Sources

Josef Albers, Interaction of Color. New Haven: Yale University Press, 1963.
The book's 1963 Yale publication, its experiential pedagogy, and the opening claim that color deceives continually.

Oral history interview with Josef Albers, 1968 June 22 to July 5. Archives of American Art, Smithsonian Institution.
Albers describes the scheme as a means of studying color.

The Josef and Anni Albers Foundation, "Interaction of Color" and "Teaching."
The book as a course of experiments, roughly two hundred plates mostly by students.

Smithsonian American Art Museum, artist page for Josef Albers.
Birth, Bauhaus and Black Mountain College years, death date.

Black Mountain College Museum + Arts Center, artist page for Josef Albers.
Teaching years at Black Mountain College, 1933 to 1949.

Smarthistory, "Josef Albers, Homage to the Square."
The cooking-pot quote, and the series read as color studies.

Whitney Museum of American Art, collection record for Homage to the Square: Ascending.
Corroborates Albers's own account of the scheme having no aesthetic consequence by itself.

"Programmed: Rules, Codes, and Choreographies in Art, 1965-2018." Whitney Museum of American Art, 2018-19.
The 2018-19 exhibition that placed Albers's color work alongside conceptual and computational art.

The Metropolitan Museum of Art, collection records for Homage to the Square works and the 1971 exhibition.
The 1971 Met solo show, the first the museum gave a living artist.

Josef Albers: Homage to the Square: 1950-1976. Ostfildern: Hatje Cantz, with texts by Adrian Redensek, Gero von Boehm, Donald Judd, and Margit Rowell.
Fixes the series span, 1950 to 1976.

Georges Roque, "Chevreul's Colour Theory and Its Consequences for Artists." The Colour Group.
Chevreul's 1839 term "simultaneous contrast," which Albers built on.

Karl Gerstner, The Forms of Color: The Interaction of Visual Elements. Cambridge, MA: MIT Press, 1986.
Gerstner's systematic, near-algorithmic color method and his link to the Bauhaus and Albers.

"Homage to the Square," Wikipedia.
Series span, work count, materials, and studio method (each claim cross-checked against a museum source).

Ada Lovelace, "Notes on L. Menabrea's Sketch of the Analytical Engine invented by Charles Babbage." 1843.
The exact wording of "weaves algebraical patterns just as the Jacquard-loom weaves flowers and leaves."

The Josef and Anni Albers Foundation, Anni Albers, Selected Writings.
Source of the courage passage quoted in the lesson, from "Weaving at the Bauhaus."

Bauhaus-Denkmal Bernau, "300 Meters of Silver Fabric for the Lecture Hall: Anni Albers's Bauhaus Diploma Thesis."
The 1929 Bundesschule wall covering: materials, Zeiss testing, and diploma-thesis status.

The Museum of Modern Art, collection record for the Bundesschule wall-covering material.
Museum record for the 1929 wall-covering material.

Tate, artist page for Anni Albers.
Life dates, 1899 to 1994, and the 2018 retrospective.

Bodleian Libraries, "Ada Lovelace and the Analytical Engine."
Corroborates authorship and the 1843 date of Lovelace's Notes.

Computer History Museum, "Punched Cards Control the Jacquard Loom."
The 1804 Jacquard patent and punched-card control of warp lift.

The Museum of Modern Art, exhibition record for "Anni Albers Textiles," 14 September to 6 November 1949.
First solo show by a textile designer at MoMA.

The Josef and Anni Albers Foundation, page for On Weaving (1965).
Publication record for Anni Albers's book.

Artsy Editorial, "How the Women Weavers of the Bauhaus Have Inspired Generations of Textile Artists."
The Sheila Hicks and Lenore Tawney lineage into sculptural fiber art.

Alison Jacques, coverage of the Metropolitan Museum of Art's 2024 exhibition "Weaving Abstraction."
Corroborates the Albers, Hicks, and Tawney lineage grouping.

"Anni Albers," Wikipedia.
Dates, the 1929 commission, and the 1949 MoMA show, used only to cross-check other sources.

