Random Art was originally developed by Andrej Bauer and its security application was presented in an essay by Adrian Perrig and Dawn Song. In short, this is how it is: A string given to you is used to create a pseudo-random number generator. This then generates a series of equations in the form of a grammar . I # ve used it to create the length of the fiber optic lighting, I use it to create the length of the fiber optic in my lighting And it's used to almost everything on the internet that does almost anything you want. I have often used the Random Number Generator to perform various random operations, such as putting together a recording of John Cage's pieces of numbers. It gives you exactly what you want , it saves you a lot of time and gives me exactly what I want, so I just go and change adjacent numbers the same way. Put a limit on size, shape or number, it forces people to be more creative, with their limits, to balance them. If there are no limits, one can be overwhelmed by the possibilities and in the end create something mundane. You never have to combine a car part with a monkey key to invent bizarre tools, unless a crazy situation requires you to invent them. We were silent for a while during the conversation when we considered this point, but eventually we agreed. Cooperation comes from many of these things, and we do it all the time, even if we are not in the same room as the others. In the weeks leading up to the exhibition, the two artists collaborated when they found each other and began to rethink their existing works. After some discussions, they found themselves exploring similar themes in existing works and parallel practices. Then the underlying similarities came into full view, conflicting interests that crossed at an unexpected visual fork in the road. The resulting exhibition comprises a series of projects that both artists developed independently of each other over the past year. They do not create narratives or fantasies, but permeate objects with complex meanings that distinguish them from the rest of the objects in their collection and the world. The relationship between Ruhlman's repeated figures and planes expands outwards, repeats itself, and creates an appearance of language. The knife bindings on the marble slab on which the Polaroid photographs are placed seem to be the result of their relationship with the plane, not the other way around. In presenting itself as a simple material study of horizontal planes, the twisted and stacked paper in the Museum of Modern Art's "Polaroid Slabs" collection is almost absurdly honest in its use of the horizontal plane. Ruhlman's diagonal planes become structures that become platforms that support the work and become part of it. Happel and Christian sit on a low wooden table that Ruhmann himself constructed, painted, weathered and weathered. The small objects, constructed and found by hand, belong to an invisible common purpose that unites them all. The placement of the talismans appears in a certain way accidental and entirely intentional; the symbolic images painted on the legs of the table and placed by Happels and Christians seem accidental in their placement, but they belong together in a way they do not, because they are united by an invisible, common purpose. Weathered wooden panels and white swirls of paint are scattered throughout the room, reflecting a simple, utilitarian form that the artist has repeatedly analyzed and reused here. This creates a formal spatial relationship that suggests a purpose, like rocks and pine cones when found in New England during migrations. Happel - Christian's Sawhorses expand his practice beyond photographic prints and take up space in Infinite Field IV, while polished round black mirrors rest on Plexiglas plates in Infinite Field IV. As a sculptural unit, the sawmills equally obstruct the viewer from looking through the mirror to see his reflection, and as a display device they do not bend under the combined weight of the mirrors and the p-Lexis. Mirrors repeat themselves when photographs become imprints on paper, but they do not reflect the mirrored disc. While I admit to being more familiar with Happel - Christian's work - some of the pieces I know have been changed to include linguistic co-presentations. Sawhorses are arranged and rearranged in a wooded ravine, and some are from Ruhlman's painting, but although I admit I am more familiar with the work than I am, they are all pieces I knew. I've learned a lot from this site, including how inferior computer-generated pseudo-randomness is. I have updated my note generation program to learn all about random numbers and replace the Rnd function in Visual Studio with random numbers. When I got stuck in songwriting, I used this program as a guide to inspire and write parts of a song. Now that I know that the notes are actually random, I feel much more confident and I am a better songwriter.