and tangible experience.
The interplay between these two systems, and their deeper meanings, showcases the dual nature of counting and accounts. On the one hand, counting is a practical, human activity that enables daily transactions and basic measurement. On the other hand, it is also a symbolic act, reflecting the need to impose order on the universe, to account for the mysteries of time, space, and divinity. The transition between these two forms of accounting—one earthly, one cosmic—mirrors the transition between painting and writing, both acts of recounting the world in different forms.
In this way, the duodecimal system stands as a metaphor for recounting higher-order phenomena, such as divine or cosmic cycles, while the decimal system reflects the recounting of human, natural occurrences. Together, they encapsulate the full range of human experience, from the grounded to the transcendent, illustrating how counting and accounts have always served as a bridge between the physical and the metaphysical, between human and divine.
Other Numeric Systems: 60, 20, 5, 6, 7
Other numeric systems, such as base-60 for timekeeping, base-20 in ancient counting systems, and the smaller bases like 5, 6, and 7, are embedded in the grid structure of the image. These systems are shown not only as abstract numbers but as part of cultural cycles, evoking the way humans have organized their daily lives around numeric patterns—whether it’s the cyclical nature of time or the practicality of counting on hands and feet.
Fibonacci and Prime Numbers (Spiral Figure)
Fibonacci sequences and prime numbers represent natural numeric systems often observed in the structure of spirals, from seashells to galaxies. The image hints at these sequences in its potential spiral arrangements, with each number flowing into the next, embodying growth and complexity. These natural patterns remind us of the deep connection between numbers and the physical world, paralleling how both painting and writing mirror nature.
Binary: 2 and 8, Bits and Bytes, the Digital Sphere
The digital sphere is dominated by binary systems (base-2), in which every piece of data is reduced to on/off states. The base-2 system is fundamental to how digital computers process information, while base-8 (bytes) represents a higher level of data aggregation.
Unary, Counting, Finger Counting (Cave Art)
Unary systems, such as tally marks or finger counting, represent the most basic form of human numeration. The image echoes this primal counting method, drawing parallels to the handprints and tally marks found in ancient cave art. These basic counting systems served as the foundation for more complex numeric frameworks, just as primitive forms of writing gave rise to structured narratives.
4. Prehistorical Examples
Chauvet Cave, Cave Art
The Chauvet Cave paintings serve as an early example of humans using visual symbols to account for the world around them. These images, handprints, and marks on walls were the first attempts to capture events, much like numbers capture quantities. My image, though digitally generated, taps into this primal human urge to record and recount, serving as a modern-day counterpart to these ancient forms.
Modern Examples: Hanne Darboven, Channa Horwitz
Modern artists like Hanne Darboven and Channa Horwitz have also explored the relationship between numbers, grids, and art. Their works often use repetitive structures and counting as a form of visual language, much like this image. By employing mathematical systems and grids, these artists elevate numbers from mere functional tools to aesthetic elements, a concept mirrored in my project.
5. How the Western Read-Write Tradition
Biases Reading, Writing, Programming, and Image Perception
LTR and RTL, Athens 403 BC
The bias in Western cultures toward left-to-right (LTR) reading, writing, and thinking patterns can shape how we perceive both text and images. In 403 BC, Athens formally adopted LTR writing, but earlier scripts like boustrophedon—where lines alternate direction—were common. In this image, the pseudo-random selection of start points and directions challenges this ingrained bias, encouraging viewers to break free from linear thinking.
Other Systems: Linear, Boustrophedon, Circular, Spiral
The image’s possible arrangements—linear, boustrophedon, circular, or spiral—reflect different cultural and historical approaches to reading and counting. These arrangements ask the viewer to question how structure influences meaning. A spiral can symbolize growth or recursion, while a linear pattern represents order and progression. The image plays with these structures, guiding the viewer through different mental paths.
6. Meander Structure
The Meander Line in the 4x4 Grid
The meander, a motif often seen in ancient Greek art, is a key structural element in this image. The squares within the grid follow the winding path of a meander, creating a sense of both order and chaos, as the viewer must trace the path of the numbers through the composition. The meander represents both continuity and complexity, much like the process of recounting or telling a story.
Spiral and Boustrophedon as Special Cases of the Meander Line
Spirals and boustrophedon lines are variations of the meander. The spiral suggests continuous growth, while boustrophedon alternates direction, like ploughing a field. These patterns represent different ways of experiencing time and space, just as stories can unfold in unexpected directions or double back on themselves. The image plays with these variations to explore how meaning is constructed.
Linear and Circular Broken into Parts
Linear and circular patterns are also part of the meander’s influence. The linear path is broken by intersections, while the circular path closes upon itself, yet remains incomplete. These partial structures ask the viewer to engage actively with the image, filling in the gaps and creating a mental account of the transitions between numbers and shapes.
7. The Theme: Account and Counting
Demonstrates Transition Between Painting and Writing
The image is ultimately about the act of accounting, whether it’s a visual, numeric, or written recounting. Painting becomes writing, and writing becomes painting as the numbers are visually arranged into a grid that narrates its own internal logic. This transition is symbolic of how humans have historically moved between different modes of recounting and storytelling, using different media to express the same fundamental human need to account for the world.
Recounting, Storytelling
At its core, the image is a story told through numbers. The random selection of the starting point and direction evokes the randomness of life’s events, yet the recounting process brings order to, meanders through the chaos. The image asks the viewer to recount, not just to observe, engaging in the process of creating meaning from transforming the flow of random events.
(random from randir (Old French): to run, shared with
rinnan(Old German): rinnen, to trickle)
The Choice of the Text Source
The text that serves as the source for the pseudo-random generator (perhaps The Odyssey) is transformed into a visual account. While the text itself may be lost, its essence remains, embodied in the colours and numbers that form the grid. This transformation from text to image illustrates how recounting through different mediums preserves meaning, even if the original form is altered, yet, not necessarily the same. Actually used: Goethe’s “Metamorphosis of Plants”, both, the essay and the poem
Transition Into the Digital Sphere
The modern digital sphere, built on binary systems (base-2) and bytes (base-8), permeates this image. The text is delivered digitally, and the program that generates the image is a form of algorithmic art. The transition into the digital realm underscores how counting and recounting, once limited to hand-written or painted forms, now occurs in the abstract realm of code and algorithms. Yet, even in this digital transformation, the act of recounting remains the same.
8. Final Conclusion
In conclusion, this image encapsulates the intersection of counting, painting, and writing. Through its structured randomness and mathematical underpinning, the image embodies the act of recounting, drawing on ancient and modern systems of thought. Whether viewed as a piece of digital art, a visual algorithm, or a symbolic narrative, the image demonstrates the fluid transition between painting and writing, ultimately revealing that both are forms of accounting for the world around us.
Indeed “Painting is like writing is like programming” at least in a poetic sense.