"An Interview with Vera Molnar." Right Click Save.
Her motto set against Picasso's, the machine imaginaire around 1960, and GRAV's founding and her departure, in her own words.

Digital Art Museum, artist page for Vera Molnar.
Machine imaginaire dates, the 1968 Sorbonne computer access, and the 1% disorder concept.

DAM Projects, "1965: The Beginning."
Georg Nees's 5 February 1965 exhibition, the first showing of algorithmic computer art.

compArt (University of Bremen), exhibition record for Nake and Nees, "Computer-Grafik."
Corroborates the 1965 dating of the Nake and Nees exhibitions.

"Vera Molnar," Wikipedia.
Birth and death dates, marriage to François Molnár, and GRAV founding.

"Vera Molnar: The Grande Dame of Generative Art." Sotheby's.
The 1968 Paris computer center access and the 2023 Themes and Variations series.

"Vera Molnar NFT Auction at Sotheby's Realizes $1.2 Million Total." ARTnews.
The Themes and Variations sale total, a few months before her death.

"Molnar's Themes and Variations Fetches 631 ETH at Sotheby's." NFT News Today, 28 July 2023.
Second confirmation of the sale price and format.

"Vera Molnar at the Venice Biennale," Artnet News.
Her inclusion in the 2022 Venice Biennale at age 98.

Sol LeWitt, "Paragraphs on Conceptual Art." Artforum, vol. 5, no. 10 (June 1967).
Confirms the exact wording of "the idea becomes a machine that makes the art."

Sol LeWitt, "Sentences on Conceptual Art" (1969).
Full reproduction confirming the wording of the opening sentences.

San Francisco Museum of Modern Art, catalog record for Wall Drawing 1: Drawing Series II 18 (A & B).
Title, October 1968 date, and current home in the Fisher Collection.

Paula Cooper Gallery, "50 Years: An Anniversary," on the gallery's October 1968 inaugural benefit exhibition.
The venue and occasion for LeWitt's first executed wall drawing.

Mass MoCA, "Sol LeWitt: A Wall Drawing Retrospective."
Opened November 2008, on view through 2043, 105 wall drawings.

Mass MoCA, exhibition record for Wall Drawing #797.
Execution details for the instruction in which each drafter copies the line above.

Dia Art Foundation, collection record for Wall Drawing #118 (1971).
Full instruction text for fifty randomly placed points connected by straight lines.

Art Institute of Chicago, artwork record for Wall Drawing #118.
The short title form of the instruction.

The Museum of Modern Art, 1971 Sol LeWitt exhibition catalog.
Context for the 1971 wall drawings, including #118 and #86.

Bibliographic record for first publication of "Sentences on Conceptual Art": 0-9 (New York), 1969, and Art-Language (Coventry), vol. 1, no. 1, May 1969.
Establishes the two first publication venues.

Manfred Mohr, documentation of the 1971 exhibition at the Musee d'Art Moderne de la Ville de Paris (ARC).
Dates, the 28 drawings on view, the live plotter, and the visitor comment panel.

Manfred Mohr, "Combinatoric," artist's theme page.
The Cubic Limit series and the hypercube diagonal-path device.

"An Interview with Manfred Mohr." Right Click Save.
Mohr's own words on Bense, and on the cube as his instrument and graphical alphabet.

Manfred Mohr, P-128 Sphereless (1972), artist's own documentation.
The square's four sides and two diagonals as alphabet, and the 1973 cube as its expansion.

bitforms gallery, artwork record for P-128-B Sphereless (1972).
Quotes Mohr on the earlier Sphereless program, corroborating the artist's own site.

Musee d'Art Moderne de la Ville de Paris, exhibition archive for "Manfred Mohr: une esthetique programmee," ARC, 11 May to 6 June 1971.
Authoritative museum dates and venue for the 1971 show.

Digital Art Museum (Berlin), artist page for Manfred Mohr.
The cube from 1973, Cubic Limit dates, the space.color and klangfarben series, and the Golden Nica.

Digital Art Museum, record for Dimensions I (1978 to 1980).
The move to the four-dimensional hypercube and the diagonal-path device.

Computer History Museum, record for Sphereless.
Corroborates the Sphereless work and its dating.

