one views the graphic. [43] The visible defines the order, which is not the same as the order of the pictures, but an optimal state in which the squares lie along a horizontal line, forming a row in which each one is set precisely beside the next one, so that straight lines are formed by the upper and lower edges. This state is not seen in the picture. Row by row, the state of disorder successively increases down to the lower border of the picture. The program creates disorder through the rotation of each square at the point of intersection of its diagonal, and also through the increasing distortion in the graphic space. This graphic introduces a number of questions related to the relationship between an image that is constructed and one that is computed. For this reason, the slight possibility of gaining insight through viewing has to be assessed by comparison with a work of classical constructive art. [44] In this way, by means of observation, the intent of the picture, or its inherent logic, can be recreated. But then, what is the actual content of the picture? It can be said that the picture illustrates the relationship between order and disorder. This, however, arises through prior

knowledge that is already interpreted, and that then leads to the above description. In this way, the rather orthogonal section of ordered squares in rows next to each other (up to row 6), can be evaluated as a state of higher ordering compared to the lower section of the image. By mere viewing, however, it cannot be exactly determined to which processes the increase in disorder is due. The coordinates and inclinations of the squares could of course be measured. This would already result in the defining of a boundary that could not crossed by inspection. On the contrary, it must be assumed that the observer actually sees past the sense of the picture or extracts each of its senses visually without having them supported contextually. With additional viewings, a spatial effect is seen, an optical illusion of a gentle turning from the inside out in the center left and lower right of the image area. If one then draws in the context, which is that this is a graphical realization of a mathematical model that was coded by means of a formal language, then the question arises as to what the image is above and beyond a specific visualization randomly generated by a machine? This leads to the core question: is the