This digital print was taken from the time-based computer-generative work (Video Construct) Sydney, 1989, Umatic video recording, 5 mins. The first Video Construct (Fragment, 1984-5, 62 mins) was in black and white. Sydney was the first one made in colour. In generative time-based art, the explicitly defined part of the work is the structural element including, specifically, the rules that are to be used to determine in which order and at which pace the image sequence should develop. Although random or pseudo-random elements could be employed, my work is entirely deterministic. To my mind, the complexity of these works leads to enough uncertainty without adding randomness as well. In comparison to music, this work has a relationship to the works of early Boulez and others who took the serial music concepts to a more extreme level than Schoenberg and his school, by including more musical elements in the structures that the serial forms defined. Just as the images have an underlying order about them based on geometrical and colour relationships, so the Video Constructs also have an order in their time progression based on the generating logics. The print is one of a set, each of which is a still from the video. From Sydney (one) is, then, the result of the application of a set of generative rules that are stopped at a moment that I selected and that embodied the essence of the image sequence. 

Provided  by Computer Arts Archive: Same

该数字印刷品取自基于时间的计算机生成作品（视频构造），悉尼，1989 年，Umatic 视频录制，5 分钟。第一个视频构造（片段，1984-5，62 分钟）是黑白的。悉尼是第一个彩色的。在基于时间的生成艺术中，作品的明确定义部分是结构元素，具体包括用于确定图像序列应以何种顺序和速度发展的规则。尽管可以使用随机或伪随机元素，但我的工作完全是确定性的。在我看来，这些作品的复杂性导致了足够的不确定性，同时又不增加随机性。与音乐相比，这部作品与早期布列兹和其他人的作品有关系，他们通过在序列形式定义的结构中包含更多的音乐元素，将序列音乐概念提升到比勋伯格和他的学派更极端的水平。正如图像具有基于几何和颜色关系的基本顺序一样，视频构造的时间进程也具有基于生成逻辑的顺序。该印刷品是一套中的一套，每张都是视频中的一张静态照片。来自悉尼（一个）是应用一组生成规则的结果，这些规则在我选择的时刻停止，体现了图像序列的本质。