ACM SIGGRAPH History Archives, 2013 Distinguished Artist Award citation for Manfred Mohr.
The 2013 award and its citation of his algorithmic-geometry achievement.

"Manfred Mohr," Wikipedia.
Birth date and place, early career, first computer drawings, and awards (corroboration only).

"The Machines That Drew the Future." RCM Paris (Substack).
The 1967 first FORTRAN IV programs and the 1970 plotter access at Meteorologie Nationale.

Casey Reas, "Process Compendium" (2004-2010), artist's statement and Process texts.
The Element/Form/Behavior vocabulary and the verbatim Process 4 and Process 18 texts.

Casey Reas, ProcessCompendium.md, REAS/studio repository, GitHub.
Independent artist-published cross-check of the Compendium definitions and Process texts.

Casey Reas, "A text about Software & Art" and Structure texts, {Software} Structures, Whitney Artport, 2004.
The premise question, the verbatim Software Structure #003 text, and the immediate-and-fluid-as-drawing quote.

p5.js project, "People" and "About" pages, Processing Foundation.
Lauren Lee McCarthy as p5.js creator and lead, 2013 to 2020.

Lauren Lee McCarthy, "Making p5.js," Processing Foundation, Medium.
First-person account of p5.js as a new interpretation of Processing for the web.

UCLA Department of Design Media Arts, faculty page for Casey Reas.
Professor with the department since 2003.

Whitney Museum of American Art, "Software Structures" exhibition page.
The 2004 Artport commission, 2016 restoration, and collaborators Tarbell, Hodgin, and Ngan.

Whitney Artport, "{Software} Structures" commission page (2016 restoration).
The translation of Sol LeWitt Wall Drawings #85, #106, and #358 into software.

bitforms gallery, Casey Reas biography.
Born 1972, Troy, Ohio; corroborates the MIT Media Lab and education timeline.

Recorded conversation between Wolf Lieser and Frieder Nake discussing Georg Nees. Digital Art Museum.
The train anecdote (Nees showing Helmar Frank his graphics) and Nake's characterization of Bense as having prepared the frame of mind rather than initiating the work.

Frieder Nake, "There should be no Computer Art," Bulletin of the Computer Arts Society, October 1971, pp. 18-19.
Nake's renunciation essay and the confirmed phrase about aesthetic information serving only the rich and the ruling.

Frieder Nake, "Art in the Time of the Artificial," Leonardo Electronic Almanac.
Confirms Nake's own continued engagement with Bense's künstliche Kunst (artificial art) framing.

Digital Art Museum, artist page for Georg Nees.
Nees's dates (1926-2016), Siemens Schuckertwerke career, the 1964 Zuse Graphomat Z64 acquisition, and the 1969 dissertation.

Digital Art Museum, artist page for Frieder Nake.
Nake's dates, first 1964 drawings on the TH Stuttgart Graphomat, key works, the 1971 renunciation, and the Bremen career.

Victoria and Albert Museum, collection record for Schotter, Georg Nees.
Medium, 1968-1970 dating, and the inscription Computergrafik mit Siemens-System 4004. Grounds the hedge on Schotter's unverified grid count.

Victoria and Albert Museum, collection record for Hommage à Paul Klee, 13/9/65 Nr. 2, Frieder Nake.
Screenprint dimensions, edition of forty, SEL ER56 and Zuse Graphomat Z64 hardware, and the Klee framework derivation.

Zellyn, "23 ecke," technical reconstruction of Georg Nees's algorithm, 2024.
The ELIRR random walk, the 23-segment polygon structure, the 14x19/14x20 grid ambiguity, and the single-sourced rot 19 cropping claim.

A. Michael Noll, "The Howard Wise Gallery Show: Computer-Generated Pictures (1965)." Leonardo, vol. 49, no. 3.
Confirms the April 1965 New York show's dates, used for the roughly simultaneous three-pioneers framing.

compArt (University of Bremen), exhibition record for Computer-Grafik, Studiengalerie der TH Stuttgart, 1965.
The February 1965 show's exact dates and venue, under Bense's Ästhetisches Colloquium.

Harold Cohen, "What is an Image?" University of California, San Diego (presented at IJCAI, 1979).
Cohen's own technical account of AARON's rule hierarchy (ARTWORK, MAPPING, PLANNING, LINES, SECTORS, CURVES, MOVEMENT CONTROL), no archival memory, closed versus open form, the Turtle robot, and the Documenta 6 and Stedelijk 1977 exhibition.

Harold Cohen, "Driving the Creative Machine," Orcas Center Crossroads Lecture Series, Orcas Island, WA, September 2010.
Confirms the essay's title, venue, and date.

"Harold Cohen and AARON: A 40-Year Collaboration." Computer History Museum blog.
Technical history: FORTRAN then C then Lisp, the Stanford AI Lab fellowship, the pre-1980 internal-cognition phase, and the 1995 Computer Museum Boston painting machine.

"Harold Cohen," in memoriam page, UC San Diego Visual Arts Department.
Death date and age, Slade School training, joining UCSD Visual Arts in 1968, and the Stanford AI Lab fellowship years.

"Harold Cohen: AARON," Whitney Museum of American Art, 3 February to 19 May 2024.
Museum framing of AARON's origin at UC San Diego in the late 1960s and its development until Cohen's death in 2016.

Exhibition checklist, "Harold Cohen: AARON," Whitney Museum of American Art.
Dated works including the Mazes series (1971 to 72), Untitled Amsterdam Suite (1977, Jan 1978), and Untitled (1982).

Harold Cohen biography, Gazelli Art House.
Corroborates exhibition history and career chronology.

Frieder Nake, "Harold Cohen Unique," remarks at the DAM Gallery Berlin opening, 25 January 2019 (published by DAM, 2024).
First-hand account by a fellow pioneer: Documenta 3 and the 33rd Venice Biennale, the 1977 Turtle exhibit and its move to the Stedelijk, the Stanford AI Lab residency, and the 1995 painting machine.

"Harold Cohen (artist)," Wikipedia.
Birth and death dates and the FORTRAN-to-C-to-Lisp quote, used only as corroboration, not for contested facts.

"Harold Cohen at the Tate," 1983 exhibition record (aleator.press and spalterdigital.com).
Four robotic drawing machines at the Tate in summer 1983, driven by AARON, drawing on a crossbeam-mounted felt pen.

Roman Verostko, "Epigenetic Painting: Software as Genotype," Leonardo 23:1, 1990 (Digital Art Museum mirror).
The genotype/phenotype essay: source of the software-as-genotype and personal expert system quotes.

Roman Verostko, "THE ALGORISTS," archived via the Wayback Machine.
Verbatim Hebert pseudocode manifesto and the account of the 1995 SIGGRAPH panel and the group's founding.

Victoria and Albert Museum, catalogue record for Cyberflower, Sunshine Version I.
Cyberflower dating (2008), HODOS software, and the random selection and rational control framing.

Victoria and Albert Museum, catalogue record for the Pathway Series.
Pathway Series (1987), multi-pen plotter drawing on paper.

Victoria and Albert Museum, catalogue record for the Manchester Illuminated Universal Turing Machine.
Work #1 (1998), multi-pen plotter drawing with gold leaf, made for the Manchester Baby computer anniversary.

ACM SIGGRAPH History Archives, person page for Jean-Pierre Hebert.
Confirms the August 1995 founding of the Algorists by Hebert, Ferguson, Musgrave, and Verostko.

Digital Art Museum, "Cyberflowers," artist page for Roman Verostko.
The Cyberflower naming story and its algorithm of curvilinear lines from a randomly chosen coordinate set.

Leonardo/ISAST, memorial post for Roman Verostko, 2024.
The programming languages quote, the Algorists founding account, and the Manfred Mohr algorist quote.

"Roman Verostko," Wikipedia.
Full biography, education, monastic dates, MCAD career, and awards, drawn from Verostko's own resume.

"Roman Verostko," obituary. Star Tribune.
Precise life dates: entering Saint Vincent Archabbey in 1950, ordination in 1959, marriage in 1968, Control Data Institute in 1970, and death on 1 June 2024.